Tag: Richard Barbieri (Page 3 of 4)

MR NORMALL Interview

3 October 2017 /


The Amazing Adventures Of Mr Normall have gained a loyal cult following within the post-punk and electronic music world.

With a handshake, big smile, good guy profile, the Finnish music fan’s charming photographs with members of SPARKS, JAPAN, ULTRAVOX, BLANCMANGE, HEAVEN 17, DEPECHE MODE, VISAGE and MARSHEAUX among many, have endeared visitors to his website chronicling his travels.

After appearances in a number of promo videos including Kim Wilde and BEF’s cover of ‘Every Time I See You I Go Wild’ , Mr Normall was more recently cast as the star of the silent art movie ‘Nuntius’.

The film with its live soundtrack by Jimi Tenor and Jori Hulkkonen has played to audiences around the world, with Mr Normall occasionally joining the musicians with on stage cameos at selected performances.

ELECTRICITYCLUB.CO.UK had the pleasure of catching up with Mr Normall for another chat about his continuing amazing adventures…


Since ELECTRICITYCLUB.CO.UK last spoke to you in Spring 2011, your fame spread far and wide in some unexpected places. Richard Barbieri wanted his photo taken with you, what was the story here?

Oh yes… that was a surprise and very positive one. We had been friends on Facebook for some time, but I had no idea that he knew who I was or that he had paid any attention to me. Then last December – all of a sudden – he tags me and comments “it’s my ambition to have a photo with you”.

Of course it was humour, but I was very pleased nevertheless. JAPAN is my No 1 favourite band and to be sort of acknowledged by one of them was very cool. Mr Barbieri had his wish come true three months later in Birmingham where I went to see him play live. Richard Barbieri is a first-class artist and a very nice person.

You were also recognised by someone in 2014?

I did speak with Jonathan Ross at the SPARKS aftershow at the Union Chapel in December 2013 but he didn’t recognise me, I would have been really surprised if he did. The subject of our chat was ULTRAVOX. He prefers the John Foxx version of the band.

Do you think this recognition all escalated after Jori Hulkkonen asked you to appear in the ‘Take Me To Your Leader’ video for PROCESSORY?

In Finland, a few people did comment about the music video when meeting me but I don’t remember it happening anywhere else. However, I’m certain that ‘Take Me To Your Leader’ video made Mr Normall better known, even if I haven’t got much feedback about it.

The music video was done and released in spring 2011. I was really hoping to see it on TV back then, but it was just about that time when music videos disappeared from TV altogether.

The idea on me appearing on Jori Hulkkonen’s music video started actually almost a year before at the night when ULTRAVOX was playing live in Jori’s home town of Turku. After the gig was over, I and several other people – including Warren Cann – went to the unofficial ULTRAVOX after party at the club called Dynamo. There I told Jori, that if he’s interested to feature me on a music video in the future, I’m game. Few months later Jori contacted me about the subject and the result was ‘Take Me To Your Leader’ music video.

I must tell you this… after the ULTRAVOX gig in Turku when we arrived at the Dynamo club, I had a really good “Steve Strange moment”: The gig venue was quite far from city centre, so we took a big taxi to get the posse to the club. When we got to the Dynamo, I was walking in first and Warren Cann right behind me.

The DJ was playing ‘Fade To Grey’ by VISAGE and at that moment I felt just like that bit on the VISAGE music video tape where Steve Strange arrives a club in Paris and ‘Fade To Grey’ is playing in the background. That was THE way to enter to the club.


Of course after this, Jori and his musical partner Jimi Tenor asked you to appear in their film ‘Nuntius’, this had an interesting concept?

Jori Hulkkonen and Jimi Tenor had talked about making a film, but I suppose they didn’t have clear idea what it should be about. In July 2013 I met both of them at the Turku Modern festival and said that I would like to be in their film if they were interested.

The big idea was to make a silent film that would be shown only with live soundtrack by Tenor and Hulkkonen themselves. The film and its music would never be released in any format or be ever available online. Live performances only.

First days of filming ‘Nuntius’ were in May 2014. We started the car journey from Central Finland where I live and drove next to the Russian border in South-East Finland. The destination was an amazing place called Parikkalan Patsaspuisto (Parikkala sculpture park). We stopped to film where ever the scenery looked right. As far as I know, there wasn’t any actual plot ready when we started.

The only rough plot in the beginning was that “I’m being sent from one place to another to get something from there” and the genre is going to be Sci-Fi, perhaps something à la Tarkovsky.

What was filming like for you?

Those first two days of filming in May 2014 were the most fun and memorable for me. Maybe because it was a new situation and the realisation that this is really happening. Also the car journey itself with Jimi, Jori and Marjaana was fun.

There was three more filming days in 2014 and they were mainly done in an art studio in Helsinki. The studio is very high inside and it has a round platform which moves up and down, and also rotates. The studio was made in 1950s and it was made for the sculptor Kalervo Kallio, who was a son of Finland’s President Kyösti Kallio. The studio is the setting for the “other place” where Mr Normall is being sent somewhere else to get something. I would have never spent time at this special place if it wasn’t for ‘Nuntius’.

In May 2015, there were two days of filming in Helsinki for the second version of ‘Nuntius’. Those shoots were done at several locations. The latest shoots were just recently in July 2017 when we filmed around Estonia over three days.

It was much like the first shoots three years earlier because also this time we drove around the country and stopped where scenery was suitable to be filmed. There are strange ex-military places in Estonia that have been deserted after the Russian Army left them when Estonia got independent. Those were exciting days and I definitely wouldn’t had ever visited those places without ongoing ‘Nuntius’ production.

I don’t know yet what will become of all the new shots; will it be the third version of ‘Nuntius’ with a lot of new stuff or will they became a whole new entity à la ‘Nuntius – Part 2’ or something like that?


You made a new friend named Louis while riding a motorcycle?

Louis the dog was only one year old, but he was already a real pro. There was one shot with Louis which could have ended badly… I was driving a sidecar motorcycle in a tunnel in Helsinki and Louis was sitting in the sidecar. It was a public road and there was other traffic too. The shot had to be done several times and if Louis had jumped out of the sidecar, he might have been hit by a car.

