“I don’t like country & western, I don’t like rock music… I don’t like rockabilly! I don’t like much really do I? But what I do like, I love passionately!!”: CHRIS LOWE
‘Null’ is the tenth album by ASSEMBLAGE 23 and with it, their mainman Tom Shear shows no signs of waning in his creative muse.
Titled around the concept of “zero” or “nothing” being either positive or negative depending on the context, while Shear’s deeply personal and relatable lyrical gists remain, ‘Null’ provides more wider social commentary than in the past and reflecting on the fact that the world has gone crazy!
The fine trancey opener ‘Believe’ accepts that the world is cold, indifferent and cruel with pain delegated yet there is still the will to believe in hope. The resigned but powerfully vibrant ‘Lunatics’ reflects that they really have taken over the asylum. With a sonic affinity to DIE KRUPPS’ electro alter-egos DIE ROBO SAPIENS, this is a rallying call against those in power and the oligarchs funding them. The media are complicit in spreading the messages of the monster raving loony far right but the fact is Nazis are bad and Charlie Kirk was a vile racist. So the fight begins now to get the world back before it is too late…
With a stark Mittel Europa chill, ‘Gone’ laments on loss despite the energetic stomp, reflecting on how as you age, one of the unfortunate things about that is the list of people who you know and who die grows. ‘Fuel’ adds something of an Italo bounce to the pessimism as the contrasts make a rousing pairing but Shear continues to know how to do a chorus.
The spikier speedier drive of ‘Tolerate’ highlights why ASSEMBLAGE 23 filled underground dancefloors at start of the 21st Century. Inspired by The Paradox Of Tolerance, Shear said in an interview with ELECTRICITYCLUB.CO.UK: “If you tolerate intolerance, then tolerance will cease to exist because the intolerance will wipe it out. So the point is, somebody who considers themselves tolerant has a limit… that line, once it’s crossed”
‘Normal’ takes things down to a less frantic pace but while possessing a machine groove, Shear expresses his desire for more certainty and normality his life as the synths ring out. The punchy cut and thrust of ‘Last’ stuns the mind, displaying an affinity with MESH in its piercing drama. Galloping mightily to ‘The Line’ with hints of DEPECHE MODE’s ‘Halo’, this blend of dark electronic pop influences provides another standout full of resigned drama when “it doesn’t matter anyway…”
The call to ‘Overthrow’ is strong with jagged backing to match in this electro-rock romp that parties like it’s 2002 again while the closer ‘Waited’ is classic ASSEMBLAGE 23 and what Shear’s fans love him for, with equal measures of heartfelt soul-bearing, synth hooks galore and driving club-friendly beats.
The future might be bleak but the resistance starts now. With its on-point social commentary, ‘Null’ ranks among the best of ASSEMBLAGE 23’s albums and provides a soundtrack to help navigate around and against the ensuing chaos.
LEISURE PROCESS were a short-lived duo comprising of Ross Middleton (vocals, guitar + keyboards) and Gary Barnacle (sax, flute + keyboards) who, thanks to their four singles produced by Martin Rushent, are perhaps the missing link between his work with Pete Shelley and THE HUMAN LEAGUE.
Dealing with the realities of young manhood, Ross Middleton perhaps read far too much Nietzsche and with his long coat presented himself as a something of an anxious figure. Hailing from Glasgow, he had been the front man of POSITIVE NOISE which also featured his two brothers. The band were represented by Schoolhouse Management who also looked after SIMPLE MINDS.
Meanwhile, Dover boy Gary Barnacle came from a musical family and seemed to be far easier going. Making his name as a session musician between 1979 to 1982, he even ended up playing sax with THE CLASH on ‘This Is Radio Clash’ having been school mates with drummer Topper Headon. It was through POSITIVE NOISE that Middleton and Barnacle met.
A typical post-punk band, POSITIVE NOISE fell under the spell of Factory Records, issuing singles not included on albums with different sleeves for 12” and 7” versions. Although the frenetic spike of Edinburgh neighbours JOSEF K could be heard on ‘Give Me Passion’, the 12” artwork featured a photograph by Bernard-Pierre Wolf whose work had adorned the iconic cover of JOY DIVISION’s ‘Closer’. Dominated by Middleton’s enigmatic overwrought vocal style, the 1981 debut album was not surprisingly titled ‘Heart of Darkness’ and the haunting spectre of JOY DIVISION loomed on the closer ‘Ghosts’.
