Tag: Mark Reeder (Page 1 of 9)

THE ELECTRICITY CLUB’S 25 Synth B-Sides Of The 21st Century

There is nothing like the other side of life. As a companion to its favourite 25 Classic Synth B-sides, The Electricity Club presents a listing looking at the 21st Century equivalent.

B-sides often take on a cult following, provoking discussions among fans about why they might have missed inclusion on the parent album.

On why artists occasionally overlook a track when it is clearly good enough, Richard Silverthorn of MESH said “Sometimes you can’t see the wood for the trees”.

Then there are the occasional abstract studio experiments which often fail but occasionally work and the occasional cover versions which don’t always find favour with some listeners but are infinitely more preferable over pointless remixes of the A-side!

But how is a modern B-side been defined? There is a wider definition now due to digital and streaming formats, so they can include flipsides of vinyl, bonus tracks on CD singles and non-album tracks released as part of a download single or EP bundle. Despite all this, the term “B-side”, like “album” and “video”, still remains.

So for the purposes of this listing as before with the 25 Classic Synth B-sides, B-sides featured on the original issue of a full length album, or subsequently included on a new one are NOT included. However, those added as bonus tracks on later reissues, deluxe editions or compilations are permitted. Rules are good, rules help control the fun! 😉

So with a restriction of one track per artist moniker, presented in date and then alphabetical order within, these are The Electricity Club’s 25 Synth B-Sides Of The 21st Century…


LADYTRON Oops Oh My (2003)

LADYTRON surprised their audiences during live shows in support of the ‘Light & Magic’ album by closing with a feisty synthpunk cover of TWEET’s ‘Oops Oh My’. Co-written by Missy Elliot, the Timbaland produced original with a DEVO sample had been a hip-hop favourite but the aggressive Riot Grrrl styled take on this risqué song about self-love with lyrics like “There goes my skirt, droppin at my feet” added a rockier edge to their sound.

Available on the LADYTRON single ‘Evil’ via Telstar Records

http://www.ladytron.com/


CLIENT Can’t See Me Now (2003)

“This was written in response to the Iraq War” said Sarah Blackwood aka Client B, “I remember endless discussions with Toast Hawaii boss Fletch about whether it was the right decision and with heavy hearts, watching endless shelling and firefighting, from the 24 hour news coverage on far flung European hotel TVs. It was the first time I had felt that disconnection and frustration with my home country, the ‘not in my name’ ringing loudly in my ears. Bit late to the party but that’s the story of my life.”

Available on the CLIENT single ‘Here & Now’ via Toast Hawaii / Mute Records

https://www.facebook.com/ClientMusic


GOLDFRAPP Gone To Earth (2004)

The eloquence and surreal atmospheres of the first GOLDFRAPP album ‘Felt Mountain’ may have taken a back seat on its follow-up ‘Black Cherry’ but the experimentation continued on the B-sides of the album’s singles. ‘White Soft Rope’ combined the unsettling imagery of bondage with a chorus sung a school choir, but ‘Gone To Earth’ was even more otherworldly. The reverberating bassline combined with swirling synths and dreamy glides while Alison’s alternate cosmic language startled with a spacey hypnotism.

Available on the GOLDFRAPP single ‘Black Cherry’ via Mute Records

http://goldfrapp.com/


THE MODERN Model #426 (2005)

Nathan Cooper who was in THE MODERN said: “The inspiration came from ROXY MUSIC’s ‘In Every Dream Home A Heartache’ which was about a blow up doll, we took that a step further and Model# 426 is about some kind of sex droid!! ‘Model #426’ was always the song that would get the audience talking because singer Emma would open a trunk on stage and lead a gimp out on a collar into the bemused looking audience!! I think it was actually that stunt that got us signed to Universal!”.

Originally on THE MODERN EP ‘Eastern Bloc’, now available on the album ‘Life In A Modern World’ via Pie & Mash Recordings Ltd

https://www.themodernband.com/


PET SHOP BOYS Party Song (2006)

Interpolating KC & THE SUNSHINE BAND’s ‘That’s The Way (I Like It), the self-produced ‘Party Song’ was naturally a throbbing disco driven affair outshone the horrendous Diane Warren penned ballad ‘Numb’ which comprised the main act. Lyrically inspired by the classic Joan Collins and Leonard Rossiter fronted Campari adverts that, it began life as a dance cover of NIRVANA’s ‘Smells Like Teen Spirit’ suggested by Elton John and intended as a single for a new PET SHOP BOYS ‘Greatest Hits’!!

Originally the B-side of ‘Numb’, now available on the PET SHOP BOYS album ‘Format’ via EMI Music

https://www.petshopboys.co.uk/


ARTHUR & MARTHA Japanese Kiss (2008)

‘Japanese Kiss’ was from the debut release on Happy Robots from Alice Hubley and Adam Cresswell. “This was the first track I wrote for ARTHUR & MARTHA” he recalled, “mostly recorded in the bedsit I’d moved into after splitting up with my girlfriend. I was absorbed in self-pity, comforting myself with Japanese-horror movies and the company of my ARP Quartet, Moog Rogue and the DR-55. Living my best life!”; 11 years later as Rodney Cromwell, Cresswell did a NEW ORDER inspired ‘KW1’ remix.

Available on the ARTHUR & MARTHA single ‘Autovia’ via Happy Robots

https://www.facebook.com/arthurandmarthaband


MARSHEAUX Bizarre Love Duo (2008)

Basing its title on the well-known NEW ORDER tune, as with a number of the B-sides listed here, ‘Bizarre Love Duo’ outshone the main act ‘Ghost’. It all began with a pitch shifted groan sample repeated with hypnotic effect over some squelchy backing. But during the second half, the track built itself to a fabulous but abstract electrodisco number with a marvellously catchy refrain. While not quite a song and not quite an experiment, ‘Bizarre Love Duo’ was enjoyable tune in the MARSHEAUX canon.

Originally the B-side of ‘Ghost’, now available on the MARSHEAUX album ‘E-Bay Queen Is Dead’ via Undo Records

https://www.facebook.com/marsheaux


ANTHONIO Angel Face (2009)

A cover of a cover, namely SHOCK’s take on THE GLITTER BAND’s 1974 Top5 hit; playing the role of the Latin lothario in response to the Annie song ‘Anthonio’, Sebastian Muravchik of HEARTBREAK and now SNS SENSATION remembered:Richard X produced this version of ‘Angel Face’ as a side B in his single ‘Annie’. I sang both sides, which kind of shows two sides of Anthonio’s personality in a way. It was a fantastic experience – Richard is a great guy and über pro, so really a win-win.”

