Category: Live Reports (Page 30 of 37)

HEAVEN 17 + SCRITTI POLITTI Live at Virgin40

13 November 2013 /

The Way It Was In The Past, A Long Long Time Ago… Virgin Records continued its 40th Anniversary celebrations with a special concert at London’s Koko featuring HEAVEN 17 and SCRITTI POLITTI, two of the label’s funkier exponents of electronic pop.

Billed as ‘Martyn Ware Presents…’, while HEAVEN 17 were the headline house band for the night, the song choices focussed on his early career including his time as a founder member of THE HUMAN LEAGUE.

Signing to Virgin Records in 1979, during this period with Ian Craig Marsh and Phil Oakey, he was involved in the making of two seminal synth works ‘Reproduction’ and ‘Travelogue’; the latter bore the legend “Contains synthesizers + vocals only” on its back sleeve in response to QUEEN’s “no synthesizers” pronouncement on their albums.

Under the A&R directorship of Simon Draper, the label had the vision and foresight to realise that THE HUMAN LEAGUE’s sound was “the future of pop music”. But the lack of commercial success at the time led to a split in 1980 with Phil Oakey who then recruited two girls Joanne Catherall and Susanne Sulley to record the massive selling ‘Dare’. Meanwhile Martyn Ware and Ian Craig Marsh formed BRITISH ELECTRIC FOUNDATION and its pop subsidiary HEAVEN 17 featuring Glenn Gregory; the highly acclaimed debut LP ‘Penthouse & Pavement’ was the end result.

Before this retrospective show began, first there was a rare live appearance by SCRITTI POLITTI, the politically aware musical collective led by Green Gartside. Their ‘Cupid & Psyche 85’ was one of Virgin’s biggest sellers in 1985. But ever the passive rebel, Green started with ‘The Sweetest Girl’ from Scritti’s debut ‘Songs To Remember’… released on Rough Trade!

After a crisp performance of that cult classic which was later covered by MADNESS, he recalled how the tune had been written in a Communist League squat just round the corner from Koko… “Happy times” he quipped! He then followed it with ‘A Day Late & A Dollar Short’ which was written on a beach in LA… ”Happy times” quipped Gartside again, the irony not lost on him!

From the “reggae / pop / post-modernism” of ‘The Word Girl’ and the rock infused ‘Umm’ to the rap influenced ‘Die Alone’ during which Green treated the audience to his Moss Def impersonation, the sound was punchy and dynamic. Of course, the dynamics came to the fore with two of Scritti’s biggest hits ‘Wood Beez’ and ‘Absolute’. Both Arif Mardin productions were faithfully reconstructed in that memorable sub-ART OF NOISE stylee for the eager Koko crowd.

Throughout, Green’s distinctive raspy timbre was in fine shape and although comparatively stage shy, his down-to-earth demeanour was warm and appealing. SCRITTI POLITTI should go out on the road more often because based on the crowd’s reaction, this performance was met with much gleeful approval and enthusiasm.

In the pre-show build-up, HEAVEN 17’s MD Martyn Ware had promised renditions of songs from his tenure with THE HUMAN LEAGUE. Although several early League staples such as ‘Being Boiled’, ‘The Black Hit Of Space’ and ‘Crow & A Baby’ have been regular fixtures in HEAVEN 17’s live set for several years now, tonight’s celebratory atmosphere was the perfect occasion to dust off a number of fine but little heard examples of electronic innovation for a concert setting.

Thus, one of THE HUMAN LEAGUE’s earliest compositions ‘Circus Of Death’ opened the set. In its ‘Reproduction’ form with its spoken introduction by LWT announcer Peter Lewis, the clattering dystopia and narcotic doom delivered charismatically by Glenn Gregory. His bass delivery wasn’t actually that far removed from Phil Oakey’s sombre baritone.

Glenn Gregory said to ELECTRICITYCLUB.CO.UK last Autumn: “It’s funny because it’s me that pushes that HUMAN LEAGUE thing and I love that early stuff… I’ve been on at Phil Oakey every time I see him saying: ‘Please Phil; you, Martyn and Ian… go and do the first two albums, just do it once’. But he won’t have it! I would have my ticket and be at the front weeks in advance…”

So as Phil Oakey doesn’t want to do it, it is for Martyn Ware to rightly highlight his pioneering contribution to Synth Britannia and for Glenn Gregory to be on the stage, rather than in the audience. And in a bizarre way tonight, HEAVEN 17’s live personnel surreally amalgamated THE HUMAN LEAGUE Mks I and II with the gorgeous Berenice Scott deputising for a still AWOL Ian Craig Marsh (whose birthday it coincidentally was) while the glamourous duo of Billie Godfrey and Rachel Mosleh played soulsista variants of Joanne and Susanne!

The beginning of the set was loaded with surprises as a stupendous ‘Marianne’ from the ‘Travelogue’ era EP ‘Holiday 80’ ripped from the speakers.

