Category: Interviews (Page 90 of 113)

I AM SNOW ANGEL Interview

28 January 2015 / electricityclub

The Adirondack Mountains in Lake Placid is at the heart of the beautifully gentle soundtrack of I AM SNOW ANGEL.

The self-produced vehicle of the now Brooklyn based singer / songwriter Julie Kathryn, despite the sedate nature of her debut long player ‘Crocodile’, the mix of electronica and Americana Noir has been quietly subversive… after all, it’s not every day someone attempts a countrified drum ‘n’ bass cover of Bruce Sprinsteen’s ‘I’m On Fire’!

But I AM SNOW ANGEL has not just been about off-the-wall reinterpretations.

From her self-titled debut EP, ‘Let Me Go’ was a Nordic styled tour de force that was rich in understatement and swathed in melancholy. Album highlight ‘Come With Me’ reimagined THE CARPENTERS produced by William Orbit while there was also the gentle vibey shuffle of ‘Fallen Angel’ and the more overtly percussive electro / Country + Western hybrid of ‘Turquoise Blue’. Then there was of course, the marvellously dreamy ‘Crocodile’ title track which was released as the album’s lead single.

Although comparable to Imogen Heap, I AM SNOW ANGEL’s template is quite distinct from most electronic based pop music. Julie Kathyrn kindly spoke to ELECTRICITYCLUB.CO.UK about her musical world of icy landscapes and crystalline hydro basins…

Your musical roots have been in Americana Noir, so what led you want to work in a more electronic sphere?

It actually happened organically. A few people had encouraged me to start producing my own tracks. When I did, they turned out much more electronic than anything I had done in the past.

Were the any particular acts that influenced you in this direction?

I was definitely influenced by THE POSTAL SERVICE. ‘Give Up’ is one of my favorite albums. The songwriting and the production are amazing. There were also a handful of semi-electronic artists I was listening to when I recorded this album — including PHOSPHORESCENT and THE XX.

How has the technology changed your approach to composition?

Sometimes I still write with just a guitar or keyboard. But now I often begin songs with the programming first, and then let the lyrics and melody develop as part of the production process. It’s been fun to mix it up.

What types of VST have you particularly enjoyed using?

On the ‘Crocodile’ record we definitely used a lot of plugins. Sound Toys Echo Boy and Air Vintage Filter are two favorites.

You use vocal processing treatments too. What would you say to observers who say singers should keep their voices pure and free from things like Autotune?

With this type of music, I think processing is part of the aesthetic. For example, I really like “glitchy” sounding backing vocals — especially when they’re understated, almost like instrument sounds. I’m not sure what I would say to people who are anti-processing. To each his own!

Despite the use of electronics, your music still maintains a distinctive American twang for a unique and quietly subversive sound… have you any thoughts on this?

I was raised in Lake Placid, which is in Northern New York. It’s a rural area, in the mountains. I grew up singing folk music. I can’t erase my country roots, even though my sensibilities have changed since then. Musically I’m kind of a hybrid.

When you first appeared as I AM SNOW ANGEL with the self-titled EP, it appeared to possibly be a one-off experiment? Was that how you saw it?

I wasn’t sure what would happen. Yes, it was kind of an experiment, but I quickly became really invested in it. And now I’m basically addicted to writing and producing music in this genre.

‘Let Me Go’ from your first EP could be interpreted in many ways, do you think it suited a more synthetic treatment than perhaps a traditional one?

Well it’s actually a spiritually oriented song, as you might have gathered from the lyrics. I wrote it as more of a hymn, but to my surprise the electronic production worked really well. It feels very wintry and ethereal.

With artists moving more towards recording EPs, what inspired you to undertake a full length album?

I had a lot of songs and I really wanted to put them out there. And I liked the idea of creating a longer narrative.

The album is called ‘Crocodile’, why is that and what is the title track about?

I wanted to explore the dynamic between predator and prey. There aren’t many songs about this. On the surface I was describing a crocodile stalking its prey, but I meant this as a metaphor. At the end of the day, I think humans are basically governed by animal instincts, even though we pretend to be logical and reasonable. For me this song felt like the right opening track for the album — ethereal, breezy, otherworldly.

‘Walking On Wires’ has hints of THE POSTAL SERVICE?

Yes! Especially the percussion and the fuzzy bass sounds, and the subdued, under-emotional vocal delivery.

What are your own favourite songs on ‘Crocodile’?

‘Fantasy Fiction’ is definitely one of my favorites. I feel very connected to the song’s dynamic build and rhythm. I also like ‘Walking On Wires’. I really pushed myself musically, and I’m happy with how it turned out.

To close ‘Crocodile’, you covered Bruce Springsteen’s ‘I’m On Fire’ in an esoteric drum ’n’ bass style. How did this idea come about and what has the general reaction been to it, especially in the US where some synthobic attitudes still exist?

