Category: Lost Albums (Page 1 of 12)

Lost Albums: BANDERAS Ripe

Released in 1991, ‘Ripe’ was the only album by BANDERAS.

The pairing of Caroline Buckley and Sally Herbert met in 1987 when they were in the live band of THE COMMUNARDS, the duo comprising of Jimmy Somerville, formally of BRONSKI BEAT and Richard Coles, now a BBC TV vicar and more recently, a ‘Strictly Come Dancing’ contestant.

THE COMMUNARDS had HI-NRG hits with covers of the disco classics ‘Don’t Leave Me This Way’ and ‘Never Can Say Goodbye’, so were in demand on the concert circuit.

Buckley filled the big shoes of Sarah-Jane Morris who had moved on to pursue a solo career while Herbert was in the string section which also included Audrey Riley, Jocelyn Pook and Anne Stephenson. After THE COMMUNARDS disbanded and Jimmy Somerville loaned the pair a Yamaha DX7 and a sampler, Buckley and Herbert became BANDERAS, the Spanish word for “flag”. Adopting a striking shaven headed image, they began writing songs and gigging, eventually coming to the attention of producer Stephen Hague’s manager.

THE COMMUNARDS’s second and final album ‘Red’ featured contributions from Buckley and Herbert, so having worked with Stephen Hague in his capacity as its producer, the American was an obvious and natural choice to helm BANDERAS’ debut long player. And to keep things in THE COMMUNARDS’ family, they also signed to their label London Records.

Things looked promising for BANDERAS and this was outlined by the cast of players on the album; special guests included Bernard Sumner, Johnny Marr and old pal Jimmy Somerville while there were noted sessioners on board such as Luís Jardim, Guy Pratt and Stevie Lange as well former band mates Audrey Riley and Jocelyn Pook.

The album’s ace was the magnificent ‘This Is Your Life’, one of the last songs written and recorded for ‘Ripe’. Using a sample from Grace Jones’ ‘Crack Attack’, it had a distinct Pet Shop Girls behavioural vibe to it. Meanwhile there was also the added bonus of Johnny Marr and Bernard Sumner on rhythm guitars plus a terrific middle eight section featuring Sumner’s vocals before an emotive synth solo. “There is no rehearsal, no second chance” sang Buckley and Sumner together but rather prophetically, despite ‘This Is Your Life’ reaching No16 in the UK singles charts, there were no more hits for BANDERAS.

With a banging drum mantra and a catchy riff, the more uptempo second single ‘She Sells’ was a shopping list song that just missed out on a Top40 chart entry. But despite lyrics attacking the advertising industry’s use of sexist stereotypes, the message proved to be less appealing than the melancholic but uplifting YOLO stance of ‘This Is Your Life’.

The third BANDERAS single ‘May This Be Your Last Sorrow’ fared even worse, but despite being inspired by a scene from a film in Arabic where the mourners were reciting to a bereaved family, the funereal trip-hop with its dub-laden backdrop foresaw the likes of ONE DOVE, THE ALOOF and PORTISHEAD.

Alongside the singles, ‘Ripe’ had other highlights. It was not difficult to imagine either Neil Tennant or Jimmy Somerville singing on ‘The Comfort Of Faith’, a song questioning unconditional religious devotion that came with a typically classic Stephen Hague production while with an orchestral arrangement that undoubtedly seeded Herbert’s future career as a film score composer, ‘Why Aren’t You In Love With Me?’ was BANDERAS’ take on Philly soul with Buckley’s emotive resignation in harmony with a comparatively understated falsetto from Jimmy Sommerville.

Most striking was ‘It’s Written All Over My Face’, a bare self-produced song which despite its countrified acoustic guitar recalled the pulsing electronic arrangement of Marianne Faithfull’s version of ‘The Ballad Of Lucy Jordan’. Also quite stripped down was ‘Too Good’ featuring a stark percussive groove augmented by fretless bass runs while the album’s closer ‘Never Too Late’ saw the duo offer their take on Patsy Cline.