On good form with his backing vocals, Martyn Ware took centre stage himself by doing his best Iggy impression on ‘Nightclubbing’ from the same EP. Always an important part of the early HUMAN LEAGUE and HEAVEN 17 vocal set-up, Martyn proved himself to be a competent lead vocalist so Mr Gregory needs to watch out 😉

Martyn remained on the mic to duet with Glenn on their now customary rendition of another League cover favourite ‘You’ve Lost That Loving Feeling’. But of course, it was the premieres of Da League’s early standards that everyone was waiting for.

Those came with a slower, dark variation of ‘Empire State Human’ (as programmed by Vince Clarke for the ‘Naked As Advertised – Versions 08’ CD) and best of all, ‘WXJL Tonight’. A song about the mechanisation of radio stations which today is only too apparent, Glenn gave a marvellously soulful interpretation which Martyn likened to Neil Diamond. Closing with a reworked cover of Mick Ronson’s ‘Only After Dark’ and naturally, ‘Being Boiled’, the ten song set was a total triumph.

Of course, performing so many songs for the first time, there was bound to be a few missed cues from those concerned although these came more from the boys rather than the girls! But these slight fluffs added to the charm and good natured feel of the evening. To follow that initial crescendo, there was then the surefire pleasure (one) of  HEAVEN 17’s greatest hits and more in the second half, including a toughened up ‘Fascist Groove Thang’ with its CHEMICAL BROTHERS vibe.

From a club friendly ‘Let’s All Make A Bomb’ to a euphoric extended ‘Temptation’, coupled with those early HUMAN LEAGUE songs, this was an unforgettable programme. Certainly as a live act, HEAVEN 17 are a far much more fun and engaging proposition than the current incarnation of THE HUMAN LEAGUE.

The sprightly quintet of Martyn, Glenn and Martyn’s Angels are the endearing antithesis of Phil, Susanne and Joanne’s dour detachment… and if you want proof, just observe how ‘Temptation’ is performed compared with ‘Don’t You Want Me?’ when the respective factions are in action. There, ELECTRICITYCLUB.CO.UK has said it! So sue us!

There have been some gripes online that HEAVEN 17 should not be performing early HUMAN LEAGUE material even though one of the original three co-composers is all present and correct. But by the same token, should PETER HOOK & THE LIGHT be performing the JOY DIVISION and NEW ORDER back catalogue or ONETWO doing OMD songs? As with HEAVEN 17, a founding protagonist is present in each so therefore, the artistic credentials are valid.

And so is the entertainment value. This is showbusiness after all. In many ways, THE HUMAN LEAGUE should actually take a lead from HEAVEN 17’s performance adventurism and take a few risks. After all, HEAVEN 17’s ‘How Live Is’ CD artwork made the proclamation: “VOTE HEAVEN 17 – TRUST US, WE’RE ENTERTAINERS”!

Looking back now, the absence of an all-star rendition of ‘Being Boiled’ during the ‘Steel City’ tour in 2008 when THE HUMAN LEAGUE and HEAVEN 17 shared the bill with ABC will forever remain a missed opportunity. Hmmm! Who might have put the block on that idea? 😉

Setlist:

Circus Of Death
Marianne
Crow & A Baby
Nightclubbing
You’ve Lost That Loving Feeling
Empire State Human
The Black Hit Of Space
WXJL Tonight
Only After Dark
Being Boiled
–
Fascist Groove Thang
Crushed By The Wheels Of Industry
Play To Win
Geisha Boys & Temple Girls
Let’s All Make A Bomb
Come Live With Me
We Live So Fast
I’m Your Money
Let Me Go
Temptation
–
Penthouse & Pavement

The ‘Live From Metropolis Studios’ DVD+CD featuring ‘The Black Hit Of Space’ and ‘Being Boiled’ as well as many of HEAVEN 17’s best known songs is available now via Demon Music Group

HEAVEN 17 play the following live dates in 2014:
Birmingham Town Hall (14th February), Southampton The Brook (15th February), London Jazz Café (20th and 21st February), Manchester Academy (15th March)

http://www.heaven17.com/

https://www.facebook.com/heaven17official

http://www.scritti.net/

https://www.facebook.com/scrittinet

Text by Chi Ming Lai with thanks to Ian Ferguson
Photos by Richard Price
13th November 2013

BEF Live At Shepherds Bush Empire

9 October 2013 /

BEF finally played the first of two special concerts featuring an impressive line-up of guest vocalists to celebrate the three volume high-tech covers series ‘Music Of Quality & Distinction’ and in particular, the latest release subtitled ‘Dark’.

Announced on stage by its musical director Martyn Ware as “the last ever BEF concerts”, the production company made its live debut as part of a dual weekender with its most successful subsidiary HEAVEN 17 in Autumn 2011.

Taking place at The Roundhouse in London, it was a gloriously ambitious outing which included the likes of Sandie Shaw, Boy George, Kim Wilde and Midge Ure. Tonight’s show was in the slightly more intimate confines of Shepherd’s Bush Empire. It provided an opportunity to showcase a number of songs that had not been aired at the last BEF show.

It is always to their credit that the BEF / HEAVEN 17 umbrella always give value for money to their loyal followers by varying setlists, something which other acts from the Synth Britannia era who still tour could learn from.

