Tag: BEF (Page 3 of 5)

2013 END OF YEAR REVIEW

The Correct Use Of VCOs

The year started appropriately enough with an electronic number ‘2013’ by Belgian duo METROLAND.

For the first six or seven months of 2013, it proved to be one of the most productive periods in electronic pop music. Not since the Autumn of 1981 when had so many significant releases coincided. It was strangely quality and quantity, a rare occurance in modern times for music, especially of the synth propelled variety.

That time saw THE HUMAN LEAGUE ‘Dare’, GARY NUMAN ‘Dance’, ULTRAVOX ‘Rage In Eden’, DEPECHE MODE ‘Speak & Spell’, SOFT CELL ‘Non-Stop Erotic Cabaret’, HEAVEN 17 ‘Penthouse & Pavement’, SIMPLE MINDS ‘Sons & Fascination’, NEW ORDER ‘Movement’, JAPAN ‘Tin Drum’ and OMD ‘Architecture & Morality’ all coming out within weeks of each other!

Interestingly from that list, only JAPAN and SOFT CELL are missing as currently performing entities although Marc ALmond himself made a number of concert and theatrical appearances during the year.

OMD got back to their Kling Klang roots with their best album in 30 years entitled ‘English Electric’. Although enthusiasts of the band’s pioneering work were satisfied, fans of OMD’s pop phase were confused as to why Andy McCluskey and Paul Humphreys had recorded an electronic album influenced by KRAFTWERK! This was an indicator of how the band have mutated and been perceived over the years.

But that was nothing compared with DEPECHE MODE whose single ‘Soothe My Soul’ was remixed by ZZ TOP’s Billy F Gibbons… although recognisably reworked, listeners could barely notice the join, thus fully confirming DM’s development into the world’s premiere stadium electro blues combo. Their album ‘Delta Machine’ was a big improvement on 2009’s ‘Sounds Of The Universe’, but it was no ‘English Electric’.

Among the other evergreens with new long players in 2013 were PET SHOP BOYS, BEF and Alison Moyet.

Messrs Tennant and Lowe finally worked with the ubiquitous Stuart Price to produce an album that was ‘Electric’ by name and electric by nature.

Meanwhile Moyet found her most musically compatible partner since Vince Clarke in Guy Sigsworth for the stunning return to form of ‘the minutes’.

Over at BEF, Martyn Ware assembled his most impressive cast of guest vocalists yet including ERASURE’s Andy Bell and CULTURE CLUB’s Boy George for the third volume of the ‘Music Of Quality & Distinction’ covers series; subtitled ‘Dark’, it featured some of Ware’s most starkly electronic work since he was in THE HUMAN LEAGUE.

Another welcome return came from electronic disco pioneer GIORGIO MORODER. The icon is now 73 years old yet with his stomping track ‘Racer’, he proved could mix it with all the young pretenders. Indeed, his autobiographical contribution to DAFT PUNK’s tribute ‘Giorgio By Moroder’ reflected the respect and admiration he holds within the dance world.

Although only a few years younger, KRAFTWERK’s Ralf Hütter showed no real signs of moving his iconic brand forward despite the 3D spectacle of ‘Der Katalog 1 2 3 4 5 6 7 8’ live retrospectives in Düsseldorf, London, Tokyo and Sydney.

With the various hosting art spaces still seeing their ticketing systems collapse, was this really just an elaborate publicity stunt? After all, how many heritage acts get on the news for sending websites into meltdown?

It certainly didn’t do KRAFTWERK any harm as a headlining slot at Latitude Festival and its resultant BBC TV coverage proved. However, new material was still not forthcoming but such is the demand that several unscrupulous eBay dealers in Russia were passing off CD-Rs of three tracks from METROLAND’s 2012 album ‘Mind The Gap’ as KRAFTWERK demos!

Meanwhile, former colleague Karl Bartos exorcised his Kling Klang ghost with ‘Off The Record’, a collection of his unreleased KRAFTWERK-era compositions which made a fine companion to OMD’s ‘English Electric’; his upcoming 2014 world tour is eagerly anticipated.

visage2013

Photo by David Levine

ULTRAVOX opened for SIMPLE MINDS but with Midge Ure spending most of the year doing the rounds with solo acoustic gigs, their synth lynchpin Billy Currie released his ninth solo offering ‘Balletic Transcend’.