I think people like it! The original song is so eerie and organic — one of my favorite tracks of all time. Mine is definitely very different from the original, but I think that’s a good thing — it’s a devoted re-interpretation, not necessarily an imitation.

Of course, people tend to forget that The Boss’ ‘Born In the USA’ and ‘Tunnel Of Love’ albums are in their own ways, quite synthy…

That’s so true! He’s considered to be very rootsy / Americana now, but he had plenty of electronic sounds in his music in the 80s.

So what’s next for you, either as Julie or I AM SNOW ANGEL?

I’m recording more I AM SNOW ANGEL tracks right now, actually. I can’t wait to share them with you. And thank you for chatting with me!

ELECTRICITYCLUB.CO.UK gives its warmest thanks to Julie Kathyrn

Thanks also to Julie Rene Tran at EiPR

‘Crocodile’ and the ‘I Am Snow Angel EP’ are available via Amazon, iTunes and the usual digital outlets

http://iamsnowangel.com/

https://www.facebook.com/iamsnowangel

https://soundcloud.com/iamsnowangel

Text and Interview by Chi Ming Lai
28th January 2015

HYPERBUBBLE Interview

20 December 2014 / electricityclub

Photo by Joe Wallace

Bionic Bubblepunk duo HYPERBUBBLE made a rare visit to the UK recently when they were invited to play cult indie queen Helen Love’s ‘Does Your Heart Go Boom?’ all dayer at The Lexington in London.

It was their first gig in the capital and in front of an audience more used to feisty indie pop, they won over the audience with their quirky electronic performance art. HYPERBUBBLE arrived on stage with Jess attired in a black sequined blouse while Jeff was in full Texan state costume including matching ten gallon Stetson… those watching were convinced they were about to witness a mutant Country & Western duo.

But synthpop’s own Carter & Cash launched into their calling card ‘Candy Apple Daydreams’ for a 45 minute performance of quirky electro. With the wacky manner of THE B-52s, HYPERBUBBLE soon had the crowd smiling and eventually bopping away to fun uptempo numbers such as ‘Synesthesia’, ‘Bionic Girl’, ‘Non Biodegradable Hazardous Waste Disposal’ and ‘Chop Shop Cop’.

With some finely tuned robotics, Jess even found time to play Theremin and venture over to Jeff to give him a good spanking during ‘Girl Boy Pop Toy’ as his larger than life personality charmed the crowd. And as a tribute to their host Helen Love, HYPERBUBBLE also did an affectionate cover of her song ‘Better Set Your Phasers to Stun’ from 2000 which was appreciated by all present including ‘Never Mind The Buzzcocks’ team captain PHILL JUPITUS.

After their enjoyable set at ‘Does Your Heart Go Boom?’, HYPERBUBBLE kindly chatted about Synths, Justice and The American Way…

So how do you feel after your first gig in London?

Jess: I’m ecstatic, I’m giddy! *laughs*

I woke up this morning and had this visual of what it was going to be like and it was better than what I thought.

Jeff: The same… we have played other UK cities like Lancaster and Manchester but we were really excited when Helen Love asked us to play London.

It was quite an eclectic line-up for this event so I had the impression some of the audience hadn’t heard a synthesizer played in a pop context for about 20 odd years! What did you think?

Jeff: Ours was the only music that had space between the notes! Instead of the strumming, there was suddenly all this airiness in the room! *laughs*

Jess: I actually think we fit more with Helen Love’s aesthetic because there’s some punk in there and bubblegum pop… so we chose our set with her in mind.

Jeff: We were banking on the audience not knowing what to expect, we threw in a few things to throw them off…

Jess: And, as Jeff likes to say, “guitars are retro…”

Jeff: Whenever anybody plays a synthesizer, the ‘80s’ comes up and the word ‘retro’ gets used. But we’re believers in what we’re doing is a continuance of something that may have stopped a little too prematurely and that hasn’t been explored as much or as often as it should be.

So there’s technology today which does things that couldn’t possibly have been done back in the 80s… I mean, aren’t those guitars and the style of music most often played with them retro? But with electronic music, there’s always been a sense of looking forward, of building upon something instead of looking back.

Photo by Joe Wallace

There were a lot of smiles in the audience during your performance?

Jess: We definitely play upon that because we see ourselves as part-performance art, kitsch cabaret pop…

Jeff: We were taking band photos and coming up with costumes as part of the art concept before we bothered doing the songs… HYPERBUBBLE is very much an art / music project.

So what would you say to observers who might say “it should only be about the music, it shouldn’t matter what a band looks like”?

Jess: I have to say, and not being too irreverent here, but I’m so tired of ‘sincerity’… people say music has to be sincere but art can be anything. And it can be humourous, it can be dark humour, it can be political commentary like our song ‘Non Biodegradable Hazardous Waste Disposal’… when you put limitations on what art or music can be, then you can miss a whole lot.

Jeff: I think the bands should be the ones making up their own rules and not having someone else making them.