Available on the ANTHONIO single ‘Annie’ via Pleasure Masters ‎

https://www.facebook.com/wearesns


LITTLE BOOTS Catch 22 (2009)

“Positive and negative can only attract” sang Victoria Hesketh on the bouncy ‘Catch 22’, a lesser known LITTLE BOOTS track which initially only appeared on the 7 inch single of ‘Earthquake’ in the UK. Gloriously synthpoppy, in hindsight along with other songs that did not make it onto the final tracklisting of her debut album ‘Hands’, it highlighted a possible direction that could have been taken, but which was ultimately watered down for wider acceptance after she was named BBC Sound Of 2009.

Originally the B-side of the single ‘Earthquake’, now available on the LITTLE BOOTS deluxe album ‘Hands’ via On Repeat Records

https://www.littlebootsmusic.co.uk/


VILLA NAH Benny’s Burning (2010)

Continuing a great tradition among the synthpop acts of the past, VILLA NAH had ‘Benny’s Burning’ and ‘Daylight’ as part of their B-side armoury as well as the brilliant debut album ‘Origin’. Highlighting the inherent talent of Juho Paolosmaa and Tomi Hyyppä, ‘Benny’s Burning’ was a smoother and more atmospheric side of VILLA NAH compared with the uptempo technopop impressions of its A-side ‘Rainmaker’. The Helsinki duo later opened for OMD during the UK leg of 2010’s ‘History Of Modern’ tour.

Available on the VILLA NAH single ‘Rainmaker’ via Keys Of Life

https://www.facebook.com/villanah


ERASURE Never Let You Down (2011)

Produced by Vince Clarke, ‘Never Let You Down’ was free of the many autotune treatments that Frankmusik had applied when helming the disappointing ‘Tomorrow’s World’ album in his attempts to make ERASURE sound more modern and contemporary. As a result, that heartfelt soul often associated with Andy Bell made its presence felt over a glorious galloping synthpop tune in the classic ERASURE vein, especially during the middle eight section in Spanish.

Available on the ERASURE single ‘Be With You’ via Mute Artists

http://www.erasureinfo.com/


MIRRORS Falls By Another Name (2011)

In their short career, MIRRORS left not only a great album in ‘Lights & Offerings’ but a body of wonderful B-sides too. Any number of them are worthy of mention but the nod goes to ‘Fall By Another Name’ as it was accessible enough to have been an A-side. Not as dense as MIRRORS’ usual pop noir hence its likely relegation to flipside, the bright pulsing melodies and James New’s Dave Gahan impression made this sound rather like a quality outtake from DEPECHE MODE’s ‘Speak & Spell’.

Available on the MIRRORS single ‘Into the Heart’ via Skint Records

https://www.facebook.com/theworldofmirrors


APOPTYGMA BERZERK Dead Air Einz (2013)

While the A-side was a faithful cover version of Peter Schilling’s anthemic ‘Major Tom’, ‘Dead Air Einz’ was a self-composed song by APOPTYGMA BERZERK mainman Stephan Groth that was eagerly welcomed at the time, thanks to it being his first original new track for four years. Utilising distorted radio broadcasts in its backdrop, it also featured some Korg MS20 from Jon Erik Martinsen and was something of a grower with its steadfast drum machine shuffle.

Available on the APOPTYGMA BERZERK single ‘Major Tom’ via Pitch Black Drive Productions

http://www.theapboffice.com/


CHVRCHES Now Is Not The Time (2013)

Making their initial impression with the mighty ‘Lies’ in 2012, Glasgow trio CHVRCHES actually became the mainstream saviours of synthpop that LITTLE BOOTS and LA ROUX had promised but ultimately failed to deliver on. ‘Now Is Not The Time’ was a fantastic midtempo tune with a great chorus that like ‘The Mother We Share’ sounded like Taylor Swift gone electro. However, it got relegated to B-side status despite being superior to several songs on their debut long player ‘The Bones Of What You Believe’.

Available on the CHVRCHES single ‘Recover’ via Virgin Records

https://chvrch.es/


DEPECHE MODE All That’s Mine (2013)

In a pattern similar to the ‘Sounds Of The Universe’ boxed set only track ‘Oh Well’, the best song from ‘Delta Machine’ sessions was left out of the main act. ‘All That’s Mine’ featured a tightly sequenced backbone, electronically derived rhythms and a gloomy Eurocentric austere, all the perfect ingredients for a classic DM tune! While it was no doubt rejected for not fitting into the faux blues aspirations of modern DEPECHE MODE, it made up for the dreary notions of the A-side ‘Heaven’ which were more like hell…

Originally the B-side of the single ‘Heaven’, now available on the DEPECHE MODE deluxe album ‘Delta Machine’ via Columbia Records

http://www.depechemode.com/


OMD Time Burns (2013)

OMD’s twelfth album ‘English Electric’ was notable for combining conceptual art pieces alongside supreme electronic pop in a manner reminiscent of their fourth long player ‘Dazzle Ships’ and KRAFTWERK’s ‘Radio-Activity’. Although four of these concepts made it onto the final running order of the album, one that didn’t was ‘Time Burns’, a intriguing sound collage comprising of clock movements, chimes and digital watch alarms over rumbles of sub-bass and profound computer generated speech.

Originally the B-side of the single ‘The Future Will Be Silent’, now available on the OMD EP ‘Night Café’ via BMG

http://www.omd.uk.com/


QUEEN OF HEARTS United (2013)

A stomping electro disco number produced by Mark Reeder and Micha Adam, Elizabeth Morphew’s cooing Bush-like howls and breathy euphoria are a total delight to the ears while the mighty cavernous sound provided the heat! However, ‘United’ has ended up as the B-side. Reeder said ”I saw a piece posted on The Electricity Club about QUEEN OF HEARTS and I was curious. I really liked Elizabeth’s voice from the moment I heard the first couple of tracks.”

Originally the B-side of ‘Secret’, now available on the QUEEN OF HEARTS deluxe album ‘Cocoon’ via Night Moves

http://iamqueenofhearts.com/


VILE ELECTRODES Little Death Capsule (2013)

With an alluringly haunting vocal from Anais Neon, the eerily stark ‘Little Death Capsule’ saw VILE ELECTRODES tell the story of early space travel when these primitive craft were sent out of the earth’s atmosphere effectively sitting on inter-continental ballistic missiles, with burning up also a possibility on return. With pulsing instrumentation from Martin Swan, it featured the sort of sterling analogue treatments that would make KRAFTWERK and YELLOW MAGIC ORCHESTRA proud.

Available on the VILE ELECTRODES EP ‘The Last Time’ via Vile Electrodes

http://www.vileelectrodes.com/


JOHAN BAECKSTRÖM Synth Is Not Dead (2015)

A touching tribute to Messrs Clarke, Gore, Hütter and Schneider with hints of YAZOO’s ‘In My Room’, Johan Baeckström said of ‘Synth Is Not Dead’: “I guess I just wanted to reflect on the fact that there still IS a synthpop scene with some really great bands, both old and new. In another way, the song is sort of my ‘thank you’ to some of the artists that inspired me for several decades – some of them are mentioned in the lyrics, but far from all of course”.