Naturally, Glenn Gregory opened proceedings with a song that could be seen as 2013’s electronic music scene theme tune ‘It Was a Very Good Year’. With its eerie HUMAN LEAGUE meets THE FUGEES breakbeat arrangement, it was a fine opening that reflected Martyn Ware’s electronic roots with his love of contemporary soul and classic songwriting. But there were surprises from the off…

First guest Andy Bell from ERASURE gave an emotive rendition of QUEEN’s ‘Love Of My Life’ in addition to his contribution to the impressively diverse ‘Dark’, Kate Bush’s ‘Breathing’.  Then one of the ‘Dark’ album’s best numbers ‘Don’t Wanna Know’ got its premiere courtesy of COMMUNARDS singer Sarah Jane-Morris.

The contrast of her deep blues with the blippy electronics came over like a darker gothic version of YAZOO. Slightly more laid back but no less dramatic, her version of ‘Family Affair’ also highlighted the funkier standpoints of the BEF sound.

HEAVEN 17’s contemporaries SCRITTI POLITTI’s Green Gartside and PROPAGANDA’s Claudia Brücken took their turns on the stage with Green reprising his raspy tones on ‘Didn’t I Blow Your Mind This Time’ and ‘I Don’t Know Why I Love You’. Meanwhile Claudia (who didn’t actually appear on the ‘Dark’ album as she was recording her own covers LP ‘The Lost Are Found’) gave a beautifully Germanic edged realisation of ‘The Look of Love’ that recalled ‘Felt Mountain’ era GOLDFRAPP and a finger-clickin’ good ‘These Boots Are Made For Walking’.

But there were a trio of amazingly heartfelt performances; first Glenn Gregory performed ‘Party Fears Two’ which he first sung at this very same venue in 2007 for the Billy Mackenzie 50th Birthday Tribute Concert. It was a fitting remembrance of the late vocalist from THE ASSOCIATES who sang on Volumes 1 and 2.

Trained undertaker and singer/songwriter David J Roch gave his Moroder-esque spacey disco take of Bill Withers’ ‘Same Love’, one of the stand-out tracks on ‘Dark’. However, the biggest surprise of the evening came when regular HEAVEN 17 / BEF live band member Berenice Scott stepped out from behind her keyboards for a dazzling cinematic rendition of BLONDIE’s ‘Picture This’.

Endearingly sung by “possibly the sexiest lady ever to have got behind a synthesizer”, the crowd was aghast with her vocal abilities; it came as such a surprise that it almost stole the show. The extremely modest Miss Scott though had actually ventured back to her keys before the lengthy song’s conclusion, so didn’t quite feel the full weight of applause that acknowledged her performance.

On the final stretch, The Swiss Family Wilde took to the stage with Kim joined by her niece Scarlett and brother Ricky for a Motown triple tribute. Beginning with the magnificent but little known Stevie Wonder composition ‘Every Time I See You I Go Wild’, the spine tingling industrial backdrop suited Ms Wilde’s vampish demeanour. Then it was a pair of Hitsville classics that featured on the first volume of ‘Music Of Quality & Distinction’ series ‘There’s A Ghost in My House’ and ‘You Keep Me Hanging On’ which Kim had a hit with herself back in 1986.

With Tamla influences very much dominating this section of the show, it was appropriate that to finish was an extended workout of ‘Temptation’. Centred around the band’s two backing vocalists Billie Godfrey and Kelly Barnes, the pair had already demonstrated their power particularly on their respective interpretations of ‘Smalltown Boy’ and ‘Just Walk In My Shoes’. The spectacle of the pair engaged in a battle of the disco lung smiths was a wondrous delight

This evening of fun and frolics was a marvellous achievement on the part of Martyn Ware and the BEF band Asa Bennett, Julian Crampton and Berenice Scott for their abilities and professionalism in learning and playing so many songs for effectively a one-off event. It is a shame that there will be no more BEF events such as these but they are an extremely big logistical undertaking. But then again, for anyone who attended this or the Sheffield Academy show, or The Roundhouse back in 2011, these will be special memories to be cherished for a long time.

Setlist:

It Was A Very Good Year (featuring Glenn Gregory)

Breathing (featuring Andy Bell)

Love Of My Life (featuring Andy Bell)

Don’t Want to Know (featuring Sarah Jane Morris)

Family Affair (featuring Sarah Jane Morris)

Smalltown Boy (featuring Billie Godfrey)

Free (featuring Billie Godfrey)

Co-Pilot The Pilot (featuring Kelly Barnes)

Walk In My Shoes (featuring Kelly Barnes)

Party Fears Two (featuring Glenn Gregory)

Didn’t I Blow Your Mind This Time (featuring Green Gartside)

I Don’t Know Why I Love You (featuring Green Gartside)

Picture This (featuring Berenice Scott)

The Look Of Love (featuring Claudia Brücken)

These Boots Were Made For Walking (featuring Claudia Brücken)

Every Time I See You Go Wild (featuring Kim Wilde)

There’s A Ghost In My House (featuring Kim Wilde)

You Keep Me Hanging On (featuring Kim Wilde)

Boys Keep Swinging (featuring Glenn Gregory)

Temptation (featuring Glenn Gregory, Billie Godfrey and Kelly Barnes)

‘Music Of Quality & Distinction Volume 3 – Dark’ is released by Wall Of Sound and available as a CD and download

‘Martyn Ware Presents…’ takes place as part of the Virgin 40 celebrations at London’s Koko on Monday 11th November 2013.

