While ‘World Be Gone’ brought a somewhat sombre mood to the ERASURE stable, the expectations for the opus number 18 were mixed.
To the hardcore fans of the Bell / Clarke combo, ‘The Violet Flame’ remained the best contemporary production from the twosome with many not too appreciative of the more reflective offerings contained on the 2017 album.
The newest studio long player ‘The Neon’ comes about at the right moment to celebrate the achievements of Vince Clarke who received the Special Recognition Award from the Association of Independent Music.
Recorded in Brooklyn and Atlanta and mixed in London, ‘The Neon’ refreshes the pair’s love for great pop, which is what they have relentlessly been offering for decades, never letting down, never disappointing. With 2020 certainly being the year that will go down in history, it needs a strong pick me up and that’s where the shiny sparkler comes in.
The album is heralded by ‘Hey Now (Think I Got A Feeling)’ which, while not being the strongest ever single, does a great job introducing the newest material, harking back to the quintessential ERASURE sounds. ‘Hey Now’ has enough passion and positivity to lift the moods and set the stage for more colourful offerings and the following song ‘Nerves Of Steel’ does not disappoint.
Accompanied by superb video featuring 20 LGBTQIA+ stars, some known for their appearance on ‘RuPaul’s Drag Race’, the song oozes positivity and love. Andy Bell claims this to be his favourite track on ‘The Neon’ and it is plain to see why.
Beautifully composed and expertly written, with a superbly executed bridge which slides seamlessly into the catchy chorus, the songwriting genius shines through, reminiscent of some chosen gems from the ‘Cowboy’ era. ‘Fallen Angel’ ushers in an urgent, bumpy synth, rhythmically canvassing the beauty of Bell’s vocals, who’s trying “all of the things that give (him) love”.
Faster and fuller, ‘No Point In Tripping’ is a positivity pill necessary to survive the bizarre times we live in, while ‘Shot A Satellite’ is a memory lane journey through the years of ERASURE. Bell sounds as fresh as ever, proving his singing prowess once again.
The more demure, slow paced ‘Tower of Love’ layers haunting vocals over magnificent synth lines brooding to explode into big chorus. A faster tempo returns on the analogue driven ‘Diamond Lies’.
This is a stance that is continued on ‘Careful What I Try To Do’ with its melodic bass and magical synth play; Clarke is at his best here for sure. Some haunting piano on ‘New Horizons’ paints the picture of hope and positivity in love, a ballad that Bell sings to a lover and not that dissimilar to their massive ‘Home’ from ‘Chorus’, but stripped down and adapted to the new reality.
The opus closes with poignant synth gem of ‘Kid You’re Not Alone’ which sees Bell playing with his vocals over a gentle melody, enveloping the listener into a warm summer embrace of hope, love and freedom from judgement.
With Clarke finally recognised for his genius and Bell continually proving to be one of the best vocalists and songwriters, 35 years later, the duo still provide the magnificent sonics and sparkling electricity laced with the voice of an angel.
If you need a pick me up entwined with a trip down memory lane, look no further; ERASURE have got you.
‘The Neon’ is released by Mute Artists in a variety of formats
Norwegian electronic covers combo CHINESE DETECTIVES released their only album ‘Are Kisses Out Of Fashion?’ in 1999.
The brainchild of Per Aksel Lundgreen who had cut his teeth in APOPTYGMA BERZERK, the concept was to be a “SILICON TEENS of the 90s” with frantic dance beats acting as the backbone to accompany the hooks of classic synthpop.
CHINESE DETECTIVES scored a number of Scandinavian hits with songs originally made famous by YAZOO, MEN WITHOUT HATS and DIVINE.
‘Are Kisses Out Of Fashion?’ additionally featured reinterpretations of SPARKS, BRONSKI BEAT, PET SHOP BOYS and several lesser known acts while the album itself was to become something of a cult favourite, partly thanks to featuring the only officially released version of a Vince Clarke instrumental from which CHINESE DETECTIVES got their moniker.
The classic trio line-up of Per Aksel Lundgreen, Preben Bjønnes and Desirée Grandahl kindly reminisced about the making of ‘Are Kisses Out Of Fashion?’.
So what came first, your cover of ‘Chinese Detectives’ or the band concept? How did it come about?
Preben: Per Aksel suggested ‘Chinese Detectives’ as a track and name for the band.
Per Aksel: Being an avid YAZOO and Vince Clarke collector, I had obtained a live tape that I bought at a stand in Camden Market in London of the 1982 gig at The Dominion, and on that tape, the instrumental track ‘Chinese Detectives’ was included. I always loved the track, and also the name, and I really wanted to use it as a band name, so we did. Then the idea was launched to do a cover of ‘Situation’ as the “A-Side” of the single, and a cover of ‘Chinese Detectives’ as the “B-Side”. I know that the track has also been referred to as ‘China’ on early live-recordings etc, but more on that later, ha ha!
Desirée: I´m the lucky one because I didn´t have to give any of that any thought! Got it all served on a silver platter.
The track is often mistaken as being the theme for the BBC TV drama ‘The Chinese Detective’ but is actually a Vince Clarke original. How did you go about interpreting and recording it? Did Mr Clarke give his approval?
Per Aksel: The sound quality on the live tape I had wasn’t really top notch, so we had to do our best to make out all the sounds and figures being played.
There’s also a part on there where it sounds like Vince is talking on top of the track, but we never ever figured out if that was just an accident, or if it was supposed to include some spoken words. I knew at the time that all Vince Clarke material was published via Sony Music Publishing, so I wrote them a letter, inquiring about the track, and asked for permission to do a cover version of it.
I actually received a reply via fax, yes it was that long ago, and in the fax it said something like: “Sony Music Publishing and Vince Clarke hereby grant you the rights to do a cover of the before mentioned track, ‘Chinese Detectives’.”
I was gobsmacked and very very happy of course. I saved that fax for many years, and when I one day went into some boxes to find it, the print had disappeared and the fax paper was all white, ha ha! I wish I’d taken a copy of it, but hindsight is 2020, right!
Preben: Hopefully we did the track justice 🙂
Desirèe: The credit for that goes to the lads. Hopefully Mr Clarke approved and loved it.
Why did you choose ‘Situation’ as a single to debut CHINESE DETECTIVES with?
Preben: We all loved the song and especially Vince Clarke’s song writing.
Desirée: I mean, even if I didn´t do the vocals on the first single, who wouldn´t choose that iconic song with that iconic group?
Per Aksel: We’re all huge YAZOO fans, and it was one of those tracks that we felt we could do something with. It was actually in the Norwegian Dance Charts and it was on a couple of “Eurodance” type compilations here in Norway, and the single sold close to 10.000 copies at the time, so we were very very happy of course. This made us want to do more, and the record company too cheered us on.
Strangely, in Norway we were considered “Eurodance”, but in Sweden and the rest of Europe and the US, they called us a synthpop act, and I for one wanted it to sound “synthpop”, but maybe we leaned towards the “Eurodance” since that was in the charts at the time. I don’t know, but we were treated very differently in Norway and in Sweden.