Meanwhile in a revival of a project that both had been involved in, a fragmented VISAGE unleashed their first album in nearly 30 years to a mixed reception.

With just Steve Strange remaining from the original line-up, ‘Hearts & Knives’ was essentially a solo project.

There were heated exchanges on social networks between Strange and his estranged Blitz Club partner Rusty Egan about misappropriated royalties and the validity of the reconfigured brand. Whatever, the raw video recording of the new VISAGE performing ‘Fade To Grey’ live at London’s Hoxton Bar and Kitchen stood as possibly the most embarrassing moment of the year.

Artists who made their name during Electroclash such as ADULT. and MISS KITTIN made welcome returns in 2013 while also from that era, LADYTRON’s Helen Marnie released her first solo offering ‘Crystal World’ crowd funded via Pledge Music.

It was a novel but effective way of securing a promotional budget that involved fans in the process by offering exclusive updates and an opportunity to purchase exclusive memorabilia. In MARNIE’s case, items on sale ranged from hand written lyric sheets to her Mini-Cooper and a bikini!

Meanwhile, former SNEAKER PIMPS sparring partners IAMX and Kelli Ali also went down the Pledge Music route, pointing the way forward to a music industry future without interference from record label middle men. But the failure of several crowd funding campaigns proved the model was not for everyone.

The Britpop era was not particularly known for its use of electronics but two acts who did indulge, REPUBLICA and DUBSTAR, made formal comebacks on the live circuit in 2013.

mesh-webSeeded from around the same time, Bristol’s MESH made possibly their best album yet in ‘Automation Baby’. Celebrating 30 years in the business, techno icon WESTBAM assembled a diverse cast including Iggy Pop, Lil’ Wayne, Hugh Cornwall, Bernard Sumner and Richard Butler for an intriguing set called ‘Götterstrasse’. It was the surprise electronic release of the year.

There were also sophomore albums from LITTLE BOOTS, HURTS and AUSTRA which all drew muted responses from fans following their well received debuts; the promising spark had been present in all three acts appeared to have faded although each album had strong highlights. But there were impressive debuts in 2013 by GHOST CAPSULES, COLLINS and MODOVAR; and all this happened before the summer had started!

On the more guitar driven end of the spectrum, NIGHT ENGINE pursued an art rock aesthetic that would have made Berlin-era DAVID BOWIE proud. And of course, The Dame himself returned with ‘The Next Day’ headed by the touchingly reflective ‘Where Are We Now?’.

Adopting a more post-punk attitude, GIRL ONE & THE GREASE GUNS showed how battered synths, clanky guitars and motorik drums could still come together in perfect harmony while maintaining an air of mystery.

Meanwhile, WHITE LIES continued their New wave odyssey into how THE TEARDROP EXPLODES would have sounded had Julian Cope not got upset by BLANCMANGE’s ‘Happy Families’; they even borrowed a snatch of ‘Fade To Grey’ for the title track of their third album ‘Big TV’. This was despite the mainstream music media’s attempt to downplay their use of synths although the band countered that by declaring TEARS FOR FEARS, TALK TALK and THE BLUE NILE as kindred spirits rather than INTERPOL or EDITORS.

The second half of the year brought the much anticipated debut from CHVRCHES entitled ‘The Bones Of What You Believe’. The trio have moved the goalposts as far as modern synthpop is concerned but they were not without their flaws such as the inexplicable decision to use dreary indie-styled male lead vocals on a pair of tracks.

But despite this, with sold out club tours, gigs supporting DEPECHE MODE in Europe and the might of Virgin Records behind them, world domination surely beckons and with it, a new raised profile for the synthesizer overall.

Virgin Records themselves celebrated 40 years in the business with a series of London concerts and its legacy in electronic music was represented by CHVRCHES, HEAVEN 17, SCRITTI POLITTI and SIMPLE MINDS. Although the label is now owned by the Universal Corporation (having been under the control of EMI since 1992), its colourful history remains associated with the championing of new and unconventional music forms during its fledgling years.

And in a diversion from music, one-time Virgin signee Thomas Dolby produced and directed ‘The Invisible Lighthouse’, a documentary on a monument local to his childhood home. In a novel style of presentation, the film went on a tour accompanied by a live narration and soundtrack from TMDR with some of his songs dispersed in between.

