Category: Interviews (Page 2 of 111)

Vintage Synth Trumps with JOHN FOXX

4 November 2024 /

Photo by Benge

While Gary Numan is often seen as the synthesizer’s first major pop star, his biggest influence was the first incarnation of ULTRAVOX! lead by John Foxx.

Following that self-titled 1977 debut with tracks co-produced by Brian Eno like ‘My Sex’, ULTRAVOX! gradually increased their use of synthesizers as part of a sound that stood out at the height of punk. The leadlines and soloing on ‘The Man Who Dies Every Day’ from their second album ‘Ha! Ha! Ha!’ demonstrated how powerful and fierce synths could be.

After the third album ‘Systems Of Romance’ in 1978 produced by Conny Plank which spawned standout moment such as ‘Slow Motion’, ‘Quiet Men’ and ‘Just For A Moment’, the technology had become so affordable and straightforward to use that Foxx saw he could realise his future musical vision without a band. Using just synths and drum machines with occasional bass guitar, the end result was the seminal 1980 debut solo album ‘Metamatic’ engineered by Gareth Jones. “It was minimal, primitive technopunk” said Foxx, “Car crash music tailored by Burtons”

For a short period with singles like ‘Underpass’, ‘No-One Driving’ and ‘Burning Car’, John Foxx became an unlikely pop star in his grey suit with Top40 hits, appearances on ‘Top Of The Pops’ with a band all equipped with Yamaha battleship keyboards and a previously unreleased track from the ‘Metamatic’ sessions ‘My Face’ given away free on a flexidisc attached to the front cover of ‘Smash Hits’ magazine.

Despite what appeared to be a long hiatus between 1986 to 1990 which can now be seen as nothing by today’s standards, John Foxx has been extremely prolific in his solo work and collaborations with the likes of Tim Simenon, Louis Gordon, Jori Hulkkonen, Jim Jupp, Robin Guthrie, Theo Travis, Steve D’Agostino, Steve Jansen, the late Harold Budd and his main partner-in-crime during the 21st Century Ben ‘Benge’ Edwards aka THE MATHS.

John Foxx is not just known for his music but he is also an esteemed visual artist. He recently published a 224 page book ‘Electricity & Ghosts’ collecting reproductions of the varied artistic media he has worked in, including drawing, photography, painting, graphic art, sculpture and collage. Created in collaboration with Grammy award winning graphic designer Jonathan Barnbrook, it includes a unique first-person narrative of his early college artworks and the creation of ULTRAVOX! which was initially conceived as an art project.

With ‘Metamatic’ soon to celebrate its 45th Anniversary, this was the perfect time for ELECTRICITYCLUB.CO.UK to chat to John Foxx about his close encounters with synthesizers through the years over a game of Vintage Synth Trumps in Düsseldorf, the spiritual home of modern electronic pop.

Photo by Chi Ming Lai

OK John, the first card is a Sequential Circuits Pro-One… had you ever used much equipment from them before?

Not personally no, but Duncan Bridgeman who played on ‘The Garden’ album did. There were some very fine sounds he came out with.

On ‘The Garden’, there was a lot more of a band sound like on ‘Dancing Like A Gun’ and ‘Walk Away’, so were they shaped by jamming together?

I’d bring the song in and play it, then Duncan and Jo Dworniak who is a great bass player,  together with Robin Simon from ULTRAVOX! So we’d get together and go through the song a couple of times and then record it.

Duncan Bridgeman and Jo Dworniak were from this Britfunk band I-LEVEL, so how did you come across them?

It was in the studio, I’d heard them recording and thought “these guys are good” so I had a chat with them and it turned out they knew about my music and particularly liked the song ‘Metal Beat’ because it wasn’t regular time, it wasn’t “funky” but it had a broken up rhythm and they enjoyed that. So we got together to try out a few songs and it worked really well.

Next card and it’s a Korg 770…

I liked Korg stuff, a lot of people used it. I had some Korg keyboards although I preferred Roland. THE HUMAN LEAGUE had quite a bit of Korg and profited greatly from it. I remember having a conversation with Martyn Ware about the early synths they got, his first one was a Korg I understand…

The affordability of Korg made things more accessible so could you see a wave of creativity coming with these cheaper synths?

Yes! Because much earlier, the first people I knew who got a synthesizer were GLORIA MUNDI from which Eddie and Sunshine came. Sunshine bought a synthesizer and she put that through an amplifier, it was a knockout sound, so I thought “I’ve got to get one of those!”. It was that which started my interest in actually buying one. This was before ULTRAVOX! had recorded anything.

Did the rest of ULTRAVOX! need much persuading at the time to get into synths and technology?

Not really, Chris Cross particularly was great at getting hold of synths, Billy Currie did it slightly later because we needed to spend more money and we didn’t have any. I remember suggesting to Warren Cann about getting involved is using a drum machine and when he got to grips with it, he really enjoyed it, this was when we were recording ‘Hiroshima Mon Amour’. I asked him to switch in rhythms live which he did really well as I played guitar and sang it. That was the beginning of it.

You mentioned Eddie and Sunshine earlier and they did your first ‘Top Of The Pops’ appearance with you… this was visually significant because they all had big Yamaha CS80s. Although they weren’t actually on ‘Underpass’, did you have to hire those in?

No, I couldn’t afford to! The BBC kindly did it for us, they didn’t actually ask us, they planted these things there because they looked good. I use one now because Benge has one, I don’t know how much he paid for it, something like £5 I think but it’s worth a fortune now because it’s one of the most complex synths ever made!

Next is a Roland SH101, did you ever own one?

I have used a 101 but triggered with a rhythm to make bass parts. It was very useful for that but I never used it for anything else… I sold it after I used it which was foolish! I did that quite often!

They’re worth quite a bit now!

I know! Everything I sold is worth quite a bit now! *laughs*

Obviously working with Benge, he has massive synth armoury but when you owned The Garden studio, did you have a stash of synths for artists who hired it used?

They usually brought their own stuff although I did have quite a collection by that time. I particularly loved the Jupiter 8 and I didn’t want anybody to touch it! But when Matt Johnson of THE THE came in, he surreptitiously took it out of the store room and started using it. He had a really great time with it apparently but I didn’t mind, it’s what happens in studios! *laughs*

Ah, the next card is a Korg Poly 6, I seem to recall when you started working with Benge that you quite liked the Korg Mono/Poly?

Yes, although it’s not that I favour one synth over another, some are appropriate for what you are doing. Benge is usually the one who says “let’s try this one” and I’ll try a few synths out and one will sound right. There’s no particular favouritism going on, far from it, you just want the right sound.

You have the 45th anniversary of ‘Metamatic’ coming out and there’s a new vinyl remaster??

Yes, we’re trying to digitise the old tapes but we might have re-digitise it because digitisation changes in quality over the years, so it’s better now than it has been.