Interestingly in the booklet notes, neither Buckley nor Herbert express any great enthusiasm for ‘First Hand’ or ‘Don’t Let That Man’ but while these do not hit the heights of the album’s highlights, they are not bad but sound very much of their time.

A second album was in the works to be produced by Alan Moulder but London Records lost interest and BANDERAS quietly disbanded. In the past 5 years, both Caroline Buckley and Sally Herbert have worked independently with Jimmy Somerville on various projects, so it is apt that the wee Scotsman conducts the short interview with them for the reissue of ‘Ripe’.

Anthologised by Cherry Red on their 90/9 imprint, ‘Ripe’ has been remastered as a double CD edition with the album plus B-sides coupled with a collection of remixes, many of which actually seem to feature the structures of the various songs, documenting a period just before the club DJ remix madness went into overdrive.

‘This Is Your Life’ may be considered something of a one hit wonder but to have written such a timeless song that resonates with the public, even if it is for a limited moment in time, is a gift to any composer. Regardless of that, based on the evidence of ‘Ripe’, BANDERAS delivered an album that was worthy of the supporting cast that helped embellish it.

If you missed ‘Ripe’ first time round, now is a good time to catch up 30 years on…


‘Ripe’ is released by 90/9 on 14th January 2022 as a 2CD edition, available from https://www.cherryred.co.uk/product/banderas-ripe-2cd-expanded-edition/


Text by Chi Ming Lai
10th January 2022

Lost Albums: AKIKO YANO Ai Ga Nakucha Ne

World music reissue label Wewantsounds release Akiko Yano’s 1982 solo album ‘Ai Ga Nakucha Ne’ outside of Japan for the very first time. Co-produced by Ryuichi Sakamoto, the record was notable for featuring the talents of JAPAN band members Mick Karn, Steve Jansen and David Sylvian.

Fusing rock, jazz, avant pop and Japanese folk, Akiko Yano was a successful singer/songwriter in her homeland before touring the world as a keyboardist with YELLOW MAGIC ORCHESTRA. Her high pitched vocal style inevitably drew comparisons with Kate Bush but in 1981, her husband’s connections led to a new approach.

With Ryuichi Sakamoto having already collaborated with David Sylvian on ‘Taking Islands In Africa’ from JAPAN’s fourth album ‘Gentlemen Take Polaroids’, he and Yano travelled to the UK. With a strong Yen, recording facilities in London proved to be cheaper than in Tokyo and so it was at Air Studios that they teamed up with the Lewisham combo and their producer / engineer Steve Nye following the completion of ‘Tin Drum’.

Translated as “there must be love”, ‘Ai Ga Nakucha Ne’ states its case with the bilingual opening title track of the album, giving a platform for the JAPAN rhythm section both instrumentally and vocally, while not deviating from Akiko Yano’s own distinctive style. The glistening textures of Sakamoto emanating from his beloved Prophet 5 also leave no doubt as to who is producing.

Although ‘Kanashikute Yarikirenai’ adopts a West Coast demeanour, particularly when complimented by JAPAN live guitarist David Rhodes’ solo, it is all offset by Sakamoto’s haunting synth tones. Continuing on a similar highway, ‘What’s Got In Your Eyes’ has more that driving Californian feel to it and translates smoothly thanks to English lyrics provided partly by YMO collaborator Peter Barakan.

‘Oishii Seikatsu’ and ‘Michi De Battari’ come as appealing interludes, the former shaped by a marimba figure and the latter with traditionally Japanese textures although all approximated using electronics.

The best track on ‘Ai Ga Nakucha Ne’ is the vibrant and funky ‘Onnatachiyo Otokotachiyo’; it sees Steve Jansen demonstrating why highly regarded session drummers like Gavin Harrison regard him as a key influence in the art of percussive painting without overplaying. Stabs of synthetic brass from Sakamoto, Yano’s own piano work and Mick Karn’s trademark fretless slides combine to make this a superb highlight.