In the US at the moment, EDM is popular… is that helping or hindering HYPERBUBBLE?

Jeff: EDM gives the potential audience something they can relate to and creates an open-mindedness. So our music has a point of reference now for people who didn’t understand it. Little do people know but they have been weaned on electronic music since the 60s with television commercials and movie soundtracks so there has finally been a breaking down of barriers that this wasn’t music. People are recognising that “yes, this is a valid art form now”!

Jess: I have this memory when I got my first synthesizer, my sister who played French Horn said “you can’t make real sounds on that thing! You can’t make the sound of a saxophone or French Horn” but I told her “I’m not trying to, I’m making new sounds”… flash forward to 2014 and she’s HYPERBUBBLE’s biggest fan, you’ll find her all over Facebook liking everything we do.

Jeff: When we were in Glasgow a couple of tours ago, I was in an elevator and there was this guy in there with a mandolin case and I was holding my microKorg case. He said “what’s that?”. I replied “a synthesizer” and he said “when the electricity runs out, you’re f***ed!”. I was thinking, when the electricity runs out, the last thing I’m going to be worried about is where I can plug in my synth! *laughs*

You went to Moogfest 2014 which featured KRAFTWERK and Giorgio Moroder?

Jess: I didn’t go, Jeff went with his brother who’s in the band NITE RISK…

Jeff: Oh, it was like a disciple going to The Sermon On The Mount, it really was. KRAFTWERK were a band I first heard when I was 13 with this otherworldly sound…I listened to ‘Autobahn’ daily! In my mind, they are this perfect combination of music and art concept. To see it played out… I was actually weeping during ‘The Robots’! But the most poignant moment though was when they had a technical issue and you saw human beings behind the keyboards having to deal with an error… they were so graceful about it. And instead of sending out some flunkey to tell the audience to hold tight, Ralf Hütter took responsibility and came out to apologise. I think we were lucky to see the human part of this band. I think we saw one of the best KRAFTWERK shows ever because we got a little peek behind that mystique that has been built up.

Likewise, attending a seminar with Giorgio Moroder and watching him perform live laid to rest the mythology of him being a cold, robotic producer. He was warm, and actually quite funny. Also, like seeing KRAFTWERK, hearing Moroder speak about monumental singles like ‘I Feel Love’ and the soundtracks from ‘Midnight Express’ and ‘Cat People’ brought those early HYPERBUBBLE influences full circle.

Your main project this year has been the soundtrack for the film ‘Attack Of The Titans’, and you’ve won an award?

Jeff: Yeah, the award was for ‘Dee Dee Rocks The Galaxy’, a film that was made by the same crew as ‘Attack Of The Titans’. It won ‘Best Soundtrack’ at the 48 Hr Film Festival. It’s going to be coming out next year, because we’re trying to pace the releases a little.

With the soundtracks, we’re going back into what got us into this kind of music in the first place, listening to those TANGERINE DREAM soundtracks like ‘The Park is Mine’, ‘Sorcerer’, ‘Risky Business’ and ‘Thief’, which, by the way, worked great while riding the London Underground this trip.

We’d done ‘Drastic Cinematic’ which was a make-believe soundtrack, and it led us to being invited to do actual soundtracks. I just love being given a concept and a visual and asking myself “what are you going to do that suits this?” – ‘Dee Dee Rocks The Galaxy’ is the next step forward for us, because it’s a mini-synth rock opera which required us to work with singing actors.

Jess: Speaking of concepts, our costumes tonight are foreshadowing what’s to come… we plan to produce, mix and create the first electro Country & Western LP *laughs*

Jeff: Actually, ‘Switched On Nashville’ may have been the first! *laughs*

With our stage clothes, we’re playing up to people’s expectations, then throwing in a paradox… looking like their pre-conceived idea of what a Texan is and then sounding nothing like it! So now we’re going to flip it all the way over. Synthesizers with their pitch bend and portamento really lend themselves to that country twang! And the first three letters of “Moog” spell MOO! *laughs*

It’s been four years since the ‘Candy Apple Daydreams’ album and you’ve been doing these soundtracks and EPs. Has that been conscious? Do you think albums are an outdated concept?

Jess: My first thought is that we keep trying to do something new each time and not repeat it.

Jeff: Also, when we try to do something, we try to do the best version of that concept we can and we were really satisfied with ‘Candy Apple Daydreams’… it was like “let’s do an electronic pop rock opera with a theme and a storyline”. A lot of what we like about electronic music came from the ‘song’ bands that wrote pop tunes but much of it has also come from soundtrack and experimental music. Those first three albums were about establishing ourselves enough to have room to stretch out a little bit more.

Although Texas has a great crop of electronic based acts such as FEATHERS, ELEVEN: ELEVEN and IRIS, do you ever feel that being there that you’re out of sorts in terms of location as far as electronic music is concerned?