He had a collar and a leash was around my arm, but I’m not sure what would have happened if Louis wanted to jump out of very loud old motorcycle. Luckily he was very cool all the time and it seemed like he knew what we were doing.

I saw Louis again last year and he wouldn’t stop barking at me. I’m not sure what he meant by that.

‘Nuntius’ has taken you around the world with you making cameos while Jori and Jimi are performing. Which locations or events have you found most interesting? Any funny stories?

I have attended several ‘Nuntius’ shows in Finland and also few abroad. Berlin was special because that day was also Jimi Tenor’s 50th birthday, so that evening at the Lido was also his birthday party.

The Sonar Festival 2015 in Barcelona: ‘Nuntius’ was on Saturday afternoon and DURAN DURAN played at the festival the same night. There was my big chance to meet them but it didn’t happen. Barcelona in June is hot even late in the evening and I was wearing a heavy 3-piece suit. Not the best possible choice when everyone else had T-shirt and shorts.

The most important ‘Nuntius’ performance for me has been the one in Düsseldorf in October 2016 where it was a part of the ELECTRI_CITY_CONFERENCE. ‘Nuntius’ was the last item of the two day conference – or rather a festival of electronic music – and right before it, the stage was occupied by John Foxx and co for their ‘Evidence Of Time Travel’ performance.

What made this particular ‘Nuntius’ showing so special was that there was several of my favourite artists in the audience, as well as friends whom I have seen at gigs before. Jori summed it up very well: “The audience wasn’t big but it was a good quality audience”.

I have been watching John Foxx on my TV screen hundreds of times and now he was watching me on the big screen. Surreal.

One more special memory… my first – and so far only – visit to Berlin was in March 2015. After arriving to the city and finding my hotel, I went out to have my first ever walk in Berlin. Kreuzberg was only few minutes away so I went that way. Soon I saw some gig posters on a wall – not THE wall – and among them was the special ‘Nuntius’ poster made for the evening’s show. My first time in this big city and when I step out of my hotel there’s a poster featuring a photo of me. It was a unique and strange moment for a visitor from the Finnish countryside.

You’ve made a number of other appearances in videos and photoshoots, are there anymore in the offing?

We are likely to do more shots for ‘Nuntius’ later this year but that’s all. It would be nice to feature in a music video again, especially by an artist that I like. It would be great to experience that again.


Peter Hook had an amusingly and typically Mancunian response when you introduced yourself to him in Düsseldorf?

What was it that he said? I think his kind reply was “there’s nothing normal about you” when I introduced myself. I disagree, of course 😉

Tony Visconti has just about seen it all, so what was your encounter with him like?

I did meet him briefly a few times when HOLY HOLY played live in London and Sheffield during September 2014. I was also at the ICA to listen to Tony Visconti and Woody Woodmansey talk about making the album ‘The Man Who Sold The World’. Both of them were very friendly and didn’t mind signing a few Bowie CD sleeves for me. Getting records signed is a good excuse to approach an artist and it gives you a moment to have a brief chat.

MIRRORS were your favourite new synth act but sadly they are no more. Is there anyone you’ve listened to who you would you rate today?

I suppose you mean new or relatively new acts? Hannah Peel makes good music with often unusual and interesting arrangements. One new band that I like is TINY MAGNETIC PETS. I’ve been listening to their new album on Spotify quite a lot.


Your portfolio has grown over the last few years, but is there anyone left you would still like to meet and be photographed with?

I have met quite a few artists but there are still many of my “official favourites” that I haven’t met yet. With some it’s already too late, but for those still in this dimension I would say David Sylvian and DURAN DURAN are the most important not-yet-met-artists.

Then there’s several others like one ex-member of KRAFTWERK whom everyone else seems to have met but not me. I’m not done yet with these ‘Close Encounters Of The Third Kind’.

ELECTRICITYCLUB.CO.UK gives its warmest thanks to Mr Normall

http://www.mrnormall.net/

https://twitter.com/MrNormall

Text and Interview by Chi Ming Lai
Photos courtesy of Mr Normall
3rd October 2017

Vintage Synth Trumps with FICTION STUDIOS

18 August 2017 /

Fiction Studios is a boutique recording studio located right in the heart of London, fully equipped for recording, mixing and mastering while also available to hire for Voiceover and ADR recording.

The studio was set up by brothers Dominic and Nathan Cooper in 2016; Cooper is best known for his role in the film adaptation of ‘Mamma Mia’ while Nathan was a member of THE MODERN and today performs as KID KASIO.

Combining Dominic’s experience in the acting field and Nathan’s background in music production, the air conditioned studio caters for bands, musicians and voiceover artists. The studio also features an array of classic analogue gear which ELECTRICITYCLUB.CO.UK decided would be a good reason to visit and challenge Nathan Cooper to a round of Vintage Synth Trumps…

First card today and it’s a Korg Mono/Poly…

I’ve got the plug-in! My friend’s got a Mono/Poly and he swears by it, we were in a band together when we were young…

…I thought you were young? 😉

Yeah! *coughs*

His name’s Gabriel Prokofiev, we both got into synths at primary school and we’ve both built up a collection over the years. I’m quite jealous of his collection, there’s a few he’s got that I haven’t and the Mono/Poly is one of them.

What was the first synth you owned?

It depends if you want the first good one or the first keyboard? My first keyboard was a Yamaha PSS-110, I found one again recently on eBay and thought I’d buy it on a whim… it’s awful! It’s got these samples of a dog bark and cat meow and what’s supposed to be a cuckoo! *laughs*

So it was more like a toy?

Yes, so I followed that up with a Casio SK1 when I was about 10-11 which had a sampling thing in it, so that you could burp into it and play ‘Happy Birthday’ out of burps! *laughs*

But my first proper synth was when I was 14, I begged my mum to buy me what I wanted, which was a Roland Juno 60. In those days, you went to ‘Loot’ magazine… this was at a time when they were really cheap because everyone wanted a Roland D50 or Korg M1.

I would say it’s the same one I own now, but it isn’t… sadly in the early 90s, I was recording in Ezee Studios with TOYAH and MARILLION’s producer Nick Tauber.