The speedy ‘Aisuru Hito Yo’ is more four-to-the-floor despite the tribal congas from Motoya Hamaguchi, containing the spacey overtures that these days gets referred to as Citypop and laced with the jazzy cosmic surfin’ of early YMO. But this is hardly surprising as the drums are helmed by Yukihiro Takahashi plus there is also much to enjoy with Sakamoto’s technopop work here ranging from blips and rings to pulses and sirens to sweeps and growls.

Written entirely in English by Yano, ‘Sleep On My Baby’ is a slice of quirky fusion pop with the distinctive backing vocals of Mick Karn.

But while Karn was perhaps less fluid trhough much of ‘Ai Ga Nakucha Ne’ than he had been with  his bass work as part of JAPAN on account Sakamoto directing the exact notes that were required, he provides a bit more of his fretless signature sound here if a bit more sedately and less up front.

The guitar driven ‘Another Wedding Song’ is more of a funk soul art piece rather than a conventional song but Haruomi Hosono joins the party on bass guitar with Takahashi for a YMO reunion on the jazzy pop of ‘Donnatokimo Donnatokimo Donnatokimo’ which evokes the magical sunsets of the Ryukyu Islands with its rootsy Japanese variation on steel guitar from Hiroki Komazawa.

The gorgeous piano lullaby ‘Good Night’, written by the unconnected classical musician Yuji Takahashi with words by Yano and Peter Barakan, saw the Japanese songstress duet with David Sylvian and its interplay will delight any fans of the JAPAN frontman or Sakamoto’s film soundtracks. A fittingly perfect if very short closer, it was subsequently used on a domestic Seiko watches TV commercial.

A number of JAPAN and YELLOW MAGIC ORCHESTRA enthusiasts are likely to be hearing ‘Ai Ga Nakucha Ne’ for the first time as this sixth Akiko Yano solo album was only released in Japan and they will undoubtedly enjoy a number of the tracks due to their instrumental and vocal connections. While Akiko Yano’s music didn’t export in large numbers, she gained a cult following in Europe and her music broke down barriers.

Today female Japanese singers are able to perform to packed theatres in London while the synthwave fraternity has adopted within its wider family, the Citypop that was pioneered by YELLOW MAGIC ORCHESTRA when she was part of their live presentation.

Always prolific and often releasing an album per year, as recently as 2018, she worked with American synth duo REED & CAROLINE on ‘When We’re In Space’ for her collaborations collection ‘Let’s Go Together’ while she has released three more long players since. It may have taken nearly 40 years but the vast catalogue of Akiko Yano is now able to be more widely appreciated.


‘Ai Ga Nakucha Ne’ is released by Wewantsounds on 8th October 2021 as a vinyl LP and CD, pre-order from https://wewantsounds.bandcamp.com/merch/akiko-yano-ai-ga-nakucha-ne-deluxe-black-vinyl-edition-with-24p-colour-booklet-and-gatefold-sleeve

https://www.akikoyano.com/

https://www.facebook.com/akikoyano.official/

https://twitter.com/Yano_Akiko

https://www.instagram.com/akikoyano_staff/


Text by Chi Ming Lai
Colour photos by Bishin Jumonji, studio photos by Pennie Smith
18th September2021

Lost Albums: ALAN VEGA Mutator

Sacred Bones Records release the lost album from Alan Vega, entitled ‘Mutator’.

Vega was best known as a member of the trailblazing electronic-punk duo SUICIDE with Martin Rev who confused audiences with their lack of a drummer and would go on to influence the likes of SOFT CELL and SIGUE SIGUE SPUTNIK.

Vega sadly passed away in 2016 but he left a vault of previously unreleased work at his New York studio. ‘Mutator’ was recorded during 1995-1996 with Liz Lamere who became his wife and key collaborator in his solo career.

It wasn’t intentionally shelved but so prolific was Vega with his numerous projects that eventually included 11 solo albums he was already focussing on another work before this was completed. “Our primary purpose for going into the studio was to experiment with sound, not to ‘make records” remembered Lamere, “I was playing the machines with Alan manipulating sounds”

Given a final production treatment in partnership with fellow Vega collaborator Jared Artaud 25 years after the material was first put to tape, ‘Mutator’ will be the first in a series of previously unheard recordings to be made public. Influenced by the streets of New York, Vega makes his presence felt with a collection of moments that are at times uneasy, but also paradoxically beautiful.