‘Heart of Darkness’ featured Barnacle on a number of songs with his sax featuring prominently on the brighter new pop of ‘And Yet Again’. But it was on the next single ‘Charm’ with its funkier motifs and brass arrangements by Barnacle that the seed of LEISURE PROCESS (INTERNATIONAL) was planted. With Middleton having found the funk, Barnacle introduced him to the then-comparatively unknown LEVEL 42, playing him an extended jam he had done with Mark King and Phil Gould.
Middleton wrote some vocal lines along with a chorus and an embryonic version of ‘A Way You’ll Never Be’ was born. Just as Paul Haig left JOSEF K to pursue more electronic dance pop pursuits as a solo artist, Middleton left POSITIVE NOISE to form the shorter designation of LEISURE PROCESS, although the “International” extension would creep into the production credits and the odd sleeve!
Recording a number of demos, Middleton and Barnacle took their tape to Epic Records where through POSITIVE NOISE’s publishers, an appointment was arranged with Head of A&R Muff Winwood who had produced SPARKS ‘This Town Ain’t Big Enough For Both Of Us’. He signed LEISURE PROCESS within the hour and the pair were despatched to Genetic Studios to work with Martin Rushent, fresh from having finished his production duties on THE HUMAN LEAGUE’s ‘Dare’.
The brilliant first single ‘Love Cascade’ issued in March 1982 combined clattering Linn Drum, pulsing synths, squawky guitar, slinky sax and virtually unintelligible vocals for a cool dancefloor friendly number. Capturing the decadent spirit of the times, despite getting several “Single Of The Week” type accolades from the music press and BBC Radio1, there was a mess up at the CBS pressing plant which handled Epic releases. It meant the record was not actually available in the shops until a month later the official release date. Momentum inevitably stalled and an almost certain hit fell through the cracks!
Those who did manage to buy the 12” of ‘Love Cascade’ were treated to two self-produced B-sides showcasing the duo’s diversity; ‘The Fluke’ was an impassioned ballad with piano from Dave Formula of MAGAZINE while ‘The Sun Turns Black’ actually saw brother Steve Barnacle do a bass turn reminiscent of that very band’s Barry Adamson.
Now finished with Martin Rushent and like a jazz funk Bill Nelson backed by Mark King and Phil Gould, ‘A Way You’ll Never Be’ was issued as the second LEISURE PROCESS single but again failed to chart. With ‘Rachel Dreams’ as the tense synth ‘n’ sax’ flip, Middleton and Barnacle soldiered on but heading into 1983, the third single ‘Cashflow’ moved away from the dance template.
A Schaffel stomp with bursts of distorted sax with live drums by yet another Barnacle brother Peter, ‘Cashflow’ was less immediate and may have alienated purchasers of ‘Love Cascade’ and ‘A Way You’ll Never Be’. Meanwhile in the B-side, ‘The Émigré’ was an instrumental that demonstrated LEISURE PROCESS’ filmic potential with Middleton’s Spaghetti Western atmospheres offset by Barnacle’s flute alongside his characteristic sax.
The fourth and what turned out to be the final LEISURE PROCESS’ single was the bouncy ‘Anxiety’, the duo’s most overt disco pop statement yet. With cartoony female vocals THE G-SPOTS that wouldn’t have sounded out of place on a Kid Creole record, it featured a very busy but complimentary arrangement where Barnacle’s sax and Middleton’s vocals managed not to clash. Backed with ‘The Company’, a much darker and buzzier proposition, with their most commercial offering not even denting the Top 75 in the UK singles chart, the end was nigh. LEISURE PROCESS were quietly dropped by Epic Records in a practice that was very common where albums already in progress would be scrapped in the absence of hits to promote them.