Gary Numan’s long delayed ‘Splinter (Songs From A Broken Mind)’ finally became a reality. A move to LA relaxed him to the point where he was posting his holiday photos on Twitter!

Musically though, he was as intense as ever but luckily, ‘Splinter’ was not the one dimensional riff monster that had been threatened and contained some of his best work in over ten years. Interestingly NINE INCH NAILS, who have been a major influence on Numan and vice versa, also returned after a period of absence with ‘Hesitation Marks’.

Over at Mute, there was another Sorcerer versus Apprentice battle when GOLDFRAPP and Polly Scattergood both released new records in the same month. Now no longer on Mute but very much still part of the extended family, MOBY released the impressive ‘Innocents’ which didn’t tinker too much with his well established formula and included a great collaboration with Wayne Coyne of FLAMING LIPS that sounded like Gary Numan in a Pentecostal church!

In 2013, North America appeared to be turning into a new haven for synth talent. There was LA pop duo NIGHT CLUB while also based in the region, SOFT METALS continued their Detroit Techno inspired progression with ‘Lenses’. Slightly eastwards, Texan based FEATHERS made an impressive statement with their debut long player ‘If All Now Here’; a European tour supporting DEPECHE MODE in January 2014 was fine recognition of their talent.

Fellow Texans ELEVEN:ELEVEN finally got their debut album ‘Through The Veil’ out too. New Yorkers HOLY GHOST! sprung the enjoyable electronic disco of ‘Dynamics’ while also from the area, AU REVOIR SIMONE returned with their fourth album ‘Move In Spectrums’ after an extended break.

But one slow burning combo were Canada’s TR/ST; led by the enigmatic and moody Robert Alfons, at times he sounded like a young LEONARD COHEN updating the sleazy demeanour of SOFT CELL. They toured extensively and garnered some more well deserved attention for their grower of a debut ‘Trst’ which actually came out back in January 2012!

However, all the good work was undone by a ticket lottery fiasco for an end of year London gig in which unsuccessful applicants were not notified until three hours before the concert, this despite communications to the contrary telling people to arrive at the door with ID. In this ever more challenging music industry, artists have to be innovative with promotion. But restricting availability and tricking fans into what was effectively a marketing scam for a larger London concert in May 2014 only alienated audiences.

Like in previous years, Europe was again a centre of creativity. Athens based synth maidens MARSHEAUX were back with their maturer fourth album ‘Inhale’.

Meanwhile, their production team FOTONOVELA gathered DUBSTAR’s Sarah Blackwood, MIRRORS’ James New, KID MOXIE and SECTION 25’s Bethany Cassidy for ‘A Ton Of Love’ while riding on a crest of a wave from ‘Helen Of Troy’, their acclaimed collaboration with OMD.

The song ‘Our Sorrow’ featuring James New turned out to be particularly poignant as after a year of minimal activity, MIRRORS called it a day.

From their Berlin HQ, NOBLESSE OBLIGE delivered an ‘Affair Of The Heart’ with its stark funereal cover of ‘Hotel California’ while Slovenian trio TORUL impressed audiences opening for MESH. Still fiercely independent and uncompromising, THE KNIFE divided opinion with their performance art presentation of their experimental double opus ‘Shaking The Habitual’. From Demark, TRENTEMØLLER delivered his third album ‘Lost’, an adventurous blend of real and electronic instruments that more than proved his suitability as a future prospective DEPECHE MODE producer.

With the critical acclaim still resonant for her 2012 album ‘Highwire Poetry’, Karin Park continued to tour the world but found time to co-write Norway’s Eurovision entry ‘I Feed You My Love’. Sung by Margaret Beger and leftfield by pure pop standards, it came a respectable fourth but predictably, the UK gave it nul points! Following their wonderful eponymous debut album in 2012, SIN COS TAN swiftly followed it up with the more organic but still synth friendly ‘Afterlife’.

Never one to sit still, the duo’s Jori Hulkkonen also released an EP ‘European Splendour’ with John Foxx which sounded every bit as good as its title. Foxx didn’t sit still either and collaborated with THE BELBURY CIRCLE while also curating a covers EP of his own songs featuring GAZELLE TWIN and I SPEAK MACHINE.