As an introduction, the drone sound sculpture ‘Trinity’ is a ghostly séance as if Vega is communicating from the other side. Meanwhile the album starts formally with ‘Fist’ as its percussive variation shaped by repetitive rhythm construction, coming over suitably gothic and gloomy.

The rumble of ‘Muscles’ provides a sinister backdrop for Vega’s preaching but the gorgeous ‘Samurai’ is poignant with Vega giving a resonant speech before shouting “GOODBYE- GOODBYE- GOODBYE”, reflecting on life with a backdrop that could have come off the ‘Twin Peaks’ soundtrack.

The slow industrial of ‘Filthy’ utilises a combination of distorted mechanical noise and a nail bed of ice, with Vega stamping his wayward personality throughout while ‘Nike Soldier’ rises and reverberates in a manner akin to THE SISTERS OF MERCY reworking a DEPECHE MODE B-side.

Doing away with percussion, the sombre ‘Psalm 68’ relies on a bassline pulse and uncomfortable screeching ambience for its effect before ‘Mutator’ closes with the sustained synthesizer collage ‘Breathe’, with Vega eerily proclaiming “the show is now over”

“’Mutator’ bridges the gap between the past and present” Jared Artaud said, “It’s something we feel he would have been really proud of, seeing this lost album released today. In so many ways, his music is needed now more than ever.”

A fitting epitaph to the experimental spirit of Alan Vega, anyone who has ever enjoyed cult SUICIDE classics such as ‘Ghost Rider’ and ‘Frankie Teardrop’ will find much to savour on the eight tracks that form ‘Mutator’.


‘Mutator’ is released by Scared Bones Records on 23rd April 2021 in various LP formats as well as CD and digital, available from https://www.sacredbonesrecords.com/products/sbr271-alan-vega-mutator

https://www.alanvega.com/

https://www.facebook.com/officialalanvega/

https://twitter.com/alanvegahq

https://www.instagram.com/officialalanvega/


Text by Chi Ming Lai
20th April 2021

Lost Albums: RYUICHI SAKAMOTO Hidari Ude No Yume

Originally released in October 1981 by Alfa Records in Japan, ‘Hidari Ude No Yume’ was a product of Ryuichi Sakamoto’s most prolific year.

This period that followed his acclaimed second solo album ‘B-2 Unit’ in September 1980  came between two YELLOW MAGIC ORCHESTRA long players ‘BGM’ and ‘Technodelic’, although it is now widely known that Sakamoto was largely absent from the ‘BGM’ sessions. YELLOW MAGIC ORCHESTRA began as a one-off electronic disco project at the behest of Alfa Records to whom Haruomi Hosono, Yukihiro Takahashi and Ryuichi Sakamoto were already signed.

So the threesome always had solo projects running in parallel with what the public considered their main band and even played on each other’s solo albums. But ‘Hidari Ude No Yume’ saw Sakamoto collaborating more freely outside of his usual trio with a wider pool of musicians from a variety of backgrounds.

Recorded in Tokyo in Summer 1981 and highlighted by a photo on the back artwork, the project was based around the threesome of Sakamoto, co-producer Robin Scott of M fame and guitarist Adrian Belew who had worked with Frank Zappa and David Bowie. Meanwhile, lyrical contributions came from Shigesato Itoi, Tetsuro Kashibuchi and Sakamoto’s then wife Akiko Yano.

Despite the more organic spontaneous approach to ‘Hidari Ude No Yume’ after the rigid technological experimentation of ‘B-2 Unit’, Sakamoto still employed the programming skills of Hideki Matsutake aka LOGIC SYSTEM who had played a similar role in YMO’s pivotal albums. Sakamoto opted to record the album digitally on the new 3M 32 track recorder that Alfa Records had installed in its studios before mixing it in analogue.