Jeff: Well, Texas is the home of NASA and you can’t get much more technical or electronic than that *laughs*

Jess: I think San Antonio has come along way since its heavy metal days, there’s a lot more up and coming bands who are duos or have a minimal set-up. But of course, we’re close to Austin which is the state’s music capital so it’s a great place to be. And our biggest supporters have been the visual art community in Texas so we really cross over into that realm.

Jeff: San Antonio actually has a secret synthpop history. Shortly after THE SEX PISTOLS played at Randy’s Rodeo in our hometown of San Antonio in 1978, you had this explosion of bands that were inspired by that, but who also listened to FAD GADGET and THE NORMAL. As a result, in the early 80s, there were actually a lot of San Antonio synth-driven acts like DEM VACKRA, BA SYNDICATE, INNOCENT X, CHARLES ATHANAS, MANNEQUIN, LUNG OVERCOAT (of which I was a founding member) and GET REAL. We tip our ten gallon hats to them. Yee-haw!

ELECTRICITYCLUB.CO.UK gives its warmest thanks to HYPERBUBBLE

‘Better Set Your Phasers To Stun – The Next Generation’, the ‘Attack Of The Titans’ soundtrack and HYPERBUBBLE’s four albums ‘Drastic Cinematic‘, ‘Candy Apple Daydreams’, Solid Pop’ and ‘Airbrushed Alibis’ are available on CD from http://www.hyperbubble.net/

https://www.facebook.com/hyperbubble

https://twitter.com/Hyperbubble

https://www.instagram.com/hyperbubbleofficial/

Text and Interview by Chi Ming Lai
20th December 2014

IRIS Interview

12 December 2014 / electricityclub

IRIS are one of few American electronic bands to crack Europe, having toured with the likes of DE/VISION and MESH.

Formed in Texas, they started playing covers before reaching their own sound, a sound which has grown to be rather distinctive, thanks to Reagan Jones’ interesting voice and ear-pleasing synth melodies.

The rather easy listening tone of IRIS’ tunes appeals to wider audience than say, COMBICHRIST’s, an audience that may struggle with beefy synth combos and would prefer a slightly softer approach. IRIS provide that impeccably well, with a distinct dose of nostalgia.

With the recent release of ‘Radiant’ on Dependent Records, ELECTRICITYCLUB.CO.UK chatted to Reagan Jones of IRIS…

After ‘Disconnect’, Matthew Morris was replaced by Andrew Sega, how did that influence the music direction?

His influence was immediate. Matt and Andrew are both highly proficient music producers who each bring their own style. I mean, you can find someone who can help get a song out, but the ones who really bring their own influence and craft are rare. I think because Matt and Andrew’s process and style differ so extensively, it was inevitable Andrew’s influence would be quite pronounced. Also, Matt introduced us at a time when I was still searching as a writer and wanting to challenge things, so when Andrew came around, I was looking at everything with a pretty open mind. That set the tone right, because he didn’t come from my background, meaning he was maybe too young to really have been into the whole retro, techno pop sound like CETU JAVU and CAUSE & EFFECT and things like that, so it was a shift in a very new direction.

’Awakening’ had more experimental electronic directions, was that due to Andrew?

Everything with ‘Awakening’ was experimental since Andrew was basically new to the synthpop thing, and I was trying to think of new ways to write a song, so we were kinda headed in our own directions trying to figure out our path in all of this. The entire ethos was experimental.

Sonically it doesn’t sound like a synthpop album really, and that’s a direct influence of Andrew because as I said, he’s coming from a more experimental background, maybe more like UNDERWORLD or APHEX TWIN, whereas I was more retro, so we had to somehow make that work. It was all an experiment, but it gelled and became more exciting once we saw how to make it work without trying too hard.

What were your influences apart from the obvious DEPECHE MODE effect?

There’s two silos of music in my life — electronic pop that was played simultaneously on radio and in clubs, here in the US from maybe 1987-1991, so bands like ANYTHING BOX, RED FLAG, INFORMATION SOCIETY, T42, SEVEN RED SEVEN, DM, CAUSE & EFFECT etc., and then there’s everything else. Somehow I found one of my greatest influences in the second silo, and that’s Glen Phillips from TOAD THE WET SPROCKET. I believe he’s, historically, one of the greatest songwriters, and as I got stuck in that glue, it removed some of the DM clone mentality. ‘Lose In Wanting’ was the first song to reflect that, and it’s really the beginning of IRIS as it’s known today as far as my contribution. This is why I tell anyone who asks about carving out their own sound, go find someone outside the scene you exist in, someone who can influence you to a degree that you’re mixing strange ingredients and forcing you into unpredictable waters.

After 2005 ‘Wrath’, IRIS came to Europe to do a few gigs, it must have been a big thing for you to be able to crack the other side of the Atlantic?

