Category: Interviews (Page 43 of 113)

WHITE DOOR Interview

2 April 2020 /

Melodic synth trio WHITE DOOR released their only album ‘Windows’ in 1983.

But despite the title song being a Record Of The Week on Simon Bates’ BBC Radio1 show, it was unable to gain wider traction. WHITE DOOR were to gain cult status over the years and one young fan was Swedish synthesist Johan Baeckström who later covered ’Jerusalem’ and ’School Days’ from ’Windows’ in 2015. Although Baeckström has been unashamedly candid about the influence of Vince Clarke on his music, his sound and that of his other project DAILY PLANET has also been shaped by the Andy Richards produced songs of Mac Austin, Harry Davies and John Davies.

While Mac Austin and Harry Davies have continued to perform in their prog rock combo GRACE over the years, Baeckström sowed the seeds of a WHITE DOOR reunion when he and DAILY PLANET bandmate Jarmo Olilia invited Austin to provide lead vocals on ‘Heaven Opened’, on their 2017 album ‘Play Rewind Repeat’.

Then, there was a live reunion in 2019 when Baeckström invited Austin and the Davies brothers to join him for renditions of ’Jerusalem’ and ’School Days’ in London. So after 37 years, a long awaited second album from WHITE DOOR will emerge this April featuring eight new songs to follow-up ‘Windows’.

A four way collaboration between Mac Austin, John Davies, Harry Davies and Johan Baeckström, the newly confugured quartet present ‘The Great Awakening’. Three of the band kindly chatted to about their recorded return…

At what point did a new WHITE DOOR album become a realistic proposition?

Harry: Johan and Mac are best to answer that. But for me it is when we heard a first draft by Johan of a song we recorded on a phone.

Mac: I think the relationship evolved over time, Johan got in touch about covering ’School Days’ I think it was, then a while later I was asked to do a vocal for the DAILY PLANET album which was a real honour. In the meantime we were messaging about the music we were both doing and eventually Johan asked if we had thought of doing a second WD album and that was that.

So the WHITE DOOR line-up has been expanded?

Harry: We feel that the producer is an integral part of any band and Johan is both a song writer and a perfect producer for WHITE DOOR. Without Johan’s input, this album would not have happened. He is also more photogenic than the rest of us.

Mac: Yes mate we are now a four piece, well it worked for THE BEATLES. Couldn’t be happier. Johan has given us so much, the music is massively richer from Johan’s presence.

The new line-up made a two song live debut at Electrowerkz in London in June 2019, how was that for you?

Mac: It was a great experience, meeting yourself Chi and the moment we met Johan for the first time. I really enjoyed the gig though I did cock up ’Jerusalem’, it was a real great couple of days.

Harry: It was very surreal for me, although my input to the performance was minimal, I was still very nervous.

Is having Johan in the band almost like fulfilling the role Andy Richards played in ‘Windows’?

Harry: Yes, and more so, Johan instantly identified himself with that genre of music of the 80s.

Mac: It is in a way because of his great technical ability and beautiful playing. but with Johan we also have his amazing vocals and writing skills which takes us on to a different level creatively

Were there any particular musical reference points you discussed and had in common?

Mac: The main reference point was we all loved ’Windows’ and wanted to build on that album and hearing Johan’s albums, we seemed to be very close in our writing and sound. Although until we started to get the first drafts back from Johan, I did not know just how good this combination could be.

With remote working happening between England and Sweden, how was the creative dynamic?

Johan: We´re fortunate to live in an age where technology has made the world a lot smaller and with great tools for communication and transfer of different data. A lot of the tracks started with the guys in the UK sending me rough demos from which I could start my programming and pre-production work. Vocals and woodwinds were recorded in a studio in the UK and then sent to my studio in Sweden where I would add my backing vocals and finalize the production and mixing.

What synth toys were being brought into the production?

Johan: Most of the synths in my studio was used for this album but compared to my solo work, I’ve leaned a lot more on poly synths for this project, so the Roland Jupiter 6, Roland Juno 106 and Akai AX73 was used quite extensively on all the tracks and even the good old Yamaha DX7 was called for on a couple of the tracks. The most used mono synths were probably the Minimoog, the Korg Mono/Poly and the ARP Odyssey.

How was it to wear the WHITE DOOR hat, did you find yourselves slipping into GRACE or DAILY PLANET modes? Or is that irrelevant, that the WHITE DOOR chemistry is because it’s the four of you?

Johan: Well, for me the WHITE DOOR music has been a part of me since I was a teenager, and the WD sound has always been an inspiration in my other projects. Having the opportunity to actually be part of making a follow-up album with these wonderful guys, is a blessing and I really wanted to do my best to maintain the WHITE DOOR sound and spirit in the production on this album – familiar, but still fresh.

Mac: For me as a vocalist, it’s the instrumentation that makes the difference. Johan was influenced by the ’Windows album’ and had covered ’School Days’ and ’Jerusalem’, so the WHITE DOOR sound was easy for him to reproduce. Our demos were very loose, giving him the opportunity from these ideas to create great sound tracks for the vocals. The way we work for WHITE DOOR is completely different than GRACE where the guitar and keyboard sound is very up front, with real drums making a much harder sound. I find with WD, the vocal melodies are much more intricate and easier to develop.

‘The Great Awakening’ and ‘Among The Mountains’ are quite grand titles, what are they touching on lyrically?

Harry: The two songs are intrinsically linked lyrically. In 2015, I was diagnosed with a life changing condition that left me very fatigued and dependant on blood transfusions. I loved hill and long distance walking especially in Scotland, which I found impossible to pursue, sometimes I found it difficult to walk across the road.

‘Among the Mountains’ is about mourning that loss. As time went by my condition was deteriorating both physically and mentally. A search began for a stem cell donor. A possible donor was found and was given an appointment with a leading transplant specialist. You can imagine my elation and excitement to get my life back. That is where ’The Great Awakening’ came from. John was going through a very at a difficult time and that influenced him with the chord structure. In the end, the donor was not suitable but with an amazing support team I am off the transfusions and doing ok.

’Beautiful Girl’ has something of a classic WHITE DOOR feel, what was its genesis?