Available on the JOHAN BAECKSTRÖM single ‘Come With Me via Progress Productions

https://www.facebook.com/bstrommusic/


METROLAND (We Need) Machines Without Romance (2015)

METROLAND’s second album ‘Triadic Ballet’ was a triumphant electronic celebration of the Bauhaus, art movement led by Walter Gropius. Gropius theorized about uniting art and technology and on the B-side of its launch single ‘Zeppelin’, METROLAND worked towards the 21st Century interpretation of that goal. Now imagine if Gary Numan had actually joined KRAFTWERK in 1979? Then the brilliantly uptempo ‘(We Need) Machines Without Romance’ would have surely been the result.

Originally the B-side of ‘Zeppelin’, now available on the METROLAND boxed set ’12×12′ via Alfa Matrix

http://www.metrolandmusic.com/


MESH Paper Thin (2016)

Of the superbly rousing ‘Paper Thin’, Richard Silverthorn of MESH recalled: “Mark Hockings presented me with a demo at the time we were writing material for ‘Looking Skyward’. On first listen, I wasn’t too sure about the track as I thought it didn’t really fit with the overall feeling of the album so it kind of got shelved. The record company asked ‘what about the B-side?’ so Mark suggested ‘Paper Thin’ again. The bassline, drums and many other lines were changed and the new version came to life.”

Available on the MESH single ‘Kill Your Darlings’ via Dependent Records

http://www.mesh.co.uk/


KNIGHT$ So Cold (2017)

After SCARLET SOHO, James Knights busied himself with a new Britalo inspired solo project. With hints of NEW ORDER’s ‘Subculture’ and found on KNIGHT$ debut EP ‘What’s Your Poison?’, he said “’So Cold’ is the second or third song I wrote as KNIGHT$. It’s a little darker than my other material, and the only song I’ve recorded using a marxophone (a fretless zither which I borrowed from my friend Alun Davies). It didn’t make it onto my debut album, but it’s still a song the audience enjoy, as do I.”

Available on the KNIGHT$ EP ‘What’s Your Poison?’ via Speccio Uomo ‎

https://knights101.com/


PSYCHE Truth or Consequence (2017)

PSYCHE co-founder Darrin Huss said of ‘Truth Or Consequence’: “It started out under the title ‘Life On Trial’ and was about the Bradley Manning (now Chelsea) situation. It’s about the NSA surveillance, whistleblowers, etc. It’s also about the confusion between what is Truth, and what are the consequences of telling it, living it? Do we have safety in numbers? etc. It’s all in the lyrics. It’s a very PSYCHE song with even a nod to ‘The Brain Collapses’ with our use of that song’s drum machine the Oberheim DMX.”

Available on the PSYCHE single ‘Youth Of Tomorrow’ via Artoffact Records

http://www.psyche-hq.de/


SOFT CELL Guilty (2018)

That Marc Almond and Dave Ball reunited for a farewell gig and new material was a pleasant surprise. The frustration and anger expressed in ‘Guilty (Cos I Say You Are)’ with the lines “I can denounce you just because I can, I didn’t have the life I wanted, I didn’t do the things I dreamed” saw SOFT CELL continue where they left of in 2003. With dark resonances like ‘The Omen’ gone disco, its eerie gothique countered the celebratory electro-soul of A-side ‘Northern Lights’

Originally the B-side of ‘Northern Lights’, now available on the SOFT CELL album ‘Keychains & Snowstorms – The Singles’ via Universal Records

https://www.softcell.co.uk/


INTERNATIONAL TEACHERS OF POP Another Brick In The Wall – Remoaner mix (2019)

Inheriting the mantle of THE HUMAN LEAGUE in the modern synthpop stakes, INTERNATIONAL TEACHERS OF POP impressed with their self-titled debut album. With the single release of ‘The Ballad Of Remedy Wilson’ was a timely Remoaner mix of PINK FLOYD’s ‘Another Brick In The Wall’ sung in German that made a bold musical and political statement. Headteacher Adrian Flanagan said: “I hope that statement is ‘I hate PINK FLOYD but love KRAFTWERK’ and / or – ‘I hate you but love the EU’”.

Available on the INTERNATIONAL TEACHERS OF POP single ‘The Ballad Of Remedy Nilsson’ via Desolate Spools

https://www.facebook.com/internationalteachersofpop


Text by Chi Ming Lai with thanks to all the artists who contributed
19th July 2020

ALANAS CHOSNAU & MARK REEDER Interview

‘Children of Nature’ is the excellent first album by Mark Reeder and Alanas Chosnau that reflects their personal experiences and hopes for the future.

Alanas Chosnau is one of the biggest singing stars in Lithuania, while Mark Reeder is the Manchester-born producer and remixer who founded the trailblazing techno label MFS and introduced NEW ORDER to electronic dance music along the way.

While ‘Children of Nature’ has something of a melancholic air, it is also optimistic and hopeful. Combining East and West European approaches thanks to Chosnau and Reeder’s respective locations in Vilnius and Berlin, the album does not mask its multi-generational influences and uses them to present good songs with superlative vocals and sympathetic instrumentation.

As two people who personally experienced the divisive spectre of the Cold War head on while living on opposite sides of The Iron Curtain, ‘Children of Nature’ symbolically captures that emotion of desiring love and intimacy in isolation, something that is very relevant in these strange times.

DRAMATIS’ Chris Payne who also co-wrote and played on the VISAGE hit ‘Fade To Grey’ said: “Mark Reeder and singer Alanas Chosnau have recorded a stunning new album called ‘Children of Nature’, a range of well-crafted songs and beautifully produced, with excellent vocals. If you’re a fan of electronic music this is definitely an album to add to your collection.”

With ‘Children of Nature’ attracting many positive plaudits worldwide, Alanas Chosnau and Mark Reeder kindly spoke to The Electricity Club about the genesis of their creative union and a lot more.

Had the two of you been aware of each other before actually meeting in person at the Lithuanian International Film Festival in 2015?

Alanas: Unfortunately, not. Life is full of surprises. I believe that our meeting was meant to be. Since the first talk at the festival, I immediately felt a creative connection and discovered we shared a love of similar music.

Mark is an outstanding personality with so much experience and knowledge in music. I am privileged to work with him and also learn from him.

Mark: Yes, I first met Alanas at the Lithuanian International film festival in Vilnius, where I was presenting the documentary film, ‘B-Movie (Lust & Sound in West-Berlin 1979-89)’.

It was a very glamourous event, presented by the President of Lithuania, and the audience were all dressed in formal evening wear, surrounded by glittering camera lights and TV crews. Upon arrival, I was asked if I could also perform a short DJ set during the actual opening ceremony, but due to time restrictions, that ended up being one song – and not really a DJ set. They set up a mixing desk and two CDJ turntables for me, which was dwarfed by the expansive stage and I was thinking, what’s the point of two decks? I can’t really mix anything, as I’m only going to play one song…

After a lengthy presentation of Lithuania’s singer-songwriters, acrobats, magicians and choirs, it was finally my turn to go on stage. The compare introduced me in obviously glowing Lithuanian and I just stood there like a showroom dummy grimacing with fear at my inescapable plight. Then, with a huge smile, he turned and asked me with great expectation, “so Mark, what are you going to do for us tonight?” – I simply raised my forefinger and cheekily said “I’m going to just press, PLAY”.