In Norway, we played “dance party” festivals for 5000 people together with 2 BROTHERS ON THE 4TH FLOOR, SOLID BASE, TWENTY 4 SEVEN, 2 UNLIMITED and stuff like that, but in Sweden we played on Swedish Alternative Music Awards for 500 people together with S.P.O.C.K, IN THE NURSERY and COVENANT, so it was a strange situation, but we just went with the flow and played everywhere we were wanted really.
We also had two other guys involved at the early stage of Chinese DETECTIVES, Trond Haugerud and Lars Kristian Aasbrenn, but they both dropped off. Lars Kristian after the first single, and Trond after the second one. No particular reasons for this, they just left basically, but they did also put in a good deal of work and input before they left, so I feel it’s important to put that out there.
After your second single, a cover of MEN WITHOUT HATS ‘Where Do The Boys Go’, your first singer Kristine Ulfeng departed, what effect did that have on whether to continue with CHINESE DETECTIVES?
Preben: No effect. We already knew we wanted to make a whole album with a different voice.
Per Aksel: When we started recording the third single, ‘You Think You’re A Man’, it became evident very early that Kristine’s voice wouldn’t cut it for that track. We took the harsh decision of telling her to leave and then asked Desirée to join the band. Not our proudest moment, and it wasn’t really fair to Kristine as she was fully devoted on the two first singles, but Preben and I were young and ambitious and had huge egos, so I’ll have to blame it on that.
Desirée: It had the wonderful effect of giving me the role of the mysterious and handsome girl at the mic.
Desirée had a deeper resonance to her voice and her first single with CHINESE DETECTIVES was a cover of DIVINE’s ‘You Think You’re A Man’ in 1996; did you know that song was written by Geoffrey Deane who was the original lead singer of MODERN ROMANCE?!!? ?
Preben: News to me 🙂
Desirée: Ooops, you got me there! Shame on me for not knowing that…
Per Aksel: All I know is that when I wrote the credits in the booklet, it said “G Deane”, but I had no idea it was the original lead singer of MODERN ROMANCE! 😮
We all love a bit of HI-NRG, and especially DIVINE and Bobby O productions in general, and I really think we nailed that one! Very happy with that single to be honest! The two first ones were good too, but the sound on ‘You Think You’re A Man’ is still holding up in my opinion.
The album ‘Are Kisses Out Of Fashion?’ finally came out in 1999, had it been a challenging project to finish?
Preben: It was a labour of love, I loved every bit of it. Working in a pro-studio with Erik Wøllo was a high point for me as I have mostly worked in my own studio. We had a very nice atmosphere in the studio where we loved every song we worked on. It became a very eclectic album I think. 🙂
Desirée: On the subject of who was gonna be our label and who was gonna release it – it was a challenge. The process of making the album wasn´t all that bad. We took some time picking and agreeing on the songs, then finding the right producer and of course getting it right in the studio. I will say that there was more laughter than fights.
Per Aksel: The truth is that the album was already finished late 1996 or early 1997, I can’t remember exactly now, and at the time, the label had a bit of a dry spell and didn’t have the money to finance the printing of the album, and the third single didn’t do as well as the first one, so maybe they lost a bit of faith in us, I’m not sure.
Anyway, in 1999 I kinda pushed them to release it, as 80s sounding synthpop was returning more and more.
The first pressing of 5000 copies sold pretty quickly, so I know the label never regretted it in the end. It was the label that also paid the £3500 for the studio and recording of the album, so I was surprised that they didn’t want to try and recoup their money.
The process in Wintergarden Studio with Erik Wøllo as our co-producer really helped and lifted this record into what it became. We never could have achieved that result without Erik. His studio was in his basement, so we jokingly said we we’re recording “Downstairs At Erik’s”, ha ha! He also had a lot of cool equipment in his studio that we could use to fatten up our sound and to make the songs more diverse than they were in their original demo-form.
Stephan Groth of APOPTYGMA BERZERK had also bought a Novation Bass Station at the time, and we borrowed that for some tracks too, and it’s especially evident on ‘Hit That Perfect Beat’. I also had a Roland JX3P that we used heavily and a Yamaha TX7 that was in Erik’s studio that we used for the FM-bass lines and such.
Most of the ‘Are Kisses Out Of Fashion?’ album sounds a bit like Alison Moyet fronting a frantic Eurodance covers project, there was a distinct HI-NRG bent with tunes like ‘Hit That Perfect Beat’, ‘All You Ever Think About Is Sex’, ‘You Think You’re A Man’ and a very pacey version of ‘Johnny & Mary’? Was the club market where you were aiming CHINESE DETECTIVES?
Desirée: Oh, I love me a bit of frantic Moyet!! Seriously, I think the club market was THE market at the time, but I also think we were a little bit a head of our time. If the album had hit the club market a bit into the 2000s, I personally think we would have had an even greater success with it. The trend of picking up great tunes from the 80s didn´t really kick in until 2004-2005. Maybe we can say that we started the trend? Let´s keep that illusion.
Preben: We all love HI-NRG and especially songs produced by Bobby O. Having said that, we wanted to do our own versions of our favourite songs.
Per Aksel:Alison Moyet is probably THE BEST female voice in the world of music in my opinion, and Desirée is blessed with a serious set of pipes and a voice that is very close to Alison’s, so we felt we’d struck gold when she wanted to join us to be honest.
I’m not quite sure we went for the club market OR “Eurodance” to be honest, it was all “synthpop” to us, but looking back, I can see how the music in the charts and the new synths coming out etc flavoured our sound and the outcome of the finished result. Having had chart success in Norway with the two first singles, we were actually on Norwegian television at the Norwegian Top 20 being interviewed about the ‘Where Do The Boys Go?’ track and video, so that probably also told us that we had a shot at “this chart stuff”, but we failed to chart after that, and became more of a thing for the synthpop fans instead. That’s a good thing, because that’s where we belong anyway, ha ha!
When the album slows down a bit in the middle, the album gets very interesting with your covers of ‘Love Is Just A Word’ by SILENT CIRCLE and ‘Run For Love’ by WINDER, two acts which would have been largely unknown outside of mainland Europe, what is the story behind these?
Preben: We loved the songs. WINDER’s is an all-time favourite of mine from Denmark. I think they only did three singles and an album.
Desirée: Those two songs were kind of pushed by the lads. I thought at first that ‘Love Is Just A Word’ was too “German lighter ballad-ish”, but it grew on me really. And after doing it live, it kind of gave you that arena-effect, with people singing along and of course waving their lighters.
When the song ‘Run For Love’ came up, I wasn´t sure what to do. I felt that it was so girly and non-edgy. The fun part is though, that so many reacted to this song and really liked our version. Let´s just say that this was my “swallow the camel” moment.
Per Aksel: The WINDER track was an old “guilty pleasure” of mine, and I thought that we could do a really good job with it.
I know Desirée really didn’t like it much, but she played along, and the version we ended up with is ok I guess, but far from my favourite on the album. A lot of people seem to love this version though, which is great, but I don’t know, it’s still a bit Eurovision sounding and a bit cheesy!
‘Love Is Just A Word’ was picked as the idea of having a ballad on the album, but now that I think of it, we should have done ‘Touch In The Night’ instead. CHINESE DETECTIVES were never meant to do ballads, ha ha! I remember seeing SILENT CIRCLE performing ‘Touch In The Night’ on Peters Pop Show from Germany via Swedish Television back in the 80s, and that’s how I got turned onto the band. Their first album, ‘No 1’, is still a good album I think, a hidden gem for many, but a good synthpop album.