Johan: It´s funny that you say that – the seed to this song was actually a chord progression and melody that Jarmo and I was working on for DAILY PLANET, over 20 years ago. I remember that we talked about how this chorus almost felt like a mix between WHITE DOOR and A-HA. I sent it over to Mac to see if he, Harry and John could do something with it. After a while, I got a demo back with the complete song structure that you hear on the album today, with an even stronger melody line in the chorus as well as brand new, killer verses.

Mac: When Johan sent over the music demo, John played the chords and I just started to sing along with lyrics from a song idea I had years ago that seemed to fit this music. We worked out the structure and I finished the lyric and sent our demo back to Johan for him see what or if he could do anything with it. The rest is history as they say.

What are your own favourite tracks from the album?

Harry: Of course ‘Mountains’ and ‘Awakening’ mean such a lot to me, but I love ‘Beautiful Girl’, it’s a wonderful song for making babies to and the lyrics take me back to the 70s and watching the girls dancing around their handbags. But if I’m doing the housework, ‘Simply Magnificent’ takes some beating.

Mac: For me it depends on the mood I’m in, they are all very strong and I think ’Beautiful Girl’ has a great hook; ’Among The Mountains’ and ’The Great Awakening’ mean a lot because of the incredible moving lyric by Harry which moves me every time I hear them. ’Lullaby’ was written years ago to help my two girls to feel safe in the beds. I’m not sure it worked but they both love it. ’Angel Of Tomorrow’ is a great song to sing I love it.

Johan: I can´t really say one song is more of a favourite than the other, but the first one I started working on was ’Lullaby’, which I got a demo of from Mac in a very early stage of the project and I fell in love with it right away. I could instantly hear in my head what it should sound like, production wise, and I must say I am very happy with how it turned out. That, track made me realise that ”I think we can actually do this – bring WHITE DOOR back to life again”, so this makes ’Lullaby’ a bit special to me, I guess.

Music is an ageless artform? Discuss! 😉

Harry: I would like someone else to start that.

Mac: For me, most music records moments in time, whether it be country, folk, punk, prog, blues, even classical, they capture those moments with lyrical poetry and music to not only relate the stories but lay an emotional thread with the style of music. I believe it will always be the case.

What next? Any thoughts about playing live together for a full WHITE DOOR set?

Harry: Love to, barring problems with corona virus and the ‘B’ word, we have started to discuss a set list. Be interesting to get feedback to help us decide on tracks maybe.

Mac: I would love that, I am so proud of this music it would really work in a live situation.

Johan: Yes, that is certainly in the scope when the world has come back to some sort of normal again. Watch the WHITE DOOR facebook page for info.

ELECTRICITYCLUB.CO.UK gives its sincerest thanks to WHITE DOOR

‘The Great Awakening’ is released by Progress Productions on 17th April 2020, pre-order download from https://whitedoor.bandcamp.com/album/the-great-awakening

Pre-order CD or white vinyl LP from Progress Productions at https://mailchi.mp/9e7025e1bf26/whitedoor

https://www.facebook.com/whitedoorband/

https://twitter.com/Bstrommusic

Text and Interview by Chi Ming Lai
2nd April  2020

VALERIE RENAY Interview

23 March 2020 /

Paris, London and now Berlin, performance artist Valerie Renay has worn many hats and not just the ones on stage.

Incorporating theatre, music, dance, acting, film, photography and much more, Renay first found fame in NOBLESSE OBLIGE, an abstract Weimer cabaret tinged duo with German producer Sebastian Lee Philipp.

The pair opened for IAMX in 2011 on the ‘Volatile Times’ tour.

Their last album ‘Affair Of The Heart’ in 2013 played with dark electro Chanson, featuring a musical tribute to Mata Hari and a lengthy funereal deadpan cover of THE EAGLES’ ‘Hotel California’ which highlighted the chilling subtext of the lyrics to its macabre conclusion!

Exuding flamboyance, Renay has since released a solo record ‘Your Own Shadow’ that was an amazingly fluid and harmonious adventure in a departure from her work with NOBLESSE OBLIGE. From it, the exhilarating ‘Speed Of Blue’ was co-written with Ian Pickering whose notable musical contributions have included ‘6 Underground’ and ‘Spin Spin Sugar’ with SNEAKER PIMPS.

Presenting a palette of guitars, synths, vintage drum machines and her effervescent personality, Valerie Renay is a captivating live performer where literally anything can happen including invites to join her onstage!

With a new video for her song ‘Melancholia’ from ‘Your Own Shadow’ now public, Valerie Renay kindly chatted from Berlin about her solo career to date and more.

What inspired you to become a performer?

I like to create my own world. My world has a soundtrack, an aesthetic, everyday poetry, everyday fantasy, a choreography, a smell, a taste. As a performer you are able to share your world, it’s a great privilege!

Do you dream in French, German or English?

I mostly dream in English because I mostly think in English, after more than 10 years living in Berlin, I still don’t speak much German, I start thinking and dreaming in French when I read more French books or watch French films.

I have now lived outside of France longer than in France, I don’t feel I have roots in a particular country but I surely left my heart in London.

You released your first solo single ‘Living In Germany’ in 2016…

‘Living In Germany’ was an ironic take on life in Berlin. It started as a drunken challenge with a friend. I said I could write a Punk song without really knowing how to play any instruments, when I left the bar at 4am, I went home and wrote this song in 5 minutes.

It gave me a taste for writing solo and exploring new territories. I started developing my production skills further, and taught myself how to play instruments better at the same time as I was writing songs. Everything had to happen simultaneously, I had no time to waste.

Your debut solo album ‘Your Own Shadow’ developed organically by being road tested in front of live audiences around the world, that is an interesting approach…

I’m impatient. I come up with a new idea for a song and before it’s finished, I already want to share it with an audience. I often play early versions of songs, unfinished, sometimes lyrics are missing or half the chorus, it doesn’t matter. I’m excited to share something new and try it live. I often find new parts for songs while playing them live. This is how the album was written. For me, songs are never finished, they’re evolving constantly with a life of their own.

Despite the daunting prospect of creating solo, you retain your sense of humour and outgoing personality, has this been an important quality to complete the task?