Material spanning his entire career will be performed including HEAVEN 17 and from his time as a founder member of THE HUMAN LEAGUE. Please visit  http://www.koko.uk.com/listings/martyn-ware-presents-heaven-17-11-11-2013 and http://www.virgin40.com/ for more details

http://www.britishelectricfoundation.com

http://www.facebook.com/BritishElectricFoundation/

http://www.heaven17.com/bef/

Text by Chi Ming Lai
Photos by Richard Price
9th October 2013

On Tour with VILE ELECTRODES

27 June 2013 /

“Mein Kaninchen Ist Tot…”

When up-and-coming synth duo VILE ELECTRODES were named as OMD’s support for the German leg of the ‘English Electric’ tour, understably, their front woman Anais Neon was in total shock at the news. Prior to confirmation, she said on Facebook “we have received an email of epic proportions but cannot divulge any more information until further notice”.

Meanwhile for her partner Martin Swan, it was the fulfillment of a boyhood dream as OMD had been his first concert experience back in 1986! VILE ELECTRODES had been spotted by OMD’s Andy McCluskey while he was perusing ELECTRICITYCLUB.CO.UK and obviously recognised a kinship via their exquisite songs such as ‘Deep Red’, ‘My Sanctuary’ and ‘The Last Time’. There was a definite magic with this duo who bring a unique twist to the sound of classic synthpop.

Much preparation took place as Team Vile, augmented by technican and roadie Simon Forsyth, tour manager/merchandiser Rob Buxton and for the first part of the trip, merchandiser Graham Caley, readied themselves for life on the road. It was all terribly exciting and there was so much to organise including buying a vehicle worthy of transporting all the equipment and getting them across Europe too! The new van was also swiftly modified so that Anais and Martin could sleep on top of their highly valuable analogue synthesizers.

Meanwhile, Simon would be following with all his wires and boxes in his faithful truck Nellie. Instruments were carefully chosen and these included Martin’s trusty Korg MS20 and Anais’ Roland RS09 String Machine. This late stage was probably not the time to be introducing a new bit of kit, but Martin being Martin (like a kid in a candy store) couldn’t resist getting his hands dirty on the appropriately named Leipzig that had arrived the day before.

The first night of any tour is daunting but in Hamburg, there was one potentially trouser soiling surprise! “So whose stupid idea was this? Oh, Karl Bartos is here!” announced Anais on Facebook.

The ex-KRAFTWERK percussionist who co-wrote ‘The Model’ and ‘Kissing The Machine’ (one of the highlights on OMD’s new album) had come to catch up with his buddies from The Wirral.

He was already at the venue when VILE ELECTRODES arrived. “He just sat in a corner” a shocked Anais recalled, “I didn’t instantly recognise him but when I did, a wave of cold terror washed over me. Not only would we be performing in front of OMD, but in front of one of the classic line-up of KRAFTWERK?! The stuff of dreams and nightmares! It just felt absurd if I’m honest”

The late sound check finished just twenty minutes before the doors opened and there was just enough time for a light snack sitting alongside Andy and Karl in the catering quarters before dashing off to the dressing room to prepare for opening night. Anais did sound a little nervous, but to the untrained ear, the nerves were undetectable. Local music fan Sony was thrilled to see VILE ELECTRODES live for the first time: “I had listened to some of their songs with much enthusiasm. The crowd greeted VILE ELECTRODES with lots of applause when they entered the large, well-lit stage. The synths were tuned up and then, there was one adventure after another. The crystal clear voice of Anais and the wonderful pure synthesizer sounds gave me goosebumps!!!”

Backstage after the show, “Karl Bartos, Paul Humphreys and Andy McCluskey were LOVELY” remembered Anais. “They were really happy to chat, which was lucky, as I’d had a drink and was high on adrenaline, so there was no shutting me us! We talked about my outfits and, of course, whether Andy and Paul should consider something similar for their shows! When we said our goodbyes, we expressed delight and honour at having gotten to meet the great KB. His reply? ‘No, no! We are colleagues’… COLLEAGUES OF HERR BARTOS! Amazing!”.

Meanwhile, Martin talked gear: “Paul and I had a few chats whilst I was tidying up the spaghetti of our wires after coming off stage. I said to him ‘I bet you miss this, don’t you?’… of course with OMD, he doesn’t, but he said when he’s working with Claudia Brücken, he has to do all that still! Andy mentioned that they have a Mellotron, but that it would be silly to take stuff like that out live when they can use some really great samples”

First night nerves over with, Bielefeld turned out to be another big success and a sure sign that the rest of the tour was going to go be a blinder.

With the tour moving to Berlin, Anais and Martin were taking everything in their stride and feeling quite calm about performing in front of their next big audience, having already tucked two dates successfully under their belts. After the soundcheck, it was time to everyone to chill down.