Today, a bilingual crime drama such as ‘Giri / Haji’ can get commissioned by the BBC and receive critical plaudits while Anime and Manga are effectively part of the mainstream.

But in 1981, the world was very different world and anything artistic emerging from South East Asia often found itself Westernised to suit European and particularly American tastes. This was all despite the US success in 1979 of YMO which was achieved by taking a very Japanese approach.

Thus when ‘Hidari Ude No Yume’ was issued as Ryuichi Sakamoto’s third solo record proper in Japan, the interest in its Western collaborators saw Epic Records taking up its option for Europe via their arrangement with Alfa Records. However, when it was released in October 1982, the album came in a significantly altered version entitled ‘Left-Handed Dream’.

Featuring three tracks reworked in English with Robin Scott on lead vocals, there was also the addition of a new song called ‘The Arrangement’ which sounded strangely like SPARKS and the dropping of two tracks, ‘Saru No Le’ and ‘Living In The Dark’.

It meant to that the original parent album has largely become lost to international ears… until now!

Wewantsounds, a label specialising in rare international releases particularly from Japan, reissue ‘Hidari Ude No Yume’ in its original tracklisting outside of Japan for the first time, save for a small-scale Dutch double vinyl release on Plexus in 1981.

Sakamoto’s aim was for the music to evolve organically with the musicians working in collaborative improvisation. These parts were retained or discarded by Sakamoto depending on whether they complimented his vision.

One of the album’s highlights was ‘Relâché’, a joint Sakamoto / Scott / Belew effort that featured Takahashi and Hosono; the marvellous instrumental art funk was dominated by Belew’s textural guitar flights, with the track reminiscent of TALKING HEADS in their Brian Eno helmed phase.

But it all began with the percussive moods of ‘Boku No Kakera’, a traditional song experiment using technology but authentically sweetened with Kaoru Sato’s flanged violin and Robin Thompson’s hichiriki.

A signal to Sakamoto’s soundtrack future on ‘Merry Christmas Mr Lawrence’ and ‘The Last Emperor’, the man himself gave an understated speech, an idea he would reprise for ‘Bamboo Houses’, his 1982 single with David Sylvian.

‘Saru To Yuki To Gomi No Kodomo’ was shaped by a hypnotic pulsing passage while Sakamoto-san charmingly took on the lead vocals, as on several numbers in the set. Sparse and quirky, ‘Kacha Kucha Nee’ saw Sakamoto singing the words of his wife before an unusual tribal clatter took hold. Meanwhile, ‘The Garden Of Poppies’ was interesting in its use of a morphing Taiko drum tattoo.

As well as pop focussed material, there were illustrations of Sakamoto’s love of the musical avant garde with the abstract ‘Slat Dance’ and the closing animal noise experiment ‘Saru No Ie’, although both were too indulgent to be truly enjoyable.

Demonstrating Sakamoto’s prowess on marimba with an African feel emanating, ‘Tell ‘Em To Me’ was complimented by Belew’s impressionistic approach and six string growl that served him well playing with TALKING HEADS.

‘Living In The Dark’ saw more art funk with Hosono and Takahashi backing another Sakamoto vocal where the generous space between all the participants was particularly noticeable.

With a clean and uncluttered production, ‘Living In The Dark’ also gave Sakamoto a chance to show off his classical piano virtuosity. ‘Venezia’ saw Sakamoto’s naïve vocal return backed by a chorus of friends including Masami Tsuchiya, Shoji Fujii and Akira Mitake of IPPU DO plus the song’s author Tetsuro Kashibuchi. It was a joyous moment with pretty piano and subtle synths, but such was the sum of its parts that the rhythm section almost went unnoticed as it melted into the backdrop.

Although the English variants featuring Robin Scott were released in January 1982 as a separate EP in Japan, it is said that Sakamoto was not happy with how these tracks were reworked in London without his full involvement and then ended up on what became ‘Left Handed Dream’. To be fair, Scott’s vocal versions of ‘Relâché’ as ‘Just About Enough’ and ‘Venezia’ as ‘The Left Bank’ were not bad.