I’m in love with life. I take every opportunity to dance and jump around my flat (mostly naked) listening to loud music. You can’t take yourself too seriously. The whole point of life is finding pleasure in each moment. Making music solo is challenging, empowering and really exciting! An intense face to face with yourself.

Which are your own favourite tracks on ‘Your Own Shadow’ and why?

The album is a journey, just like a concert. Each song is like a piece in a jigsaw puzzle, it makes sense in the context of the album.

But each song is also an individual moment in time, like a slice of life. ‘Speed Of Blue’ is special because it was the first track I wrote.

I posted the demo as an instrumental and on my Soundcloud page, when Ian Pickering heard it. He offered to write lyrics and a vocal melody for it. It’s the only collaboration on the album and feels very strong.

At your recent London solo show, you confessed that you are still learning, what did you mean by that? 😉

You never stop learning, it’s part of the creative process. As an artist, you have endless possibilities to explore. I am very curious by nature and get really excited to learn new instruments and understand new technology. I can spend a whole week, night and day, reading the manual of a vintage drum machine. It’s very rewarding!

You continue to act and appeared in the DAF video for ‘Die Sprache Der Liebe’, how was the experience?

Acting is my first love! I love the thrill of performing live more than anything in the world. It represents the essence of ‘Here & Now’! Being fully present! Being fully in the moment!
The exchange of energy you experience with a live audience could never be recorded and can never be twice the same. Being on stage is like an intensified version of life. Pure adrenaline.

It was great fun to appear in the DAF video, sadly I didn’t get to meet the band as our shooting dates were different. Obviously playing a Dominatrix in a DAF video is a job to kill for and I’m very happy they offered me the part!

You have an interesting story about how you met Bernard Sumner for the first time in London?

Ahaha yes, it was a long time ago and a bit too personal to share here. It was a beautiful chance meeting which I will never forget, somewhere near Tottenham Court Road. We ended up in the club Heaven, definitely a night to remember.

What are you own career highlights so far, whether solo or with NOBLESSE OBLIGE?

My solo career is still young but playing in South Africa was an incredible experience, the crowd was so beautiful and loving. Pop Kultur Festival in Berlin was very rewarding too. More recently my concert at Stockholm Museum of Modern Art was very special.

Sebastian and I made music and performed live around the world for about 13 years. We released four full length studio albums (about 50 songs), many remixes and cover songs as well. Our creative process was very personal and intimate, we never worked with a producer.

It was just the two of us. It is only natural that at some point, we felt like trying something different.

The highlights of NOBLESSE OBLIGE probably are receiving the Steppenwolf (Journalists’ Choice Awards) in Moscow from Artemy Troitsky (the Russian John Peel) and the concerts we played in Brazil.

Sebastian and I remain very supportive of each other’s work. We are scheduled to play a double bill concert with DIE WILDE JAGD (his new project) and myself solo at HAU2 Hebbel Am Ufer Berlin as soon as the Coronavirus bans are lifted.

We have also been booked for a NOBLESSE OBLIGE concert in Portugal in the autumn. Future live dates are uncertain at the moment due to the restrictions, but I’m hopeful we’ll get through this crisis soon, stronger and wiser.

So what are your future plans in music?

I am happy to release a new video for my song ‘Melancholia’. The style of it is very different to my other videos. It’s a hand held camera, one take, no editing, video. It creates a dreamy, almost surreal quality which adds to the ethereal atmosphere of the track sung in French.

ELECTRICITYCLUB.CO.UK gives its warmest thanks to Valerie Renay

‘Your Own Shadow’ is available as a download direct from https://valerierenay.bandcamp.com/

https://www.facebook.com/valerierenaysolo/

https://twitter.com/FemmeFacade

https://www.instagram.com/val_renay/

https://soundcloud.com/valerie_renay

http://www.noblesseoblige.co.uk/

https://open.spotify.com/artist/7bCF8RjdQJbYc8jHDTSTkU

Text and Interview by Chi Ming Lai
23rd March 2020

JOHN FOXX & THE MATHS Interview

21 March 2020 /

‘Howl’ is the fifth studio album from JOHN FOXX & THE MATHS and sees the former ULTRAVOX! front man reuniting with his ‘Systems Of Romance’ guitarist Robin Simon.

Also featuring Chief Mathematician Benge along with live band member and regular collaborator Hannah Peel, ‘Howl’ does as its title suggests. Presenting eight tracks of fierce art rock, it sees guitars as very much part of the scenery in partnership with the electronics.

Recorded at Benge’s MemeTune studios in Cornwall , ‘Howl’ is the first JOHN FOXX & THE MATHS album since the instrumental score for a theatre production of EM Forster’s ‘The Machine Stops’, released as ‘The Machine’ in 2017. Before that, there was an extremely prolific period which saw three albums ‘Interplay’, The Shape Of Things’ and ‘Evidence’ issued between 2011-2013. And this was without Foxx’s other ambient and soundtrack outings.

John Foxx talked about the genesis of ‘Howl’ and drew on artistic parallels from working with Conny Plank back in 1978 for ‘Systems Of Romance’…

After the prolific release schedule of 2011-2017, you’ve kept a low profile over the last few years, what have you been doing to keep you busy?

There’s always loads to do -Writing lots of songs and throwing them away. Editing ‘The Quiet Man’ book and digging stuff out of notebooks. Learning to play primitive guitar again. Remembering who I am and for what. Enjoying other people’s gigs. Relishing out-of-control feedback and the sheer joy of being inhabited by very loud, bone-shattering music.

Photo by Ed Fielding

One of the high profile tracks towards the end of that period was ‘Talk (Are You Listening To Me?)’ with Gary Numan in 2016, how did it all come together?

Well, Gary and I had been mentioning we ought to do something together – for about thirty years, but never got around to it. Then Steve (my manager and a friend of Gary) was in LA with him and played the Maths version of ‘Talk’. Gary liked it, Benge got in touch and they began to swap recordings. We mixed a version, and that was it. About time.

Your most recent five album releases have been ambient or instrumental soundtracks, so what inspired you to start working on songs again with ‘Howl’?

Decided to have a listen to everything I’d made – which is something I’ve never actually done before. Bit of a shock. Felt there were a couple of important things I hadn’t properly got to.