A lot of the stuff that was in the ‘Metamatic’ vaults is out now but is there anymore left?

Well, there are lots of bits because Gareth Jones and I used to put things down at the end of tapes to see if we got a good sound, you could never get the same sound back again. So we put things down like drum machine and processing though flangers and phasers and all that, sounds on the ARP or whatever sounded interesting to remind ourselves what we were doing because quite often when you’re making sounds, you don’t get to the sound you want but halfway there, something interesting happens so you want to keep it, but you still need to go on get to the sound you want. So there are lots of moments like that which we recorded.

Another card and it’s the EMS VCS3… as a youngster, did that fascinate you seeing it being used on the telly?

Oh yeah, Brian Eno had one when we were in the studio with him and Chris Cross enjoyed playing with that, I think he used it on ‘My Sex’ for one of the parts. So he later bought the compact AKS suitcase version, that was the first synth we got so that’s the memory of that one. Eno used it extensively on all his records like ‘Another Green World’, it was a great record, I thought it was like a new kind of jazz, it was non-conventional jazz, it was kind of freeform music. There were pieces on that record like ‘Sky Saw’ which even now sounds tremendous. And ‘Becalmed’ is a lovely track so it was the beginning of Eno finding his feet properly in the studio, moving away from rock ‘n’ roll into something else.

Now ‘Another Green World’ was notable for being half vocal – half instrumental and paved the way for similarly structured albums like David Bowie’s ‘Low’, is that something you would ever consider in your future works?

No, I don’t like mixing the two. I think they should be separate because I don’t think albums should be like a variety show. I think they should set a mood or a world that you go into, and I don’t want any disturbance in that.

That’s an interesting answer…ok, final card and it’s an EDP Wasp…

Ah yeah, Wasps, great fun! I used to borrow one because lots of people had them. I knew where to borrow things from. You can get some beautiful sounds from them.

Photo by Chi Ming Lai

You have this book ‘Electricity & Ghosts’ out compiling your graphic designs, what was the idea behind this?

Like all these things, when I pop my clogs, it’ll all get shuffled into the dustbin if I don’t do anything with it! And it’s as simple as that really!

Your visual art uses a lot of collage like the artwork for the ULTRAVOX! singles ’Slow Motion’ and ‘Quiet Men’. Leading up to your third solo album ‘The Golden Section’, the preceding singles ‘Endlessy’ and ‘Your Dress’ had collage art but for the album cover, you opted for a striking portrait photo taken by the late Brian Griffin, what was your thinking behind that?

It was just me trying to look my best, I was trying to look good! *laughs*

Was the photo intended for the cover or was it you had the photo taken for some other purpose and you liked it?

No, I wanted it to be like that and I already had the name ‘The Golden Section’. I thought “what can I do visually for that?” and then I realised I could do it with Brian Griffin because he used tungsten lighting in his photography and I’d used a lot of it, so it gave you that very rich “golden” effect. I felt it would be right so I had a word with Brian and he said yes.

Photo by Chi Ming Lai

Finally, your favourite synth of all time and why?

Oh, the ARP Odyssey… it’s the best noise making little brute you can ever come across. I still haven’t exhausted it, I’ve been using it for 50 years now and it still surprises me.

ELECTRICITYCLUB.CO.UK gives its warmest thanks to John Foxx

Special thanks to Steve Malins at Random Management

‘Metamatic’ is released as a 45th anniversary a grey vinyl edition on 17 January 2025, pre-orders through the Official Store will include a limited edition signed print of the album artwork at https://johnfoxx.tmstor.es/product/152300

‘Electricity & Ghosts’ is published as a hardback book available from https://eu.rocket88books.com/products/electricity-and-ghosts-classic-edition

Vintage Synth Trumps is a card game by GForce that features 52 classic synthesizers, available from
https://www.juno.co.uk/products/gforce-software-vintage-synth-trumps-2-playing/637937-01/

http://www.metamatic.com

https://www.facebook.com/johnfoxxmetamatic

https://twitter.com/foxxmetamedia

https://www.instagram.com/johnfoxxofficial/

Text and Interview by Chi Ming Lai
4 November 2024

808 DOT POP vs LECTREAU Interview

28 October 2024 /

With six albums to their name, Belgian electronic duo METROLAND have been bringing synthetic sounds from the underground since their release of their debut album ‘Mind The Gap’ in 2012.

While Passenger S and Passenger A released their most recent album ‘Forum’ earlier in 2024, the pair have been maintaining parallel solo projects. First off the mark was Passenger S with 808 DOT POP in 2020 with ‘The Colour Temperature’ in a smoother refinement of METROLAND’s conceptual adventures before following up with the triple opus ‘Pop Radio’ in 2023.

Meanwhile, Passenger A launched LECTREAU in 2023, a far more techno-based proposition with the influence of ORBITAL looming heavily that so far has come in the form of an EP ‘Elated’ and a series of digital singles, the latest of which has been ‘Monochrome’.

ELECTRICITYCLUB.CO.UK are a mischievous bunch and thought it would be interesting and fun to ask Passenger S and Passenger A to answer same set of questions about 808 DOT POP and LECTREAU independently and without prior collective discussion; this is the end result…

After several albums as METROLAND, why did you feel the need to undertake solo projects?

Passenger A: Well, we have been doing METROLAND since 2012 and we have touched a million sounds and areas. METROLAND is a perfect common ground of two souls where pop, electronica and synths meet. It is that input of two people that is the strength of the METROLAND trajectory, but at times you feel that one is pushing the other in a way (or trying to) to meet his needs. LECTREAU was born out of an itch I simply could not scratch as I tend to move into a more danceable and techno-ish direction. It is not a need, but more a humble attempt to make something else that METROLAND does not have place for.

Passenger S: Personally, I found myself at a stage where the workload in METROLAND was not tipping in my favour at all. I was managing far too many tasks on my own, and when I finally realized that almost everything was resting on my shoulders, I decided that if I had to put in so much effort into something that wasn’t fully mine, I could just as easily focus that effort on something that was. From a musical perspective, after the challenging recording of ‘Men In A Frame’, I felt a certain limitation regarding the warmer aspects of METROLAND’s sound. There were numerous elements I longed to incorporate that simply didn’t make it through.

When working solo, what might you miss about the other?

Passenger A: Input, crystal clear. My partner in musical crime is a complete audio freak when it comes to endmix where I tend to go more for the sphere and the organic feel of the songs. So, that is not what I miss now and then; it is more a sound of layer of that extra crazy idea to move a song further into a next stage.

Passenger S: It’s quite simple, really… nothing. With 808 DOT POP, I’m fully self-sufficient in my own world: I develop my own concepts, enjoy every research step I take (I can watch YouTube documentaries for days and days), next create the music, produce, and mix all on my own. I get to decide on every sound and detail, which felt liberating at the beginning, that is why I am still going. It may sound a bit harsh, but it’s really not! 😉 METROLAND now simply has a new competitor to keep in mind.