The album title song features something of an orchestra stab frenzy and was originally by SUDETEN CRÈCHE, a very obscure British duo. How did you hear about this song?
Preben: Per Aksel introduced us to the song and we knew immediately that we could make our mark on it.
Desirée: Why wouldn´t a bunch of nerdy electronic music people have heard about that one?
Per Aksel: Going back to me being an avid YAZOO and Vince Clarke collector, I’d heard from some other collectors that the compilation album ‘Europe In The Year Zero’ included a different version of ‘Goodbye 70s’ than the one on ‘Upstairs At Eric’s’, so I ended up getting hold of a copy of that LP.
It had a different version of ’Goodbye 70s’ indeed with some extra echoes and delays to the vocal, and it was a bit shorter with a strange fade, but still a different version. Anyway, on that same album was the band SUDETEN CRÈCHE with their track ‘Are Kisses Out Of Fashion?’.
My girlfriend at the time loved this track and had it on several mixtapes, so I knew it well, and when it came time to pick track for the album, Preben, Desirée and I wrote down our suggestions of what tracks to do covers of, and we immediately agreed that we could do something with this minimal wave classic. We also decided to use the title of the track as the title of the album, as it was very 80s sounding and cool.
In 2006 or so, I got contacted by Mark Warner from SUDETEN CRECHE who asked us about this cover, because we tried to get hold of them back in 1996, but it was impossible to find any information. So we started emailing them back and forth, and they said they really liked the version we had done. Later I was invited to be live keyboarder for SUDETEN CRECHE on a European tour they did together with OPPENHEIMER ANALYSIS and a couple of other bands, but I couldn’t accept that offer since I had other commitments at the time, but the offer itself meant a lot to me and I was really flattered by it.
Later on, after a lot of emails and a growing friendship, Mark Warner invited me to come stay with him at his house outside Bedford where he’s got a studio in his back yard, to work on some music together.
This is how I ended up doing three EPs with ROSSETTI’S COMPASS together with Mark. He wrote all the material, and I was more in on the production side of things, but we had great fun in the studio, and I got to know his lovely wife and two daughters who now just call me Uncle Per.
I visited Mark as late as January this year, and a lovely and lasting friendship has come out of doing that cover version. Who would have thought ha? Life can serve you up some wonderful things sometimes, especially when you meet great people like Mark Warner. A true friend.
You covered INDUSTRY with ‘State Of The Nation’ so the range of genres you sourced on ‘Are Kisses Out Of Fashion?’ was very varied in hindsight?
Preben: We wanted music from all over the spectrum; obscure to the big hits.
Desirée: There is and there was so much good music to choose from, in many genres. The list of songs we would have loved to put on the album was long, but I think we´re all quite happy with the once we chose. I also think that it shows that we´re influenced by many genres.
Per Aksel: ‘State Of The Nation’ to me was a “synthpop” song, and I really really liked it, and I also think we did a great version of it. There was a vocal part there at the end of the track, after the music ended that we should’ve kept though. Desirée wanted to keep it, but Preben and I voted against it, ha ha. Looking back, Desirée was right, we should’ve kept it. Wonder if I’ve still got that other version on DAT-tape somewhere. Hmmm…
What are your own personal favourites on ‘Are Kisses Out Of Fashion?’ and why?
Desirée: Oh, that´s a hard one. I should of course say ‘Situation’ but I´m not gonna say that. I just love ‘State Of The Nation’; loved the song originally and loved to sing it. ‘Are Kisses Out Of Fashion?’ and ‘All You Ever Think About Is Sex’ come in at second place. Just because ‘Are Kisses…’ became almost a completely new song when we did it and ‘All You Ever Think About Is Sex’ is a fun and theatrical song which I love.
Preben: ‘Hit That Perfect Beat’ by BRONSKI BEAT. I loved the vocals on it. And the mix still holds up. Very happy with the bassline 🙂
Per Aksel: I still think that our version of ‘I Want A Lover’ by PET SHOP BOYS is the best one, but nobody seems to agree with me! LOL! I also have a huge fondness for ‘You Think You’re A Man’, ‘Hit That Perfect Beat’ and ‘All You Ever Think About Is Sex’, great versions that differ from the original and still add something extra. I also love the energy that we managed to put into those tracks. They’re explosive in a way, and I’m very proud of what we managed to do together on those tracks! Would’ve been even better if we’d written the tracks ourselves of course, but hey, we borrowed someone else’s songwriting talent and built on that, that will have to do.
Was CHINESE DETECTIVES, like SILICON TEENS, destined to just do the one album?
Desirée: No, not really. We had plans and visions. Preben and I did our own project with POSH. We had so many ideas for our own music and CHINESE DETECTIVES was a cover project. But the intention was to make more music with CHINESE DETECTIVES as well.
Again the situation with getting a label, getting us distributed and of course the sign of the times in the music industry put a stop to more albums at the time. We do however, have some new covers done. We did some new tunes for a couple of gigs some years ago and that was great fun. So you never know, maybe we´ll be back.
Preben: I don’t think we had any plans beyond an album. Might have played it by ear.
Per Aksel: Funny you should say that! My own catch phrase / slogan was that we aimed to be a “SILICON TEENS of the 90s”! We are huge fans of the ‘Music For Parties’ album, and doing 80s tracks in the 90s before that became fashionable kinda put us in the same category at least as SILICON TEENS.
I never had plans beyond that one album back then at least. While waiting for the CHINESE DETECTIVES album to be released, Preben and Desirée continued on the side with their own project, POSH, that released a great album called ‘In Vanity We Trust’ on CD in 1999 too. That is also a great but sadly forgotten album by many. Sounds like YAZOO with a more modern sound.
CHINESE DETECTIVES reformed for Electronic Summer 2016 in Gothenburg, how was that for you?
Preben: I unfortunately had to pull out of it due to illness. But I hear it went down well 🙂
Per Aksel: That was amazing! We had a great great time, and back then it was exactly 20 years since we last played in Gothenburg, so it was a celebration and a huge kick being on stage with CHINESE DETECTIVES again in front of 600 people at The Brewhouse.
People loved it and we got so many people coming up to us after the show saying “finally I got to see you live” and stuff like that, including Hannes Malecki, the singer from WELLE: ERDBALL, who was also playing at the same festival. He confessed to being a huge fan of CHINESE DETECTIVES when I met him there, which was a very nice compliment, coming from a guy whose work I admire very very much. I have a complete collection of all the WELLE: ERDBALL CDs, so…
Desirée: Oh my Lord that was fun. I had no expectations for that gig. I thought we were forgotten and obsolete. We started the evening with our set and I thought that there would be close to no one in the audience. When the music started and I went on stage, I got a pleasant shock. The place was packed and people sang along and had a jolly good time. So did we! People were so positive and loving. That was just a blast!
Over twenty years on, how do you view the way an electronic pop cover should be done? With so much history, is going outside of the genre more preferable to achieve something different, rather than just cover say DEPECHE MODE, NEW ORDER, SOFT CELL and ERASURE, who interestingly CHINESE DETECTIVES didn’t cover?