One was recording with proper violence and growl. What Lois and I used to call ‘Radge’. I also wanted to get to the sort of cruel glam I really liked – nothing pretty, but a dark, writhing glamour that The Velvets or Iggy touched on – a sort of torn sequins and shades thing. A bit damaged and very urban.

At the same time, I realised I’d not done another of the things I most wanted to – which is work with Robin Simon properly again. Rob came out of that glam into Punk thing as well – and he can play the most violent guitar you’ve ever heard – so the time was absolutely right.

In terms of writing and doing demos, had these songs been conceived with guitars in mind from the very off?

Yes.

Lyrically, what was moving you with these ‘Howl’ songs?

Well there’s plenty to howl about at the moment. We’re all living in particularly fast-moving and downright weird times. ‘The Dance’, ‘Howl’, ‘Last Time I Saw You’, ‘Everything Is Happening At The Same Time’, in fact all the songs, are kicked off by that.

Robin Simon performed with you at The Roundhouse and Troxy gigs in 2010-2011, so it has taken a few years for you both to work together on this record, you rate him highly don’t you?

He’s the best guitarist ever. Doesn’t play clichés, invented modern guitar – everyone imagines guitars always sounded like they do today but they certainly didn’t before Rob.

In my book, there are four top guitarists – Rob Simon first, along with John McGeoch, Steve Jones, and Fripp. Rob combined the ferocity of Punk with overdriven synths and he was the first to work in that way, using effects as an integral part of the sound. Fripp did some marvellous things later with Bowie. McGeoch worked with MAGAZINE and created their sound, then I met up with him in my studio when he, then Robert, were working with SIOUXSIE & THE BANSHEES. Steve Jones did the most massive blazing chop and drone ever recorded. All these guys have completely unique properties

But for me, Rob combines all of that with the kind of finesse and bite that Mick Ronson had. It’s a broad spectrum, but one thing Rob never loses sight of is the basic animal aggression- and I love that. Agility and power. Marvellous.

Is ‘Howl’ sonically a record perhaps you’ve been itching to make since you left Cologne in 1978 after recording ‘Systems Of Romance’?

Oh yes – exactly. But I needed to exorcise a few things first – KRAFTWERK, for one.

You’d worked with Robin since that time on ‘The Garden’, ‘The Golden Section’ and ‘In Mysterious Ways’ but on ‘Howl’, you’ve given him more of a free hand, are you working like you did when you were both in ULTRAVOX!?

Absolutely. A few things have changed though – we don’t rehearse live all together, and I do miss that – We might correct that next time. It gives certain feel to the songs that I like. Sometimes Rob will give you three or four versions of a song each time he plays it. All good – and mostly better than you imagine. Sometimes so radical you catch your breath.

The thing is to try to absorb what he’s doing quickly enough to work with it. It’s the catching lightning in a bottle thing. You also have to get out of the way sometimes and concentrate on simply catching the take. You learn to live in the moment and the whole process becomes organic and alive – it’s real life actually happening.

You’ve often likened Benge to Conny Plank, so was there any moments of déjà vu when you, Robin and him were together in his countryside studio in Cornwall?

Many times – in fact most of the time. Surprises you in the same way. Never off balance. Always totally competent, but completely unpretentious. Always out for sonic adventure. Benge even looks like Conny Plank – especially when he’s thinking. Same sort of mannerisms. I swear there’s a stray gene knocking about.

It’s a fantastic piece of luck to come across two guys like that in a single lifetime.

The manner of the guitar driven start on ‘My Ghost’ will be something of a surprise to some?

I do hope so.

While the album has a distinct guitar focus, the synths have not disappeared, like on the title song which has a screeching first two thirds but a more electronic final section; it’s a monster in a scary kind of way, what was on your mind when you conceived that one?

We were simply reacting to what Rob delivered. We’d all found a sound that seemed alive, so of course Rob was straight in there wrestling with it. Luckily Benge recorded all that immediately. It was a single take. Rob played it all over another song – Completely demolished it, so I had to write another around what he’d delivered.

I’d also been thinking about the Allen Ginsberg poem ‘Howl’ and what Rob did fitted. A sort of telepathic coincidence, because I hadn’t mentioned that at all. The song isn’t about the same thing, though.

The track is very reminiscent of that ‘Systems Of Romance’ period…

I’d been pondering how to revisit and update a few impressive things from the past, but in a completely modern context, and here it all was.

Hannah’s busy conspiring too, with her wipeout feedback – especially at the end, and Benge did that great squelch synth to break into the end section – plus some nice and mucky but spare bass and drums, to give everyone enough space.

In short – a series of accidents and coincidences that delivered something alive into the room. That’s how recording should be. Couldn’t sleep properly for days after.

So Hannah Peel is there with her violin on the ‘Howl’ album, evoking even more parallels with ‘Systems Of Romance’?

Always liked what an amped up violin or viola can do. I need chaos. Cale was always an inspiration in the Velvets – it’s another living beast to wrestle with, and Hannah loves to let it howl too. She’s absolutely full spectrum, is Hannah – conducts an orchestra and equally capable of conducting total demolition via feedback and distortion levels that can wreck a sound system. Remains calm throughout.

‘Everything Is Happening At The Same Time’ and ‘New York Times’ both have something of a Metadelic vibe about them?

That’s always there. A sort of punk psychedelia – it’s a cornerstone for me. Always emerges. Goes back to ‘When You Walk through Me’ from 1978, then into ‘No One Driving’ and so on.

Can’t ever forget Rob first playing ‘When You Walk Through Me,’ when I brought it in to rehearsals. He understood it instantly and completely. Fantastic playing. Especially that and ‘Maximum Acceleration’. Totally bloody Marvellous!

‘Tarzan & Jane Regained’ comes over a bit like U2 covering ‘Quiet Men’ with all that echo-locked harmonic guitar?

Well, although I like some of the things they’ve done in the past, we’ve no wish to sound like them – U2 certainly pinched some of our early sound in the 1970s. Particularly Rob’s approach. Mind you, they weren’t alone. I think we were the most copped unit on the planet around ’78-79.