Back in the UK, ANALOG ANGEL, AUTOMATIC WRITINGF.O.X, GAPTOOTH and MAPS flew the flag for the domestic scene.

But best of the local crew though were VILE ELECTRODES; they snagged a prestigious support tour with OMD in Germany where the local crowds connected with Anais Neon and Martin Swan’s analogue electricity and opened for John Foxx in Brighton on their return. Their long awaited debut LP ‘The future through a lens’ did not disappoint and from it, the closer ‘Deep Red’ was easily the best OMD song that Humphreys and McCluskey never recorded.

As with last year, attempts were made within the industry to centralise electronic pop and dance music. But as the cancellation of the Playground Festival due to poor ticket sales proved, the two factions do not mix. Scheduled to appear on the Saturday, despite the technological influence of Gary Numan, John Foxx and Wolfgang Flür on the dance scene, the fans of those artists generally loathe the lifestyle and attitude of club culture.

Most just want to see the headline act and go home… the idea of paying an extra premium on the ticket price for a couple of DJs tagged on the see out the early hours of the morning simply doesn’t appeal! And those who are there for the DJs and larging it certainly aren’t interested in live bands. The sooner promoters and record labels realise that electronic pop and dance music are NOT the same thing, the better. That said, it was a difficult time for live events generally with a number of name acts playing to half full venues.

Elsewhere, the music press were on the backfoot with rumours that the once mighty Q Magazine and NME were in trouble. But lazy journalism and lack of adventure by both were as much to blame as any proliferation of the internet or smart technology. That aside, 2013 was a superb year where the music spoke for itself. Many of the veterans gave the best up-and-coming artists a real run for their money.

And while the amount of new electronic music was at an all time high and the finest exponents rewarded with assorted high-profile opportunities as a result, a number of lesser accomplished acts suffered from the comparison with the best.

Helen Marnie said: “I think it’s great that electronic music is on a high right now but it’s so saturated as well. Everyone’s going it’s great cos it’s electronic and I’m like ‘I’m not so sure’… but there’s lots of good stuff”.

In fact, the standard was so high in 2013 that some of the acts who ELECTRICITYCLUB.CO.UK featured in 2012 probably wouldn’t have got a look in this year. From those who sounded like the middling bands featured on the Janice Long Show circa 1985 to 21st Century synthpop reincarnations of HUE & CRY, the volume of music available in many ways made it quite easy to distinguish the excellent from the pleasant but ordinary material that was, as the dreaded ‘Say Nothing Auntie Of Landfill Indie’ Jo Whiley would say, “alright”!

ELECTRICITYCLUB.CO.UK accepts the continuing mission to maintain a degree of quality control in 2014 as it has done since its inception.

As @TheRobMo put it on Twitter: “gatekeepers / tastemakers… it’s what we go to you for”. Meanwhile on the site’s Facebook, regular reader Brian O’Malley correctly added: “Not all synth music is great, and not all guitar music is rubbish”.

But the final word on 2013 must go to BEF and Glenn Gregory (or HEAVEN 17 if you prefer) via their electronic cover of an Ervin Drake song made famous by Ol’ Blue Eyes:

“And it poured sweet and clear… it was a very good year”


ELECTRICITYCLUB.CO.UK Contributor Listings of 2013

PAUL BODDY

Best Album: MAPS Vicissitude
Best Song: MAPS Built To Last (Free School Remix)
Best Gig: ALISON MOYET at London Royal Festival Hall
Best Video: HOLY GHOST! Dumb Disco Ideas
Most Promising New Act: JUVENILES


KAREN BUXTON

Best Album: VILE ELECTRODES The future through a lens
Best Song: HURTS Someone to Die For
Best Gig: OMD + VILE ELECTRODES at Leipzig Haus Auensee
Best Video: OMD Night Cafe
Most Promising New Act: MARTYN BAILEY


DEB DANAHAY

Best Album: GARY NUMAN Splinter (Songs From A Broken Mind)
Best Song: COVENANT Last Dance
Best Gig: GAZELLE TWIN at London Roundhouse Studio Theatre
Best Video: TRUST Bulbform
Most Promising New Act: TRUST


STEVE GRAY

Best Album: CHVRCHES The Bones Of What You Believe
Best Song: MARGARET BERGER I Feed You My Love
Best Gig: BAS 2013
Best Video: IAMX I Come With Knives
Most Promising New Act: TORUL