Preben: We tried to stay away from the obvious songs. But there are millions of great songs we could have done. We have tried to do some new ones few years back. ‘The Metro’ by BERLIN was one of them. We have played it at some concerts. We also demoed ‘You Spin Me Round’ by DEAD OR ALIVE and even made an instrumental of ‘Heartbeat City’ by THE CARS. And a few others. Hopefully we will make another album in the future 🙂
Desirée: The term electronic pop is no longer obscure and for the few and nerdy. So to make an electronic pop cover today, the bar is lifted. We did go outside the electronic genre when we did our album and I think that by doing that, the songs got a new life. This, I think, is still the case. A good song is a good song in any genre. Even if it would be great fun to cover, let’s say a EURYTHMICS tune, the approach I think would be different now than it was twenty years ago. And no wonder, we´ve learned a lot in twenty years!!!
Per Aksel: We definitively tried to AVOID the “usual suspects” when picking tracks for the album. I know Desirée wanted to do both a cover of a EURYTHMICS track, and a CULTURE CLUB track, and that didn’t happen, probably because they were too big and famous or whatever. We had some strict but strange rules back then, ha ha!
The truth is that I’m usually not a big fan of cover versions myself, and it’s only a few that I really like, and I try to avoid them when other bands do covers. Strange to think of when I was in a band that did a whole album of them, right?
We had ‘Send Me An Angel’ by REAL LIFE half-finished in demo form back then, but it never came to fruition, and that’s about it I think from back then. Preben did demo some other tracks that I don’t remember right now, but we ended up with those that are on the album, and I think the selection is pretty much good. When it comes to DEPECHE MODE, we’ve had enough covers there already, haven’t we? I mean, we’ve had enough of the band itself even, so never mind covers ha ha!
Some cover versions that I do like though, are: FAIRLIGHT CHILDREN – ‘Bedsitter’, LEMONHEADS – ‘Mrs. Robinson’, APOPTYGMA BERZERK – ‘Major Tom’, WOLFSHEIM – ‘Ruby, Don’t Bring Your Love To Town”, MALARIA – ‘Lay, Lady Lay’, and BIGOD 20 – ‘Like A Prayer’.
The “perfect” cover version in my opinion though, is the one that RÖYKSOPP feat. Susanne Sundfør did of ‘Ice Machine’. Absolutely love that one!
What songs would you cover today if you were to do a new album?
Preben: BLANCMANGE – ‘Blind Vision’ or ‘Don’t Tell Me’, THE CARS – ‘Heartbeat City’, ABC – ‘Be Near Me’, JAPAN – ‘Life In Tokyo’, CRETU – ‘Samurai’, THE HUMAN LEAGUE – ‘Boys & Girls’, OMD – ‘Telegraph’, BERLIN – ‘Metro’, SECRET SERVICE – ‘Flash In The Night’, DEAD OR ALIVE – ‘Big Daddy Of The Rhythm’, CLOCKWORK ORANGE – ‘Sensation Boys’, THOMPSON TWINS – ‘In The Name Of Love’ or HEAVEN 17 – ‘Come Live With Me’. All of those would have worked I suppose!
Desirée: I’ve always wanted to do a cover of ‘Sexuality’ with Erasure, but never got around to it. Maybe the time is now?
Per Aksel: Hmmmm… THOMPSON TWINS – ‘We Are Detective’ would fit us perfectly I think, and I also agree with Preben on ‘Big Daddy Of The Rhythm’, such power and energy! Maybe we should accommodate Desirée too, and do ‘Here Comes The Rain Again’ or ‘Paint A Rumour’ by EURYTHMICS? I also would’ve picked another minimal wave track or two, like ‘Night In June’ with LINEAR MOVEMENT, or ‘All Rights Reserved’ by FRED. Great tracks, real gems that one could bring out to the masses!
That’s the best thing I think, when you can get people to discover a track they’ve never heard before through your cover version! All in all though, I’m a little fed up with covers at the moment as I told you, but I’m not going to be a killjoy.
Preben, Desirée and I live nearby each other, and if we find the time and inspiration, I don’t see why we couldn’t / shouldn’t do some more stuff together. All that without giving any promises though, ha ha!
ELECTRICITYCLUB.CO.UK gives its sincerest thanks to CHINESE DETECTIVES
With a pair of excellent albums ‘Like Before’ and ‘Utopia’ now under his belt, Swedish synthesist Johan Baeckström has more than established his solo credentials.
Best known as a member of DAILY PLANET, Baeckström had been making plans to return to music on his own prior to an unexpected reunion of the acclaimed duo in 2014 with the appropriately titled ‘Two’. Since then, Baeckström has maintained a solo career in parallel with DAILY PLANET.
DAILY PLANET’s most recent album ‘Play Rewind Repeat’ saw a guest vocal from Mac Austin of WHITE DOOR on the sublime tune ‘Heaven’. Baeckström had already covered two WHITE DOOR songs ‘School Days’ and ‘Jerusalem’ for B-sides, so it was not entirely a surprise when it was announced that he would be joining WHITE DOOR for the recording of their long awaited follow-up to the 1983 long player ‘Windows’.
From his studio utopia via the wonders of online communication, Baeckström challenged ELECTRICITYCLUB.CO.UK to a round of Vintage Synth Trumps and told a few interesting stories about his fabulous collection of electronic keyboards and much more.
The first card is the Roland Jupiter 8, so what have been your experiences with this?
I have almost none, I don’t think I’ve ever played one. I’ve seen them and it’s an important icon synth, that Howard Jones cover of ‘New Song’ with the Jupiter 8 made a huge impact and made me think synthesizers looked cool. But I always thought the Jupiter 6 looked better, it had a nicer design with a better colour scheme, I have one of those and that’s one of my favourites. I know what a Jupiter 8 sounds like, I’ve heard a million demos and it’s on lots of records, it defined the early / mid 80s polysynth sound.
So how close can you get a Jupiter 6 to sound like a Jupiter 8 aesthetically?
I think they are quite different because the Jupiter 8 to me sounds a bit softer and lush. The Jupiter 6 can be lush as well but it’s got a sharper edge to it, which suits my music better as it’s quite percussive and detailed; it’s warm but not as warm as the Jupiter 8. The Jupiter 6 can do harsh, crispy sounds which you can´t really do on the Jupiter 8 because of the multiband filter on the 6, for example.
Which recordings of yours are quite dominated by the Jupiter 6?
When I bought it, the first thing I did to try it was a cover of WHITE DOOR ‘School Days’! It turned out quite nice and I released it as a B-side as you know. Everything on that is the Jupiter 6, also a DAILY PLANET song on the ‘Play Rewind Repeat’ album called ‘Drown’, everything is the Jupiter 6 except for the bass which is a Pro-One.
You mentioned about how you saw the cover for Howard Jones ‘New Song’ when you were younger, but at the time of DAILY PLANET’s first album, you had very long hair… often that’s not a fashion requisite associated with synths? *laughs*
I probably didn’t want to be like everyone else, I started to grow my hair long when I was 14 years old, at first I had “synthpop” hair with everything standing straight up! Then I grew the hair from the neck like Nik Kershaw and then I grew it all very long, I think it was down to my waist at its longest!