Team Vile tucked into the scrumptious delights that had been provided by a local catering company and relaxed alongside OMD’s crew members including Chicky, the chief sound engineer to watch ‘Star Wars – How It Should Have Ended…’ which brought about shrieks of laughter. In the vastness of Berlin’s Tempodrom, VILE ELECTRODES entered the stage, all colour co-ordinated in red and black, to a ripple of applause. Anais’ few words of German were very much appreciated and by the time they had played ‘Drowned Cities’, ‘Empire of Wolves’ and ‘Proximity’, they genuinely had the crowd on their side.

Sony remembered Anais’ apology between the songs: “She said ‘Sorry für mein kleines bisschen Deutsch sprachen’… it was very sweet and likeable. All the people around me were very impressed and cheered”. For a support band, they got a terrific reception from the already packed hall. German OMD enthusiast 7und70 remembered there was lots of positive responses: “people were saying things like ‘love her voice’, ‘love the outfits’ and ‘great music’ while one person remarked VILE ELECTRODES were the only OMD support band he’d really enjoyed since they started again in 2007”

After their set, a handful of the audience came to the merchandise stand to see what was on offer although very few made a purchase. However, after the OMD set, it was a very different story.

The fans returned and the EPs were soon flying off the shelf. Anais and Martin were more than happy to pose for photographs, sign postcards and more importantly, talk to their new fan base.

“There was a big rush at the merch stand where Anais and Martin greeted each new fan with a big welcome” said Sony, “They were just great and marvellous. Now I have gained some new lovely friends who point to my musical tastes perfectly. I’m looking forward to hearing their new album and seeing them soon again”

But not all the crowd had been charmed by VILE ELECTRODES, least of an OMD fan who bizarrely had a dislike of electronic bands as a puzzled 7und70 recollected: “There was this stupid woman who said: ‘I don’t like them, they’re not using real instruments’. So I said to her: ‘erm, you are here watching OMD, a synthpop band which means they make music with synths. VILE ELECTRODES are using those instruments so that’s not a good reason for saying that you don’t like them, what is the difference?’ But she replied: ‘they’re using sequencers… do you know what a sequencer is? Everything is pre-recorded, everything on stage!’”.

It was amusing to see how people could draw strange arbitrary lines to suit their purist stances; maybe she should have listened more closely to OMD songs like ‘Metroland’, ‘Sailing On The Seven Seas’, ‘Locomotion’ and ‘Messages’ in her quest for a sequencer free nirvana?

The following day was Leipzig so it was imperative that images of Martin’s Analogue Solutions Leipzig were captured in front of significant landmarks and prominent signage. Armed with the Leipzig and umbrellas, cameras were set up for the photo opportunity at the Battle of Nations Memorial despite the pouring rain.

“The Leipzig is a crazy-ass mutha of a synth” said Martin, “it’s obviously a modern synth but it’s been designed with all discreet components – no integrated circuits – so it’s more like one of the synths from the 70s than the 80s. As such, it’s not a digitally controlled analogue synth, it’s got real VCOs. Most of the time it behaves but like the synths of old, it can be very sensitive to temperature, to humidity, voltage fluctuation! It’s kind of similar to the SCI Pro-One but it’s definitely the angrier, spikier cousin! It has bass like a mountain and is LOUD! Several people commented that they’ve never heard bass like that at a gig!”

The Haus Auensee in Leipzig is a fabulous venue and has played host to many great names but specifically synth musicians ERASURE, PET SHOP BOYS and of course, the mighty KRAFTWERK. It is located in the heart of a forest, with a lake to the rear and a campsite opposite. From the front, it is a fairly nondescript building.

However, the inside has a very different feel. The upstairs was already overwhelming with its semi-circular stone steps that overlooked the stage and its imposing ornate oval aperture that stood between the bar and viewing area. Due to renovation, only the ground floor was to open to the public so VILE ELECTRODES and OMD wouldn’t be playing to the full 3,500 capacity.

With the merchandise stand set up inside the main hall, Team Vile were very much visible throughout OMD’s performance and could be seen singing and dancing very energetically, particularly to the encore of ‘Electricity’.

After a comfortable night and a decent breakfast, they set off for the very long journey to Cologne with the prospect of a relaxing night off before the final gig of the tour. It rained, then rained some more and just when they thought they could give the wipers a rest, the rain started again.

Stopping off at a little service station, Simon Forsyth’s trusty truck Nellie was topped up too with some transmission fluid. As they rolled out of the car park, Simon made a critical observation: “We don’t appear to have a reverse gear”!

They crawled up the road far enough to establish that the situation was actually a lot worse. The Chevy was not changing gear. Nellie was poorly and needed immediate assistance.

About an hour later they were rescued and found themselves at a dealership in Kassel. Essential equipment was quickly transferred from one wagon to another so that Anais and Martin could continue their journey while Simon would stay with his van until it was repaired. The team was now separated and the rest of Team Vile were left to their own devices to get to Cologne.

Everyone arrived at the venue in plenty of time but there was no sign of Simon. Team Vile were clearly disappointed but the show had to go on and it just meant a re-configuration of duties. With the added news that the venue was going to take a commission on merchandise sales, everyone were all wondering if the last night might have a bit of grey cloud hanging over it.