He told me to leave the synth there as we’d be back in a couple of weeks.

But the session got put back and put back and we didn’t go back for nearly a year, so when I finally returned it was gone! I was heartbroken!

A lot of people just stared blankly when I asked where it was, we couldn’t trace where it had gone. The one I replaced it with, I’ve had now for a fair amount of time.

The Juno 60 is a robust old thing isn’t it?

Every synth I have at Fiction Studios has at some point, needed to be completely refurbished, apart from the Juno. It never goes out of tune! The only thing that ever happened to it, was when I was touring with THE MODERN and I snapped one of the keys while I was loading it back onto the van. It was after a horrific gig at an indie venue called ‘Filthy McNasty’s’ which was where THE LIBERTINES were signed, so God knows what we were doing there! *laughs*

What I really wanted was an Oberheim or a Jupiter 8, but that was out of my range, so the Juno fitted in the budget for a birthday present. I know Howard Jones used one and it was analogue so that was it.

OK, next card!! What are the chances, it’s a Juno 60!!! *laughs*

When I set up Fiction Studios, I was lucky to be loaned some of my dream synths like the Oberheim OBXa.

I also have the Prophet 5 which I saved up for ages for, but having said that, the go-to synth is still the Juno 60, it’s still used in my KID KASIO stuff more than anything else.

Maybe it’s because I know it so well and all the patches on it were programmed by me, but there’s something about the interface on it, it’s just so easy to manipulate, it does what you want it to do, to fit into the track. Having said that, you get less happy mistakes with it though. I guess because I know all the sounds on it so well, so it rarely does anything that truly surprises.

Now, here’s a monster on the next card, a Yamaha CS80!!

That’s the dream isn’t it? I’d love one! I have the Arturia softsynth version. I always think of VANGELIS, the ‘Blade Runner’ soundtrack and Stevie Wonder who used it a lot. It’s one of those synths that’s got a ‘sound’ to it with that ribbon controller.

The ribbon controller is an interesting point as the Polymoog had one too and I’m assuming that kind of controllability is very difficult to simulate using software?

Yeah, totally! It’s why I use as much hardware stuff as I can because when I’m using mod wheels, pitch bends and stuff, I’ll programme the part in MIDI and then have the part playing through the synth while tweaking it and then I’ll record the sound onto the computer, adding any kind of modulation manually.

Because you’ve got that tiny bit of human touch to it, that is what people kind of connect to.

Although it’s still synths, it’s got some human authenticity to it. You can use pitch bend and stuff with softsynths but you don’t get that same interaction. And I think that can make or break a sound sometimes.

I remember on one of my KID KASIO tracks ‘Full Moon Blue’, I was using a harmonica sound from a Yamaha DX7 but it wasn’t quite sounding right, and everyone said I needed to use a breath control; so you put this thing in your mouth and plug it into the back of the synth and it will change the sound as you blow.

I love things being electronic and mechanical but sometimes if you add something like that, it adds that human element to it. There’s something about humans AND machines.

So why set up a studio when today, someone can grab hold of a laptop, get GarageBand and do everything there? Why does anyone out there need somewhere like Fiction Studios?

Good question… because many softsynths are now based on old analogue ones, it’s got people hankering after the authentic sound, even though softsynths do a really great job.

I think most people are aware the original sounds are better, but people can’t get their hands on them and they are expensive these days; a lot of people don’t have the room for them as well.

So in the current environment where synthpop is popular, there is a market for people coming in and wanting to play around with the old synths and run their ideas through some classic analogue flagship gear. It’s nice in that sense that people can do that. Some people often just want another pair of ears so if people want me to produce something, I can listen to what they’ve done and steer it in a certain direction.

Modern music has become very inward because of home recording…

Yes, it’s become very introspective. You can get something sounding good on GarageBand and get it up to a professional level but you always need someone else, that’s why all KID KASIO albums are mixed by Adrian Hall because I need that extra pair of ears, he can hear stuff that’s clogging up the track that I’ve been too entrenched in to notice.

So that’s why a studio with an in-house engineer or producer is great to make professional sounding tracks, or they can use the synths to produce their own stuff.

How did your most recent single ‘Drive (Some Kind Of Love)’ come about?

It was inspired by the film ‘Drive’ which came out in 2011; I’d just finished doing the ‘Tamara Drew’ soundtrack with Ben Todd and ‘Drive’ really blew us both away.

We thought it would be great to write a song that could stylistically fit into the film.

We performed it live and realised it went down pretty well. So that’s why I decided to release it.

When it was being mixed, I gave Adrian some reference points which were ‘The Boys Of Summer’ by Don Henley and ‘You’re The Voice’ by John Farnham. The track had this American vibe to it which a lot of my stuff doesn’t have, my sound is very Synth Britannia but for some reason, ‘Drive (Some Kind Of Love)’ just had this MISTER MISTER element to it!

I envisaged the video being filmed on an American highway in an open top car, but it ended up being done in London with me driving around in my Reliant Scimitar classic car and the video came out ok *laughs*

Looking at Fiction Studios, I’m amazed how spacious it is… what did you have in mind when you chose this location?

It is right in the heart of London, very few studios are now, normally you have to go to the East of London or the trendier parts, this is slap bang central.

I was looking for a space with my brother and his accountants have got a firm on the fifth floor of this building. He mentioned to them he was looking for a location to set up a studio and they suggested their store room in the basement.

We came down to have a look and it was not what you would expect an accountancy firm’s store room to look… there were boxes of files but because this firm looked after actors, models and people in the entertainment industry, there was all this weird stuff there.

I was looking around and there were MTV and Nickelodean Awards for ONE DIRECTION!! The firm represented them! So there was a pile of their tour clothes and what was really sad was all their stuff that fans had given them was here!

So there was this huge great portrait of Harry Styles staring at me that some fan had spent ages drawing! And it was down there gathering dust! *laughs*

Anyway, I noticed a library area that looked something out of Hogwarts from ‘Harry Potter’ and it was set up originally as a film set but never got round to being used. They offered to move it but I said not to as I could imagine bands hanging out in this bit because it had a really nice vibe.