As the first strains of the song opened, I could see the look upon the fascinated faces of Lithuanian high society. I felt they were all smiling at me more in sympathy than enjoyment. It was very unnerving. As the song progressed, I could see their faces turning from bemusement to shock and horror. They literally all stared at me, open mouthed.

Their uncomfortable expressions were eroding at my confidence as I nervously twiddled with the knobs, and I was thinking, should I really be doing this? Strangely enough, once the song had finished, they applauded furiously, but I wasn’t sure if they were just thankful that my dreadfully pathetic performance was finally over.

Almost as soon as I got off stage, I was introduced to Alanas and he revealed that behind me, a huge projection screen was showing excerpts from ‘B-Movie’. Something I was completely unaware of. Then I realised, that’s why they were all so shocked.

So how did a conversation with some common ground about the Cold War lead to one about actually making music together?

Alanas: I guess we have managed to blend Cold War with Cold Wave philosophy and here it is – ‘Children of Nature’. True, our common political experiences and human understanding of those times has helped us find common solutions much easier.

Despite different cultural backgrounds, where we have both matured, living the experience of a time before “the fall of The Berlin Wall” and the fall of Communism is something that bonds us together somehow.

Mark: I met up with Alanas to talk music, and he explained to me a little about his background, that he was originally a Kurd from Iraq, and he came to Vilnius during the Soviet era while he was still a young child. His parents had wisely decided it would be better to send him to Lithuania to keep him safe from Saddam’s possible purges, and eventually his gas bombs.

It was also interesting to hear how he had secretly listened to Western music as a child growing up in the Soviet Union. It seemed apparent that Lithuanians had always had this rebellious streak against their masters in Moscow and listening clandestinely to decadent Western Music was a kind of subversive, secret protest. Yet as he got older, he felt he wanted to make a different kind of music, something that was closer to his own heart.

We discovered our musical tastes overlapped and then the idea just emerged that we should maybe try and do something together. Alanas expressed his desire to finally make an album in English, but explained he’d never done it before, because finding the right kind of person, not only someone who understood the style of music he wanted to make, but also someone who would be able to guide him with his English, had so far proven to be elusive.

But after hearing my NEW ORDER reworking of ‘The Game’, he was convinced I might be the one. He asked me if I thought his English was good enough. I realised that as a kid growing up in the Soviet Union, they didn’t learn English at school. With the fall of communism in the early 90s, people were finally able to listen to all kinds of previously forbidden music from the West, but the lyrics were always a sticking point. That’s why techno became so internationally successful, because it was mainly instrumental.

Although I wasn’t initially aware of what he had achieved musically, I liked Alanas. Besides, he wasn’t asking me to work with him because I was some super famous pop star producer, but because he actually liked the sound of my music (especially my DEPECHE MODE remix). His own Lithuanian music sounded very contemporary and so I wanted to push his boundaries a bit. Give him something he wouldn’t normally do himself. My music is reminiscent. It doesn’t really have a date stamp on it, as it already sounds like it could be from a past era.

Eventually, we made ‘Losing My Mind’, which was then chosen to be the love song in the contemporary Cold War thriller ‘Le Chant Du Loup’ (The Wolf’s Call) and after that, we decided to make an album together.

Was the musical direction of the album something that was conscious and discussed?

Alanas: I would say that our album was consciously as well as intuitively directed. Mark was leading the process. We have exchanged much of our musical experiences, naturally discussed the lyrics and melodies of each track. We wanted our songs to reflect current people’s behaviour, feelings and needs. The message of our music is actual nowadays and I hope listeners hears it.

Mark: To a degree yes. Alanas liked the kind of sound I make and was open minded enough not to interfere. He also enjoyed the surprises and understood my idea was to make music in the present that reflected on our past, but is in fact timeless.

Alanas would send me his basic vocal melody idea and I would take it and turn it into something else. Most songs had no real lyrics at first, so as the music developed, I would make subject suggestions, and write the lyrics accordingly, later as Alanas became more confident with his English, he would suggest themes too and write his own lyric ideas.

Obviously, once our album started to take shape, we could see there was a pattern in the themes emerging. It wasn’t just all about love and loneliness, but also has contemporary political influences too.

Were there set roles within the writing and production or did you find that all interchangeable?

Alanas: We were so much into writing and producing new tracks. All our album was written interchangeably, while sharing music and lyric drafts, discussing, selecting and adjusting them. All the music production work was done by Mark and Micha Adam at their studio in Berlin.

Mark: Our roles were set before we started. Micha and I are already an experienced production team, and we each know where our strengths lie. Alanas is an established singer and songwriter. Yet for this project, he wanted a different sound to the contemporary one he usually pursues in Lithuania. I think he wanted to surprise his fans a bit there too. Mostly, we would create a template for Alanas to sing his idea to, then we would craft the song around it and write the lyrics, then we would fine tune it.

Did you put together the bones of the songs together while in the same room or was there quite a bit of remote working due to your geographical locations?

Alanas: The whole album work was basically done remotely, with me being in Vilnius and Mark in Berlin. We did have regular meetings in Berlin of course, but the most part of the studio work was remote.

Mark: No, we worked from separate cities. Quite an interesting process in itself and very modern thanks to the internet, such a process would have been impossible in the past. I had fortunately had enough experience working in this way before with other artists too, so it wasn’t so difficult for us. The only difference being in recording the vocals, when it comes to singing the lyrics and getting the intonation and pacing right, which is especially difficult for someone who is not a native English speaker, when they are next to you it is easy to say sing it like this or like that, but when they are in another city it’s not so easy.

Why the title ‘Children of Nature’? How did the song itself come together?

Alanas: The song ‘Children of Nature’ was one of the first tracks created for this album. At the beginning of our work, I sent the music draft to Mark with sketched lyrics including ‘Children of Nature’ and he liked the initial idea. Surely enough, Mark and Micha transformed it to perfection. When album was nearly finished, we realised that ‘Children of Nature’ is exactly the statement that represents our message to the people – we are responsible for the future of ours and future generations, thus must be warriors of our souls to protect it.

Mark: We felt that we wanted to make a statement to the generations of the future, show them what we thought about and that we cared. As a species, we have to a greater extent ruined much of our planet in a very short time. Nature has vented its anger upon us. Yet, in just a few weeks of lockdown, we saw all kinds of environmental miracles occur.

