Today: Alka – Combinations In Electronic Sound via Mixlr

Alka

VeryRecords artist Alka‘s Bryan Michael will be spinning an eclectic set of electronic tracks at 1500 EST / 2000 GMT today (7 December 2018) as part of DJ Steve Brown’s Combinations In Electronic Sound broadcast on Mixlr.

Tune in later at mixlr.com/touched_music/

Alka’s The Colour Of Terrible Crystal is available from the VeryRecords store / Spotify / everywhere.

(c) 2018 Mat Smith / Documentary Evidence for VeryRecords

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News: Akiko Yano feat. Reed & Caroline – When We’re In Space (Speedstar Records, 2018)

Continuing the themes of their Hello Science album from earlier this year, VeryRecords artists Reed & Caroline have collaborated with Japanese pop singer Akiko Yano on a new track, ‘When We’re In Space’. The track is taken from Akiko’s latest album Futari Bocchi De Ikou, which was released by Speedstar Records in Japan today.

“Akiko and I are neighbours,” says Reed about the origins of the song. “Whenever we ride the elevator together we talk about music, space and Kraftwerk. She came to the very first Reed & Caroline show at a little club in NYC – our first fan!

“Earlier this year she asked if we could collaborate on this project. She played a beautiful melody and I asked what the song should be about. She said, ‘The International Space Station!’ All of the music – except for Akiko’s piano – was created using the Buchla synthesizer.”

Piano and vocals: Akiko Yano
Additional vocals: Caroline Schutz
Buchla: Reed Hays
Music composed by Akiko Yano. Lyrics written by Reed Hays.

Futari Bocchi De Ikou is available to buy from amazon.jp here.

(c) 2018 Mat Smith / Documentary Evidence for Reed & Caroline and VeryRecords

Electronic Sound Issue 45

The ‘bundle’ edition of Electronic Sound 45 has already sold out, which means that if you didn’t buy it already, you’ve missed out on the opportunity to hear the exclusive Vince Clarke remix of ‘Magic Fly’ by Space that formed the A-side of the accompanying 7″ single. And believe me, that’s a pity – it ranks among Mr Clarke’s finest remixes and you’ll now probably never get to hear it. The B-side was the wonderful and moving ‘Before’ by Vince’s VeryRecords signing Reed & Caroline, marking the duo’s first time on a vinyl record.

For this issue I interviewed Didier Marouani, the classically-schooled musician behind the mysterious space helmet-wearing Space, marking one of those privileged opportunities that this magazine often gives me to write a story that hasn’t really ever been told before. My mum was dead proud too, because she bought ‘Magic Fly’ when it first came out in 1977 (I was a mere year old), and I think she believes that this had a major influence on my later interest in electronic music – and she’s probably right.

Elsewhere, for this issue I wrote reviews of albums by Julia Kent & Jean DL, Ghostly signings Helios, the marvellous Dutch group Go March, and Welsh non-pop artists HMS Morris. I also got the chance to review two absolutely stonking records – a jazz opus by Bugge Wesseltoft & Prins Thomas, and O.Y. In Hi-Fi by Optiganally Yours, fast becoming the record I’ve played more than any this year. The record was constructed principally from the original master tapes of sounds that would be used in Mattel’s Optigan, meaning it was made with sounds from the Optigan but in a high resolution form that the Optigan itself could never deliver.

And linking that back around to the 7″ you sadly can’t listen to – Pea Hicks from Optiganally Yours is the custodian of the only equipment in existence to manufacture optical discs for the Vako Orchestron, the zany professional version of the Optigan which Reed Hays used on Reed & Caroline’s Hello Science, turning Caroline Schutz’s vocal into lo-fi textural loops.

The non-bundle version of issue 45 is available at www.electronicsound.co.uk

(c) 2018 Mat Smith / Documentary Evidence for Electronic Sound

Reed & Caroline – Before (Aylesbury High School Chamber Choir performance, 27 June 2018)

The Aylesbury High School Chamber Choir performed ‘Before’ by Reed & Caroline at their Music, Muses and Movement concert on Wednesday 27 June. The performance was the culmination of almost three months of planning and rehearsal by the choir.

When working on the promotional support for Reed & Caroline’s second VeryRecords album Hello Science, Reed Hays, Caroline Schutz, Vince Clarke and I kept coming back to the notion that ‘Before’ sounded a lot like a hymn because of its philosophical and spiritual quality. Caroline in particular said that performing that piece reminded her of the Christian hymns she sang at school, despite growing up Jewish. That got us thinking about asking a choir to perform the song, so I asked the music teacher at the girls’ high school in Aylesbury as to whether they’d be willing to support the promotion of Hello Science with a performance of the song, and they graciously consented.

‘Before’ is already a beautiful, moving, poignant piece of music. In the hands of the Aylesbury High School Chamber Choir the song takes on an entirely new level of poignancy, something which has reduced more than one of us who worked on this record to tears.