The brickwork and features are all fake, but the 6000 old books are real! Occasionally you’ll pick a book out and it’ll be from the 1850s. So it’s great for inspiration, and what I’ve found I’ve done recently is I’ve been tidying up, looked up at the shelves and see the spine of a book that has the title of a song I’ve just written! It’s very weird!

And there’s no curfew or restrictions on the time of day an act can use the studio?

No, people have booked Fiction Studios until very late at night and it has 24 hour concierge so you can come and go when you please.

You have your synths but you are equipped to record acoustically as well, was this important in the viability of the studio?

Yes, the drum kit has been put near the library area. I would happily just set it up as a synth studio but I was looking into this as a business, so I didn’t want to close it off and make it accessible to everyone. And it’s worked the other way, I haven’t really had enough synth acts in here! I’ve had indie bands, opera singers and everything here so it’s been really interesting *laughs*

So, time for another card, an Oberheim 2 Voice…

I haven’t got a 2 Voice but I’ve been really lucky recently to accquire an OBXa, which was one of my dream wants because I’m a big fan of Richard Barbieri from JAPAN, where they used the similar OBX and Prophet 5.

There’s just a sound about the OB series; since getting one I’ve actually come to really respect Richard Barbieri’s work because it’s not as easy as turning it on and having those sounds.

You can find them when you tweak but it’s hard, and makes me realise he was a bit of a genius when it came to that stuff. How I came to acquire it is one of those funny things, I was at a party and I got chatting to a guy called Ian Merrylees who is a TV Editor.

He said “I’ve got a few synths at home”. Now nine times out of ten with these types of conversations, it turns out the synth is a Casiotone… so I asked him what they were and he said “one’s an Oberheim” and I’m like “WHAT?”

It had been in his loft for fifteen years… so I went round to his house to have a look, and not only did he have an OBXa, but he had a Prophet T8 as well! He wanted to see them used, and he very kindly loaned them to Fiction Studios, although they needed loads of servicing… I needed about four people to carry the T8 into the car, it’s a real monster! *laughs*

What other synths do you have here at Fiction Studios?

As well at the Oberheim OBXa, Prophet 5 and Prophet T8, there’s a Crumar Performer which after the Juno 60 is my most used synth, the SH101, Yamaha DX7, Korg MS2000, Korg DS8 and a Korg Poly 800 which my band mate Chi in THE MODERN found in a skip!

My most recent addition to the synth armoury was from when Roland came down to the studio and were impressed with the look. So the deal is they will lend us anything if they can film in here every now and then, so I have been lent a Roland JDXa which Nick Rhodes of DURAN DURAN spearheads the campaign for. It has a really nice interface, it looks amazing.

It’s great for live because unlike the old analogues where you need a torch because you can’t see the controls, this has everything lit up really nicely and there are in-built effects so everything sounds nice straight out of the box.

You have two mixing desks here?

One is for bands to use when they rehearse in the live area, it’s an old Datum series made by Hill Audio who provided the desks for Live Aid.

I was keen on having an old analogue desk, so I got this Soundtracs IL36 32 channel mixer from a friend of mine who was downsizing. That’s the thing about these desks nowadays, no-one wants them, my friend just wanted it taken away, it took five people to lift it! But I love it because it’s got a great sound to the EQs, I run all my synths through it. I have a nice Focusrite pre-amp so that it sounds like those old Neve desks, it’s got a beautiful analogue sound.

I use Logic to record but if people want to use Pro-Tools, they can. I have a nice Neumann U87 microphone and an Avalon pre-amp so you can get a good vocal chain. The monitoring uses Genelec speakers so it’s all here for people if they want it.

Another card, an ARP Odyssey…

I was this close to getting the Korg remake last year and then the studio came up. So when there was the offer of these other synths and I was getting the studio set-up, I had to spend my money on other things. I’d like to get one because ULTRAVOX used it…

…you know Billy Currie’s just sold his?

Did he? Why would you sell it?

He did sell it for £8500!

Ah! That’s why you’d sell it! *laughs*

How much is the remake by Korg?

Don’t quote me on this, but I think it’s about £700 so it’s a lot cheaper than buying an old one and it’s got MIDI.

Now I see here you have a tape recorder AND a drum machine… *laughs*

The tape recorder is all rigged up and came into use recently. Dave Ball from SOFT CELL came in with some old ¼ inch tapes of demos recorded when he and Marc Almond were at Leeds Polytechnic. He wanted to find out what was on them in case there was any other stuff that hadn’t been heard before, and there was!

That was a great experience, he’s such a nice guy and one of my idols, so to sit there and go through this stuff first hand was amazing, This early stuff was almost punk and really out there lyrically, it was amazing how simplistic some of the synth lines were, that’s the beauty of them.

The Oberheim DMX was kindly donated by a friend, I must give it back to him soon as I’ve had it for about ten years *laughs*

It’s got a brilliant kick drum, snare and clap sound which I use in almost everything I do but I tend to sample it rather than use it as a drum machine.

There are modern drum machines like the Roland TR8, but most people just use software, so is there a place for drum machines in recording today?

I think there probably is, but I still use loops quite a lot. Most people will use a programme in Logic for drum sounds called Battery where you can load up whatever vintage drum machine you want and play it on the keys of a synth, layering up the percussion framework into the computer.

I like the inspiration you can get from loops, I use a company that supplies them and you can pick one out by year. When you buy a particular year like say 1982, they send you a pack of a hundred loops played on the popular drum machines of that year in various tempos and stuff. So what I invariably do is use that as a basis and layer the sounds up with real ones from the DMX or a sample from a 12 inch single. The great thing about the DMX is that you can open it up and tune up each drum to the song via the dials inside.

When it comes to using a drum machine to programme, it’s quite fiddly and you end up recording it back into the computer anyway, so it’s a bit pointless. But it is nice to have it hands on.

Final card, it’s the Polymoog…

People say I haven’t got any Moogs in the studio but they’re one of those makes that I never got into.