Hard to describe but it was a life changer. I’ll never forget sitting on this massive jet, even before leaving American soil, and hearing the flight attendants speaking German. That’s when it really set in for us that we were coming to Europe. I’d also been a fan of DE/VISION for quite a while and had a lot of respect for their writing prowess, so being asked by them was just really awesome. That whole first touring experience was something I’ll never forget, and it gave us the opportunity to get in front of larger audiences without having to earn it alone, by ourselves back in America. The whole experience was tremendous.

In 2011 you did a three week American tour with MESH and DE/VISION, what memories have you of that?

Everyone from these camps runs a pretty tight show on and off stage, so tours like these are rather civilized compared with what you might think. The memories are mainly the experience of travelling together. I mean the shows are why we’re there of course, but it’s the travel experience that really comes home with you. I recall myself and Chris Pedersen renting mountain bikes and exploring Tuscon Arizona, which is like the classic, large cactus style desert setting, the real thing. That was cool.

Also on the last night for either MESH or DE/VISION in Portland, I can’t recall which band was going home, we all crammed onto the bus, blasted some wild sounding music which was a then unbeknownst-to-me act called SKRILLEX, had strobes going and were just drinking shots. Rob from CAUSE & EFFECT was there, which of course was very cool for me, and we all just piled on there and partied it up. Then there’s moments when you just need to get away from it all, like when we stayed a day in El Paso and I wandered off to catch a movie. Times like these can be rather surreal, you almost have to remind yourself you’re on tour. Ultimately though, the memory we probably all take with us is of Cowboy, our larger than life bus driver. He was tall, he was big, he had the accent, he wore the hat, and it really kinda made the trip, although Pluswelt’s Jan Winterfeld may disagree *laughs*

Iris-byDirkEusterbrock

You’re very big in Russia, does that come as a bit of a shock for an American electronic band?

I grew up in basically the rural south of America during The Cold War, so it’s been a strange reward from this whole experience that we’ve been invited to play Russia this many times. It felt triumphant on a personal level, that a kid from the piney woods of east Texas could ever walk through Red Square, or play a wedding 4 hours outside Moscow, or take the Siberian Express from in the middle of the night when all you could see outside was the moonlit snow of the Russian tundra.

It felt like, this shouldn’t be happening, but our trips to Russia have always been surreal and on a level of life experience that’s hard to describe. It’s been a shock at times, but a good shock, and I think our brief moments with these fabulous people have been even more emotional sometimes than other places. The fans in Russia are really special, there’s a sense within the crowd that elevates everything, and I think we both feel lucky to have had any place in that. It’s been one of our favorite places, there’s always a great amount of excitement when coming to Russia, and that never goes away.

The electronic music scene in the UK can be hit and miss at times, even though we have some great bands, we seem to be always behind the rest of Europe, Germany being a leader. What’s the situation in the US?

I don’t know, I think the previous, social barriers are gone in America as it pertains to electronic song-based music, so you have a ton of bands coming up now that are amazing. THE NEW DIVISION and MR KITTY are outstanding, and of course Canadian bands that play the US often like PURITY RING, METRIC and TR/ST. For us though, I tend to see our music as written more for the individual, if that makes sense. I think no matter where you are around the world, people have the same fears, the same hopes and dreams, the same loneliness, questions about life, concerns, passions, and all the rest, so we tend not to think very geographically.

Your latest release ‘Radiant’ is on Dependent Records, the same label as MESH, APOP and COVENANT, you’re in a good company there…

Yeah, it’s been a step in the right direction. We’ve had label support before, particularly Infacted with ‘Blacklight’, where Torben Schmidt did so much to get us over there and kinda paved the way for us in Europe, but we’ve always remained a fairly DIY band. With Dependent, we’ve really let go of things once handled on our own, and I say “we” but I should say Andrew, because he’s owned almost all the business side on his own, and now he can take a break.

I can say it’s been a good move so far; we’re letting go of some control but Stefan Herwig seems to have a good eye for how things should be, and of course you have to build that trust, but ‘Radiant’ is working out better than we expected so I think this trust is there now. We’re glad to have someone take on some of the responsibilities we’ve carried alone for so long.

The album’s sound doesn’t differ much from your previous releases, which will please the ear of your established fans. Are you happy to be in the comfort zone?

I guess that depends on who’s listening. The initial response has been even more positive than we expected, because you just never know, and people seem to hear ‘Radiant’ as a progression for us, evolved from where we’ve been before.

Technically, how do you approach your sound? Any favourite synths? In the era of soft synthesizers, do you still use the physical thing?

Yes, I got left behind with all the soft synths and stayed true to my Korg workstations. I currently use the Kronos but I’ve had each of their workstations since the 01/W. I’m just acclimated to the Korg sequencer and interface, it’s a lazy thing on my behalf, but I just want to write and the Korg provides a nice canvass.

Europe misses you, any plans to come back and tour ‘Radiant’?

I think that’s the idea, if we can make it work with our schedules we’d like to be back. You never know how people will respond to an album and whether that response merits a tour, but so far the reception has been good, so now I think, especially with Dependent working out various options, a tour is more likely than not.