What would you do solo that you would never do in METROLAND?

Passenger S: I had plenty of ideas I wanted to dive into without needing consent. Since I mix both the METROLAND and 808 DOT POP albums myself, I’m always walking a fine line. However, with 808 DOT POP, I tend to push the boundaries a bit more when tweaking the knobs, bringing in 808 elements that you wouldn’t typically hear in METROLAND.

Passenger A: Go totally techno or trance. That is an unspoken no-go in METROLAND. It grew like that.

808 DOT POP took the traditional album route straight away while LECTREAU has gone with the modern singles streaming method? What are the pros and cons of your approaches? Have they worked?

Passenger S: I take great pleasure in working with a solid, well-defined concept because that cannot be compromised by the release of single songs. Songs without a cohesive link don’t resonate with me. When things are connected, it really enhances creativity and brings out the best ideas. I also love to read and immerse myself in the setting of such a concept. I make it a point to learn as much as I can by buying books, watching DVDs or YouTube and thoroughly exploring the subject. Always one goal in my mind: How to turn a subject into a vivid aural world, accompanied by matching art and info.

Passenger A: I guess the fact that 808 DOT POP was able to make music within the label’s vision where METROLAND is signed made that a logical step. LECTREAU had only one option, apart from writing or trying to contact a label that would be interested in what he is doing. Here I must admit that my inspirations are so wide and vast that it is very hard to find a label that would host all the genres that I touch. It is always electronic, never techno like ANNA or Charlotte De Witte, but still if you go through the musical portfolio, you will notice that some songs are miles apart from each other. I don’t set out to make it like that, it is again that organic flow.

I follow my musical heart and ears. That one particular sound triggers me into a direction and I don’t fight it. It is in a way, very liberating. Does it work, you ask? It just feels natural. A pro is that I don’t need to link songs to each other in terms of sphere or sounds, I just make one and on to the next. Same for art work; I just make a cover and move on. This gives me more time to make more songs instead of the turmoil of finding those links.

What is the favourite solo track that the other has done so far?

Passenger A: I think that would be ‘Ultraviolet’ from the first 808 DOT POP album. I love the nervousness and “electro” feel of the track.

Passenger S: I don’t really track Passenger A’s activities closely. I have to say, when he shares his demos, I catch some lovely and interesting features. The problem is, I often approach them with a METROLAND mindset, which isn’t quite right, causing me to overlook his tracks. My former answer on individual songs plays a big role in that, I lack something overarching, single songs are not enough for my appetite. But, it’s Passenger A, his solo endeavour, and I’m not involved in that. However, it’s important to understand that there’s really no rivalry about who excels on his own. When we unite as METROLAND, we make ‘our’ music, have fun, and enjoy a beer together. Our shared passion for music is what matters, and METROLAND is a reflection of both of us.

‘Elated’ came with an 808 Dot Mix, doesn’t that now make it METROLAND?

Passenger S: This statement is somewhat accurate. Almost all the remixes released by METROLAND were created by me, with Passenger A participating in just a handful of them. Yet, there’s always some level of constraint. 808 DOT POP has its own distinct flavour and sound, which makes it easy for me to differentiate between a METROLAND mix and an 808 DOT POP mix. METROLAND offers a grittier sound with deeper and darker palette of tones, in contrast to 808 DOT POP, which sounds like a sweet candy store filled with layered sequences. The remix I created of ‘Elated’ is packed with plenty of 808 flavours and treats from that candy shop. It might be more accurately referred to as Passenger S’s 808 DOT POP mix.

Passenger A: Absolutely not, as it would have turned out tooooootally different. There were sounds and percussion that would not make it into the METROLAND studio.

What about the Eclipse series of mixes of the 808 DOT POP and Lis van den Akker single ‘Catching The Sun’? How was this approached?

Passenger A: That was a surprising thing. I sent the audio tracks of my version over in order to have the endmix better. It came back with an additional edit and dub where the other one went nuts. He did ask for my approval, but how could I say no to creativity?

Passenger S: At that point, Passenger A was just kicking off his project, and I thought it would be nice to give him a little boost. The foundation of the original mix was completely his, and I handled the final mix down, along with the creation of the edit and the dub. I found the idea really appealing, and the sweetest detail is that the little boy in the artwork is none other than Passenger A himself 😊

What about your own favourite solo tracks?

Passenger A: For LECTREAU that would be ‘Apricity’ (hence the naming of the label that I created for me and one other artist who shall remain nameless). As some might know, for me ORBITAL has been a huge inspiration since I first heard them in the 90s. Even in METROLAND here and there you will find some parts that could have been delivered by the Hartnoll brothers. ‘Ikone Der Moderne’ from the ‘Triadic Ballet’ album is a good example. The intro of that song is pure ORBITAL for me. It is even more present in the live version of ‘Ikone Der Moderne’.

‘Apricity’ is for me an ode to ORBITAL. The melody, the build-up, the sampled vocal (it is my niece, living in Canada by the way) and the sound all breathe ORBITAL. The single ‘Monochrome’, released recently, has evolved in that same fashion; ORBITAL. To make sure, I don’t set out when starting up my machines, it just organically moves like that.

Passenger S: Each song you share with the world is one that you cared about deeply while writing, whether it took you 5 minutes or 5 months, it was approached with the dedication of a monk. For this reason, I never criticize the creations of fellow artists, as I truly understand and respect their viewpoints.

The process of making music can be quite lengthy and demanding, especially during the mixing phase. I often find myself spending weeks fine-tuning a sound until every little detail is just right. Once my music is out in the world, I am so fed up with these songs I seldom revisit them; it’s all about moving forward to the next creations. I couldn’t even recall the songs from ‘The Colour Temperature’, let alone the ones we produced for ‘Mind The Gap’ back in 2012.

During the making of ‘The Colour Temperature’, I distinctly remember a track called ‘Radiation Laws’ (I really had to look up that song title again), that song came to life during a challenging period for me, yet the intro had a sequence that felt so uplifting, and I recall that it was linked to one very positive moment. When I listen to it, I’m transported back to that moment. It’s fascinating how electronic music can stir up such cherished memories; it’s definitely more than just cold and mechanical sounds.

While all this has been going on, METROLAND continues in parallel with the new EP ‘Cooperation’, a track from the ‘Forum’ album, why did you pick this to rework?

Passenger A: ‘Forum’ started out from an idea to remix ‘Industry’, but we felt it was not enough, so the idea of a linked album to ‘0’ followed. Due to the short time we had, not all tracks are ripe for remixing or making it a single. ‘Cooperation’ felt a like a logical choice.