I want one, partly because Howard Jones had a Moog Prodigy but when I was young, I always associated Moog with the more proggy end of music and it sort of put me off *laughs*

It’s funny because RODNEY CROMWELL admits he’s “a Moog Snob”…

I guess it’s the difference between 1977-1980 which is more the lo-fi era of electronics where he comes from musically, while my stuff fits more into the more later end of synthpop 1982-1983…

Ah, the digitally stabilised analogue period…

Yeah, exactly *laughs*

Having said that, if anyone wants to donate a Moog synth? I do have all the Moog plug-ins but it’s just been one of those things.

So what are you up to at the moment musically?

Apart from producing an array of acts here at Fiction, I’m planning the video to the final release from my KID KASIO ‘Sit & Wait’ album. It’s going to be made up of old footage of me in bands from the 90s.

Also I’m putting the final touches to an EP of cover versions I’m releasing next year. And busy writing and recording for my third KID KASIO album.

ELECTRICITYCLUB.CO.UK gives its warmest thanks to Nathan Cooper and Fiction Studios

Fiction Studios is based at 22-24 Ely Place, London EC1N 6TE United Kingdom – for further information, please phone +44(0) 207 831 8177 or visit their website at http://www.fictionstudioslondon.com/

https://www.facebook.com/fictionstudioslondon/

https://twitter.com/fiction_studios

https://www.instagram.com/fictionstudios/

Vintage Synth Trumps is a card game by GForce that features 52 classic synthesizers

Text and Interview by Chi Ming Lai
18th August 2017, updated 11th February 2021

Lost Albums: THE DOLPHIN BROTHERS Catch The Fall

19 June 2017 /


After JAPAN split at the end of 1982, vocalist / songwriter David Sylvian and bassist Mick Karn set to work collaborating with Ryuichi Sakamoto and Midge Ure respectively as well as preparing solo albums.

Meanwhile, drummer Steve Jansen and keyboardist Richard Barbieri partnered up for the JVC commissioned instrumental work ‘Worlds In A Small Room’ released in Spring 1985 to accompany a documentary on the Space Shuttle Challenger.

But for their song-based project, the more reserved pair named themselves THE DOLPHIN BROTHERS.

Gathering together an ensemble of noted guest musicians including Phil Palmer, David Rhodes, Danny Thompson, Matthew Seligman, Robert Bell and Martin Ditcham, they issued a long player entitled ‘Catch The Fall’ in Summer 1987 on Virgin Records.

The album was co-produced by Yoshifumi Iio who had worked with Yukihiro Takahashi of YELLOW MAGIC ORCHESTRA and in particular, the brilliant interim single ‘Stay Close’ with Jansen in Autumn 1986. It was this duet in which Jansen debuted as a vocalist, so it naturally fell to the young sticksman to undertake vocal duties for THE DOLPHIN BROTHERS.

With a Sylvian-esque brow raised, the atmospheric ‘Catch The Fall’ title song with complimentary double bass from Danny Thompson sounded like it could have been a collaboration between TALK TALK and JAPAN. With the sparse percussive textures never overwhelming the proceedings, Clive Bell’s khene and crumhorn successfully added a touch of ethnic mystery.

Resembling ‘Goodbye Is Forever’ by the Simon Le Bon and Nick Rhodes arty DURAN DURAN side project ARCADIA, ‘Shining’ with its slapped digital bass sounded a little forced, although Barbieri’s synths offered some aural familiarity to connect listeners to ‘Tin Drum’ as did Matthew Seligman’s fretless bass, coming together like JAPAN with an added pop sensibility.

The accessibly dynamic ‘Second Sight’ picked up on Jansen’s Takahashi influences and grooved like a good Ferry styled pop tune should with some fabulously produced drums. With the mellow mood of later era CHINA CRISIS, Jansen offered his best Sylvian impersonation on ‘Love That You Need’, a track that could have been mistaken for his brother if it wasn’t for Suzanne Murphy’s girly refrain. Barbieri’s synths aided the possible case for mistaken identity.

The directly upbeat ‘Real Life, Real Answers’ was an obvious cousin of ‘Stay Close’ and as pop as ‘Catch The Fall’ would get, capturing a combination of acts that had been influenced by JAPAN such as ICEHOUSE and LUSTANS LAKEJER who furthered the template in their own home territories of Australia and Sweden respectively.

With a wonderfully clean sound, this is a truly underrated jewel from the canon of Jansen and Barbieri. Taking things down, the laid back ‘Host To The Holy’ displayed eerie Barbieri synths with a lilting percussive mood from Jansen in the vein of TALK TALK’s ‘Happiness Is Easy’.

Comprising of primarily piano and vocals with only partial augmentation from synths and double bass, ‘My Winter’ was reminiscent of the more organic material on Sylvian’s ‘Secrets Of The Beehive’, but with less of a hazy demeanour. The closing ‘Pushing The River’ delivered Jansen’s best vocal of the set, while Barbieri’s gorgeous artful textures and synthetic brass helped the song come over like what a JAPAN track might have sounded had the band continued recording into 1983.

Compared with David Sylvian and Mick Karn’s solo work or the JAPAN comeback as RAIN TREE CROW in 1991, ‘Catch The Fall’ was pop music, but of the more sophisticated variety. However, in the compact disc era from which it emerged, the market was saturated with comparable acts such as TEARS FOR FEARS, TALK TALK, THE BLUE NILE and CHINA CRISIS.

While featuring good songs that were well played and programmed as well as cleanly produced, what ‘Catch The Fall’ perhaps lacked was some of the sound design and innovation found on ‘Tin Drum’ or subsequent records that Jansen and Barbieri would go on to record with each other and separately in later years. This could have been due to the prevalent preset trap with the digital technology of the time, or an effort to appease Virgin Records to produce a marketable, commercial record. However, the running order might not have helped the flow of the record while ‘Real Life, Real Answers’ would have made a better single than ‘Shining’ in the quest to attract potential purchasers.

Alas, ‘Catch The Fall’ did not sell, so Jansen and Barbieri departed from the label they had been with since 1980’s ‘Gentlemen Take Polaroids’ and the songwriting world, to return to more independently minded experimental climes, most notably as JBK with Mick Karn via their own Medium Productions set-up. While THE DOLPHIN BROTHERS only made one album, ‘Catch The Fall’ has stood up well thirty years after its making.