Photo by Ed Fielding

In ‘The Dance, there’s some echoes of ‘Goodbye Horses’ by Q LAZZARUS which was on the soundtrack of ‘Silence Of The Lambs’, any coincidence?

Completely. I’ve got no memory of that. I’ll check it out.

‘Last Time I Saw You’ art rocks like hell…

Great – Rob and Benge were saying recently that’s the starting point for the next album. I’m on the case.

Where did the gorgeous cinematic ballad ‘Strange Beauty’ emerge from? Is that a soaring ARP Odyssey solo or a violin?

It sort of descended all at once, one night, as the best things tend to. No memory at all of writing it. Simply played it to some exterior direction – and there it was. Had to check it wasn’t someone else’s tune.

The solo is Hannah integrating with synth as she does so perfectly. She did a lot of that on the record, as well as the wild stuff. Widens everything out somehow. After she’s worked on a track, it sounds twice as big, and you’re not sure how she did it. Benge also did massive things with the drums and more synths. Rob did his seemingly simple but essential structural work. Everyone really went for that one. It went tidal.

Is the prospect of JOHN FOXX & THE MATHS performing again as a group ever a possibility in the future?

We’re being offered USA and Mexico at the moment so I guess we’ve got to get down and review things asap, but it’s like knitting fog. Penalty of working with top people – Everyone’s suddenly off with their own career – Hannah in Ireland and increasingly global, there’s an international queue for Benge in Cornwall, Rob nipping between LA and Yorkshire.

We all want to do it, because it’s a real buzz blasting it out together, and Rob seems to have galvanised the whole thing – as he always does. But it’s got to be absolutely right for everyone to think of clearing the table.

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

Special thanks to Steve Malins at Random Management

‘Howl’ is released by Metamatic Records on 24th July 2020 as a CD and yellow vinyl LP, pre-order from https://johnfoxx.tmstor.es/

http://www.metamatic.com/

https://www.facebook.com/johnfoxxandthemaths/

https://twitter.com/foxxmetamedia

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

https://johnfoxx.bandcamp.com/

http://blog.thequietman.co.uk/

Text and Interview by Chi Ming Lai
21st March 2020

A Short Conversation with ANI GLASS

7 March 2020 /

‘Mirores’ is the excellent debut long player by Welsh synth songstress ANI GLASS and conceived around the idea of movement and progress around her hometown of Cardiff.

With enticing synthpop songs sitting together with more conceptual found sound adventures, it is one woman’s artistic vision celebrating her heritage and home, empowered by the freedom and democracy opened up via electronic music. ANI GLASS released her first EP ‘Ffrwydrad Tawel’ in 2017 having served an apprenticeship under mentors such as OMD’s Andy McCluskey and the late Martin Rushent. She kindly chatted about realising her artistic vision and remaining true to her culture.

Your debut album ‘Mirores’ has been several years in the making, how did you keep focussed and motivated?

It’s been a real labour of love and I’ve really enjoyed the whole process. That’s not to say that it’s been a never-ending journey of joyful motivation; there have been heavy periods of down-time whilst I focussed on other things such as my Masters and PhD, but even during those times I was busy collecting ideas and building a narrative. I’ve always wanted to have created and crafted a strong body of work and so that was all the motivation I needed to make sure that I finished, no matter how long it took.

What were the main differences in approach for you with the album compared with your debut EP ‘Ffrwydrad Tawel’?

The main difference I would say is that my ideas, musicianship and skills have developed since writing and recording the EP and so my approach to making the album was more considered. Essentially, I would just say that I was far more confident in my ability this time around.

You opted to self-produce the album, what were the pros and cons you uncovered along the way?

The only con I can think of was that it probably took far longer than it may have had someone else produced it, but the list of pros is pretty endless to be honest. I learnt the skill of production, I learnt how to fully realise my ideas from start to finish, I felt more ownership over my music and could work at my own pace and it encouraged me to listen to music in a different and more observant way. It also made me realise the amount of work involved and I now fully understand why Martin Rushent took over a year to finish the second PIPETTES album!

What hardware or software synths were you using, have you been tempted by any of those affordable Behringer clones?

I tend to stick to hardware synths, the ones I used on the album include a Juno 106, Waldorf Blofeld, Fender Rhodes and a Korg Minilogue. There maybe one or two software synths but mainly incidental or background stuff and absolutely no Behringer clones!

The album is an observational electronic travelogue with pop songs and conceptual interludes, that appears to be reminiscent of OMD’s ‘Dazzle Ships’ or ‘English Electric’? What were you main pointers influence-wise?

My main sonic influences were Vangelis, Martin Rushent, Giorgio Moroder, Jean-Michel Jarre and Arthur Russell. I do love OMD so I’m quite happy if anything I make resembles their work! The album is a journey – based around a day in the life of a Cardiff girl – and journeys tend to vary in pace, mood and tone and so I made an album that I felt would represent this.

The ‘Mirores’ title song has a very liberating quality about it, what was its genesis?

It was one of the last songs from the album that I wrote, and I certainly began to feel liberated knowing that I had nearly finished it! I wanted the song to capture how moments of doubt and despair can evolve into ones of clarity and realisation.

You play with Euro-disco on ‘Ynys Araul’, do you ultimately still have a pop heart within the messages you are looking to convey?

To me, I find pop music to be the most versatile when it comes to freedom of narrative. I’ve never felt restricted by its more traditional format, this structure allows me to experiment with lyrical themes and ideas. I’m generally quite conceptual and often a little vague when it comes to lyrics which then allows me to discuss almost anything. OMD’s ‘Enola Gay’ is a classic example of how a well-crafted song can be both pop and poignant.

You use sample of Welsh newsreader Huw Edwards within the voice collage on ‘Peirianwaith Perffaith’?

This recording is taken from a news report during the 1997 Welsh devolution referendum results. This momentous event in the social, cultural and political calendar of Wales has played a huge part in the development of Cardiff as a European capital city. What was once the largest exporter of coal in the world, the place where the first million-pound cheque was signed felt like a pretty grey and dreary place during the 80s and 90s.

Despite this, there were a lot of exciting things happening in various pockets around the city and most of all, the people were kind and generous. The city is unrecognisable today, in part due to the devolution process which has weaved its way into the minds and mechanics of Welsh life, and although we have all the problems of other cities – it’s home.