But during a soundcheck break, Paul Humphreys stopped by to talk to Andy McCluskey so Team Vile took the opportunity offer them both a Vile MS20 T-shirt which had been designed by Rob.

These had been spotted by OMD in Oxford when they both claimed “we want one of those”! Their wish was now granted and Mr McCluskey was later seen performing on German TV with his VILE ELECTRODES T-shirt on! 😉

With Anais now clad in black trousers, under bust corset, sparkly bra and a vivid blue bolero styled jacket (all in latex of course), and Martin dressed as dapper as ever in matching colours, VILE ELECTRODES took to the stage, sounding awesome and delivering every song with total confidence.

Martin was visibly relaxed and in control, even caught on camera singing his heart out with passion. They were on fire and once again the crowd responded favourably.

Anais even threw caution to the wind and spoke again in German: “I studied German at GCSE but can remember very little – one thing happens to be ‘Mein Kaninchen ist tot’… I genuinely did have a rabbit at GCSE time called Creampuff who had died! I mentioned the rabbit thing, and all throughout the tour, Team Vile were encouraging me to say it on stage. The German audiences were wonderful, friendly and enthusiastic, but I really thought that ‘Mein Kaninchen ist tot’ would result in a tumbleweed moment, so I kept deciding not to say it. Basically what made it happen was that Nellie, Simon’s tour bus, broke down on the way to Cologne. It meant he missed our last show so he made me promise to say it, as a tribute to him and Nellie. I plucked up the courage – and it elicited laughter and applause aplenty!! It’s all part of the ‘silly’ human element of our band. We’re (definitely!) not too cool for school. We just try to be just ourselves!”

As it was the final night of the tour, VILE ELECTRODES were granted an additional ten minutes so they could play ‘Deep Red’, the most epically OMD sounding track in their catalogue. Andy McCluskey was watching in the wings and said “It’s great to hear that played live” but after finishing the number, Anais apologised to the crowd as it seemed like her and Martin were at times playing two different songs.

No matter, Cologne was another huge success. Crowds flocked to the merchandise stand again and Anais was even spotted singing ‘Happy Birthday’ into a video camera at one point. It was a moment she seemed to revel in, but not as much joy as when she spotted Simon in among the masses of new fans. “You made it” she shrieked, giving him a huge hug. Simon had unfortunately missed most of the concert but nevertheless his presence was most welcome. Team Vile were back together again.


Cologne and indeed the tour had been a total triumph. Whilst OMD’s crew dismantled the set and packed up for their onward journey, Andy, Paul, drummer Malcolm Holmes and keyboardist Martin Cooper along with VILE ELECTRODES mingled among friends and some special guests. They just happened to be Wolfgang Flür, ex-KRAFTWERK and Ralf Dörper from PROPAGANDA.

“After each of our shows, we helped man our merch stand… a bizarre experience for a small band, having a queue of folk wanting you to sign merch!” Anais recalled, “but it meant we didn’t get to chat to Wolfgang Flür at length, as he was being pulled from pillar to post backstage, plus he was getting ready to leave by the time we made it backstage. He was saying how much he was looking forward to coming to London for Playground Festival (which didn’t happen in the end sadly). So two KW members down and two to go! KRAFTWERK BINGO!”

With a prestigious TV slot on ‘Later With Jools Holland’ performing ‘Dresden’, ‘Enola Gay’ and ‘Kissing The Machine’ to do the following day, the OMD frontmen had to leave the aftershow. “You’ve got my email address now so keep in touch” Andy remarked. “I’ll definitely come and see you when you play London” said Paul.

When the guests had drifted away, only a handful remained with Malcolm and Anais plus the two Martins, Cooper and Swan, congregating in what was Andy McCluskey’s dressing room. The conversation was easy, with the other boys from OMD showing a great deal of interest in how Anais and Martin came to be together to form the band. All too soon, security were ushering everyone out. They stuffed the last of their belongings into holdalls and Team Vile slowly and somewhat reluctantly made their way to the doors.

It was time for one last photo opportunity in the rear car park of E-Werk. Huddled in a circle, Team Vile bowed their heads downwards and with big cheesy grins snapped one last image. Germany was done. It had been a totally and utterly awesome experience for each and every one of them, but especially for Martin and Anais.

Anais summarised it all beautifully. “If I never play another live gig again, I’ll still be a very happy bunny”

ELECTRICITYCLUB.CO.UK gives its grateful thanks to VILE ELECTRODES, OMD and all their crews

VILE ELECTRODES’ three-track CD EPs ‘Play With Fire’‘The Last Time’ and ‘Re-Emerge’ are available now via their online store at http://vileelectrodes.bigcartel.com/ along with T-shirts etc

The new album ‘The Future Through A Lens’ will be released on digipak CD, limited edition hand-finished mirror steel sleeve CD and download sometime in June 2013 and can be pre-ordered at the store. Please note the nine tracks from the EP Trilogy are exclusive to those releases and will NOT be appearing on the album

http://www.vileelectrodes.co.uk

http://www.facebook.com/vileelectrodes

http://vileelectrodes.blogspot.com/

http://www.sonicstate.com/news/2013/05/20/tech-diary-on-the-road-with-vile-electrodes/

https://www.facebook.com/KarenABuxtonBoudoirPhotography

Text by Karen Buxton
Interviews and Additional Material by Chi Ming Lai
Photos by Karen Buxton and Rob Buxton
27th June 2013

DEPECHE MODE Live at London O2 Arena

31 May 2013 /


DEPECHE MODE are indisputably the world’s biggest synth band. The figures speak for themselves: 100 million records sold to date, and on their last tour they performed to 2.7 million people worldwide.