The planet doesn’t need us. It can wipe us out in an instant if it so desires. However, it proved, we could do a lot to help its recovery, if we really wanted to. It was a glimpse into an alternative future if we want it. Just imagine if we invested our technology and creative energy into helping our planet to recover, rather than build more weapons of mass destruction. In reality, we are all children of nature, but in little over a few hundred years we seem to have forgotten that, and as the world is governed by greed and selfishness, the egotistical desire for power and territory, puts us all in danger.

When The Berlin Wall fell, I had hoped that we were above all that in the coming 21st century. Sadly after 30 years, it seems not. We are back to where we were, at the start of the previous century. The cover design depicts a blurred image of post-nuclear children looking accusingly at the viewer. It’s a kind of forewarning. Do we want the future generations to grow up in that kind of post-nuclear world?

The cinematic ‘Losing My Mind’ was the first song released from the sessions and appropriately was in the French Cold War movie ‘Le Chant Du Loup’? Are you fans of spy dramas?

Alanas: Of course, since being a teenager I loved war and spy movies, because their characters take risks and go the end until they reach their goal, or die for it. These characters are mysterious and entertaining, capable to transcend me to new realities.

Mark: I grew up on James Bond and Harry Palmer. John Barry was a constant companion from being child. When Antonine Baudry approached me with a request to write a song for a love scene in his film, we had just started work on ‘Losing My Mind’. I decided as it was a contemporary Cold War thriller, I would pay homage to the music of Cold War thrillers of the past. Antonine heard the first draft and loved it immediately. That’s the version that appears on the soundtrack album.

If the British had James Bond and Harry Palmer, was there an Eastern Bloc equivalent?

Alanas: I guess that the best-known Soviet and even post-Soviet James Bond equivalent is a spy Stierlitz from the famous television series ‘The Seventeen Moments of Spring’ filmed in 1973. This movie has made the greatest impression on me while being a young kid.

One of the album’s highlights is the magnificent ‘Heavy Rainfall’, is that about the environment or something else?

Alanas: Funny enough, this track has nothing much in common with climate, environment or any form of natural weather conditions. Actually, ‘Heavy Rainfall’ transmits the message of the unfortunate rise of totalitarian regimes and strengthened social and even digital control over people.

Mark: ‘Heavy Rainfall’ is a song about how our thoughts are manipulated, about how our attention is diverted by trivia. it’s a warning, to be aware, but also the message is positive, that no matter how much heavy rainfall we get, we just have to wait and ride out the storm.

‘A Loving Touch’ appears to reference ‘Give Me Tonight’, was that intentional?

Alanas: Hmm, I am not sure I know that song ‘Give Me Tonight’. So most probably that means it was not intentional.

Mark: You are the only person who has made that comparison. Well, no it certainly wasn’t intentional. We are all subconsciously influenced by music we have heard though, sometimes you write something and think “have I heard that before?”

Thanks to SHAZAM, you can immediately see if it references anything. It might have partially a similar structure perhaps, which may give that impression, but we never thought of that. I just wanted to make a positive sounding song for the closing part of our album, something which captured a feeling for the roaring 2020s.

Strange thing is, now that we have all been through lengthy stretches of social distancing, where we were not allowed to kiss or hug our friends and loved ones, the message in this song takes on an entirely different meaning.

A track from the SHARK VEGAS archives ‘I Can’t Share This Feeling’ has been dusted off, what was the thinking behind this?

Alanas: To be honest, once Mark shared this track with me, I did not know at all that it is an old track from the SHARK VEGAS shelf. After we had recorded the vocals and the track was fully produced, Mark introduced me to the legend of SHARK VEGAS. We had a great conversation then, I remember. Mark really knows how to pleasantly surprise people.

Mark: I was going through some old SHARK VEGAS demo cassette tapes and I came across a song that I had recorded one night with Alistair Gray in our practice room in Tempelhof airport in the 80s. It never got beyond the rough demo tape stage and I was thinking maybe Alanas might be able to sing this.

So, I reworked it and sent him the backing track and vocal guide. I didn’t tell Alanas it was actually a song from the 80s, as I wanted to surprise him. And as it’s a mixed vocal of me and him, I decided it would only be fair to credit it to SHARK VEGAS.

‘All Alone’ is very on point with the current worldwide lockdown situation, but what had been its original sentiment?

Alanas: ‘All Alone’ is about loneliness, a lonely man in this World. The unexpected coronavirus lockdown has only strengthened this inner feeling of ours. Hasn’t it? When health crisis happened, we had no doubt of which vector of lonely humanity to choose – lockdown dictated it all and we dedicated this song to all the people isolated at home and in hospitals. It appears that we made quite a prophetic song and we indirectly could foresee the upcoming corona crisis.

Mark: Due to the lockdown, this song unintentionally became the first album outtake. We discussed the idea of making a video during lockdown but due to the restrictions it seemed almost impossible to venture outside without consequences, so Alanas made one at home. It’s structured like a 60s song, wrapped in a synthpop style with a contemporary theme.

Initially, I wanted it to be about the dilemma and frustration of loneliness. This is a subject that has actually been a reoccurring theme throughout my entire career, because no matter what, we are born alone and die alone and for the part in between we can sometimes find ourselves left alone, and we are all victims of that at some stage in our lives. It’s a solitary cry for solidarity.

‘Drowning in You’ has something of a ‘Heroes’ feel about it, had Berlin been a key symbolic influence on the album?

Alanas: Comparison to David Bowie is a great compliment. One of my very first childhood journeys was from Baghdad to West-Berlin in 1980 with my beloved mother. Since then, I carry those captured memories of Berlin’s streets, people and unique feeling in the air.

Each stay in Berlin inspires me a lot and now working with Mark and Micha at their Berlin studio kind of blends it all together. No doubt, Berlin has influenced our music and I guess Mark can say much more to that point. Berlin is a city like no other.

Mark: ‘Drowning in You’ is a song about love at the dawn of a totalitarian regime, as it creeps upon you without realising the danger. The future looks optimistic even, but then things start to change. Berlin has seen that happen, but it could happen anywhere, anytime. It’s a song of reflection, on a time gone by, when the World seemed a happier place. Everything seems normal at first, but then things slowly start to disintegrate until the day comes when you suddenly find yourself being hauled off to a labour camp…

‘Fade On’ reflects a love for DEPECHE MODE, another act with Berlin very much in their DNA, have you seen the ‘Spirits In The Forest’ film?

Alanas: I first heard DEPECHE MODE as a twelve-year-old when I was already living in Soviet Lithuania, where international music from the West was super hard to get. I found the cassette tape with a name “DEPECHE MODE” at my older cousin’s house and I played ‘People Are People’. That was it. I was totally blown away of how the music sounded. I really cannot deny that discovering DEPECHE MODE in those pale Soviet times strengthened my dream to become an artist, and create my own music and form a band. Yes, I did see the ‘Spirits In The Forest’, loved the cinematography and style of storytelling itself.

Which songs have been your own personal favourites from ‘Children of Nature’?