There’s a gospel flavoured interlude called ‘I.B.T’ which appears to sound familiar?

The recording is of my Mum’s choir CÔR COCHION CAERDYDD (Cardiff Reds), who are a socialist street choir. They sing every Saturday in Cardiff city centre to raise money for great causes and have done for the best part of 40 years. The song itself ‘Freedom Is Coming’ is a South African protest song, but this version is called ‘I.B.T’ which reads in Welsh ‘I Beaty’ (To Beaty). Beaty was a choir member and a wonderful woman and friend, and I recorded the choir singing this song at her funeral.

What was the idea behind including both English and Welsh in ‘Agnes’?

The words spoken at the beginning are taken from an interview done with the artist Agnes Martin as part of a documentary and the Welsh passages that follow depict my feelings about her work (basically, I love her). Her work stops you from thinking or worrying about things, it’s very calming and hugely inspiring – most certainly one of my greatest inspirations.

Do you have any personal favourite tracks on the album, or is it one thread of work for you?

I don’t think I do – they each have specific meanings that are equally important to me. They are reflective of different places, feelings and experiences and I suppose I value them all.

I most certainly have songs which fall into the more traditional ‘pop’ category (and I really love pop), but I don’t think I would say that I like them more.

You’re going to be touring the ‘Mirores’ album first in Wales, what have you got planned as far as its presentation is concerned and will you be taking it further afield?

I’ve recently picked up the bass again – I hadn’t played it since I was a member of GENIE QUEEN a long time ago – so that will make an appearance. Andy McCluskey bought this bass for me (as he managed the band at the time) and so the whole process of learning to play it again has been quite an emotional experience… probably realising that I’m not 19 anymore! I will most certainly be travelling across the border and further afield later in the year so I’m very much looking forward to that.

ELECTRICITYCLUB.CO.UK gives its grateful thanks to ANI GLASS

Special thanks to Bill Cummings at Sound & Vision PR

‘Mirores’ is released as a CD and download by Recordiau Neb, available direct from http://www.recordiauneb.com/siop

https://www.facebook.com/aniglasscymru/

https://twitter.com/Ani_Glass

https://www.instagram.com/ani_glass/

https://soundcloud.com/aniglass

https://aniglass.bandcamp.com/

Text and Interview by Chi Ming Lai
7th March 2020

On Tour with SOFTWAVE

5 March 2020 /

As highly respected veterans with a career of over four decades and still able to fill concert theatres around the world, OMD have used their position and earned a fine reputation for providing opportunities to fledging electronic pop acts to shine in front of a sympathetic audience.

The latest beneficiary has been the Danish synthpop couple SOFTWAVE who were accorded the honour of opening for OMD in Oslo, Stockholm, Malmo and Copenhagen during the Scandinavian leg of their 2020 ‘Souvenir’ greatest hits tour.

A keen OMD fan from Germany, Anja Minnemann went to all four of these gigs and observed: “It was amazing to watch SOFTWAVE’s performances. They gave a very strong performance every time I saw them and they grew in confidence so much from the first gig too the last gig! When they performed in their own country Denmark, you would have thought they were the main event!”

Unlike Sweden and Norway, Denmark has not been known for a tradition in electronic pop, but maybe there was never been a group worthy enough in the past to lead and inspire? SOFTWAVE’s album ‘Game On’ featuring songs included in the live set like ‘Galaxy Of Stars’ and ‘Something Is Missing’ has been one of the best debuts to have emerged from the Nordic region in the last few years.

Without doubt, the pair have certainly been the most promising synthpop act from Denmark since TIGER BABY whose last album ‘Open Windows Open Hills’ came out in 2011. “The Scandinavian people are always a bit cool but Catrine and Jerry warmed them up massively” said Anja, “Her voice was clear and she had so much power in it. It seems she can’t stand still, the rhythm was her cardio. Jerry was the quiet guy behind her, dressed up in a PacMan suit ?”

“They captivated the crowd and got them involved with chanting ‘OMD’” she added, “both the band and crowd were interacting with each other, which was an amazing feeling for both. One of the things I’ll always remember is, when the stage was dark and Catrine come onto it opening her arms and her ‘wings’ had lights on and she glowed in the dark, she looked like a massive butterfly. The reaction from the crowd was awesome! Songs like ‘No Need To Hide’ stay in your mind for a very long time”.

Enthusiastic UK-based Dutch OMD fan Marilyn Wilson remembered: “I first heard about SOFTWAVE in 2018 when Chi from ELECTRICITYCLUB.CO.UK told me that both Catrine and I were going to be on the same 80s Throwback Floating Festival cruise and that we should meet each other. The ship was rather big and we were never in the same location, so that never happened unfortunately. I did follow Softwave on Facebook after I came back home from the cruise and really liked what I heard.”

ELECTRICITYCLUB.CO.UK have often remarked how SOFTWAVE sound like Celine Dion fronting ERASURE and certainly the latter’s instrumental palette is a similarity that many have referenced.

“The sounds and melodies that Jerry uses remind me a bit of Vince Clarke’s work, and Vince is one of my musical heroes” Marilyn said, “Catrine’s voice is beautiful and powerful and compliments the synths wonderfully! I was so excited when I heard that SOFTWAVE were going to support OMD in Scandinavia, and their four performances certainly didn’t disappoint!”

With Catrine as SOFTWAVE’s vivacious front woman, she garnered the majority of the attention but she worked hard on her performance to maintain it, as the measure for support acts is not how many people are watching at the start of the set, but how many still remain at the end.

“Catrine is a natural on stage and presented all songs with lots of flair and humour” added Marilyn, “She was energetic, confident, interacted a lot with the crowd and managed to get lots of people, who had never heard the music before, to dance throughout the performance! That’s why it didn’t surprise me much when people queued up to meet the band after the gig. Both Catrine and Jerry also happen to be the loveliest friendliest people you could ever meet! My favourite song on the setlist was ‘Something Is Missing’. It’s so catchy I had in my head for days after the gigs.”