But perhaps those four reworks should have stayed on ‘The Arrangement’ EP from a conceptual stand point if nothing else.

This reissue of ‘Hidari Ude No Yume’ offers the purer Sakamoto vision as it was intended, a director’s cut capturing the tension between contrasts of electronic versus traditional, digital versus analogue and pop versus the avant garde.

Hearing it in 2020, ‘Hidari Ude No Yume’ is a fascinating document tracing the exact point when Ryuichi Sakamoto began to leave technopop behind to head towards more esoteric climes and become the renowned soundtrack composer that everyone knows today.


‘Hidari Ude No Yume’ is released by Wewantsounds on 13th November 2020 as a vinyl LP, double deluxe vinyl LP or double CD featuring bonus instrumental version of the album, pre-order from https://wewantsounds.bandcamp.com/merch/ryuichi-sakamoto-hidari-ude-no-yume-1-lp-deluxe-edition-black-vinyl-with-4p-colour-insert-and-obi-strip

https://www.sitesakamoto.com/

https://www.facebook.com/ryuichisakamoto

https://twitter.com/ryuichisakamoto

https://www.wewantsounds.com/


Text by Chi Ming Lai
17th November 2020

Lost Albums: PARALLELS Visionaries

While now established as a modern synthpop force in a similar vein to CHVRCHES, AVEC SANS and DANA JEAN PHOENIX, the story of PARALLELS actually began in 2008 while their debut album ‘Visionaries’ came out in 2010.

Fronted by Holly Dodson, PARALLELS at the time was a partnership with Cameron Findlay who had toured previously as the drummer for CRYSTAL CASTLES, while Joey Kehoe later joined as a live keyboardist. One of the Visionaries’ tracks ‘Dry Blood’ was used in the soundtrack for the 2012 film ‘Curfew directed by Shawn Christensen which won an Oscar for ‘Best Live Action Short Film’.

PARALLELS later achieved a wider worldwide breakthrough with their third album ‘Metropolis’ in 2016 with support from The Blitz Club legend Rusty Egan; a North American tour with NINA followed in 2018 after a successful premiere of the pairing at Zigfrid Von Underbelly in London.

Since then, there have been a number of notable collaborations, the most recent being on the soundtrack to the film ‘Proximity’ with RADIO WOLF aka PARALLELS live bandmate Oliver Blair whose previous credits have included CLIENT and KELLI ALI.

‘Visionaries’ has been reissued to celebrate its tenth anniversary in a double album edition featuring a remaster of the original and a bonus collection of special remixes from the likes of ANORAAK, MECHA MAIKO, GLITBITER, BETAMAXX, GHOSTHOUSE and many more from the synthwave community.

Despite being a decade old, ‘Visionaries’ has a lovely innocent charm about it, with Dodson finding her voice amongst a palette of catchy synth hooks, tight electronic sequences and live drums.

Deserving re-evaluation and discovery by those who may have missed it first time round, ‘Visionaries’ is a must for modern synthpop connoisseurs seeking a bridge to synthwave.

Holly Dodson kindly chatted from her home in Toronto about the start of her journey as PARALLELS and the making of the ‘Visionaries’ album.

Having grown up in a music family, was making an album always inevitable for you?

It was definitely encouraged! I was a really shy kid though, so it took me a while to build up the confidence to even say I wanted to learn how to record. Since the mid-70s, my parents were running an indie label and studio out of their basement so I was always in a studio environment growing up… so it would have been difficult to not get the music bug.

But before ‘Visionaries’, you released a solo album called ‘The Carousel’ in 2009; how do you look back on that and what made you opt for the more New Wave concept of PARALLELS for your next record?

When my Dad learned that I had been writing songs, he said the first thing I should do is learn how to build a production, learn how to program and arrange… basically learn my way around the studio so that I could be self-sufficient and record my ideas. He’s got a really DIY sensibility so he instilled that in me from early on. So making ‘The Carousel’ record was my first foray into producing my own records. At that time, I was hugely inspired by KATE BUSH, BAT FOR LASHES, DEPECHE MODE and JONI MITCHELL.