For those JAPAN fans who may have found the improvisational nature RAIN TREE CROW something of a disappointment and may have given up on the various members’ solo projects after 1984, this album is worthy of investigation.

It may not be Jansen and Barbieri’s best work, but it is very good all the same.

‘Catch The Fall’ was released by Virgin Records and now available digitally via the usual outlets

http://www.stevejansen.com/

http://www.richardbarbieri.net/

Text by Chi Ming Lai
Photos by Sheila Rock
19th June 2017, updated 13th July 2022

RICHARD BARBIERI Live at Hoxton Hall

30 March 2017 /


Supporting the release of his third solo album ‘Planets + Persona’, Richard Barbieri presented an intimate live show that covered many facets of his recording career from JAPAN to PORCUPINE TREE.

While Barbieri’s rig featured the expected all mod cons like a MacBook, controllers and a Roland V-Synth, the set-up also included his beloved Sequential Prophet 5 and Roland System 700 Lab Series.

Accompanied by the versatile Swedish musician Lisen Rylander Löve on saxophone, percussion and voice manipulations, the pair began sedately with ‘Night Of The Hunter – (3) Innocence Lost’ from ‘Planets & Persona’.

Utilising a wide cinematic spectrum of electronic and organic colours, the show started in earnest with the sleazy rhythmic adventure of ‘Solar Sea’. The track’s atonal jazz feel with its spacey momentum saw Löve screeching into a Cold War vintage Russian Army microphone, while drowning her eerie larynx with a variety of gadgets. With a warping System 700 bass, it was part avant techno and part ambient as Barbieri moved across his four keyboards to provide texture and atmosphere.

Löve left the stage for Barbieri to perform alone in the evening’s first big surprise. After a series of improvised sweeps and shimmers, the iconic metallic cascade of JAPAN’s ‘Ghosts’

Barbieri handled the familiar detuned percussive blips on his Prophet 5 before playing the haunting string tones on the V-Synth as a drum loop kicked in. “Oh, I didn’t expect that much applause!” responded the Catford boy after the crowd roared with approval at the end.

Next, the rumbling sub-bass squelches of ‘Medication Time’ from Barbieri’s debut solo long player ‘Things Buried’ shook the fittings of the venue which was built in 1863. As elements of TANGERINE DREAM filled the room, there was yet another surprise when the melancholic electric piano motif from the JAPAN cover of THE VELVET UNDERGROUND & NICO’s ‘All Tomorrow’s Parties’ appeared at various intervals.

Barbieri continued with the work of his former band by playing the gentle “dolphin music” of ‘The Experience Of Swimming’, the track he composed for the B-side of the ‘Gentlemen Take Polaroids’ single. As the beautifully nautical ambience reached its coda, elements of ‘Nightporter’ were subtly segued in.

Löve returned for ‘Unholy’ with the widescreen vibe countered by unsettling Nordic voice samples, before being followed by the spacey avant jazz of ‘New Found Land’ which was originally written by Barbieri for PORCUPINE TREE.

During this sequence of music, Löve added a kalimba to her repertoire which enhanced the electro- acoustic balance with an authentic ethnic touch.

Closing the main part of the show with ‘Hypnotek’ from Barbieri’s second album ‘Stranger Inside’, the rolling bass sequences, spy drama piano and muted Fourth World tension came together with a musicality that was like a masterclass in instrumental music… MG, please take note!

To rapturous cheers, Barbieri returned for an encore and with the self-deprecating humour he had displayed throughout the evening, he joked: “I didn’t want to wait too long, in case it died down”.

He treated the appreciative crowd with a superb electronic adaptation of PORCUPINE TREE’s ‘Idiot Prayer’. With the new arrangement at times sounding like SIMPLE MINDS’ ‘Love Song’, it was a fabulously energetic conclusion to proceedings.

Unafraid to delve into his glorious history, RICHARD BARBIERI ably showed why he is one of the most inventive synthesizer technicians that the UK has ever produced.

His modest, down-to-earth demeanour with a willingness to stay in the background has perhaps stopped him from being better known, but the music he produces today is still wonderfully intriguing and deserves further investigation.

‘Planets & Persona’ is released in CD, double vinyl and digital formats by Kscope

https://www.facebook.com/RichardBarbieriOfficial/

http://www.kscopemusic.com/artists/richard-barbieri/

http://www.nightporter.co.uk/

Text by Chi Ming Lai
Photos by Richard Price
30th March 2017

LUSTANS LAKEJER Interview

25 March 2017 /

LUSTANS LAKEJER are the unga moderna trailblazers who were once described as Sweden’s answer to DURAN DURAN.

This was not entirely surprising with tall and handsome bassist Peter Bergstrandh’s rather striking resemblance to John Taylor and a song entitled ‘Rendez-Vous I Rio’, even though it was released first in 1981 on their second album ‘Uppdrag I Genève’!

Led by Johan Kinde, the band took a more electronic direction when keyboardist Tom Wolgers joined in 1981. Despite Wolgers leaving not long afterwards, LUSTANS LAKEJER continued their new found interest in synthesizers.

The 1982 sequencer driven reworking of their early single ‘Diamanter’ is hailed by many as a Swedish synthpop classic and the band came to international attention when their third long player ‘En Plats I Solen’ was produced by Richard Barbieri of JAPAN. The album was subsequently released in English as ‘A Place In the Sun’ in 1983, with the band changing their name to VANITY FAIR.

After two further albums ‘Lustavision’ and ‘Sinnenas Rike’, LUSTANS LAKEJER disbanded with Kinde embarking on a solo career. But the band returned with Tom Wolgers rejoining in 1999 for the album ‘Åkerberga’. They then entered Melodienfestival in 2007, competing to represent Sweden in the European Song Contest.

With LUSTANS LAKEJER to tour ‘En Plats I Solen’ later this year, mainman Johan Kinde kindly chatted to ELECTRICITYCLUB.CO.UK about the band’s career…

You are performing ‘En Plats I Solen’ on tour this Autumn?

Yes, that’s the plan. No dates or venues are fixed yet, but the idea is to start the tour mid-October / early November, more or less exactly 35 years since the release of the album.