Hopefully we’ll get to play some festivals if nothing else, there’s several we haven’t been able to play before, so we’re looking forward to what 2015 can bring and as always, being back in Europe is very nice.

ELECTRICITYCLUB.CO.UK gives its warmest thanks to Reagan Jones

‘Radiant’ is released by Dependent Records on CD and available as a download album via the usual digital outlets

https://www.facebook.com/pages/IRIS/55618397260

http://www.dependent.de/index.php?lan=en&area=artist&id=53

Text and Interview by Monika Izabela Goss
12th December 2014

XAN TYLER Interview

7 December 2014 / electricityclub

Xan Tyler is perhaps best known in electronic music circles as the vocalist of cult synthpop duo TECHNIQUE.

The brainchild of multi-instrumentalist Kate Holmes, the concept was a female interpretation of PET SHOP BOYS crossed with NEW ORDER’s post-punk edge, hence the moniker after the Mancunian quartet’s fifth album.

The pair had two minor hit singles ‘Sun Is Shining’ and ‘You & Me’ in 1999, both under the auspices of acclaimed producer Stephen Hague while a mini-album ‘Pop Philosophy’ belatedly came out in 2001. As a result, TECHNIQUE were booked to support DEPECHE MODE in Europe but Tyler was unavailable for the tour, rumoured to be AWOL. DUBSTAR’s Sarah Blackwood was recruited to replace her and the new duo eventually became CLIENT in 2002.

Meanwhile, Xan Tyler continued to work on a variety of projects and has now unleashed a new EP ‘Into The Blue’ which adopts an electro-acoustic flavour not entirely dissimilar from Hannah Peel, particularly on the spacious piano-led title track. The jazz flavoured ‘Rainmaker’ could be a British take on Julee Cruise while ‘No One Like You’ is a pretty, atmospheric number with sweeps and beeps alongside some acoustic strumming. ‘Stop The Clock’ adds a drum machine to the EP’s template but ‘If’ takes an even more electronic stance with the beats taking a more prominent role. Closing with ‘This Room’, it is this one that perhaps is most reminiscent of TECHNIQUE despite the six string picking.

Now based in Scotland, Xan Tyler kindly spoke to ELECTRICITYCLUB.CO.UK about her career, the new approach to her music and heading ‘Into The Blue’…

You first became known to the synth world as part of TECHNIQUE with Kate Holmes. How do you look back on that time?

Really fondly… before that, I had been a jobbing singer, touring and doing the odd session here and there. Then all of a sudden I was doing live telly, making expensive videos and partying on expenses. I had a great time.

TECHNIQUE were signed to Creation but were out of place with the post-Britpop mood of the times. The music environment was not as sympathetic to electronic pop, particularly fronted by women, then as it is now… the press appeared to be quite hostile to you?

Well, not all of them were hostile, we did get some great press but yeah, it was tough here in the UK. We did better in Europe and Japan in that respect. The British press just couldn’t get past Kate’s relationship with Alan McGee. Despite her being an established artist in her own right years before she met Alan, the British press were just obsessed with it and it really got in the way. Also, I do think musically we were a bit early. We paved the way for others… including CLIENT!

But TECHNIQUE were vindicated when ‘You & Me’ became a hit in China via a cover version by Coco Lee in 2000?

Well, it was covered by Coco, so obviously I had very little to do with that but I was chuffed for Kate because she did well out of it. It was a nice two fingers up to all the doubters.

TECHNIQUE worked with Stephen Hague and seven tracks appeared on the ‘Pop Philosophy’ mini-album via Poptones in 2001 after Creation folded. Mr Hague is known for his ‘painstaking’ approach’, how close were you to finishing a full length album?

‘Pop Philosophy’ was always going to be a mini-album. It’s a cracking little album and I still get messages from TECHNIQUE fans that say they listen to it often. Stephen Hague is a genius.

TECHNIQUE supported DEPECHE MODE on tour in 2001 but you were not part of it and the group eventually morphed into CLIENT. What’s your side of the story and do you have any regrets?

At the time, I was working with Timo Maas on Positiva and I was involved with a club night in London that clashed with the tour. It was only one night that clashed as I remember and with hindsight I probably shouldn’t have blown out the whole DM tour for it but no, I don’t regret it. That time was an important turning point for me personally and career-wise… it was meant to be. If Sarah Blackwood hadn’t come in at that point, CLIENT wouldn’t have happened… that was also meant to be. Kate and I wouldn’t have evolved into CLIENT. Besides, if I had done the tour, I wouldn’t have had the enjoyment of reading press reports that described me as AWOL!

You subsequently worked in the dance scene. How did you find this compared with TECHNIQUE and which of your tracks/collaborations were your particular highlights?