Passenger S: ‘Cooperation’ hasn’t been completely reworked, I just trimmed it down for a radio edit and created an extended version. It’s a favourite among many who played ‘Forum’, but I have to admit, I’m not a fan. It was one of my biggest struggles to get the mix right. I even re-recorded it after the initial mastering because I just couldn’t get it to sound how I wanted. This really shows how much effort I put into tweaking a track. Even now, I don’t feel satisfied with the mix, but it seems most fans have a different opinion. The extended version highlights all the layers in the song, serving as a way for me to express, “Guys, this was the toughest song I’ve ever mixed.”

Overall, are you happy with how the last two METROLAND albums ‘0’ and ‘Forum’ have been received with their future economics themes?

Passenger S: I must say, the entire idea was absolutely fantastic, a delightful futuristic theme that kept progressing, clearly showing in both ‘0’ and ‘Forum’. I remember a few years ago while on vacation, I did read Klaus Schwab’s book, ‘The Fourth Industrial Revolution’ which was quite overwhelming at the time.

As always, every release and every little detail was meticulously planned. From the launch of ‘4’ (the 12-inch single) to the countdown leading to ‘0,’ culminating in ‘4.0’. The album title ‘0’ echoed The Fourth Industrial Revolution, a title that could be pronounced by listeners in any language.

Passenger A: Personally, I adore ‘0’. The length of some songs was crazy while we were doing our best to keep it interesting for the listener with filters and layers and a million moments where things happened before they know it. As we work in themed approaches, we focus on the music itself and the concept in a whole. This does not mean that we agree with the economic or political view on it. Still we have gotten some weird questions in interviews at the time about this. I guess that some people cannot see through the METROLAND vision.

‘0’ is darker than ‘Forum’ in sense of songs and art, and some fans prefer one or the other, so reception has been good for both. Someone once wrote “finally METROLAND have moved into their own sound, away from KRAFTWERK”. I agree wholeheartedly, but we feel that at times some fans expect it and even if a song has this Krafty flavour, it is not something we strive for.

Talking of the future, how do you think AI might influence your music?

Passenger S: At this moment, I’m not quite sure what lies ahead, so let’s wait and see what unfolds. I’m all for embracing new technology if it leads to something better. It could be fun to put out a song with AI-generated vocals, why not explore that (just want to point out, not “copying” existing singers and their voice)? When I use a synth module today to create a random sequence, it could just as easily be produced by AI, right? It’s too soon to make any definitive decisions, the future is something that some people fear, exciting for others, while some choose to remain in a comfortable middle ground.

Passenger A: It already does; 90% of my art work is built on AI art. I am also exploring some ways to include AI vocals, as we speak. It will not influence it, it will just be an ingredient or not.

What is next for 808 DOT POP and LECTREAU?

Passenger S: Regarding 808 DOT POP, I’m currently working on an exciting new trilogy. Yes, three albums that are intertwined within one concept. It’s going to be a true ‘Gesamtkunstwerk’, leading the listener back on a journey to a not-so-distant past. There was a lot, and truly a lot to investigate and I’m just about done mixing all 24 tracks, along with writing the accompanying material…I will stick to that information… keep a close eye on my Facebook or webpage.

Passenger A: For LECTREAU, more singles coming up and I am working on two remixes for one band. Again, it was very organic how that came about. I had an idea for a sound, but that would not fit in the remix I was doing. So I decided to make two because that sound was amazing. I don’t think the band will oppose to it 😉

ELECTRICITYCLUB.CO.UK gives its warmest thanks to Passenger S and Passenger A

808 DOT POP ‘The Colour Temperature’ and ‘Pop Radio’ are released by by Alfa Matrix, available from https://www.808dotpop.com/shop.html

https://808dotpop.com/

https://www.facebook.com/808dotpop/

https://www.instagram.com/808dotpop/

LECTREAU ‘Monochrome’, ‘Just Wonder’, ‘Petrichor’ and previous singles are available from https://lectreau1.bandcamp.com/

https://www.facebook.com/profile.php?id=100075981708943

https://open.spotify.com/artist/4KaMVzSwev7CXLCXG1rOyk

METROLAND ‘Cooperation’ and Forum’ are released by Alfa Matrix, available from https://store.alfa-matrix-store.com/

https://www.metrolandmusic.com/

https://www.facebook.com/metrolandmusic

Text and Interview by Chi Ming Lai
28 October 2024

CHARLIE Interview

8 October 2024 /

Photo by Maidje Meergans

CHARLIE recently released her first EP ‘Spacewoman’. Not to be confused with the classic 1984 Italo disco track ‘Spacer Woman’ but named so in homage, the EP is the work of Berlin-based DJ, musician and producer Leona Jacewska.

She opened her account with ‘Polarity Walk’, a track on the various artists ‘Mechatronica Aid EPII’ in support of Berlin-based artists during the 2020 lockdown while her 2022 single ‘Cold Inside’ was remixed by the notable Danish DJ Flemming Dalum. She has also become notable for her series of SZUM electro events in Krakow as part of the Italo-Proto scene

An immensely satisfying retro-futuristic EP that works in the head as well as on the dancefloor, ‘Spacewoman’ showcases CHARLIE as a talented electronic dance producer of worth. She spoke to ELECTRICITYCLUB.CO.UK about her background and creative ethos.

What attracted you to DJ-ing and making electronic dance music?

I was always passionate about music and loved playing instruments. Playing music with other people together or sharing a feeling through music always made me feel connected with them in a different way. Electronic Music does that on the dancefloor too. An experience witnessed together and connecting in a special way.

How did you decide Berlin would be the best place to relocate in the pursuit of your interests?

I grew up in Berlin and went to school here. The reason I came back was a grant that came through and allowed me to work in the studio.

Photo by Joanna Wzorek

In Berlin, there does appear to be a tight electronic community where everyone is happy to help each other out, how has this benefitted your development?

True, I love the music community in Berlin. In Poland we also help each other out a lot, but the main difference in my experience is, that the music scene in Poland is a family whereas in Berlin, the music infrastructure is more developed. Thanks to that I have discovered different sides of the music world and other possibilities for my personal development.

How did you become involved in Berlin’s Italo-Proto scene?

Good question! I think that has been the music direction I have been heading for years thus event offers as well as release offers came within that circle. I’d be also a part of it moving to another corner of the world. I think nowadays you are already part of different communities via internet, because the music connects you 🙂

You have organised numerous events, have any particular ones stood out which you gained the most satisfaction from?

Hosting any artist for a weekend or day gave me the biggest inspiration and sharing that with my friends and the audience was the cherry on it. Everything I wanted to learn about live set-ups, sequencers, synths and music production came mostly from other artists I have spent time with. The excitement about it was one of the best moments of my life and I am happy to be still friends with most of my guests.

Photo by Joanna Wzorek

You released your first track ‘Polarity Walk’ for the various artists ‘Mechatronica Aid EPII’ in support of Berlin-based artists during the 2020 lockdown, how did you decide that would be the most appropriate one to open your account with?