The ‘Delta Machine’ tour, which kicked off in May, is even more ambitious in scale with further dates still being added through into 2014.

Sustaining them throughout their 32 year career has been their enormous legion of fans who remain as fiercely loyal and devoted as ever. When a two night residency at London’s O2 Arena was announced, both dates sold out in a flash.

It is not unusual for fans to attend several shows and to travel across countries and continents to see the band. There are some Devotees attending up to 16 shows on this tour! The band appear to have rewarded this loyalty, changing no fewer than five songs on the setlist for the second night at the O2 with ‘World In My Eyes’, ‘Behind The Wheel’ and ‘Only When I Lose Myself’ among those getting an airing.

When the first night finally arrived and The Black Swarm started to pour out of the tube station towards the iconic O2 arena, excitement was at fever pitch. Fans stopped to have their picture taken against a giant billboard of the band, and the cafes and bars all over the venue were blasting out DM classics to greet the arriving masses.

 

The show itself began in low key style, with the first two tracks, ‘Welcome To My World’ and ‘Angel’, mirroring those of the new album. It was a slow build, a teaser for the great things to come.

Sure enough, when the distinctive opening bars of ‘Black Celebration’ rang out and the massive lighting rig began to descend toward the stage, it was a truly spine-tingling moment that felt like love’s first kiss. The setlist overall struck a good balance between perennial classics and new material.

Anthems such as ‘Enjoy the Silence’ and ‘Personal Jesus’ were there of course, much to the delight of the 20,000 strong crowd. Of the ‘Delta Machine’ tracks, the new single ‘Soothe My Soul’ stood out with its gritty blues-driven riff sounding immense in the live setting. ‘Should Be Higher’ also impressed, showcasing Dave Gahan’s remarkable vocal range and culminating in an impromptu crowd singalong.

However, ‘Secret To The End’ fared less well, placed incongruously towards the end of the set amongst crowd-pleasing hits and duly prompted an en masse comfort break amongst sections of the audience! Two of the biggest surprises in the set came from reworked versions of old songs. ‘A Pain That I’m Used To’ was given a new lease of life thanks to the Jacques Lu Cont Remix, which transformed it into a full-on stadium stomper. Later on ‘Halo’ was performed in the stripped-down, haunting style of the GOLDFRAPP Remix, and was given additional pathos with its stark monochromatic backing projections.

Visually this was a stunning show, with the ‘Delta Machine’ triangles providing a consistent theme throughout, and video projections complemented by a vast motorised lighting rig.

Anton Corbjin’s visuals were typically quirky, but for the most part highly effective. ‘Should Be Higher’ was given a backdrop of Chinese lanterns and fire breathers, bathing the stage area in a warm glow of embers.

‘Enjoy The Silence’ featured female contortionists forming human triangles – a striking image but not one for the squeamish! Most impressive of all was ‘I Feel You’, which featured silhouettes of a frenetic dancing girl framed by coloured triangles… think iPod advert and you wouldn’t be far wrong. It was brilliantly executed and compelling to watch.

The band themselves were on fine form and appeared relaxed and at times playful. Dave Gahan is in remarkably good shape for his years, and was as energetic on stage as he’s ever been, spinning round wildly with his mic stand, shimmying, pirouetting and totally commanding the attention of the audience throughout. Interestingly, in a 2012 poll conducted by XFM, Gahan came third in a poll for the World’s Greatest Frontman behind Freddie Mercury and (bafflingly) Liam Gallagher. However, on tonight’s evidence the crown must surely be his!

That said, Fletch is unlikely to take the crown the world’s greatest synth player. On the closing finale of ‘Just Can’t Get Enough’ he was let loose on his instrument, with a slightly off tempo bass synth line that delighted and entertained all present.

As for Martin Gore, the enigmatic genius behind the band, his solo slots are revered by the fans, and tonight their devotion was rewarded with a spine-tingling rendition of ‘Higher Love’, followed by ‘When The Body Speaks’ from ‘Exciter’ and, as an encore, the beautifully poignant ‘Home’, which culminated in the now customary mass singalong.

The two hour set climaxed with a roof raising rendition of ‘Never Let Me Down Again’, and whilst the waving cornfield has become somewhat inevitable, it is still an uplifting sight to see 40,000 arms all swaying in unison.

Such is the power of DEPECHE MODE, although their post-millennium output has not always hit the heights of their glory years, as a live act they remain in a league of their own. The ‘Delta Machine’ is unstoppable.