You can watch this very special, unique performance of ‘Before’ at the VeryRecords YouTube channel here.

Reed, Caroline, Vince and I are all incredibly grateful to Ms Raven, the Aylesbury High School Chamber Choir and the school’s headteacher Mr Rosen for giving us the loan of the choir for this wonderful performance.

Credits:
Arranged and conducted by Olivia Raven
Filming by Mat Smith and Seren Smith
Video editing by Vince Clarke
Sound mixing by Reed Hays
Performed at the Aylesbury High School Music, Muses and Movement evening performance, 27 June 2018

Hello Science can be ordered from the VeryRecords website.

(c) 2018 VeryRecords

VeryRecords: Reed & Caroline – Hello Science Interview (2018)

Ahead of the release of Hello Science, I caught up with Caroline Schutz and Reed Hays to talk about identity crises, science (duh, obviously) and dealing with demands for royalties from daughters. The interview was published today on the VeryRecords website here.

Hello Science is available to purchase at the VeryRecords website, or from the merchandise stall if you happen to be Stateside and watching Erasure on tour

(c) 2018 Mat Smith / Documentary Evidence for VeryRecords

Electronic Sound Issue 43

Issue 43 of Electronic Sound is now available, and this month’s magazine & 7″ bundle includes exclusive tracks from the Radiophonic Workshop, the beneficiaries of a major in-depth feature this month.

For this issue I wrote a short introduction to the music of Ratgrave, whose jazz / hip-hop / electro / funk debut I mentioned in The Electricity Club interview, and who I expect I’m going to be banging on about for several months to come. Their self-titled album is released at the end of this month and it is a wild, untameable beast of a fusion record. I also interviewed Norwich’s Let’s Eat Grandma for this issue about their second album, which sees childhood friends Jenny Hollingworth and Rosa Walton taking their curiously idiosyncratic music in a squarely electronic pop direction, complete with analogue synths and production nous from Faris Badwan and SOPHIE. We also had a god natter about the merits of rich tea biscuits.

In the review section I covered Yeah Yeah Yeahs drummer Brian Chase‘s mesmerising Drums & Drones collection, three discs of processed percussion inspired by time spent at La Monte Young and Marian Zazeela’s Dream House; a hard-hitting gem of an album by 1i2c which I described as ‘therapeutic music for anxious robots’; the new album from 4AD’s Gang Gang Dance; another brilliant collaboration tape on the Front & Follow label by Jodie Lowther and ARC Soundtracks; the brilliant second album by Geniuser, one half of which is Mick Allen from The Models, Rema-Rema, MASS and The Wolfgang Press.

Finally, I reviewed albums by two projects by current members of WireColin Newman and Malka Spigel‘s second Immersion album since they reactivated the band in the last couple of years, and the third album from Wire guitarist Matthew Simms as Slows. Simms is a highly inventive musical polymath, as comfortable with a guitar in his hand as he is using analogue synths, found sound or pretty much anything he can lay his hands on. A Great Big Smile From Venus consists of two long tracks covering an incredible breadth of ideas, continually moving out in directions that are both unexpected and yet entirely expected when you’re familiar with Simms’s vision.

The review section also features Ben Murphy’s fantastically detailed review of the new Reed & Caroline album, Hello Science, released earlier this month on Vince Clarke‘s VeryRecords.

The magazine and 7″ bundle is available exclusively from the Electronic Sound website here.

(c) 2018 Mat Smith / Documentary Evidence for Electronic Sound

The Electricity Club: Documentary Evidence Interview (2018)

Those familiar with the story of how this blog came about – Erasure fan; found a copy of Mute‘s Documentary Evidence 4 inside my 12″ of said band’s ‘Chorus’; began collecting the Mute back catalogue; decided to write about it – will find an extended version of that story over at The Electricity Club website in an interview they did with me earlier this month.

I found this amusing, and slightly ironic: way back in 2003, when I started this here blog, I got in touch with Chris Bohn, then editor of The Wire and best known as NME journo Biba Kopf, to see if he’d be open to an interview. Kopf, for me, was synonymous with the Documentary Evidence pamphlet, as he’d written the Mute history that accompanied the catalogue listings at the back, and I couldn’t even estimate the number of times I’d read, re-read and digested those words. His response was along the lines of ‘Er… why?’ and so I shelved that as a bad, and slightly foolish idea. When The Electricity Club asked me to answer some questions, I could suddenly see Kopf’s point, and also my own naïveté.

In any event, I accepted, and the interview is now online here. Head over there and you can read about why Mute matters to me so much, musings on how much I love Taylor Swift (unashamedly), what it’s like to work for Vince Clarke, why I believe people have got it wrong about modern day Depeche Mode, and what electronic music I’m currently listening to.

I wrote most of my answers on a flight to Newquay to visit my father, who gets a mention in the interview. I only realised recently how important my dad is in the story of how I came to fall in love with electronic music… but that’s a story you’ll get to read another day.

(c) 2018 Mat Smith / Documentary Evidence