Seeing SOFTWAVE perform in Oslo and Stockholm, American music journalist and future music enthusiast Mary L Chang could not help but be impressed. “It’s a tall order, opening for an established band like OMD who have very devoted fans. From the very first song, the aplomb of Catrine Christensen set the stage for a spellbinding and energetic set. Whether in their Pac-Man-themed jackets or in Christensen’s case, lit up with a blue LED cape, SOFTWAVE gave an engaging, unforgettable performance.”

After the misstep of choosing the admittedly low maintenance LOVERS ELECTRIC to support on their comeback tour in 2007, OMD played it safe with the dependable CHINA CRISIS in 2008. However, they then took a greater interest in their special guests and a run of excellent up-and-coming synth acts have since been chosen for the coveted opening slot. Among those acts touring with OMD since 2010 have been VILLA NAH, MIRRORS, VILE ELECTRODES, METROLAND and TINY MAGNETIC PETS.

In a strange coincidence of synchronicity, all five of these acts had been featured on ELECTRICITYCLUB.CO.UK previously and now SOFTWAVE were eagerly following in their footsteps as the sixth.

Catrine Christensen and Jerry Olsen spoke to ELECTRICITYCLUB.CO.UK about their tour with OMD and what the future holds for SOFTWAVE following their successful four date Scandinavian run…

How did you receive the news that you would be opening for OMD?

Catrine: By e-mail. It was an ordinary day. I checked my inbox and there it was! We thought they would never answer – an email was received from OMD’s manager saying: “The band has agreed”.

Later we were told by Andy McCluskey himself in Oslo that we were personally chosen by OMD. It was a great start to begin the tour – we felt SO happy, they were really kind to us during the whole tour. We actually felt like we came closer for each place we played with them. And now I miss them and the touring life. I want more ?

So how was preparing for a four date touring different from a one-off show for you?

Catrine: OMG! Haha! As this was our biggest opportunity ever, I had to prepare more than I’m used to.

To our biggest surprise, preparing our show wasn’t the toughest. It’s no secret that I’m a perfectionist when it comes to planning things.

Every single detail was double checked several times, for example planning transport, flight, train, cruise, hotels and not to forget all the new contacts we had become from each venue promoters, production managers, bookers etc.

Jerry: It was all so big and new to us. So of course, we were both very frustrated in the beginning, because we knew this was big and it meant so much to us that we wouldn’t fail. We wanted to make a great impression on OMD and the audience to show them that this tour wasn’t just another show to us – but the biggest four shows we have ever done…

Catrine: …and maybe the door to future success – a dream would finally come true. We couldn’t be more happy – and GOD I so much wish for more of this to happen! Even though preparing was tough! But I believe everything new is difficult. We could easily do it again as we now know how it all works.

Were there any interesting dilemmas with choosing songs to perform for a 30 minute slot?

Catrine: Yes, sure. 30 minutes isn’t a whole album, so we had to remove some songs. What we didn’t expect was that we had to add an old song because Vega, the venue in Copenhagen decided to promote us by using the ‘On & On & On’ music video. So we chose to add that one too, replacing ‘Human Beings’.

How were rehearsals going, did you have a particular process? Voice exercises, run throughs etc??

Jerry: We did rehearsals one month before the first show and each day during the tour, even during the cruise to Oslo and at hotels.

Catrine: I did voice exercises each day for one month up to the first show, but that’s not more than I’m used to before a show.

I tried to keep my throat warm and healthy, it’s like going in a fitness centre, not before one month of training you can feel a difference. I drank tea each day up to and during the tour. I was very afraid of getting sick and not being able to sing. But I didn’t ?

You finally had a CD of ‘Game On’ available for sale…

Catrine: Yeah. We were not supposed to. But after receiving a lot of requests, we decided to produce some. Luckily we received support from DPA and KODA’s Cultural Funds, or else we couldn’t afford it. One month before the tour, we decided to release the CD together with the announcement of the 100 new copies of the ‘Game On’ vinyl, a “tour edition” in lime colour. Surprisingly we received many CD pre-orders, and I had to arrange all these to be shipped safely to the fans, all signed during the preparations for the tour. WOW! That was stressful. But after that, we could finally concentrate on the tour.

Jerry: The CDs sold well and 50% of them are gone already. So we’re very glad about our decision. But the vinyl sale went even better!

Your choice of stage clothes made a strong visual impact?

Catrine: Yes, it did. Every single detail was carefully chosen. The most popular visual impact was definitely the blue LED-wings I was wearing during ‘Guardian Angel’. Visuals and stage clothes are almost as important as the music when performing live. We want the audience to experience the music in another way than when listening at home.

As we don’t go on compromise on the quality of the music production, we feel the same live. To show that, we had to “show” it in a visual way.

Jerry: We both wore the PacMan suits as it’s related to the ‘Game On’ album. It’s not a permanent look though.

Catrine: Regarding the shows we did during the tour with OMD, it was my idea to spice up the show with a star, LED wings and my clothes which I changed a little at each show, but it still had the same main look. During all our shows, I was always wearing my wave-earring and wave-makeup. As something new, I added a Greek goddess hair-bracelet which I bought together with my Greek family in Athens. After the tour I found out that many people noticed these small details – so that made me very happy. It was all worth it ?

OMD souvenir tour – Behind the scenes

ATTENTION!Watch this video to have a closer look behind-the-scenes and to see how much we enjoyed touring with Orchestral Manoeuvres in the Dark.Interview by ELECTRICITYCLUB.CO.UK "On Tour With SOFTWAVE":https://www.electricityclub.co.uk/on-tour-with-softwave/We are so pleased to have so many lovely people around us to support us during the whole tour experience ❤ THANK YOU ❤Playlist by OMD: https://open.spotify.com/playlist/3Pkycy3mykGmoiT3EVSpvy?si=vVCDmE6yRWmmkyzrNy01SwWatch FULL live show (VEGA): https://youtu.be/sg8FJ37vaSc

Posted by SoftWave on Wednesday, February 26, 2020

How was the first night in Oslo?

Catrine: As you say “the first night”. We didn’t know what to expect and what people would think of our show. Therefore we were both very excited and nervous at the same time. A strange but also an incredibly good feeling. (Watch behind-the-scenes video ?

We weren’t sure how much we could ask or if we were allowed to meet the band and talk with them backstage. So we kind of just followed the flow and suddenly we met Andy McCluskey and had a short chat.