Were you a rocker?
I had a time in a rock band when I was 16-17, more a pop rock band like TOTO! I’m not ashamed of it! *laughs*
It was good music, I feel stronger about this now when I heard Daniel Miller in an interview and he admitted he was a big fan of TOTO! If he can admit it, I can!
Of course, Daniel Miller had quite long hair when he started making music with synths…
… it’s the interest on TOTO that does it! *laughs*
So saving money on hair conditioner has enabled you to buy more synths? *laughs*
That is true! *laughs*
Next card, it’s the ARP Odyssey…
I have the reissue from Korg and I use it quite extensively. It’s the same as with the Jupiter 6, it has a sharp edge to it and this Korg one has all three filter types that it was released with. The first is a two-pole filter which is very crispy and has a lot of higher frequencies coming through. It can do everything from bass to percussion.
So when you buy a synth, are you influenced by the bands they are associated with?
I’m sure I am… for example to me, the Jupiter 8 IS Howard Jones and the Pro-One IS Vince Clarke, he basically built an album around that synth. The Odyssey I know Billy Currie of ULTRAVOX used it a lot but so did KRAFTWERK. So yes, to a certain extent.
Do you use the mini-keyboard on the Korg ARP Odyssey reissue or do you MIDI up another full-sized keyboard to it?
I have very few modules, most of my synthesizers have keyboards because when I create sounds and write music, I like to play the instrument I’m programming. So for that, mini-keys are fine but I would probably not bring it out to play live, I would miss a few notes here and there because it’s too small. I would have preferred a full sized keyboard but this was not an option on this reissue by Korg and I’m not prepared to cough up the money for an original one, or the FS version of the reissue.
Was the acquisition of so many synths what led to you building a new studio, or was it to allow for expansion possibilities in the future?
We actually bought a new house so we moved, and one of the rooms in the basement of this house was everything I needed to build a studio, it just needed a new floor, some paint and acoustic panels. The old one was getting a bit cramped so it’s nice to have a bigger studio and in this one, I can have a lounge with a sofa and table, so it’s a much nicer working environment.
The next card is the Korg 800DV…
It’s a good looking one with lots of wood on the sides, but I have no relation to it.
You said your B-side ‘Synth Is Not Dead’ was sort of tongue-in-cheek?
That’s true, I did it for fun which is why it wasn’t put on any album. On the other hand, I think it turned out quite nice so that’s why it came out as a B-side digitally. And thanks to you, some people seem to like it! *laughs*
Next card… oh, here’s an Octave Kitten!
I remember the Octave Cat was a competitor to the ARP Odyssey, I think John Davies from WHITE DOOR still has a Kitten, he used that on the demos for the ‘Windows’ album.
You mentioned the Octave Cat was a competitor to the ARP Odyssey, it had basically the same circuit design!
Yeah, it was a rip-off! That was the Behringer of its day! *laughs*
I think it’s quite interesting how there is so much litigation with song copyright now, but in the synthesizer world, copying is common, even back in the day. Like the circuitry for the Simmons SDS-V was based on the ARP 2600… any thoughts on this modern day cloning thing like with Behringer?
I’m having a hard time with this cloning of everything. If you take the Simmons example, if it’s a total rip-off, then that’s not a nice thing to do because there was probably some patent, but on the other hand, that was a drum module so it’s different from a synthesizer, so perhaps that doesn’t matter.
What Behringer is doing, I suppose it’s positive for people to buy synthesizers which are now largely unobtainable. I mean if you want to buy a vintage Minimoog, it costs a fortune, something like £4000 but a Behringer clone, which from what I heard sounds quite close, is what £250? *laughs*
On the other hand, it’s not their products, they “stole” it! But the patents are free, it’s nothing illegal, it just comes down to ethics and morals. Everyone has to make their own decision as to whether to support it or not, but I can see myself buying Behringer. I haven’t yet but if they do release an Oberheim OBX-a clone and it sounds as it should, I can’t see myself resisting! *laughs*
Talking of American synths, the next one is the Prophet 5…
That’s an icon, probably the one that has meant the most as far as how synthesizers look and behave today. The Minimoog was the first, but the Prophet 5 with its architecture, memories and five octave keyboard, the sound of it was amazing. Now you can get the new Prophets which sound pretty much the same and can do much more, so it’s still relevant after all these years.
I’ve never had one myself, I played it once or twice. I don’t think I would get one now as they are so expensive and I have the Prophet 08, and if I want to come even close to that sound, I can get the Prophet 6. It’s a beautiful instrument to look at as well, it’s a fantastic design in my eyes.
The next card is the Pro-One, tell us about your relationship with it…
I haven’t had my one for too long, I bought it in 2014 and I still can’t understand why I didn’t get one sooner, I should have had one in the 80s. It’s probably my favourite synth, at least my favourite monosynth. It sounds amazing and has superfast envelopes which make perfect bass and percussion sounds, sharp blips and blops, y’know *laughs*
It’s got a great modulation matrix, if you compare it with the Minimoog for example, you can do much more with a Pro-One. It’s always a reward to programme it because whatever you do, it sounds great. But the build quality is so-so, it’s quite plastic and the knobs are a bit flimsy, it’s not built like a tank, it’s more like a Trabant! *laughs*
It’s interesting that you mention the build quality of synths, a lot of these machines are quite fragile and not built to be taken on the road. But one vintage synth which is still around now that tends to end up on stage is the Roland Juno 60. Why do you think that one has been able to survive the years better than any others?
I think the reason the Juno 60 still gets used on stage is because it is quite stable as it uses DCOs. With a Jupiter 6 or Jupiter 8, temperatures can mess up the tuning. It was built very solidly, they seem to stand the test of time and it’s not like the Juno 106 which has these chips which go bad after 30 years. I’ve used my Juno106 live a few times, it’s no problem but you’re right, you see the Juno 60 more.
Another card, it’s a Korg Trident…
Oh! I had one! It’s quite a strange synth, because it’s three machines in one, a polysynth, a string machine and a brass machine, which you could combine. It had very fat sounds coming from it, it was huge and looked very powerful, I loved the way it looked. I got it very cheap after the first DAILY PLANET album ‘The Tide’, but I never used it on any records as it had no MIDI; as I sequence everything, MIDI is quite important for me.
Someone offered to trade it with me for a Roland D20!! It was not great but at least it had MIDI, so I traded it! I think you’d get £80 for a D20 today whereas a Trident gets £2500 so it wasn’t my best decision! I regret it still today, I wish I still had it and have been looking for one. Perhaps Behringer can clone one for me *laughs*
So synths that don’t get used much get traded in?
Not today, but back then I had no money. I could have installed a MIDI kit for the Trident but would have cost me £300 which I didn’t have because I was young and unemployed. So the only thing that made sense was to trade it for something I could use. A few of my synthesizers are not used very much but I don’t trade.
Saying that I did trade a Micro-Korg which I had not used for three years, although it was on ‘Synth Is Not Dead’ for the vocoder, that was probably the only time I recorded with it. I posted up on a Swedish synth forum and got offered a Roland JV1080 and P330 piano module, now I haven’t used them for two years, it’s probably time to trade those as well!