It was not a strategic decision. I had that track recorded for a while and initially thought to add it with other tracks in an EP, but as COVID changed so many plans, I accepted the kind offer of Mechatronica, a label and collective I love and respect and was doing a beautiful thing for the community with the Aid release.

You have just released your first EP ‘Spacewoman’ and the title song was a trailer single… were you aware there was the similarly titled cult Italo song ‘Spacer Woman’ by the other CHARLIE in 1984?

Yeah, ‘Spacewoman’ had a double fit. The track already had a space-ish vibe and in an unconscious stream I used the lyrics “I’m the spacewoman in the cosmic trance” in the break. It felt cheeky to call the track ‘Spacewoman’ afterwards, as a response to all the jokes and questions I’ve heard for years from people whether I did the old ‘Spacer Woman’. Finally I can say “No, I did ’Spacewoman’”

Photo by Wioletta Drozd

Is the theme of the song ‘Spacewoman’ autobiographical? What was the music inspired by?

Autobiographical in the sense that yes, I am sometimes lost in time. Still carrying synths from the 80s instead of moving on, but what can I do? I’m so nostalgic! The music itself is inspired by all the Italo I have been listening during the years and I wanted to add a DJ-able touch on it with a little drop and “harder” drums.

From the new EP, ‘Let Go’ is very hypnotic, like Chicago meeting Italy, how did the track come together?

I was preparing a new live show for the support act for Arnaud Rebotini. While programming a short bassline as a layer, I played it with just a kick, and realised I like the contrast of a bit less going on in the middle of the live show and thought maybe it’s cool to add only vocals on top of that. The vocals came from my mood that day and after the phrase “Let Go”, I knew I have to give the track some groove and energy, so people dancing to it can really let go.

How did you decide to sign this EP to Wrong Era, the sub-label of acclaimed Italian label Slow Motion who have been involved in the Italo disco revival?

 My first live show ever was booked with co-label boss Franz Scala, who asked me for a demo afterwards. At the time, I was perfectly familiar with Wrong Era, I have so many records from the label and it’s the perfect combo of New Beat, EBM and Italo, which I admire.

Your Instagram has plenty new and vintage synths in view, which have been your favourite synths?

Is it that obvious? 🙂

I love all of them for different reasons. First of all old synths like old furniture can be really stylish. While playing a synth physically without a computer being turned on I can escape a bit the every day chaos, enjoy the present and relax. I like the feeling knowing which music was created on a particular synth and that it connects me to those people and artists of that time. Currently my favourite synth is the Yamaha GX1, I don’t own it, but I have the luck to use it regularly for a project you’ll hear more about in November.

Photo by Fastfoodculture

The instrumental ‘Dark Waver’ does what it says in the title but are the melodic hints of ‘Oxygène IV’ accidental?

Haha, I am very proud of that title 😉

Jean-Michel Jarre is a legend and one of my top inspirations. I have watched and listened to ‘Oxygene – Live in Your Living Room’ many times before sleeping, but it was not my intention to put the melo in there. I already had the bass and chords and was jamming on it with different sounds. Somehow I played these notes on it and when I heard them I knew, yes why should there not be a little quote of Jarre in my music, as his music influences my approach to music.

What is your favourite moment or memory in the making of the ‘Spacewoman’ EP?

As with every new track, I love the moment of a harmony or a sequence that makes you excited and imagine what the outcome could be. That little gimmick melody in ‘In The Night’ made me happy. Also with every finished track you learn something new. There was a moment during the EP, I felt I am suddenly understanding a little bit more from production, and was shocked how little I knew at the same time and how much more there is to discover.

Who do you think the EP will appeal to and what are your hopes for it?

Probably it will appeal mostly to the Italo world and people that have been enjoying my live shows. I hope it will make people feel, dance, smile, forget and let go. I hope they hear freshness and familiarity at the same time.

Photo by Jovan Mrowiński

Will you do more EPs? Will an album be a possibility or is that now an outdated format?

Absolutely… I wouldn’t say it’s outdated and everything is possible.

What is next for you?

I have of course more music music music incoming!

ELECTRICITYCLUB.CO.UK gives its grateful thanks to CHARLIE

Special thanks to Gabi Stanowska at Eclectica

‘Spacewoman’ is released by Wrong Era / Slow Motion as a 12″ vinyl EP from selected retailers, also available digitally from https://wrongera.lnk.to/Spacewoman

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Text and Interview by Chi Ming Lai
8 October 2024

A Short Conversation with HARALD GROSSKOPF

27 September 2024 /

German music veteran Harald Grosskopf has lived a wonderfully busy life, working with noted fellow countrymen like Klaus Schulze, Manuel Göttsching, Eberhard Kranemann, Udo Hanten, Lutz Ulbrich, Steve Baltes, Thorsten Quäschning and Axel Heilhecker.

As well as the drumming for of WALLENSTEIN, THE COSMIC JOKERS and ASH RA TEMPEL, he is a respected solo artist whose 1980 debut album ‘Synthesist’ is now held up as an exemplary electronic work of the period; fans of the record have included Andy McCluskey, Mark Reeder and Jean-Michel Jarre.

Turning 75 this October, Harald Grosskopf celebrates the occasion by publishing his German language autobiography ‘Monsieur Séquenceur’ and releasing a brand new album ‘Strom’ on Bureau B. The album title translates from German as “electricity” and fuses his classic melodic synth sound with the virtual tools of today for a fully charged body of work.

Harald Grosskopf kindly spoke to ELECTRICITYCLUB.CO.UK about the genesis of both his book and latest music creation…

The last time we spoke, it was for the expanded 40th Anniversary edition of ‘Synthesist’ in 2020, are you happy with how it was received?

Oh yes! The limited edition was sold out in weeks.

This new album ‘Strom’ has been a while coming, how did you decide it was time for a new solo creation?

I have to go into great detail to answer this question. I am a musician, and standing still is not part of my concept. Making music is a great passion that has grown throughout my life. Finally being able to work independently in my own studio is a privilege I had to wait a long time for until it finally became a reality in 2007.

After my first solo album ‘Synthesist’, the music industry sharply declined in the 1980s, and analog studios around the world closed in large numbers. I couldn’t afford the necessary recording equipment, and the few remaining studios were expensive. When the first Atari computers with built-in MIDI hit the market, things slowly started to pick up again. But it wasn’t until the late 1990s, when it became possible to record analog audio signals with relatively affordable music software, that things really began to move forward.

In the beginning I had virtually no experience, firstly with computers and secondly the complex subject of music software. The next step was to teach myself, step by step, and to create a physical space where I could work undisturbed. A studio. It always takes me quite a while to be emotionally satisfied with a track. Thank God I’m not under any commercial production pressure.

After producing an album with KRAFTWERK founder Eberhard Kranemann in 2018, and after we toured in England and performed in China, I began to focus on my solo work again. This led first to a remix album of my second solo album ‘Oceanheart’ (Sky 1985), ‘Oceanheart Revisited’. After that, I began working on the ‘Strom’ album. The entire album was mixed and mastered in an analog studio on reel to reel tape before digitalized again to get an analog feeling.