Afterwards we said hi to Paul Humphreys and the other band members. We also had the pleasure of seeing their soundcheck along with the VIPs. They looked very curiously at us, as we were just standing there among the hardcore OMD fans, I had this feeling that they wasn’t used to that.

Jerry: After the show, something surprising happened, first of all we sold a lot of merchandise and many came to us to give us feedback. Some gave us high-five and one man told us that what we did was amazing. He said he had never seen an OMD support band like that before. He also added that Norwegians are normally very shy in nature, but we made them clap, jump, shout and smile ?

Even a video from an audience was uploaded to YouTube afterwards – and that’s a good sign…

You actually had some German and Dutch OMD fans there to cheer for you?

Catrine: Yes we had, Anja and Marilyn. They were amazingly supportive during the whole tour. We really needed them, so their presence meant a lot to us. At least one person to cheer you up is precious – but we were lucky to have at least two during all four places <3

The tour wouldn’t have been the same without them. But we must say that they maybe would not have known about us if it wasn’t because of our huge fan Shaun who couldn’t be there and told Anja to keep an eye on us.

What was the overall reaction in Oslo?

Jerry: It was impressive. They were all very supportive and cheered us up. We had so much great feedback. If this wasn’t the case, I’m afraid it would maybe have made me nervous for the other shows.

Catrine: We were told by Andy that they would come and see our show. So we were very excited to hear their feedback afterwards.

Then onto Stockholm, did the audience here differ?

Catrine: There were unbelievably so many photos taken here, it sure was the most beautiful venue we have ever played at. We would love to go there again. Even the backstage area and service was amazing. Sadly there wasn’t much videos posted by the audience. But we were lucky to find one:

Softwave – Something is Missing. ??

Posted by Tom Svendsen on Sunday, February 9, 2020

How was your relationship developing with the road crew?

Jerry: Step by step. We ended up having a very good time together, it felt like a small family. We really miss them.

Did you get to chat much to Andy McCluskey and Paul Humphreys during the tour?

Catrine: Yes. But it wasn’t easy. We were afraid it would never happen. So we stayed humble and didn’t want to demand them to have a chat with us, so we shared our wish with their manager and made it up to them to decide when and if they wanted to chat with us.

That was a good decision as we experienced they opened up more after each show. During the last show in Copenhagen, they came to us many times for a chat and we even had photos with them backstage. We also gave them and the rest of the band a copy of the lime vinyl including a personal message and signed of course ?

They seemed very happy about the gift and they also gave us great feedback on our performance, actually many times. They also said they were honoured to have us with them on tour – and we didn’t know what to say because we were the ones to be honoured to be chosen.

Right before we went to the stage in Vega, Andy told me that he was amazed by my way of performing. He said something like this: “…without looking nervous at all you just went on stage like a queen saying here I am…”. That really was a huge compliment. I hope to chat more with them, we had such a great time and even better, the same sort of humour.

Jerry: I had a nice producer-conversation with Paul before we entered the stage in Copenhagen.

We mentioned that we’re working on a cover version of ‘Souvenir’ which caught his attention right away. He asked me to send him a demo to his private email.

Malmö was heading towards home, were you getting into your stride by now?

Jerry: Yeah… we were definitely getting the hang of the touring life. It was a different place but everything remained the same. Every place, the schedule is exactly the same. That was actually a good thing because it made us relax more.

But you were most nervous for the Copenhagen show?

Jerry: Yes. Danes are not easily satisfied. They are often critical about new bands like us and can be very judging. But surprisingly, we were completely wrong about that.

Catrine: We had a huge queue at the merchandise stand. We were three people to help sell our stuff and it was lovely to have a good friend helping us out during the day. Copenhagen was a great success and a perfect end to the tour!

Over the four shows, which songs appeared to be getting the best reaction?

Jerry: Hard to say. Ask OMD’s fans ?

But if I should mention one song – it must be ‘No Need To Hide’ as it was the last one on the setlist and worked as the perfect transition for OMD to take over the stage after us.

How were merch sales and the online reaction with regards social media and post-show steams?

Catrine: Just amazing. We couldn’t have asked for more. We sold way more than expected. Our lovely followers on social media kindly shared our posts and even OMD fans commented and uploaded pictures and videos. It was a great help to me, as I’m responsible for the promotional part. Only at Vega, we had our own film-production crew to film our show and a photographer. So we especially want to thank all people who took pictures and filmed our show in Oslo, Stockholm and Malmo and would like everyone to send us their files to contact@softwavemusic.com

What advice would you give to artists to be able to get into the position you managed to find yourself in?

Catrine: Be prepared, be yourself, produce great music and show you are proud of it. Don’t be afraid to move forward – just believe you will succeed and you will.

What are SOFTWAVE’s future plans, hopes and fears?

Jerry: We want to tour more for sure! It’s very sad that the tour with OMD is over already, and we fear a tour like this will never happen to us again. We feel very lucky and honoured to have experienced this. It feels like we have reached the top. So of course it’s always frustrating to think of the future after having such a great time in “tour-heaven”.

Catrine: It’s like having an “after-tour-effect”, some artists feel depressed. I have been told it’s normal, but I don’t feel that yet. I’m still very happy, but I have thought “So what will happen now?”... I believe the worst thing is to have to wait and stay patient.

As we didn’t know what would happen after this tour, we are still available for bookings during the whole summer. We hope to play in Germany and bigger venues and festivals in Denmark. But we’re not in a hurry as we’re planning a new album and another exciting side-project ?

But there will be a full professional live show recording of the Copenhagen Vega show online soon.

ELECTRICITYCLUB.CO.UK gives its warmest thanks to SOFTWAVE

Special thanks to Anja Minnemann, Marilyn Wilson and Mary L Chang

‘Game On’ is released as a download album, available direct from https://softwave.bandcamp.com/album/game-on

http://www.softwavemusic.com/

https://www.facebook.com/SoftWaveMusic/

https://twitter.com/SoftWaveMusic

https://www.instagram.com/softwave_music/

https://softwave.bandcamp.com/

Text and Interview by Chi Ming Lai
Photos by Dag Stinus
5th March 2020

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