ELECTRICITYCLUB.CO.UK can’t imagine you using piano sounds much, but is that a possible direction for the future?
On the new WHITE DOOR album, there are a few piano sounds while on my latest album ‘Utopia’, they are on the cover song I did ‘Into The 80s’, there’s a CP70 type sound low in the background of the middle. But you won’t hear anything like CHICAGO piano! *laughs*
OK, the next card which will lead an interesting discussion, it’s the Moog Prodigy…
I’ve never had one but I’m told it’s great, it’s pretty much a slimmed down Minimoog with two oscillators instead of three, everything from Moog is great in different ways, because the newer ones are not the same as the older ones, but if I had to choose, the older Moogs are the ones that sound the best, Howard Jones, Vince Clarke and DEPECHE MODE use it…
Now this is where we’re going with the conversation. So the Moog Prodigy was the one that Fletch was “seen” with in early DEPECHE MODE videos and TV appearances, he later moved onto the Moog Source. So did you have any feelings or thoughts about Martin Gore getting the Moog Innovation Award?
I saw you had a rant about that! I best be quiet about it *laughs*
I actually don’t have an opinion. Exactly what that award is meant to represent, I’m not sure…
That’s ELECTRICITYCLUB.CO.UK’s point, Martin Gore was never seen with Moogs, we could understand Gary Numan getting the award. We don’t question his ability as a songwriter during the imperial phase of DEPECHE MODE, but he was NEVER the synth innovator in the group, so we struggled with the title of that award; if it was a Moog Songwriter award, it would be different. The synth innovators in DEPECHE MODE were Vince Clarke first, and then Alan Wilder…
I agree, those Martin Gore song demos that leaked out, it’s not synthesizer virtuoso stuff so he is not the innovator, sound wise. He was a genius with his songwriting and one of the best there ever was, so what the hell? He can have an award just for the songs. But as an innovator, Alan Wilder would deserve it more, but more so Vince.
You recently covered DEPECHE MODE ‘It Doesn’t Matter Two’? Why that song and particularly a Martin Gore voiced one?
That is one of my all-time favourite songs and this will make me sound cocky, but the arrangement on the original is a shame, it’s such a great song but it’s got this silly “bop-boop-bop-boop” arrrangement. They could have done so much more with it. I guess I don’t like that kind of vocal sampling which they built it around. So my cover is what I wanted it to sound like, it’s an amazing song… that shows you how good it is if I can keep listening to it even though I didn’t like the original arrangement and production.
Did you do ‘It Doesn’t Matter Two’ because your voice is more Martin Gore’s key than Dave Gahan’s?
No, but you’re right, I’m more in his key than Dave’s, I just love the song and had this idea for a new arrangement, I think it turned out quite nice. I was asked to do a DM cover for a Swedish podcast called ‘Blå Måndag’, so I decided to do this one since it´s been one where, after a few beers, me and my friends use to singalong and do harmonies to by the piano!
And the next card is a Korg MS20…
Another classic! I have the reissue, it was one of the first I bought when I started rebuilding my collection back in 2013, I’d sold everything I had back in the 90s to go to software. After that, I got a Prophet 08 and a Moog Little Phatty. I still use it a lot but less with this recent album, probably because I had more synthesizers to choose from.
It’s good for noise effects, it’s got a great filter for bass and percussion sounds like on ‘Nobody’s Friend’ from the second DAILY PLANET album and ‘Talking In My Sleep’ on my first solo album. However, the envelopes are too slow for really good snappy bass and percussion. I think the Pro-One has a better low-end and has more powerful oscillators. With the MS20, I use the ring modulator a lot for metallic sounds, I used it for hi-hat type sounds.
How did you find your first ever UK gig at Synth Wave Live 3?
It was nice, the people who were there were very dedicated. I was very thankful for all who came to see the show.
It also saw you on stage with WHITE DOOR, you’ve joined the band now and there is a new album?
I hadn’t met the WHITE DOOR guys before, they’re really nice chaps and to have them do the show with me was a bit surreal as I was listening to them when I was a teenager. It was hard to imagine then I would be on stage with them! It was good but we hadn’t rehearsed so it probably could have been a more perfect performance, but I think people enjoyed it and we had a really fun time.
WHITE DOOR sprung from a prog rock band called GRACE who they still perform as, and a live video that came from a recent festival was fascinating, they were doing this track called ‘The Poet’ which started like WHITE DOOR, then mutated into GENESIS and before you knew it, it had turned into JETHRO TULL! *laughs*
Yes, there is the same “melody language” (as we say in Sweden) with WHITE DOOR and GRACE, although they are very different bands.
I would think that a lot of the way WHITE DOOR turned out is partly thanks to producer Andy Richards who later worked with FRANKIE GOES TO HOLLYWOOD and OMD, he was the machine wizard. The demos for the ‘Windows’ album were electronic and John Davies had synthesizers but there was also guitars and real bass.
How is the WHITE DOOR album coming along?
It’s coming along nicely, it’s been a slow process but we almost have enough material for an album. I’ve played a few tracks to close friends who love WHITE DOOR and they say it sounds like WHITE DOOR. Now that’s important, when DAILY PLANET reunited in 2014, my plan was that we should not try something too modern, what people wanted was DAILY PLANET to sound like DAILY PLANET. The same approach is what I’m doing with WHITE DOOR although it will sound fresh and be better sounding because of the technology, but there will be a clear connection to the old stuff.
The final card is an ARP 2600…
I’ve never had one, my first connection with it was one of those early software emulations in the early noughties. It’s been used by a lot of artists that inspired me, Daniel Miller’s kick drum on the ‘Speak & Spell’ and ‘Upstairs At Eric’s’ is amazing, plus they also did the “voice” of R2-D2 with it!
But my friend Daniel Bergfalk who mixed my solo albums and joins me on stage sometimes, actually has two of TTSH clones and I’ve played a lot with that, it’s basically the same. It’s amazing and I will probably get one someday, but not an original and that would now cost the same as a car! Probably a TTSH although there are rumours that Behringer will be doing a clone!*laughs*
You’re performing at Pop+Synth Festival in Copenhagen this November with SOFTWAVE, TRAIN TO SPAIN and OCTOLAB?
I’ve never played in Denmark before so it’s gonna be great to enter a new market live.
Why do you think Denmark seemingly has not had an interest in electronic pop in the way neighbours like Sweden, Norway and Finland have?
There never has been, all the acts I know from Denmark are rock like GASOLIN’ but then, there’s not such a big music scene there at all, I can’t even think of many Danish bands in any genre…
ELECTRICITYCLUB.CO.UK knows one and that’s LUKAS GRAHAM, f***ing hate that song ‘7 Years’! Such inane childish lyrics! *laughs*
I don’t know them! It sounds horrible!
Oh and there’s TRENTEMØLLER who has been featured on ELECTRICITYCLUB.CO.UK…
TRENTEMØLLER is Danish? I thought he was Norwegian! *laughs*
ELECTRICITYCLUB.CO.UK gives its warmest thanks to Johan Baeckström
Johan Baeckström plays the ‘Pop+Synth Festival’ at Krudttønden in Copenhagen on Saturday 2nd November 2019, also performing are SOFTWAVE, TRAIN TO SPAIN, OCTOLAB plus many more acts, tickets available from https://billetto.dk/e/pop-synth-festival-billetter-365508
Since their debut EP ‘Together Alone’ in 2016, Danish duo SOFTWAVE have been gaining momentum with well-received live performances and endorsements from luminaries such as one-time member of THE HUMAN LEAGUE Jo Callis and former Numan sideman Chris Payne.