Why do you see this as the LUSTANS LAKEJAR album, the one that fans and critics have the most affection for?

Well, the critics’ choice is actually usually our first album. ‘En Plats I Solen’ is our third and the fans are pretty much split between one of the three first albums. Some, quite rightly, are also very fond of our two comeback albums ‘Åkersberga’ (1999) and ‘Elixir’ (2011).

I believe, however, that those who prefer ‘En Plats I Solen’ very much do so because of the atmosphere and the sound; it was a rather big step forward compared to the two previous albums. Of course, it also has some stellar songs.

How did Richard Barbieri come to be involved in ‘En Plats I Solen’? What was the thinking behind him being the producer?

It was actually Klas Lunding, the head of our record company Stranded Rekords, who got in touch with Richard first. I actually still don’t know how that came about. Richard was played ‘Diamanter’, the 1982 version that we had just finished; he became interested and came to Stockholm in the spring of 1982 to meet us. We all got along swimmingly and the project was given the go-ahead. The thinking behind it was of course to give the upcoming album a better sound, one that could perhaps even work on the international stage.

Although LUSTANS LAKEJER used synths on their first two albums, was the more dynamic electronic reworking of ‘Diamanter’ the seed to the new approach on ‘En Plats I Solen’?

That’s an interesting question, and in some sense that is correct. But that single was arranged, recorded and mixed before we had any contact with Richard and therefore is rather one of a kind in our repertoire. I do wish we would have revisited that hard synth-disco-oriented sound a few more times, if not on ‘En Plats I Solen’, then shortly afterwards.

As can be heard on ‘En Främlings Ögon’ (‘Eyes Of A Stranger’) and ‘Drömmar Dör Först’ (‘Something’s Got To Give’) , JAPAN were a key influence on this album, but what other artists were you listening to at the time?

Well, I don’t think ‘Drömmar Dör Först’ (‘Something’s Got To Give’) sounds very much like JAPAN at all, that one is more an example of another influence at the time, TALKING HEADS and especially their forays into funk and black music. We were very much into the rhythmic aspect of the music.

Then there’s all sorts of influences, from chanson (or at least CHARLES AZNAVOUR) to the more obvious like early ROXY MUSIC and Berlin-era DAVID BOWIE.

With the synthesizer textures prevalent on the album, how were these being procured? Was Richard Barbieri more involved in the programming, while Janis Bokalders did the actual playing?

Yes, that is basically the way it happened. However, Janis had just bought a Roland Jupiter 8 and he was also very good at programming, and since Richard hadn’t used that particular machine before, he worked mainly on the Prophet 5. But there were of course also a lot of cross-creativity, when Richard helped program the Jupiter 8 and Janis the Prophet 5; it was all very collaborative and non-prestigious.

I believe Richard even played some parts, but I can’t remember which or indeed if he actually did anymore. The vast majority of the keyboards were definitely played by Janis, but Richard had a huge part in the soundscaping. We also rented an Emulator, which they both experimented with. Lastly, Janis actually owned a EMS VCS3 which he used on some tracks without the keyboard, something he also does on the solo on ‘Diamanter.’

‘Den Glöd Som Aldrig Dör’ (‘Whispers In the Dark’) contained one of the first uses of an Emulator on a pop record; was utilising the state of the art technology an important aspect in the band’s direction?

The Emulator features prominently on both ‘Den Glöd Som Aldrig Dör’ (‘Whispers In The Dark’) and – perhaps even more – on ‘Något Måste Brista’ (‘In Spite Of It All’). And yes, we did like to experiment with new technology, but not for the sake of it, we always wanted to get something creatively interesting out of the new instruments. In the case of the Emulator, I think we only partly managed to do that.

What was it like to have the late Mick Karn contributing sax to three of the tracks on ‘En Plats I Solen’?

Absolutely fantastic. Mick flew in from LA so he had a great tan, a crisp suit and just looked like a pop star – or perhaps rather a movie star – in every possible way. He was so kind and helpful and came up with some great ideas and performances for the saxophone parts. He was also very entertaining and told some lovely stories from his youth. Even though he was only in Stockholm for about a weekend, I remember those few days with much joy. I was very sad to hear of his illness and subsequent passing.

Which tracks on ‘En Plats I Solen’ were the favourite ones for you and why?

I would count these as my favourites: ‘En Kyss För Varje Tår’ (‘A Kiss For Every Tear’), ‘En Främlings Ögon’ (‘Eyes Of A Stranger’), ‘Läppar Tiger, Ögon Talar’ (‘Lips Are Silent’) and ‘Drömmar Dör Först’ (‘Something’s Got To Give’), together with ‘Vackra Djur’ (‘Just As Wild’).

Some of them because I like the songwriting aspect of them, I think they are melodically and harmonically good compositions, others because of the arrangements and how the band actually sound when playing them. I also think Janis’ instrumental title track, ‘En Plats I Solen’ (‘A place In The Sun’) is a wonderful piece of music.

The album was later released in English as ‘A Place In The Sun’ and the band changed their name to VANITY FAIR, had this always been part of the game plan?

The English version was actually recorded first, in the summer of 1982 when Richard was in Stockholm. The lyrics for the Swedish version were recorded in separate sessions in the early fall of ‘82. So in a way we did have a game plan, in the sense that we wanted the album to be released internationally. The name VANITY FAIR, however, was something we came up with at the last moment before the actual release. We weren’t that happy with the name then and I’m not that happy with it now… 😉

The verbatim translation of LUSTANS LAKEJER is ‘The Lackeys of Lust’ or maybe ‘The Slaves of Lust’, but this didn’t sound right in English so we never really got it right. Unfortunately THE LOUNGE LIZARDS was already taken by another band… 😉

How did you find writing lyrics in English for ‘A Place In The Sun’? Did your approach to subjects change and did you eventually find yourself starting to dream in English?

No, the subject matter was similar to the first two albums. Perhaps this one is even more centred around love and particularly the loss of it, but that had more to do with private circumstances than a change in language. I usually start a new lyric with a title that inspires me and working in a new language, I found this approach even more stimulating. With a new language, there was a fresh feeling about a lot of the title and lyric ideas.