While it is well documented that Gary Barnacle would go on to become one of the world’s top session musicians with a CV that includes CHINA CRISIS, VISAGE, SOFT CELL, ERASURE, ULTRAVOX, PET SHOP BOYS, CAMOUFLAGE and LEVEL 42 as well as Kim Wilde, Tina Turner, Phil Collins and Rick Astley, Ross Middleton would actually go “missing in action”. Having already missed recording sessions, TV appearances and now becoming an alcoholic, the Scot was suffering from undiagnosed clinical depression which would not be treated for another 20 years.
But what might the debut LEISURE PROCESS album have sounded like? From the ever dependable Cherry Red Records, a new 2CD set ‘The Complete Epic Recordings’ gives some indication. Collecting together all the tracks from their four 7” and 12” singles, there are also demos of songs intended for the shelved 1983 long player ‘Remarkable People With Interesting Lives’ while Ross Middleton provides some frank and informative booklet commentary.
With ‘Sweet Vendetta’, one can imagine the backing track being suitable for one of Pete Shelley’s two solo albums ‘Homosapien ‘XL-1’. In 6/8 time with electronic wind instrumentation, ‘Pentagon’ is shaped by a rattling live percussive presence while ‘Learning To Love’ fuses the Motown backbeat to bleeping synths and a slap bass run.
The moody ‘Interesting Lives’ is much more cerebral but with the involvement of Martin Rushent, ‘History Of My Heart’ has more of a midtempo new wave rock feel while the pacier metronomic ‘Call Me President’ with its Far Eastern flavoured keyboards fits in with the Cold War angst of the times. There are three unfinished instrumental sketches too, all layered with padded synth but while all are listenable, their potential is inconclusive.
Today while Gary Barnacle has toured the world with SOFT CELL, Ross Middleton is promising new music as part of the leisurely process. Until then, the original LEISURE PROCESS portofolio is finally in the digital domain, waiting to be discovered and enjoyed. One definitely for Martin Rushent completists but in its mix of post-punk, funk, synthpop and new wave disco with distinctive honest vocals, they certainly don’t make acts like LEISURE PROCESS anymore.
After two instrumental albums, the new Hilary Woods record ‘Night CRIÚ’ sees her return to songs and singing.
Written and produced by Hilary Woods, ‘Night Criú’ was mixed by Dean Hurley, best known for his work with the late David Lynch and a number of artists on the Italians Do It Better label. It features an international cast too with contributions from The Hangleton brass band and children’s choir from Brighton, violinist Oliver Turvey, Portugese percussionist Gabriel Ferrandini and Slovak flautist Ajo Gonsenica.
As the title suggests, this is an emotive nocturnal work, but while its predecessor ‘Acts of Light’ was drenched in monochrome, ‘Night Criú’ sees bursts of colour emerge from the shadows. While sparse in structure, the 7 songs have a breathy expansive depth of feeling and sonic artistry, the lyrics are themed around what it means to be human in the face of tyranny and oppression. There are also influences from Czech and Italian cinema, the revival of indigenous language and Hilary Woods’ own growing up in Ireland with its history of processions and parades.
The haunting ‘Voce’ combines scratchy cello, solemn drones and funereal beats while the minimal ‘Faults’ is also drone laden with a gentle backbone, Woods sounding fragile yet beautiful with the surprise of a distant brass band punctuating the frozen air.
On the eerie ‘Endgames’, there are hints of sparkles within its foreboding drama. Although initially stripped down to the bone of a deep acoustic guitar, ‘Brightly’ builds its mood as bowed orchestrations tear at the heartstrings, recalling GOLDFRAPP’s ‘Deer Stop’. Circling around a percussive loop of what appears to be pots and pans, ‘Taper’ is the sound of Nancy Sinatra if she had been born in Eastern Europe and when the children’s choir comes in, the moment is simply spine tingling!
A collection of choirs set to a drone, ‘Offerings’ is more an experimental montage acting as an interlude before the closer ‘Shelter’; this is Hilary Woods’ own ‘Mysteries Of Love’ and an exquisite conclusion to ‘Night Criú’.
Hilary Woods said: “Each record is a life buoy, a raft, a snapshot, a marker in the sand, a date that requires me to meet it. Making records is a way of being”. Immersed in artistic integrity, this is a wonderfully grainy filmic record that mourns and reclaims a lost innocence all at the same time. A gentle aural ceremony of light and shade, ‘Night Criú’ is something to savour.