‘Visionaries’ was a collaboration between myself and drummer Cam Findlay and when we were writing that album, we were listening to a lot of NEW ORDER and JOY DIVISION… hugely inspired by New Wave so it inevitably spilled into our songwriting.

‘Visionaries’ had a distinct synthpop direction as heralded by the album opener ‘Find The Fire’, what interested you in synths? 

Yeah, my main instrument was piano so I knew how to navigate around a keyboard. There were a collection of vintage synths in my Dad’s studio – Roland D-50, D-70, Yamaha DX-7 so there were always synths to play with growing up.

I love how colourful synths sounds are and how you can really customize these crazy sound waves, turning electricity into a song.

Had there been any particular acts like liked who you referenced to formulate your sound?

PETER GABRIEL, KATE BUSH, DM, NEW ORDER… asking “what would Kate do?” often gets me out of a production rut haha.

PARALLELS is widely accepted as your musical vehicle today, but at the time of ‘Visionaries’, was there more of a democratic band dynamic in place?

Yeah, like I had mentioned previously, ’Visionaries’ was a collaboration so Cam would make up demos and then I’d write topline, and we’d complete them together at my Dad’s studio. We tracked drums there as well! That ‘Visionaries’ era was pretty crazy for us, we were learning the industry – managing ourselves – figuring out who we were as artists etc, and it took a toll on Cam and I’s relationship so we ended up parting ways. He started a solo project and I continued on with PARALLELS… obviously 😉

‘Dry Blood’ has a real chill about it with those great synth strings, haunting choir samples and prominent vocoders, what was on your mind when you made it?

Cam had come to me with that track and I immediately thought it was a cool entity. I think it was one of the first tracks he had written. He didn’t really have lyrics for it so for the ‘Visionaries’ album I wrote some vocals and we put live drums on it which gave a bit more depth to the track. I was super into gothic literature at that time so… to precede your next question, the Goth girl was emerging…

On ‘Nightmares’ you sang about “the taste of blood in my mouth”, has there always been a Goth girl waiting to escape from you?

Yes. There still is ha! I was always into the supernatural and witchy things so discovering the original goths of the Romantic era opened up that world to me… I was reading Percy Bysshe Shelley, Mary Shelley, William & Coleridge – huge nerd over here, still am.

In terms of equipment, were you using hardware or software synths? Did you have any favourites?

We were working with a PolySix, Juno 60, Prophet, Waldorf Blofeld, Roland D-50, D-70 so ‘Visionaries’ features those.

‘Magnetics’ brought a pulsating NEW ORDER feel to proceedings? Have you always been a fan?

NEW ORDER was a huge inspiration throughout the whole album – I used to have jam sessions in my basement in high school, and some of my friends who would come to those jams (Cam included) turned me onto their stuff.

Meanwhile, ‘Counterparts’ explored the other side of NEW ORDER with a driving bass guitar?

Yeah, and very fast. We tend to play that one at the end of the set when the adrenaline is going haha. I think it was just bringing the whole scope of our inspirations in, and some songs call for different things so the chorus-y bass guitar adds a different colour to it. We were mixing a lot of electronic with live elements through the whole album.

The live drums took a breather and you got a drum machine out for ‘Vienna’, what was this song inspired by, as apart from ‘Dry Blood’, it’s probably the one that is the most different to the others on ‘Visionaries’?

This song was very escapist for me, dreaming of travelling to places I’d never been before and being in big open air, with open arms wandering fields like Julie Andrews haha. We were really into ‘Games Without Frontiers’ as well, so I think production-wise that played a part.

‘Midnight Voices’ has this fabulous futuristic disco vibe like Giorgio Moroder which still stands up?

Thank you! Huge fan of Giorgio Moroder – we were also super into Italo Disco as well so this song always reminds me of that influence.

‘Shadow Hearts’ is cut from not too dissimilar a cloth but one thing that is noticeable on that and ‘Ultralight’ is that the album manages to capture a lively percussive template in amongst all the synths and sequencers, not always an easy thing to do in a studio environment?