Alanas: The whole album is an emotional journey through the complex human nature. It speaks to the listener of love, joy, loneliness, happiness, fulfilment, fear, pain… it even predicts the future if you like. The album’s structure is very consistent thanks to Mark’s insights and rich musical experience.

I hope our listeners can feel it. One of my favourite songs is ‘How Do You feel’, because it’s very inspiring and motivating. Also ‘Drowning In You’, ‘Fade On’, ‘Love Of My Life’, ‘Children of Nature’, ‘Heavy Rainfall’, ‘It’s Who You Are’, ‘I Can’t Share This Feeling’…errr

Mark: I can’t really answer that question. I just made an album that I thought Alanas, Micha and I would like to buy. I didn’t want to reinvent the wheel. I just wanted it to be a collection of familiar styles and sounds, that trigger a feeling of reminiscence, but then again, each song is different. It’s an electronic album, but sometimes it also has dance and rock elements to it, like a mixture of all the sounds that have influenced my own musical career.

Your partnership has been well received by music fans, is this a one-off or is working together again something you would like to do?

Alanas: We are very grateful to our fans who like our album and listen to it. I had long discussions with Mark before recording the first track. It took us a while to come up with this decision and I appreciate his trust and belief in me a lot.

Our partnership grew to a highly creative and mutually respectful relationship and I would definitely like to continue working together.

Mark: Micha and I have really enjoyed working with Alanas, we became a great team and we don’t see it ending with this album, on the contrary, we all hope our work will continue, and so it will. Not only have we managed how to make an album while being miles apart, but I think we have found the right song writing formula too in which we can work, which will hopefully make things easier for our next album.

What is next for each of you?

Alanas: Currently we are intensively promoting the digital album, producing new music videos and plan live shows once the corona crisis regulation allows it. Our record label MFS will soon release vinyl and CD formats of the album as it was already planned before the lockdown. As for the future, we do have creative brainstorms, but now all our efforts are focused on making ‘Children of Nature’ a success.

Mark: As always, my music life never stops evolving and apart from promoting ‘Children of Nature’, I have also been quite productive since I came out of lockdown.

First off, I made two remixes of the title track ‘Children of Nature’ for the ‘Natural Selection’ EP, which are much more clubbier in their approach. I also remixed ‘Light of the World’ by BIRMINGHAM ELECTRIC, a project based in Amsterdam. I also remixed ‘Dead Soul’s by a band from Mexico called DEER who currently live in Hong Kong and I have just finished a remix for the CEMETERY SEX FAIRIES.


The Electricity Club gives its warmest thanks to Alanas Chosnau and Mark Reeder

The ‘Children of Nature’ album and the ‘Natural Selection’ EP are released by MFS via the usual digital platforms including https://markreeder.bandcamp.com/releases

https://alanaschosnau.com/

https://www.facebook.com/alanaschosnau/

https://www.instagram.com/alanaschosnau/

https://www.facebook.com/markreeder.mfs/

https://twitter.com/markreedermfs

https://www.instagram.com/markreeder.mfs/

https://mfsberlin.com/

https://open.spotify.com/album/6QinQBH8STYT86s59YRO8t


Text and Interview by Chi Ming Lai
Photos by Martyn Goodacre
11th July 2020

ALEX HUSH Interview

Alex Hush is the noted dance producer best known for his work in DAYBREAKERS with Ric Scott and before that, KOISHII & HUSH with Simon Langford.

Based in Toronto, undoubtedly now one of the liveliest and most creative hubs for modern electronic music, Alex Hush has an impressive portfolio that includes U2, MADONNA, ERASURE, PET SHOP BOYS, YAZOO, DURAN DURAN and INXS among others.

His latest work has been with DAYBREAKERS and an excellent remix of ERASURE’s new single ‘Hey Now (Think I Got A Feeling)’.

Alex Hush was also behind the famed seven volume ‘Retro:Active – Rare & Remixed’ CD compilation series on Hi-Bias Records in Canada which dug deep in the vaults for rare tracks by VITAMIN Z, LEISURE PROCESS and SEONA DANCING as well as featuring notable extended versions from the likes of A-HA, DEAD OR ALIVE, CAMOUFLAGE, OMD and THE CURE.

The Electricity Club spoke to him about his career to date DAYBREAKERS, KOISHII & HUSH and a whole lot more…

All the projects you have been involved with are largely associated with a dance friendly sound, what sort of clubs, DJs and environments influenced your approach to music?

Good question. I suppose I would say I was shaped by the music I grew up listening to in the 80s and to this day. In Toronto, there was a station called CFNY which played a ton of new wave and house tracks that were hugely influential. After that, people like Judge Jules, Pete Tong, Armin Van Buuren etc, all had a big influence with the tracks they played.

Who were the artists that you grew up loving?

ERASURE, NEW ORDER, DEPECHE MODE, PET SHOP BOYS, DEAD OR ALIVE, THE CULT, THE CURE, DURAN DURAN and many more. Even artists that only had one or two songs made an impact. I suppose for most people, if you liked one of the bands I mentioned, you more than likely listened to all of them.

So you love songs and you love remixes?

I do. I am no different than anyone when it comes to remixes. Sometimes a remix will turn a good track into a great track and other times I may not love the remix that was done. When it comes to remixes, fans can be very passionate and very opinionated and I am no different.

Who are your favourite remixers?

So many great ones but off the top of my head, the ones that I really like(d) are Shep Pettibone, Matt Darey, Tin Tin Out, Mark Saunders, Ferry Corsten. Any time their names appear you know you are getting something special.

Your first big name remix as DAYBREAKERS was ‘Love Is Bigger Than Anything In Its Way’ for U2, there were a lot of remixes commissioned for that, what was your approach to make it distinct?

For that mix, we wanted to try something with a bit of a deeper vibe to it while using the vocals in a unique way. We did two mixes and Bono really liked the ‘main’ mix and had an idea for an extra vocal. So he recorded it and sent it over and we incorporated it into the final mix which we were really pleased about. Nice to have his input and something unique.

How did you feel when MADONNA came calling for ‘I Rise’? Did you get to find out what she thought of your mix?

Just to work on U2 and MADONNA tracks was a thrill. We got the MADONNA mix right after the U2 one and it was a lot of fun to work on also. Because of the style of song, we took that in a different direction and was glad she and her team were happy with it. No, we never got any direct feedback from her, but we were honoured that our mix was one of the ones chosen to be included on the RSD vinyl release.

DAYBREAKERS have produced a remix for ERASURE’s new single ‘Hey Now (I Think I Got A Feeling)’, do remixers get set a brief or is the point of being involved is that you are given artistic freedom?

I suppose that would depend on the project. We have never been given any sort of guidelines for a remix, but on occasion I have asked the label if they have any sort of direction for the mix. That can save a lot of time if you start out doing a mix in style a) and they really had style b) in mind. Other than that though, we have never had any sort of restrictions or template given to us.