The title is ‘Strom’ which in English means “electricity”, does it share any conceptual heritage with ‘Synthesist’?

Well, I can’t change who I am. I never work with a musical concept. I always approach things emotionally. That means, unconsciously, there may be references to ‘Synthesist’. However, I certainly don’t try to repeat myself and always allow new experiences to influence my work.

‘Bureau 39’ has already been issued online as a trailer to ‘Strom’, you have your classic sweeping synth sound on it, are you still using your old synths or have you gone for virtual?

I haven’t owned any analog equipment for a long time. I never had a large collection of it anyway. I like the quick access that music software and virtual instruments offer. This way, I can always stay in the flow of spontaneous creativity without wasting time on wiring synths and dealing with tons of processing tools. That doesn’t mean I condemn analog synths. I just don’t use them. It also makes traveling easier. I don’t need to carry much to get to the stage!

‘Blow’ is quite fierce in places?

Deep in my heart, I am still a drummer. Physical intensity is a characteristic of drumming. That’s what drives me to make tracks like these.

There is a sharp use of rhythm on this album, as can be heard on ‘Später Strom’, had there been a particular approach? Did you manually trigger on a kit and quantise or was it all mouse and screen?

Always a mix of handmade drum loops and mouse editing.

‘After The Future’ and ‘Um Pah Pah Uh’ are quite experimental and almost do away with melody, featuring unsettling voices?

I have always seen it as a reminiscence of the early days of electronic music—Stockhausen, Pierre Schaeffer, Oscar Sala, etc, to include a little bit of this direction in my solo albums to keep it alive, without falling into banal copying.

What inspired the feel of ‘Stylo Kraut’?

That began in 2018 when I did a small tour of England with Eberhard Kranemann. We were invited by John Simpson, the CEO of Dubreq Ltd in Hastings, which reissued the legendary Stylophone Mini Synthesizer from 1967 in 2007, to perform a concert in Hastings. John provided us with this little synth buzzer, the Gen X-1 model. As a thank you, I produced this track, which I continued to expand and modify in the studio over time. It is, therefore, a small monument of reverence to this tiny, magical music machine, which was already honored by John Lennon, David Bowie, and KRAFTWERK in the past.

‘Stromklang’ wouldn’t sound of place in a club, doing you feel any affinity to techno or dance culture?

I wouldn’t have a problem if my music were played in techno clubs. I first came into contact with this music when techno reached its peak in the mid-1990s. That was probably due to my age. I was approaching 50 and hadn’t been going to clubs for a long time, so this culture more or less completely passed me by until then.

Steve Baltes, a young musician whom I invited to join us on two of our ASHRA Japan tours, played me tracks that gave me goosebumps. I like this music because it resonates with my drummer’s heart, physical and simple intensity. That has certainly influenced my music-making unconsciously. However, I’m far from making techno, as generally, I don’t care about other music at all when I’m in my studio.

How have you adapted your creativity to today’s equipment and music consumption environment?

Out of necessity, I turned to creating music with computers almost 30 years ago because, as I hinted earlier, I couldn’t afford studio equipment or expensive studio costs. The rapid technological development of digital recording tools and virtual synthesizers is breathtaking. However, I am open to all techniques. For example, I mixed my last albums on magnetic tape in the studio of my friend Tobias Stock before we digitally rendered the tracks for CD and vinyl. As a result, even the CD now sounds very analog.

Over 25 years, Tobias has assembled a top-class analog studio in mint condition, which leaves nothing to be desired, and he maintains it at the highest level in his role as an electronic engineer and musician. The next step will be working with various AI tools. However, I definitely won’t be creating ‘prompt-to-music’ at the push of a button. The rejection of AI as a creative tool strongly reminds me of the incompetent reactions to the emergence of the first synthesizers in the late 1960s, early 1970s. Klaus Schulze always responded to these technology sceptics with irony: “Since when do violins grow on trees, or pianos in fields?”

How did the idea for a book come about? Did you keep diaries or has everything been recounted from memory?

I never kept a diary. About 30 years ago, I started writing down my memories sporadically, without any intention of ever publishing them. It was more for reasons of therapeutic self-reflection. Over time, when I shared stories from my life with friends and acquaintances, I kept getting asked why I didn’t publish them. When my label, Bureau B, became economically involved with Ventil Publishing Company, and I told Gunther Buskies, the CEO of Bureau B, about my writings, everything started falling into place.

Since I originally had around 700 pages, and no one would read such a long biography, we worked with a professional editor to condense it to an acceptable length. And now, the time has come. The version, which until now has only been available in German, will be released in parallel with the ‘Strom’ album. I’m working on an English translation.

Did you have a particular memory that was jogged by a conversation or research that for various reasons, you had forgotten about?

Writing takes longer than quickly recalling images, feelings, and dialogues. When you sit down to write down memories, you have to hold the image of the memory in your mind until you’ve formulated it. This apparently has the effect of bringing back seemingly long-forgotten content, which suddenly becomes alive again, and you can hardly stop yourself from holding it in your mind in order to get it down on paper or hammer it into the computer. It could happen that I sometimes wrote for 6 or 7 hours without a break. A phenomenon that others have also reported to me.

So, would you agree that if you can remember recording with THE COSMIC JOKERS, then you weren’t actually there??? 😉

Of course, memories can deceive us, and surely our brain alters our memories as well. Memories are always fragmented and sometimes hazy. Now to your question: Yes, I can recall those Cosmic Couriers sessions in Dieter Dierks’ studio, half a century ago fairly well.

Two of your most esteemed colleagues Klaus Schulze and Manuel Göttsching are sadly no longer with us, has this had any bearing on how you have approached the book or the album?

No, because I had already written everything related to the two of them during their lifetimes.

What is next for you?

The mastering of the next solo album, titled ‘Glitches Brew’, which will be released in the second half of 2025 on Bureau B. Two more albums featuring collaborations with other artists are also completed. We are still looking for a label for one of these albums. The second one of this kind will be released in March 2025 on the English DIN label. I am not yet allowed to reveal the title and protagonists. Additionally, I am already working on a third solo album and video projection materials for future live performances.

ELECTRICITYCLUB.CO.UK gives its sincerest thanks to Harald Grosskopf

Additional thanks to Sean Newsham at Bureau B

‘Strom’ is released by Bureau B on 18 October 2024 in CD and vinyl LP formats, available from https://shop.tapeterecords.com/records/bureau-b/

Download available from https://haraldgrosskopf.bandcamp.com/

Harald Grosskopf’s memoir ‘Monsieur Séquenceur’ is published in German by Ventil Verlag, available from https://www.ventil-verlag.de/titel/1967/monsieur-sequenceur

https://www.haraldgrosskopf.de/

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Text and Interview by Chi Ming Lai
Photos by Markus Luigs
27 September 2024

GENEVA JACUZZI Interview

24 September 2024 /

Photo by David Zuckerman

Geneva Jacuzzi is an artist whose oeuvre includes music, live theatre, installations, set design, costume, makeup and set decoration.