CHI MING LAI

Best Album: OMD English Electric
Best Song: FOTONOVELA feat MIRRORS Our Sorrow
Best Gig: OMD + VILE ELECTRODES at Cologne E-Werk
Best Video: FEATHERS Land Of The Innocent
Most Promising New Act: FEATHERS


SOPHIE NILSSON

Best Album: ALISON MOYET the minutes
Best Song: SPACEBUOY Breathe
Best Gig: DEPECHE MODE at Copenhagen Parken
Best Video: DEPECHE MODE Soothe My Soul
Most Promising New Act: CHVRCHES


RICHARD PRICE

Best Album: PET SHOP BOYS Electric
Best Song: OMD Dresden
Best Gig: KARIN PARK at The Lexington
Best Video: MONARCHY featuring DITA VON TEESE Disintegration
Most Promising New Act: CHVRCHES


Text by Chi Ming Lai
12th December 2013

BEF Live At Shepherds Bush Empire

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

The Electronic Legacy of VIRGIN RECORDS

Virgin Records celebrates its 40th Anniversary.

Although the label is now owned by the Universal Music Group, its colourful history is forever associated with the championing of new and unconventional music forms during its fledgling years. Virgin founder Richard Branson started his empire in 1970 with nothing more than a mail order outlet, selling discounted records.

The name Virgin came from the fact that Branson and his team of directors were all new to business. There then came a small record shop in London’s Oxford Street a year later. Not not long after, a residential recording complex in an Oxfordshire mansion which became the now-famous Manor Studios was established. Further shops opened so with the success of the retail arm and studio, a record label was launched in 1973.

Recognising he had no real working knowledge of music, Branson appointed his second cousin Simon Draper (who had been Virgin’s buyer) as Managing Director to seek out new talent for the new A&R led company. Beginning with Mike Oldfield’s ‘Tubular Bells’ and the catalogue number V2001, progressive acts such as GONG along with cosmic Germans FAUST and TANGERINE DREAM soon followed, all with varying degrees of success.

But with the advent of punk and keen to shake off its hippy image, Virgin gained notoriety by signing THE SEX PISTOLS in 1977 and releasing ‘God Save The Queen’ in the process. The label courted further controversy when they issued the album ‘Never Mind The Bollocks, Here’s The Sex Pistols’ to great fanfare. Virgin ended up in the dock under the 1899 Indecent Advertising Act over a poster in their Nottingham record shop.

But Branson and defending QC John Mortimer had an ace up their sleeve; Reverend James Kingsley, a professor of English Studies at Nottingham University was called as a witness. Under questioning, Kingsley was asked for the derivation of the word “bollocks”. Apparently, it was used in the 19th century as a nickname for clergymen who were known to talk rubbish and the word later developed into meaning “of nonsense”.

Wearing his clerical collar in court, Kingsley confirmed: “They became known for talking a great deal of bollocks, just as old balls or baloney also come to mean testicles, so it has twin uses in the dictionary”. The case was thrown out by the judge… after that, the label reinvented itself as a centre of post-punk and new wave creativity, signing bands such as THE RUTS, XTC, PUBLIC IMAGE LIMITED, MAGAZINE, THE SKIDS, DEVO and PENETRATION.

When David Bowie declared THE HUMAN LEAGUE as “the future of pop music” after seeing them at the Nashville in 1978, Virgin Records were quick to snap them up. Meanwhile, OMD were initially signed to Virgin’s Factory styled subsidiary Dindisc Records under the directorship of Carol Wilson; but their success had been an embarrassment to Richard Branson, particularly in 1980 when following the international success of ‘Enola Gay’, OMD had outsold every act in the parent group!

Despite massive sales of ‘Architecture & Morality’ in 1981, Dindisc ran into difficulties and was closed by Branson with OMD gleefully absorbed into the Virgin fold. The label threw in its lot with the synthesizer revolution and gave homes to SPARKS, JAPAN, SIMPLE MINDS, HEAVEN 17 and CHINA CRISIS as well as more conventional acts of the period such as Phil Collins and Bryan  Ferry.