About the dreams – it’s quite some time ago, but I’ve written quite a few songs in English since then and I’m quite certain that I rarely or never dream in English. However, because I read so much English, even news, and watch so many Anglo-American TV series and movies, I do sometimes have a hard time to find the correct Swedish synonym for certain words. Several English alternatives are popping up in my head, but the right Swedish one seems to elude me. Very annoying…

Of course, the music industry was different back then. But do you think in hindsight it might have been better to keep the LUSTANS LAKEJER name for ‘A Place In The Sun’ to utilise the press momentum that had been gained from Richard Barbieri being the producer?

Well, we kept the name in Sweden and all the Scandinavian /Nordic countries. As I explained earlier, we all (including several record companies) believed that LUSTANS LAKEJER would be to strange a band name for the international market. It does not make any sense if you don’t understand the meaning of the words.

Two of the original Richard Barbieri produced tracks were dropped for the VANITY FAIR version of the album and the running order was altered, why was this?

We recorded a single version of ‘Lips Are Silent’ (‘Läppar Tiger, Ögon Talar’) which we at that time felt very happy with, and decided to put it on the English album. However, when we play the song live nowadays, we play the original version.

The reason to swap ‘Could You Be The One’ (Räddaren I Nöden’) for ‘The Texture of Her Skin’ (the B-side of ‘En Främlings Ögon’, no Swedish version of this song exists…) was that we felt that it would make the album a bit more energetic. This was also the reasoning behind the altered running order – instead of having the two tracks that became singles as song number 1 and 2 on Side 1, we let them open each side of the album. So it was really more a case of trying to find a better balance for the album, than anything else.

LUSTANS LAKEJER have had a fluid line-up with you as the constant over the years, what would you say are the advantages and disadvantages?

Well, the advantage is that I have had the opportunities to work with different musicians during the years, but that can also be a disadvantage. It’s easy to make good-sounding but less interesting albums when you can bring anybody in to play on them. Looking back, I wish I never disbanded the group after ‘A Place In The Sun’. We had something special together and could have gone on making extraordinary music, at least through the 80s.

What inspired your return as LUSTANS LAKEJER for 1999’s ‘Åkersberga’ album?

The two LUSTANS LAKEJER albums after ‘A Place In The Sun’ and my first two solo albums ‘Johan Kinde’ (1989) and ‘Valona’ (1990) had some great songs, really nice compositions, but lacked the originality of the first three albums. I wanted to get back to that mood, that style, without compromising the quality of the songs. And I think the producer Jan Lundkvist (who basically plays all the instruments) and I managed to do that very well, with of course some participation from Tom Wolgers, who played keyboards on the second LUSTANS LAKEJER album ‘Uppdrag I Genève’.

‘Cynisk’ is a moody triumph. How had your headspace changed musically by this time?

Thank you, it’s one of my own favourites from the album. Musically, I think it’s inspired by very disparate artists, as varied as BARRY WHITE – the chord structure has a lot of minor 9s in the verses –– and DEPECHE MODE with the bass synth arrangement in the chorus.

While DEPECHE MODE might be a rather obvious influence, Barry White is an example of how my musical tastes had expanded by that time and how I now could use these more complex tastes to influence me, but not overwhelm me. I mean, I’m not trying to sound like Barry White, I just liked that chords and made something quite different out of it.

With ‘Allt Vi En Gång Trodde På’, LUSTANS LAKEJER entered Melodifestivalen in 2007 which is Sweden’s national selection procedure for the Eurovision Song Contest. How did you find the experience?

Well, it was an interesting experience, even though perhaps not gratifying in the end. Looking back I feel we should’ve had a more synth-driven song, or at least done the song in a crisper, more synth-driven arrangement.

In Scandinavia, they take this event more seriously than in the United Kingdom and for example, an act like RAIN TREE CROW or THE DOLPHIN BROTHERS would never enter it. What are your thoughts on this?

I think it used to boils down to the fact that ABBA made their breakthrough in Eurovision in 1974. That was basically the first Swedish act ever to make it big (or at least that big) on the international stage.

In England, it was never that important, you were almost automatically an international star if you became popular domestically.

And even if it would have been a big thing in the UK, I don’t think those kind of artists like RAIN TREE CROW or THE DOLPHIN BROTHERS would fit the bill. Now, PET SHOP BOYS, THE HUMAN LEAGUE or DURAN DURAN – that’s another matter, they could’ve done it! 😉

The most recent LUSTANS LAKEJAR album was ‘Elixir’ in 2011, how do you find the music industry today with Spotify and social media? How has it worked for you as a veteran artist compared with the past?

No matter if you’re a veteran artist or a newcomer, it’s much much harder to get paid for recorded music today. That being said, I hope that one day soon Spotify and other streaming services will be able to pay a fair royalty to artists and composers because it’s far better than illegal downloading, and I think there’s no turning back to physical copies. I say this somewhat sadly, of course, because I love good album covers…

What’s next for you as LUSTANS LAKEJER after touring ‘En Plats I Solen’?

Well, we’re still touring with ‘Uppdrag I Genève’ and are still working on the venues and exact line-up of the band for the ‘En Plats I Solen’ tour in the Autumn / Winter of 2017, so that will possibly take us into 2018. I hope to get back to you with some exciting news about that soon!

I do have some new songs that I’ve been thinking about recording with the band, but this is just an idea at this point.

ELECTRICITYCLUB.CO.UK gives its warmest thanks to Johan Kinde

Special thanks also to John Linqwister

‘Uppdrag I Genève’, ‘En Plats I Solen’ and ‘A Place In The Sun’ are available as download albums via Universal Music

LUSTANS LAKEJER perform ‘Uppdrag I Genève’ live at Ystad Öja Krog on 14th April, Uppsala Katalin on 26th May and Gothenburg Liseberg on 13th July

Upcoming information on the ‘En Plats I Solen’ tour dates will be posted at https://www.facebook.com/LustansLakejer/

https://www.instagram.com/lustanslakejerofficial/

Text and Interview by Chi Ming Lai
Photos courtesy of Johan Kinde
25th March 2017

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