Released recently by Dais Records, ‘Triple Fire’ is her third full-length album, following her official debut  ‘Lamaze’ in 2010 and 2016’s ‘Technophelia’. Based in Los Angeles, Geneva Jacuzzi brings a collaborative approach to ‘Triple Fire’ while vocally she continues to recall the delightfully odd mannerisms of Gina Kikoine, Lene Lovich and Jyl.

Quirky and fun, ‘Triple Fire’ presents a hit parade of playful avant pop and sly post-apocalyptic camp across 12 songs, each possessing an immediate if occasionally chaotic burst of energy. Geneva Jacuzzi spoke to ELECTRICITYCLUB.CO.UK about her artistic process and her take on the state of the modern world…

You’re an artist with many facets, what attracted you to making music and particularly electronic music?

When I moved to LA at 18, I was fortunate to meet some incredible people who were true music heads, a little bit older, record collectors, book collectors, philosophy quoters, tellers of stories, owners of 10,000 rare obscure books and records kind of people leftover from the 80s and 90s art and music scenes who co-mingled with the hipsters of LA. Mind you, this is the early 2000s, no YouTube or internet music so prior to that, the only electronic music I had heard was 80s pop and disco (which I loved but always felt so produced and unattainable)

Then all of the sudden I was exposed to early CABARET VOLTAIRE, THROBBING GRISTLE, KRAFTWERK, LEGENDARY PINK DOTS, CHROME, HARDCORE DEVO, THE STRANGLERS, early CURE and HUMAN LEAGUE, WIRE, KRAUTROCK, SUN RA, CAN, THE HOMOSEXUALS, LOS MICROWAVES, PALAIS SCHAUMBURG, DER PLAN, DAF and Kate Bush. It all blew my mind because I had never heard anything like it before. But the minimal synth was what really hit my core at the time. I think because it was so simple, my little brain was like “I can make this” so I tried it… and was hooked.

I didn’t have money to buy gear but I would run thrift store keyboards through pedals to manipulate sound and sometimes friends would loan me synths and I would spend hours just designing sounds. I had no intention of being a musician. I was just playing around and challenging myself… for fun and escape. It became a compulsion. I think my lack of musical skill combined with a passion for sound manipulation and inclination towards pop melody started to yield interesting results and I discovered I had a knack for composition.

Did you have an epiphanal moment with a synth, and if so, with which one?

My first real synth I experimented with was a Sequential Prophet One and I feel really fortunate to have had a friend who loaned me one for a couple of years. I remember jamming on it and turning knobs without any knowledge of what does what until I got to the point where the synth would make no sound and I had to figure out WHY?? It literally forced me to learn about what each knob is doing. But it was a great way to learn. It was like being lost in a foreign city with no map and you have to go around asking for directions and looking at the position of the sun and buildings until one day, you just know where you are and how to get to where you wanna go instinctually.

Your first official album release ‘Lamaze’ in 2010 was a collection of 4 track and 8 track recordings as well as demos, what inspired you to issue them “as seen” rather than polish them up?

Honestly, I didn’t think I had any other way of polishing them up. I didn’t own a computer and the songs were accidents trapped in tape so recreating them in a studio didn’t seem like an option. It’s not like I had a record advance or money to go into the studio either. I was just experimenting with music and then eventually someone wanted to press it on vinyl. I’m pretty sure at the time, I thought they sounded perfect as is. It didn’t occur to me to fix or change anything. It’s like having a kid with a crooked nose. What, are you going to take them to a plastic surgeon at age 6? I suppose you could but that would be weird. And what if the kids face grew and the fake nose stayed small? It would just be a bad idea.

Your second album ‘Technophelia’ took a few years and was much more of a produced record, how do you look back on its gestation?

That’s so funny. I recorded Technophelia on GarageBand and the vocals were done with the little microphone above the screen on my white MacBook. Not kidding. But I never used soft synths. I think Chris Coady levelled up the sound in mixing though. He’s a total boss.

I don’t know why the record took so long. Now that I think about it, all of my records take a long time. Not that I’m sitting and working on them for years or anything. I’m just recording songs and playing shows and making art and living life and things come together when they come together. I’ve never been one to wait for ideal situations before I do things. I’ve got my paws in lots of different projects and things come together when they do. My new record coming out is the first in 8 or 9 years but only because I was working on video projects and live performances for a few years. Then I came back to the music again only in the last two years.

The songs on ‘Technophelia’ ranged from synthpop like ‘Casket’ to dysfunctional disco like ‘Cannibal Babies’, could these be now seen as blueprints for where you are now with ‘Triple Fire’?

A little bit, yes. Except I had originally planned to do something totally different. Then when I got started, it sounded like the same kind of stuff that I’ve done in the past. Which is cool but not very interesting to me. I think I realized that I have my way of doing things and if I expect different results, I need to start including different people.

‘Technophelia’ was just me in my room and ‘Triple Fire’ was me with my friends. I brought in other producers and songwriters to collaborate on this record. My friends Roderick Edens and Andrew Briggs who have a great band REPTILE TILE in Virginia Beach. The three of us worked on the majority of the tracks together and it was fun blending skills and styles. Also worked with Josh da Costa on a track and Andrew Clinco from DRAB MAJESTY produced a track as well. This was my first time collaborating like this and it was really fun for me to move out of my comfort zone.

Many of your musical influences appear to be European?

It’s true. Love me some kraut and Italo disco. I don’t know what drew me towards that part of the world. Perhaps there is a depth to it that reflects a culture or history that Americans have yet to achieve. But many American bands like CHROME and DEVO hooked me as well. I think because there is a sense of humor and self-awareness that pokes fun at the insanity of America that I can really appreciate. After all, I am American and I am f*cking insane.

Quite a bit of time has passed since ‘Technophelia’, so has there been any changes in your creative and recording process for ‘Triple Fire’, be it from tech developments or collaborative opportunities?

It’s all about collaboration. ‘Technophilia’ was the peak of my loneliness’. Which I find beautiful but you can only go so far on your own before you start sounding repetitive. I also don’t feel the need to prove anything as far as my musical abilities go. I could of course become a better musician but I don’t think that song writing is about musical skill. It’s about sublimating a moment in time or an experience. ‘Triple Fire’ was me expanding into a collaborative space (which, honestly is a huge challenge for me because I never ever felt comfortable doing that in the past), Roderick has an amazing studio in Virginia Beach that we recorded at so having access to all of those synths also expanded the sound quite a bit. Andy brought in a bundle of synth racks so we had a bountiful bank of sound to choose from. It was such a fun experience working on this record.