‘Delta Machine’ is released by Columbia/Sony Records

DEPECHE MODE return to the UK at the end of 2013 and start of 2014. Dates include: Belfast Odyssey Arena (7th November), Glasgow Hydro (11th November), Leeds First Direct Arena (13th November), Manchester Arena (15th November), London O2 Arena (19th November), Birmingham LG Arena (27th January)

http://www.depechemode.com

http://www.facebook.com/depechemode

Text by Steve Gray
Photos by Meesh Davis and Chi Ming Lai
31st May 2013

MESH, DE/VISION + TORUL Live in London

24 April 2013 /


Bristolian electro-rock duo MESH ended their successful European tour in style with a rousing show at the O2 Academy in London’s Islington district.

The affair was an intimate multi-media extravaganza based around their latest album, ‘Automation Baby’. An impressive collection of songs ranging from schaffel anthems to sensitive Morricone-esque ballads, ‘Automation Baby’ could well finally get MESH wider recognition in the UK.

The European alternative live circuit has been founder members Mark Hockings and Richard Silverthorn’s bread and butter since their first EP ‘Fragile’ in 1994.

Indeed, like Gary Numan fans who have switched their allegiances to JOHN FOXX & THE MATHS for their synthesizer fixes, so then disillusioned DEPECHE MODE followers may well drift over to MESH in the coming months as Messrs Gahan, Gore and Fletcher finally turn into that stadium blues band which they have been threatening to do for a while.

But opening the evening’s great support bill were TORUL, a promising trio hailing from Ljubljana in Slovenia. Towering singer Jan Jenko exuded a dark but soulful vocal range with a dynamic stage presence to match while the sonics varied from industrial rock to EBM and danceable synthpop not unlike another new trio, Sweden’s TITANS. Although their sound had an inherently doomy shade, their performance was exhilarating. There was an extra treat in a menacing rendition of TEARS FOR FEARS’ ‘Mad World’ to supplement the already enjoyable set. Definitely a band to look out for in the future… even a prolonged guitar solo at the end didn’t dampen the appreciation of those watching.

Meanwhile, Berlin’s DE/VISION have had a long standing kinship with MESH and the two acts have often shared the same bill over the years, much to satisfaction of their fanbases. Steffen Keth gyrating moves found favour tonight with the large female contingent in the audience while the whole crowd treated DE/VISION like joint headliners. Since their breakthrough somophore album ‘Unversed In Love’ in 1995, their industrialised paeans have maintained a cult following over the last two decades and certainly tonight, Keth and musical partner Thomas Adam (now augmented by a live drummer) showed no signs of waning in their enthusiasm.

The stage sprang into technological life as screens and projections set the scene for MESH’s arrival. In a novel approach to live presentation, each song was introduced by a computerised female voice. Thus “Automation Baby – track eight” ie ‘Adjust Your Set’ began proceedings with its mechanical rhythms loosened up by live drummer Sean Suleman.

The evening’s accompanying films very much enhanced the show with appropriate images such as monochrome footage of fan mania and celebrity culture for ‘Never Meet Your Heroes’ and wads of tenners for ‘You Want What’s Owed to You’. It may have been perhaps a bit obvious but the spectacle worked and aptly illustrated the theme of detached virtual relationships dominating ‘Automation Baby’.

MESH are known for their synthesized anthems and the first of those came with the superb ‘Crash’ from ‘We Collide’, the automotive metaphors very much in keeping with MESH’s regular lyrical gists on the conflict within the human condition.

The neo-rave of ‘Just Leave Us Alone’ was another tremendous highlight, the crowd pogo-ing with delight to the Eurodance flavour on offer. ‘How Long?’ and the ‘Automation Baby’ track itself also provided other cornerstones to the evening.

DEPECHE MODE comparisons are always inevitable with MESH; however, what they actually have in common with Basildon’s finest though is not so much the synth / guitar / industrial rhythm template but an ability to arouse passion and loyalty through their music.

And in ‘Taken for Granted’, MESH now have their own ‘Never Let Me Down Again’… in fact, all that was missing was the cornfield wave but in its place came an acappella terrace chorus that continued from the moment the band left the stage after the main part of the set until their return for the first encore. Launching into the powerful ‘Born To Lie’, the crowd had their hands in the air for a satisfying slice of gothic glam before heading onto the final straight with ‘Friends Like These’.

But it was not actually over because for the second encore, there was a surprise as Silverthorn, Suleman and live keyboardist Richard Broadhead took their positions minus their singer. Hockings then suddenly appeared at the back on the venue under a stark spotlight for a wonderful ‘You Couldn’t See This Coming’… and you couldn’t!

He was in fine voice, as he had been throughout the evening, providing his angsty but accessible tones over the emotive, orchestrated soundtrack. Nearly twenty years on, MESH are at the height of their powers having produced possibly their best album yet in ‘Automation Baby’ and one of their best live shows too.There are not many bands at any level that have managed that so long into their career. So go check them out… what are you scared of?

MESH ‘Automation Baby’ is released by Dependent on CD and download

DE/VISION are to release a live DVD and album via Pledge Music

TORUL’s new album ‘Tonight We Dream Fiercely’ is available now on Infacted Recordings as a CD and download

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

http://www.facebook.com/pages/DEVISION/24741337633

http://www.torul-recordings.net/

Text and Photos by Chi Ming Lai
24th April 2013

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