The ERASURE mix was a lot of fun. We started out making a very progressive house sound and it was sounding good but neither Ric nor myself thought it was truly capturing the feel of the original. We completed that and set it aside, during which time Ric came up with a cool idea of a ‘pop’ mix, which ended up morphing into the final mix you hear now.

‘Marigold’ by the NEW ORDER offshoot SHADOWPARTY was another track remixed by DAYBREAKERS, would you like to be asked to work on an actual NEW ORDER song one day?

Yes! That is definitely on our bucket list! ‘Marigold’ was a great track to work on. Loved the original and having known Tom and Phil from NEW ORDER and BAD LIEUTENANT and getting to know Josh, doing a mix for them seemed like a no brainer. They are very passionate about what they do and great musicians.

Speaking of NEW ORDER, you worked with Gillian Gilbert on ‘Lifetime’ in KOISHII & HUSH, how did that come together?

I have been friends with NEW ORDER management for ages, and when we sat down to come up with our dream collaborators list, Gillian was on it.

Her vocals on THE OTHER TWO project are so good, we had to get her singing something for us, so we pitched the idea and luckily, she agreed! The entire NEW ORDER camp are great.

KOISHII & HUSH were known for using some unusual vocalists as in artists who were not known for singing. Had that been a conscious concept or did it evolve naturally?

Hmmmm. I don’t think we ever set out to make a ‘non singers’ list – it just kind of happened. We did have a running list of people we wanted to work with just because we thought the combinations would be unique and quite cool, but it was not really a concerted effort. I would say that of all the people we approached, we got about 90% of them on board. We still have many unreleased K&H tracks that will see the light of day at some point.

One example was DURAN DURAN’s John Taylor and ‘C’est Tout Est Noir’, what inspired the collaboration?

Well both Simon and I were fans of DURAN DURAN and I knew John had done stuff on his own and always liked his style. His track ‘I Do What I Do’ from the ‘9½ Weeks’ soundtrack really stood out in my mind and he considers ‘C’est Tout Est Noir’ a follow-up to that song, which is very cool.

‘C’est Tout Est Noir’ had a superb remix by Mark Reeder, when you write and produce a song, can you get “possessive” about things or does your experience allow you to remain objective?

Yes and no. Like I mentioned before, I can have the same reactions to remixes as anyone. What I do try and do though is remove myself from the equation and listen to it as someone not involved, which is not always easy to do. If you love a remix someone has done of your work, then great. If at first it is not really grabbing you, you need to think “ok, maybe this is not MY style but it might be for someone else”.

To be honest, I can only think of one occasion ages ago where a remix was submitted and we were not enamoured with it, but as it was not ‘our’ sound, who were we to judge? In Mark’s case, yes, it’s a great mix and we were thrilled to have him involved. I know John really liked his mix too and used it as the backing track on a vlog he made flying from London to LA.

The KOISHII & HUSH track ‘Rules & Lies’ was sung by Sarah Blackwood, what was she like to work with?

Total diva. LOL just kidding! She was great. Super sweet and did a great job on the writing and vocals. We met with Sarah at a coffee shop in London and hit it off right away. We were thrilled to have her involved because I had been such a huge fan of DUBSTAR. She is an underrated talent and would love to work with her again.

Is the album dying art? In the dance environment where there is less focus on the long player format?

It certainly seems that way, which I think is unfortunate. With so much of music being based on quick hits on social media, and with songs getting shorter to take advantage of streaming services, I think the whole experience that an album used to bring is gone. It obviously started with the ‘death’ of the CD and it has only gotten worse. Music seems to be the only instance where this seems to happen. You don’t watch bits of a movie or only read a few chapters of a book…

You’ve remixed DURAN DURAN, PET SHOP BOYS, YAZOO, INXS, WHEN IN ROME and B-MOVIE among others in your various guises, do you have any particular favourites from your career?

Oh sure. The remix of INXS’ ‘Need You Tonight’ was a big one and I think it still holds up to this day. ‘Storm In A Teacup’ for ERASURE and others, but it’s tough to pick out individual ones. They are all different and hopefully special to the listener in their own way.

Is there anyone else who you would really like to work with or remix?

I would really like to remix DEPECHE MODE or A-HA. I know we would love to work with a bunch of other people but I am not going to mention any names in case I jinx something 😊

What’s next for DAYBREAKERS or anything else you are working on?

We have our first single signed to a label and that will be coming out soon. We are really excited about this one. We think it sounds great and hopefully others think so too!


The Electricity Club gives its grateful thanks to Alex Hush

DAYBREAKERS’ remix of ERASURE’s ‘Hey Now (Think I Got A Feeling)’ is released by Mute Artists and available now via the usual digital outlets

https://www.facebook.com/We.Are.Daybreakers

https://twitter.com/Daybreakers__

https://www.instagram.com/we.are.daybreakers/

https://www.facebook.com/Koishii.and.Hush

https://twitter.com/koishiiandhush


Text and Interview by Chi Ming Lai
6th July 2020

ALANAS CHOSNAU & MARK REEDER Children of Nature

Mark Reeder first met Alanas Chosnau at the Lithuanian International Film Festival in 2015.

Chosnau was born to a Lithuanian mother and Iraqi-Kurdish father, growing up in Baghdad before returning to Lithuania to be raised by his grandparents in what was then part of the Soviet Union.

When The Iron Curtain came down, he became the singer of the DEPECHE MODE influenced duo NAKTINĖS PERSONOS before embarking on a successful solo career and becoming a national celebrity.

Meanwhile Reeder’s musical past of bringing JOY DIVISION to perform at Kant-Kino in Berlin, introducing NEW ORDER to electronic dance music, co-managing DIE TOTEN HOSEN and establishing the MFS label which introduced Paul Van Dyk to the club masses is well documented.

Attending the screening of Reeder’s documentary film about his life before the fall of the wall ‘B-Movie (Lust & Sound in West Berlin)’, Chosnau connected with what he saw and sharing some common ground, the two discussed working together.

Reeder remembered: “Alanas wanted to make an album in English, an album that reflected upon a time when he was a kid growing up in the Soviet Union, and not able to absorb the sounds of synthpop coming from the West”. So the pair conceived to make a retro-modern sounding album evoking an illusion of a creative music era that was initially denied to Soviet citizens, while simultaneously presenting a record for today. That record being ‘Children of Nature’.

‘How Do You Feel?’ is a fine start, with cimbalom samples amongst the steadfast programmed electronics for an authentic Eastern European flavour. Hinting at a circus of death with its stark rhythmic swing punctuated by white noise, ‘Fade On’ comes over as more texturally resonant than much of DEPCEHE MODE’s output in the 21st Century.

Reflecting the worldwide lockdown, ‘All Alone’ uses a classic four chord progression shaped by sequencers, chilling string synth and a midtempo Compurhythm. And when Chosnau emotively asks “Does anybody feel the same way like me?” in a chillingly forlorn manner recalling Peter Heppner of WOLFSHEIM, it captures the physical and mental emptiness of solitude.