Marrying the pleasure with the pain, A THOUSAND MAD THINGS is the solo synth artist William Barradale who finds solace in untempered expression.
He has already impressed by opening for THE HUMAN LEAGUE earlier this year on Brighton Beach while thanks to a licensing deal, he is also label mates at Nettwerk Music Group with LADYTRON. ‘Cry & Dance’ is the debut EP release from A THOUSAND MAD THINGS and takes listeners on a shadowy journey through adolescent memories, queer love and loneliness.
With his haunted demeanour and navigating young manhood as a tortured outsider, William Barradale’s vocal delivery falls under the spectre of those late doomed romantics Billy MacKenzie of ASSOCIATES and Trevor Herion of THE FALLOUT CLUB.
‘Wide Awake’ at first comes over like the generic darkwave that has afflicted electronic pop over the past few years but victory is snatched from defeat with a soaring chorus to savour. ‘Girl’ focusses on deeper resonances and takes its lead from SUICIDE in its bass line but ‘Local Guys’ is embroiled in tension as Barradale showcases his emotional range as he reflects on the violent turns of former acquaintances.
Rhythmically ‘She’s on the Run’ is shaped by that classic synthpop bounce with piercing string machines while to close ‘Cry & Dance’, ‘My Car’ percussively recalls ‘Fade To Grey’ with hints of OMD in the melancholy stakes.
Possibly the most promising male UK synth act since MIRRORS, it will be interesting to see where A THOUSAND MAD THINGS goes and where William Barradale takes things next following this enjoyable short and sharp debut EP.
Jerome Froese, the sound architect who fuses electronics, guitar and emotion is back with his fourth solo album ‘Sunsets in Stereo’.
Formally a member of TANGERINE DREAM alongside his father Edgar, he has also made music as LOOM with another former TD member Johannes Schmoelling as well as collaborating with Claudia Brücken with whom he released an album ‘Beginn’ in 2018.
Embellishing his trademark guitartronica sound, Jerome Froese has brought in additional influences from post-rock and dreampop for ‘Sunsets in Stereo’ which sees him explore themes of resilience, reflection, and hope.
Photo by Anja Kathmann
To a sunset strum, ‘Hope’ develops into a burst of guitar layered chill out with female voices to start before ‘Lemonade Clouds’ adds more prominent drums and rocks out in a livelier concoction. But ‘The Clock That Forgot Time’ explores more electronic climes with cascading synths and shimmers over a strident drama for an early album highlight.
The ivory dressed ‘Where We Belong’ is gentler with sparing guitar textures recalling Robin Guthrie’s ambient work initially although these six string interventions get louder alongside the progressive trapped percussion. ‘Flowers and Skywriters’ is a piece that grooves in its rhythmic shuffle and develops into a rock jam with plenty of soloing but with something of an electronic bounce, ‘A Game of Hearts, Played with Fire’ sees the female voice return but in a more cooing fashion which might surprise some, although the kerrang makes its presence felt.
After that, the ‘Sunsets in Stereo’ title track is more laid back before ‘Blow the Fuse, Ignore the Galaxy’ does exactly just that in its explosive tension. ‘Feel Your Ghosts’ does the full metal racket after a sedate start although as if the best is saved until last, ‘Endless Sympathy’ is wonderfully floaty and spacey but as it reaches the middle phase, the space gets rocky but as waves of flute drift into the mood, there’s a canter before the full stop.
“It’s about overcoming the noise – both inside and out – and rediscovering beauty in chaos” says Jerome Froese as he reaffirms his place bridging the past and the future with this cinematic and deeply personal album. ‘Sunsets in Stereo’ provides a combination of noisier guitar-derived textures and brighter electronic soundscapes in a manner that will be appreciated by those who prefer their ambient on the rockier spectrum.
‘Sunsets in Stereo’ is released by Moonpop on 31st October 2025 in CD and digital formats
We use cookies to ensure that we give you the best experience on our website. If you continue to use this site we will assume that you are happy with it.
Follow Us!