From their studio in Herlev, Catrine Christensen and Jerry Olsen have not stood still, learning from their first release and actually improving on it, particularly with Jerry’s Alternate Version of the catchy ‘On & On & On’ on the companion remix EP.
And now sees the release of the couple’s debut long player with a declaration that it’s all now ‘Game On’. Cross ERASURE with the influence of singers such as Celine Dion, Tina Turner, Madonna, Gwen Stefani and Avril Lavigne, and you get the picture that while female fronted synthpop is a plenty, SOFTWAVE offer something special in the vocal department for their first album.
It’s a journey that has excited Catrine Christensen who told ELECTRICITYCLUB.CO.UK in Autumn 2017: “An album is like a story with smaller parts that connects and become that greater story. It’s small parts and emotions from your life that fits together, some being uptempo and energetic, some being slow and some sad etc.”
With a dramatic intro appropriately titled ‘Takeoff’, SOFTWAVE’s inaugural full length mission features a spoken commentary and countdown from Christensen to connect to the album’s futuristic gamer theme.
The album’s first single and calling card ‘Something Is Missing’ is buzzingly sub-ERASURE, an alluringly catchy and assured synthpop statement with melodies and counter-melodies galore.
In a tune partly inspired by her unique relationship with her dog Nero, as Christensen puts it: “life contains greater things than just temporary material things”.
More uptempo but punctuated by machines of ice, ‘No Need To Hide’ is undoubtedly Clarkean too, celebrating positivity in possibly SOFTWAVE’s finest moment yet with one of those rousing Scandipop choruses.
‘Reflected Memories’ sparkles but retains that touch of melancholy which Nordic acts are so good at. Here, Christensen is vocally rich and more confident while Olsen has upped the ante on production values since the debut, applying bravado and vibrato as appropriate.
Comparatively more sedate, ‘Guardian Angel’ plays with dripping arpeggios, airy soundscapes and the occasional Celine Dion hairbrush moment for something that Christensen declares is almost spiritual.
Rewarding their ‘Valor’, this enjoyable filmic instrumental sets the second for the second act; so with bursts of stabbing electronic energy, ‘I Need Love’ take a leaf from its Moroder-esque title, but with an effective offbeat on it rhythm construction for a love song for people who hate songs about love but who need it and feed on it.
‘Curiosity’ provides a breather and another ballad moment with Christensen displaying her range over Olsen’s sympathetic backdrop; it’s an inventive fictional story about a forgotten “one-hit-wonder” who is deep frozen in an underground laboratory, brought back to life by a fan and together they make another hit record… the concept is downright bizarre but brilliant, showing how much SOFTWAVE are thinking outside of the box.
The trancey ‘Human Beings’ is set at dancefloor pace, but Olsen’s production puts the song itself at centre stage rather than percussively overdriving it. With a commentary about how people use people and love things, rather than the other way round, the end result all the much better for it. Closing the album, the sweet ‘Galaxy Of Stars’ is classic ERASURE, pulsing and signalling gloriously as Christensen stares into the night sky reflecting on her day.
So with ‘Game On’ now “game over”, what is the verdict? SOFTWAVE have delivered a fine and enjoyable debut album with off-the-wall narratives contained within a classic melodic framework. So the natural reaction is to press “play” again.
Striving for continual artistic improvement and displaying a willingness to learn as they progress, there is no doubt that based on this documentary evidence, SOFTWAVE’s synthpop heart will go on…
This November sees the release of a box set of ‘Upstairs at Eric’s’, ‘You & Me Both’, an 8 song remix set and some previously unreleased John Peel / David Jensen BBC session tracks.
YAZOO were a candle that burned stunningly bright, only creating two albums before Vince Clarke and Alison Moyet split and went their separate ways.
YAZOO’s gestation started whilst Clarke was still in DEPECHE MODE; the debut single ‘Only You’ was written and offered to Andy Fletcher and Martin Gore but they declined it for the band. Clarke first became aware of Moyet after seeing her sing in THE VANDALS, a band featuring his mate Robert Marlow and a connection was made when he was the only person to answer her Melody Maker ad seeking a “rootsy blues band”. A demo of ‘Only You’ was recorded with Moyet and despite initial reservations from Mute Records boss Daniel Miller, the duo were asked to record a new version for potential single release.
Released on 15th March 1982 with the future US club hit ‘Situation’ on the B-side; the track was a slow burner but eventually climbed to No2 in the UK charts, giving Clarke single success that easily eclipsed his former bandmates in DEPECHE MODE. The performance of the single gave Mute the confidence to allow the duo to record a full-length album which resulted in ‘Upstairs at Eric’s’.
‘Upstairs at Eric’s’, named after a place where Blackwing Studio engineer Eric Radcliffe lived and not as is usually thought the space above the studio, was a stellar jump for Clarke following DEPECHE MODE’s ‘Speak & Spell’ album.
Although there were similarities in sound with Daniel Miller’s recognisable ARP2600 drum sounds were still present and correct, gone were the lightweight/throwaway lyrics and in was a mixture of emotionally charged electronic pop like ‘Don’t Go’ and ’Only You’ with leftfield experimentation such as ‘I Before E Except After C’ and ’In Your Room’. Having recorded ‘Speak & Spell’ at Blackwing, it was the logical choice for Clarke to reconvene there for ‘Upstairs At Eric’s’.
But there was an initial hitch; fellow Mute artist FAD GADGET was booked into the main room with Miller, meaning that YAZOO had to work unsociable early morning shifts to accommodate labelmate Frank Tovey.
In an interview with The Quietus, Clarke is quoted as saying that neither he or Moyet really knew what they were doing in the studio and that songs were completed quickly without any unnecessary overdubs or re-works. Listening back to the album now, it is still astonishing how sparse and how few musical elements are present on the tracks.
The fact that ‘Upstairs at Eric’s’ just WORKS is down to the combination of beautifully direct songwriting, carefully programmed interlocking monosynth parts (at this point Clarke was still of the opinion that using chords was a “cop out”!) and Moyet’s incredible voice. In a KRAFTWERK aesthetic, there are no superfluous production elements and the tracks are allowed to breathe and give space to Moyet’s still stunning vocals and Clarke’s synthetic mastery.
A lot of credit for this must also be given to Eric Radcliffe; in interviews Clarke praises the producer’s openness with his studio techniques and commented “if I wanted to run a tape loop around the studio I could!”.
From the single opener ‘Don’t Go’ through to proto-house track ‘Bring Your Love Down (Didn’t I)’, the album showed that soulful vocals and cold electronics could be fitting bedfellows and still remains the measure against which any vocal / synth album should be judged.
Created using relatively minimal equipment like the ARP2600, Sequential Circuits Pro-One, Roland Juno 60, Roland TR808, Roland MC4 / ARP sequencers and a very recognisable Linn LM-1 on ‘Bring Your Love Down’, the album was (at the time) an ambitious piece of work that 36 years later, remains a career peak for both Clarke and Moyet.