Raising the tempo, the ‘Children of Nature’ title song uses a lively percussive lattice for some appealing Europop with a spy drama edge bolted on, thanks to some NEW ORDER derived six string and trancey keyboard stabs.

Meanwhile, bathing in an atmospheric lake of OMD allows Chosnau to provide what can only be described as a heroic start to ‘Drowning in You’. As the Synare lightning crashes point south of Berlin to Vienna, it all paces up with a splendidly uplifting second half that vocally recalls ‘I Feel It’ by LORRAINE, a lost Norwegian band whose artwork was designed by Peter Saville.

The guitar based intro to ‘Stand Up’ provides a chromatic spin and Chosnau’s diction suits the dark but rousing backdrop that could be interpreted as a call to arms for resistance. Despite some sparkling synths, ‘Tonight’ though doesn’t quite hit the heights of the impressive run of tunes gathered in the first half of the album.

But Reeder revisits his SHARK VEGAS past by dusting off ‘I Can’t Share This Feeling’, a previously unreleased number from a period when his combo opened for NEW ORDER; with a solemn electronic bassline and minimal fretwork, it rings with a nostalgic air of longing despite a wall blocking the passage of love.

‘It’s Who You Are’ sees Chosnau in a spiritually majestic mood with Reeder’s sparse synth and guitar backing not that far off Brian Eno-produced U2 numbers such as ‘With Or Without You’ or ‘Promenade’.

Hypnotically rigid, ‘Love of My life’ is perhaps more typical of Mark Reeder’s ‘Reordered’ restylings for BLANK & JONES and perfect for a European dancefloor.

Continuing the club friendly vein, ‘Heavy Rainfall’ could be a grooving NEW ORDER disco number with Reeder’s rhythm guitar syncopating off an exquisite range of electronic patterns while some spacey magic flies within the soundspace.

With a further reflection on the worldwide lockdown, ‘Losing My Mind’ is the cinematic number that Chosnau and Reeder contributed to the French Cold War movie ‘Le Chant Du Loup’. Its sonic arrangement wouldn’t have sounded out of place on a Bond film soundtrack, especially with the virtual brass ensemble and string cascades. And when the cimbalom solo kicks in, a widescreen vision of Maurice Binder’s iconic title sequences cannot be avoided.

After Chosnau announces “Everybody wants to feel love”, ‘A Loving Touch’ has looming vocal topline references to Shannon’s ‘Give Me Tonight’, while its catchy tech-house template is not unlike the work of the Hungarian DJ Corvin Dalek, a past collaborator and close associate of Reeder.

Chosnau offers some confessional yearning on ‘Heartburn’ to close and the entry of piano motifs over a minimal arpeggio and sparing guitar before synthetic strings sweep towards the horizon with the sombre demeanour of a less apocalyptic take on Gary Numan’s ‘My Last Day’.

As Mark Reeder and Alanas Chosnau have outlined, ‘Children of Nature’ is a reflection of their personal experiences and hopes for the future. But while the album has a melancholic air, it is optimistic and hopeful. It is a record that does not hide its multi-generational influences, but uses them to present quality songs with superlative vocals and sympathetic instrumentation, marrying East and West European approaches.

Surmising the context, Reeder concludes that: “Over the decades, solitary dancing in a club has become the norm. After months of isolation, to be dancing and the desire to hold and touch each other is probably even greater than before. Dancing on your own is no longer an attractive prospect and that will change once the clubs reopen again. Maybe people will appreciate what that feeling is like to actually hold someone in your arms on the dancefloor?”

Because this album has been made by two people who personally experienced the divisive spectre of the Cold War head on, ‘Children Of Nature’ symbolically captures that emotion of desiring love and intimacy in isolation, something that is very relevant in these strange times.


‘Children of Nature’ is released by MFS on the usual digital platforms including direct from Bandcamp at https://markreeder.bandcamp.com/album/children-of-nature

https://alanaschosnau.com/

https://www.facebook.com/alanaschosnau/

https://www.instagram.com/alanaschosnau/

https://www.facebook.com/markreeder.mfs/

https://twitter.com/markreedermfs

https://www.instagram.com/markreeder.mfs/

https://mfsberlin.com/

https://open.spotify.com/album/6QinQBH8STYT86s59YRO8t


Text by Chi Ming Lai
Photos by Martyn Goodacre
26th May 2020

ALANAS CHOSNAU & MARK REEDER All Alone (Single Mix)

The worldwide lockdown has produced a number of fitting and poignant musical responses from muscians and artists.

SNS introspectively told of their ‘Small World’, while Zachery Allan Starkey was much fiercer in his appraisal as he reflected in collaboration with Bernard Sumner on how New York had become ‘Fear City’

The latest song on the topic is ‘All Alone’ by Lithuanian-Kurdish singer Alanas Chosnau and Berlin-based producer Mark Reeder. Following on from the equally relevant ‘Losing My Mind’, a cinematic number that Chosnau and Reeder contributed to the French Cold War movie ‘Le Chant Du Loup’, ‘All Alone’ comes from the pair’s upcoming album ‘Children of Nature’.

Co-produced by Mark Reeder with his regular studio partner Micha Adam, ‘All Alone’ uses a classic four chord progression shaped by sequencers, chilling string synth and a midtempo Compurhythm.

Meanwhile, Chosnau projects the solemn vocal air of Peter Heppner of WOLFSHEIM as he emotively asks “Does anybody feel the same way like me?”. ‘All Alone’ of course comes in a single mix because as can be seen in the striking video crafted by award winning director Aleksandras Brokas, he is in on his own…

Reeder first met Alanas Chosnau at a film festival and have put together a collection of retro-modern love songs which now feel prophetic in the current situation, so much so that they probably could have named their project CORONA CRISIS.

Alanas Chosnau was born to a Lithuanian mother and Iraqi-Kurdish father, growing up in Baghdad before returning to the then Soviet-governed Lithuania to be raised by his grandparents. After the fall of communism, he became the singer of the domestically popular DEPECHE MODE influenced duo NAKTINĖS PERSONOS. He said: “We had no idea what was to come, but it seems we touched on a frequency from the future and the song appears to have been derived from a deep, inner-feeling we both had at the time”.

Dedicated to all currently living a life in lockdown, Mark Reeder told The Electricity Club: “I’ve been in isolation-lockdown for 59 days now. I’ve actually not been outside at all in this time, except for the occasional quick breath of fresh air on the balcony. I’m treating this like being in a spaceship. As if I was on my way to a new world.”


‘All Alone (Single Mix)’ is released digitally by MFS on 18th May 2020

https://alanaschosnau.com/

https://www.facebook.com/alanaschosnau/

https://www.instagram.com/alanaschosnau/

https://mfsberlin.com/

https://www.facebook.com/markreeder.mfs/

https://www.instagram.com/markreeder.mfs/


Text by Chi Ming Lai
Photos by Martyn Goodacre
16th May 2020

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