It wasn’t all dance music after TECHNIQUE. I also did a dub album with MAD PROFESSOR, which featured a guest vocal from Lee Scratch Perry. That was released on Poptones too. ORINOKO was the highlight of my dance chapter. I collaborated with Timo Maas and Martin Buttrich on that track and at the time, the two of them were massive. Positiva was a really cool label and they were putting out amazing stuff – it was nice being a part of that scene.

In 2011, there came the surprising news that you were to join CLIENT. But what happened there?

It was after Sarah had left CLIENT and I visited Kate in Wales. At the time, Kate was busy setting up her Client London brand but she knew she wanted to do another album and that there might be a tour. She asked me if I would stand in on any gigs and I said yes. It was only ever going to be for live shows and as it turned out, nothing came in before the start of the album. Kate and I are good mates. Who knows, we might collaborate again in the future.

You’ve finally gone solo and have a brand new EP ‘Into the Blue’ which, while having an electronic base, explores more acoustic territory?

Yeah, I’ve always listened to wide mix of different music and I wanted to make something that reflected my varied tastes. Stuart Crossland (producer) and I were involved in the London underground scene near the end of my involvement with TECHNIQUE. We shared a lot of ideas about music across a lot of genres and it was only a matter of time before we would collaborate on some kind of creative project. We have bonded over everything from folk, pop, deep house to techno. We didn’t feel we needed to restrict ourselves during this project. We finally got together in 2013 when Stuart found time from his busy schedule at Artspace Studios. It was a collaboration that was destined to happen and it brought together a whole load of influences and artists to create an interesting mix of sounds.

What is the story behind ‘This Room’, which is probably the track that’s a good entry point for anyone who has been aware of your previous work?

I actually feel any of the last three songs on the EP are a good starting point for those people as they are all more rooted in an electronic vein.

‘This Room’ is about a break up but it’s also about the sense you can get when you’re in a relationship that you’ve lost yourself and don’t recognise who you once were. The industrial noises and beats really give a sense of that loneliness. But above and beyond, it’s simply a really good dance track.

What are your particular favourites from the ‘Into the Blue’ EP and why?

The first track, ‘Into the Blue’ is about strength and courage coming from a delicate source. I wanted it to be spacious and light. When the flugelhorn and trombone come in during the chorus it feels bright and hopeful. I love that moment because it sounds exactly the way I heard it in my head when I wrote it!

Stuart and I both wanted a retro sound for ‘Rainmaker’ and Jamie Fisher came in and put down these incredible Mark Ronson-esque drums. They are perfection. On ‘No One Like You’ I really love the double bass played by Andy Tolman. The song is about unrequited love and somehow the double bass gives both sadness and hope. It’s lovely. I’ll never tire of hearing those horns (Titch Walker and Kieron O’Neill) kick in either… I’m a sucker for a horn section!

‘If’ is a bit of a nod to James Figurine (DNTEL) who Stuart and I both rate. I really love the production of that track and the beats are sublime.

I’m aware that the tracks are all quite different from each other but I think there is a thread running through them that ties them together. My voice and writing style alongside Stuart’s incredible production… I think it works, hopefully others will too.

This is your first release without label backing. So what is the future for an artist of your position in this modern music world? Is it crowdfunding? Or does an artist now have to aim for it to perhaps be a sustainable hobby while juggling a day job?

It’s really hard to make money through music now more than ever. The industry is going through a shake up and big bands are giving away their music. Musicians get ripped off at every turn, online stores take a huge cut, Spotify don’t remunerate artists properly, venues expect you to play for bugger all (and in some case they expect you to pay to play). If you want to make money from the music industry, don’t be a musician!

As for me, I’m putting together a live set and rehearsing for gigs next year. I’m promoting this EP and already writing songs for the next one.

ELECTRICITYCLUB.CO.UK gives its warmest thanks to Xan Tyler

Special thanks also to Sara Jones Management

‘Into The Blue’ is available via https://xantyler.bandcamp.com/album/into-the-blue-ep

http://xantyler.com/

https://www.facebook.com/XanTylerMusic

https://soundcloud.com/xan-tyler

Text and Interview by Chi Ming Lai
Portrait Photos by Kelly McIntyre
7th December 2014, updated 27th February 2015

A Short Conversation with MESH’s Richard Silverthorn

4 December 2014 / electricityclub

MESH are the UK’s secret gem, celebrated widely in Europe, America and South America alike.

Starting with 1996’s ‘In This Place Forever’ and continuing onto ‘Fragile’, ‘Fragmente’, ‘The Point At Which It Falls Apart’, ‘Who Watches Over Me?’, ‘We Collide’ onto ‘A Perfect Solution’ and finally the jewel that is ‘Automation Baby’, MESH have established themselves with electronic music fans portraying life, relationships, love and technology in a way not many acts can. Electrifying tunes like ‘Crash’ or ‘Friends Like These’ have become well known staples of the live MESH diet that induce the audience into a psychedelic state totally under the influence of Mark Hockings’ solid voice.