The live drums definitely add an edge to it, and a more human energy. Cam was a drummer so it was sort of a given. The demos were usually made with programmed drums and then we had recorded live drums for the final album versions. We kept certain elements of the programmed drums if it fit the song – like ‘Reservoir’ has a programmed kick and some hi-hat, and ‘Ultralight’ a bit of drum machine percussion. But yeah, ‘Visionaries’ doesn’t have a super polished sound which I prefer anyway – it was all about performing as tight as we could.

In what way do you think your voice has changed over the years in the way you use it?

I’ve definitely become more confident and found more fulfilment in singing; I was always insecure about my voice so I used to double track it. But I don’t really do that anymore – after years of soul searching and embracing what I have to offer… telling my inner-critic to go away ha. Singing started to become a sanctuary for me when I was recording the ‘Metropolis’ record.

How do you look back on ‘Visionaries’, what are your favourite songs and are there any you would do differently in hindsight?

It was such a formative time, and a whirlwind! It was the first time that people really listened to my music, so I’m so grateful for that. It’s hard to pick a favourite from the album but I think my favourites are ‘Counterparts’, ‘Reservoir’ and ‘City Of Stars’. And no I wouldn’t do anything differently, everything happened how it was supposed to 🙂

The new remixes you have commissioned to accompany this remaster appear to be from The Synthwave All-Stars, do you feel you have now found “your people” after ten years?

Agreed! I’m so grateful that they were a part of it – I envisioned it to be a compilation of artists who have somehow factored into this musical journey, both old and new friends… from the VALERIE COLLECTIVE to MORGAN WILLIS, who I just recently collaborated with. I finally connected with BETAMAXX in real life last year but it felt like we had known each other forever. And yeah I think it does take time to make friends in this music world because a lot of people come and go and everyone is doing their own thing. But it does feel like there’s a greater sense of community these days, it’s amazing how small the music world really is.

‘XII’ came after ‘Visionaries’, what were the most valuable experiences that came from recording your debut that you were able to put into the second PARALLELS album?

Giving yourself room to grow, inviting inspiration find you, staying curious and letting the magic happen. That’s ultimately why I felt called to evolve PARALLELS and keep it going.

I think a lot of artists get too precious about the first thing they create and in my opinion, the first record is the easiest in some ways.

It’s been nearly four years since the third PARALLELS album ‘Metropolis’ but you have been collaborating with FUTURECOP! and RADIO WOLF, so how have these experiences been for you in terms of your continued musical development?

It’s definitely helped me get some perspective and it feels like coming home now that I’m working on a new PARALLELS record. It felt like the right time to collaborate because I felt like I needed a break from ‘myself’ haha. Working with other artists helps bring inspiration out of you that you didn’t know you had. I also worked with MORGAN WILLIS, DIGITAL SHADES and CHRIS HUGGETT during that time.

Is there anyone you would love to collaborate with?

To be honest, I’ve done so much collaborating in the past while it feels right to just get in my little world again. But if Kate called…

What are your future plans, obviously depending on the world situation?

Oh right – the world situation! Haha…well we had tour plans for RADIO WOLF and I’s ‘Proximity’ soundtrack that have been put on the back burner, and another tour with MECHA MAIKO and BETAMAXX, some EU/UK dates… but alas. I’m cautiously hopeful we’ll be able to make up for it next year. So right now I’m back in my little world knee deep in writing a new record and building a Patreon community to share the progress with and stay connected.

Thanks so much for the chat – love to all at ELECTRICITYCLUB.CO.UK!


ELECTRICITYCLUB.CO.UK give its warmest thanks to Holly Dodson

‘Visionaries’ is reissued as a new remaster and remix album by NewRetroWave, the limited edition clear dark blue with white marble effect double vinyl LP will despatch around 20th December 2020 while the digital version is available now; both formats can be purchased direct from https://newretrowave.bandcamp.com/album/visionaries-10th-anniversary-edition

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Text and Interview by Chi Ming Lai
4th October 2020

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