‘Art Is Dangerous’ celebrates the subversive potential of all art, what inspired you make such a statement?

Funny enough, it was an accident. Roderick (who co-wrote) misread something on the TV screen one night after our recording session and yelled out “ART IS DANGEROUS?!?!” We looked at each other and both knew that it would be the title to the track that we were working on. Then the lyrics started flowing. I co-mingle with the art world and it was fun to play around with the absurdity of it all. Industry, ego, sensationalism, commodification, celebrity. The bridge vocals are all clichés. “All is fair in love and war”, “All that glitters isn’t gold”!

Cliché is a big theme on ‘Triple Fire’. We have songs like ‘Rock and a Hard Place’, ’Take it or Leave it’, I felt like pop music relies heavily on simplicity and stupid lyrics so I thought it would be interesting to go all in on using the most mundane phrases of the English language to describe something mysterious and deep.

You’ve said ‘Dry’ is about being ghosted after a date but is there a wider metaphor?

There always is lol. “Set it and Forget it” is a catch phrase from a 1990s infomercial selling a mechanical appliance. I suppose I felt that the modern approach to love via technology sort of mechanizes the magical. Not to say we are being dehumanized by dating apps or anything lol… But shopping for love on a cell phone can definitely alter amount of value we place on our human interactions thus creating a tricky landscape for a type of love that celebrates coincidence and the sweetness of imperfection. I’m an over thinker so when I get my heart broken by my cell phone, I tend to find the absurdity of it all and can’t help but see how funny it is when the mere chime sound of a text message is enough to ignite a Pavlovian flood of emotions… or in this case… No text message!

How did Andrew Clinco come to produce ‘Speed Of Light’? How was his approach compared with your own and was there something you learnt that you will continue with your own productions?

Andrew and I have been friends for years and have collaborated on different projects and bands in the past so when I told him I was making a new record and hoped to work with him on something, he was super down. I’m pretty sure he sat down one night with me in mind and cooked up the track to ’Speed of Light’. When I heard it, it was a definite “Yes!” And I heard the vocals / lyrics in my head almost immediately. I recorded the demo vox then we finished it up together in his studio.

Andrew is one of those special kind of humans that can do everything… but unlike me, he does it quickly and has some incredible production tricks up his sleeve that I have yet to master. He is a machine who compulsively makes music non-stop and I witnessed the effects of his skill with production. It’s almost effortless and our personalities really get along so it was super fun and easy to work together. When it comes to collaborating, it’s important to pick the right people. I’m fortunate to have friends like Andrew who are incredibly talented and funny who totally get it.

Is there a key track or favourite on ‘Triple Fire’ which summarises what you were hoping to achieve on this album?

It changes. ‘Art is dangerous’ and ‘Dry’ feel the most “Geneva Jacuzzi” but I definitely strayed from the box with tracks like ‘Heart Full of Poison’, ‘Rock and a Hard Place’ and ‘Keep it Secret’ which I love. But ‘Bow Tie Eater’ , ‘Nu2U’ and ‘Yo-yo Boy’ are secret favorites. I wish they were singles. ‘Laps of Luxury’ is also a strong track and I’m really excited for it to come out with the release.

Who is ‘The Scene Ballerina’? Has this “main character syndrome” become worse since the advent of social media influencers or has it always been one of those social diseases particularly prevalent in the entertainment industry?

I think everyone knows a “Scene Ballerina”. That person who loves to make it all about themselves and craves drama. It’s so funny, I never really thought to write about those sorts of people but Andy and Roderick invented the term and we just ran with it for fun. I wasn’t expecting it to be a single but it ended up so poppy and fun that it made the cut. I don’t think that social media has anything to do with it. There have been Scene Ballerinas since the beginning of time. It’s just a weird personality type. So silly and obnoxious.

Before ‘Lamaze’ was released, MySpace was the social media of choice while Facebook and Twitter were beginning to gain traction but now, there’s TikTok and algorithms prioritising reels on Instagram… do you find this aspect overwhelming or does this all slot in nicely with your artistic ethos?

Yeah, it took me two and a half hours yesterday just to announce a show because I had to log into 20 different apps and tag everyone lol. So yeah, that can be overwhelming but I’m not ungrateful!!! Social media, like anything else has its pros and cons. It’s just bigger and faster. You can reach more people but good luck holding anyone’s attention. I think every artist over the age of 25 has a love-hate relationship with it because it’s real / not real and emotions and expectations get tangled up into algorithms and AI. I find it to be neutral in the artistic sense. Good and evil depending on how you look at it. I think it’s just an energy, like money. Best to not overthink it and play with the fun of it all. Because as much as I like to talk shit about it, my Instagram feed is full of probably the funniest memes on the planet and I find it deeply entertaining at times so there you go. I’m a tool like everyone else.

Walter Gropius said “Today’s luxuries are tomorrow’s norm” but has the world become more culturally ignorant despite it getting smaller due to the indirect consequence of smart tech becoming ubiquitous?

Great question! It’s such a fascinating phenomenon. Things getting smaller when everything gets bigger. Or slower when the world speeds up. Isn’t it crazy to think that art and music looked and sounded sooooo drastically different between the 1960-1980 verses 2004-2024. I think technology is creating the illusion of things speeding up but everyone is oddly slowing down as a result. At least as far as culture goes. And when it comes to ignorance? I don’t know if people are more ignorant as much as they place less value on things because of the amount of accessibility we have to it all at any given time with little effort and little investment.

Yeah, everything is going to shit but it’s always been going to shit. I think the pendulum swings but now the swing will be more subtle and unconscious / abstract. I believe that we will start to crave a deeper and more meaningful connection to things and each other which will tip things over in time. It will never be like how it was in the past. I’m rambling here. Probably not making any sense but I do believe it is the duty of the artist to keep making art regardless of it all and to strive to be authentic. Otherwise humanity is lost.

Have you any fears as an artist with the advent of AI and seemingly more conservative attitudes being shouted out louder than ever?

So much of that is outside of my scope. But I think about it often. I’m fascinated by it all.

Back to the pendulum, it will always swing left and right as long as we believe in the binaries of good and evil. Duality processors lol. I’m convinced AI is nothing more than parasitic intelligence or a self-cannibalising mechanism of the collective unconscious feeding back and eating itself alive.

What are your hopes? Can music, art and chaos energy save mankind?

Music and Art is the only thing that can. It is the only thing that has this far. Without it we would have destroyed ourselves thousands of years ago.

ELECTRICITYCLUB.CO.UK gives its warmest thanks to Geneva Jacuzzi

Additional thanks to Frankie Davison at Stereo Sanctity

‘Triple Fire’ is released by Dais Records in various vinyl LP, CD + digital formats, available from https://found.ee/TripleFire

https://www.genevajacuzzi.com/

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https://www.instagram.com/genevaxjacuzzi/

Text and Interview by Chi Ming Lai
24 September 2024

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