Tracks such as ‘Midnight’ and ‘Don’t Go ‘ B-side ‘Winter Kills’ still pack a huge emotional punch and the beautifully understated latter would come as a huge shock for those used to the synthetic cheesiness of some of Clarke’s earlier work (see: ‘What’s Your Name?’).
The spoken word-based ‘I Before E Except After C’ was yet another curveball, featuring Eric Radcliffe’s mum and cut-up vocals by both Clarke and Moyet, it still remains a wonderfully eerie and hypnotising track, despite being very much at odds with the other pieces on the album. Tellingly, the track was maybe deemed a bit too experimental by Mute and was dropped for the first CD release of the album in favour of versions of the more commercial ‘The Other Side of Love’ and ‘Situation’.
Highpoints of the album include the era-baiting ‘Goodbye 70s’ and mainly instrumental ‘Too Pieces’; only the telephone-themed love song ‘Bad Connection’ comes across as slightly throwaway, but does at least counterpoint some of the darker-themed songs.
Upon release, the album proved itself to be a huge success on both sides of the Atlantic, hitting No2 in the UK and eventually going on to hit platinum status in the USA. Tracks from ‘Upstairs At Eric’s also latterly got syncs in the spy series ‘The Americans’ with both ‘Don’t Go’ and ‘Only You’ being featured in season 3 when Paige Jennings’ dad buys her the album as a far cooler alternative to a DURAN DURAN one. As a stop-gap, Mute released the lightweight ‘The Other Side of Love’ as a single before the duo reconvened.
Retrospectively, Moyet was less than charitable as to why the song wasn’t performed on the ‘Reconnected’ reunion tour: “We left out stuff that translated less well to live work. Personally I always thought ‘The Other Side of Love’ was a bit w*nk! It is my least favourite track. I didn’t like singing it and Vince was not bothered by it, so we left it out!” – it’s excluded from this retrospective as well.
With Clarke only envisaging the act as a one-album project, it took pressure from his publisher to persuade the duo deliver a follow-up which meant that ‘You & Me Both’ became the second and final YAZOO work. In comparison with its predecessor, there were two major differences in the overall concept of ‘You & Me Both’.
Firstly Clarke’s newly purchased Fairlight CMI (one of two bought for their earlier tour) is all over the album, giving a far more organic sound with marimbas, vibes and brass textures often taking precedence over the trademark synthetic ones. In an early interview with Deb Danahay for the YAZOO Information Service, Clarke confessed that the Fairlight was his “favourite synth”, primarily because “I don’t have to tune it!”.
Secondly, with a couple of exceptions, most of the lyrical content on ‘You & Me Both’ is an icy cold soundtrack to a break-up; the one and only single ‘Nobody’s Diary’ is a gut-wrenching tale; Moyet’s vocal line “…for the times we’ve had I don’t want to be, a page in your diary babe” could easily be directed at Clarke and his now notorious refusal to stick at his musical projects.
The working pattern on the album was more of a 9 to 5 affair, but involved Clarke creating his musical parts in isolation and then Moyet turning up at Blackwing to lay down her vocals without him around. ‘You & Me Both’ remains the only album to have a song fully vocalled by Clarke in ‘Happy People’ which MOYET refused to sing and also contains an early un-recorded Depeche live track ‘Secrets’ which became ‘Unmarked’.
The band announced their split shortly after the release of ‘Nobody’s Diary’ and this resulted in Clarke refusing to be involved with promotion of the album, leaving Moyet to talk to the press alone.
Although the new long player secured the duo a critically acclaimed and deserved No1 album, the lack of tour and promo meant that sales tailed off; ‘You & Me Both’ sold approximately half the units of ‘Upstairs At Eric’s’.
Even the 23 Envelope-designed album cover of two barely visible dalmatians fighting appeared to be a talisman for the sadly doomed musical relationship. Despite the acrimonious dissolution of YAZOO, the sense of their being unfinished business meant that Clarke and Moyet did reconnect for some live performances in 2008 which gave audiences a chance to experience the ‘You & Me Both’ tracks live for the first time.
Finally, a one-off get together at the Mute Short Circuit Festival in 2011 was the last time the duo would appear on the same stage. When asked as to whether this performance would be the band’s ‘last hurrah’, Moyet told ELECTRICITYCLUB.CO.UK: “Never say never, but I would say I doubt it would happen again.That’s more to do with the fact that Vince was married to DEPECHE MODE, he’s married to ERASURE and I’m like that transitional relationship. So it’s almost like when he comes back to perform with me, it’s almost like when he comes back to perform with me, it’s a bit like kinda having a shag for old times’ sake and that doesn’t really work when you’re married!”
So what of the legacy of YAZOO? A musical partnership which appeared an unholy alliance on paper worked out so well that it indelibly changed the face of modern pop music. Before even discussing credible artists which were influenced by Vince and Alison, ‘Only You’ cemented itself as a huge popular favourite with the acapella cover by THE FLYING PICKETS and a hybrid orchestral version (also featured in this package) was used as the soundtrack for the 2017 Boots Christmas advert. It’s almost impossible to imagine artists such as LA ROUX, LADY GAGA, ROBYN or GOLDFRAPP existing without the template that Clarke and Moyet forged and ‘Four Pieces’ provides a welcome opportunity to reassess their impact.
The BBC sessions will be the reason most will invest in this new collection, the versions of songs recorded for John Peel and David Jensen showcase a rawer sound with many alternative synth and drum sounds. The Peel version of ‘Don’t Go’ showcases a completely different lead sound which is a lot less sawtoothy, whilst ‘Midnight’ features an alternative synth arrangement to the one on ‘Upstairs at Eric’s’. The mix of ‘Bring Your Love Down (Didn’t I)’ recorded for Jenson features a contrasting lead melody synth, while ‘Too Pieces’ brings Clarke’s Fairlight to the fore and arguably ‘In Your Room’ excels over the one featured on the original album. Meanwhile, fans of Moyet’s vocals will also enjoy the subtle phrasing differences to those which appeared on the final mixes of the two albums.
Omissions? YAZOO completists would have appreciated the appearance of the duo’s TV work including ‘Get Set’, ‘The Other Side Of The Tracks’, ‘Trak Trix’ and ‘Data Run’ as well as the debut tour interval instrumental ‘Chinese Detectives’ and ‘Nobody’s Diary’ B-side ‘State Farm’, but this would be a minor quibble.
These are classic albums that will never get old, never really date and if you don’t have them in your collection now you have no excuse not to invest in a copy. Absolutely essential.
‘Four Pieces’ is released as a vinyl boxed set by Mute Records, a CD variant entitled ‘Three Pieces’ is also available from on 2nd November 2018
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. Since then, Baeckström has maintained a solo career in parallel with DAILY PLANET.
saw a guest vocal from Mac Austin of 
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are released by Progress Productions in CD and digital formats, downloads available direct from 
with both ‘Don’t Go’ and ‘Only You’ being featured in season 3 when Paige Jennings’ dad buys her the album as a far cooler alternative to a 
is released as a vinyl boxed set by Mute Records, a CD variant entitled 
is also available from on 2nd November 2018
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