Upon the fantastic news that in January 2015, there will be a MESH concert on home soil with VILE ELECTRODES, ELECTRICITYCLUB.CO.UK had the great pleasure of talking to Richard Silverthorn of MESH in preparation for the event. So ‘Adjust Your Set’, ‘Hold It Together’, as ‘This Is What You Wanted’!

Your last gig in London was with DE/VISION, whom you seem to like sharing the bill with. What’s the story between the two bands?

We have been good friends for many years. In 1998, we supported them on their ‘Monosex’ tour which took us across Europe. In 2011 we also did a joint headlining 3 week tour of the USA with them along with IRIS. Our paths have crossed many times at festivals too. We have remixed many of their singles including ‘Strange Affection’, ‘Hear Me Calling’ and ‘Rage’. When we returned to the UK on our ‘Automation Baby’ tour, we asked them along as an additional support. I think we have a mutual admiration of each other.

This time the acclaimed VILE ELECTRODES will take to the stage supporting you. You don’t invite any old mediocre support acts, do you?

Well I always think it is good to put on a quality show. I don’t like the “let’s get a crap band as support to make yourself look good” theory. People have paid good money to see you so let’s make it a good event. I have read and heard quite a lot about VILE ELECTRODES and thought it would be a good band for our audience. I am sure they will go down really well and we are looking forward to seeing them. We also have another band called THE DOMINO STATE who I quite like too.

Your first album was released in 1996 and much has changed since then in the music industry?

The internet has changed the music world. I think it has certainly evened the playing field for most bands nowadays. Back when we started, it was very difficult to get noticed outside your home town. Luckily enough for us (and our persistence) we got exposure from a large UK based music technology magazine which kick started everything for us. Financial budgets have also changed a lot too. Everything is all about cost and record companies have been hard hit by illegal downloads which has a knock on effect to the artist.

Being a secret UK export, do you wish the UK media recognised MESH more?

Yes, of course but I think we have accepted a long time ago that the UK market is so blinkered. Luckily for us we found a market for what we do and it’s not so important to us now. I really would love for some UK recognition for what we have achieved. We do still send out material with every new release to relevant people here and generally get a good response so we haven’t given up just yet.

Following the huge success of ‘Automation Baby’, how do you plan to match its success with any future releases?

‘Automation Baby’ was a huge success for us. It topped all the Alternative European charts and even entered the mainstream German Album Charts at number 33, so trying to better that is going to be a challenge. I always feel a lot of pressure when it comes to writing.

I am constantly thinking “is this better than the last album?” but hopefully this is what pushes us on. In the last month, Mark and I have started writing again. Let the stress begin.

How do you feel about UK electronic music scene in general at the moment?

It still has a long way to go but it all looks very positive at the moment. There seems to be a lot of new bands writing new material and lots of shows and festivals for this kind of music genre starting up. This has got to be seen as a very positive step forward. Again I think the internet and social media has helped this come together. People are travelling from far and wide to attend these events.

How does the current live line-up of MESH with yourself, Mark, Richard and Sean compare to any previous ones? Do you think you have the perfect team?

Yes, I think it is quite a strong unit musically and socially. Spending so much time in each others company you have to all get along. I guess bands evolve and change as they go along. Ultimately MESH has always been Mark and myself writing and producing. The live line-up has changed over the years because of people’s commitments but things are good and strong at the moment.

You have a lot of friends and fans alike, helping out with the MESH enterprise, be it either on social media or in other capacities, how does that feel?

I always feel overwhelmed by people’s enthusiasm for everything we do. I get so many emails and messages through Facebook etc and I do my best to answer them all as I feel we have a good family of friends and fans. This is why we are still here doing what we love. If you upset these people, you may as well give up. Any band with longevity has a great fan base behind them. As well as our fan base, we also have a great team of people that work behind the scenes with us and believe in what we do.

Yourself and Mark, unlike many bands, write actual songs with meaningful, thought through lyrics and complicated melodies. Does that stem from years of experience or your true writing capabilities?

We are firm believers in real songs, songs that stand up on their own without all the fancy production. This is always the starting point. Mark is an amazing lyricist. His songwriting always leaves the listener feeling they have lived through or felt the emotion he is singing about. The song subjects are never obvious and are open for interpretation in many different ways. We played a big show just outside of Dresden in a castle recently. When I was walking back to the dressing room after the show, I was stopped by a girl who hugged me and thanked me for writing the soundtrack to her life. She said that our albums have helped her though so many tough times in her life. What the hell do you say to that? Erm… thanks? That for me sums it all up and is why we do this.

ELECTRICITYCLUB.CO.UK gives its warmest thanks to Richard Silverthorn

MESH, VILE ELECTRODES + THE DOMINO STATE play The Garage, 20-22 Highbury Corner, London N5 1RD on SATURDAY 31ST JANUARY 2015.

http://www.mesh.co.uk/

https://www.facebook.com/meshtheband

Text and Interview by Monika Izabela Goss
4th December 2014

Category: Interviews (Page 90 of 113)

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