In 1982, on the back of ‘Don’t You Want Me?’ having been a No 1 in the UK and USA, Virgin had made a profit of £2 million but by 1983, this had leaped to £11 million, largely attributed by the worldwide success of CULTURE CLUB. Virgin Records was sold by Branson to Thorn EMI in 1992 reportedly for around £560 million to fund Virgin Atlantic Airways.

Under new management, the label became less visionary and more corporate with SPICE GIRLS and THE ROLLING STONES, along with Lenny Kravitz, Meat Loaf and Janet Jackson being examples of the brand’s continued global success, while many of the innovative acts who had helped build the label were surplus to requirements. Despite this, Virgin Records still maintains a tremendous back catalogue.

Over the years, Virgin Records have been in the fortunate position of having a critically acclaimed act on its roster at each key stage of electronic music’s development and its electronic legacy continues today with the recent signing of Glaswegian synth trio CHVRCHES.

So here are twenty albums from the iconic label which ELECTRICITYCLUB.CO.UK considers significant in the development of electronic music. Restricted to one album per artist moniker and featuring only UK releases initially issued on or licensed to the Virgin label, they are presented in chronological order…


TANGERINE DREAM Rubycon (1975)

‘Phaedra’ may have been the breakthrough album but the much under rated ‘Rubycon’ consolidated TANGERINE DREAM’s position as leaders in the field of meditative electronic music with a wider palette and more focussed direction. Featuring the classic line-up of Edgar Froese, Peter Baumann and Chris Franke, the hypnotic noodles of VCS3 and Moogs dominated proceedings while Mellotrons and organic lines added to the trancey impressionism.

‘Rubycon’ was released as V2025

http://www.tangerinedream.org/


ASHRA New Age Of Earth (1977)

Guitarist Manuel Göttsching had been a member of ASH RA TEMPEL but looking to explore more progressive voxless territory on ‘New Age Of Earth’, he armed himself with an Eko Rhythm Computer, ARP Odyssey and his signature keyboard, a Farfisa Synthorchestra. An exponent of a more transient soloing style,  he used the guitar for texture as much as for melody. The wonderful 20 minute ‘Nightdust’ and the gently percussive ‘Sunrain’ were just two of the jewels in this beautiful treasure trove of an album.

‘New Age Of Earth’ was released as V2080

http://www.ashra.com/


STEVE HILLAGE Rainbow Dome Musick (1979)

Already an established member of the Virgin family as a member of GONG, solo artist and in-house producer, Hillage had a love of German experimental music and ventured into ambient with long standing partner Miquette Giraudy. Recorded for the Rainbow Dome at the ‘Festival for Mind-Body-Spirit’ at Olympia, these two lengthy Moog and ARP assisted tracks each had a beautifully spacey vibe to induce total relaxation with a colourful sound spectrum.

‘Rainbow Dome Musick’ was released as VR1

https://twitter.com/stevehillage


SPARKS No1 In Heaven (1979)

Following the inspirational success of ‘I Feel Love’, SPARKS were put in contact with its producer Giorgio Moroder who had aspirations to work with a band. The resultant album saw Russell Mael’s flamboyant falsetto fitting well with the electronic disco template. ‘The No1 Song In Heaven’ hit the UK charts a few months before TUBEWAY ARMY’s seminal ‘Are Friends Electric?’ while the follow-up ‘Beat The Clock’ actually got into the Top 10. However ‘No1 in Heaven’ overshadowed by the success of Gary Numan.

‘No1 In Heaven’ was released as V2115

http://www.allsparks.com/


JOHN FOXX Metamatic (1980)

“I want to be a machine” snarled John Foxx on ULTRAVOX’s eponymous debut and after he left the band in 1979, he virtually went the full hog with this JG Ballard inspired seminal recording. ‘Underpass’ and ‘No-One Driving’ were surprising hit singles that underlined the dystopian nature of Foxx’s mindset at the time while the fabulous ‘A New Kind Of Man’ and the deviant ‘He’s A Liquid’ were pure unadulterated Sci-Fi driven by the cold mechanics of a Roland CR78 Compurhythm.

‘Metamatic’ was released as V2146

http://www.metamatic.com/


JAPAN Gentlemen Take Polaroids (1980)

Dropped in 1980 by Ariola Hansa despite the Roxy-ish sound on their third album ‘Quiet Life’ being palatable with the emerging New Romantic scene, JAPAN found a refuge at Virgin. As one of the best numbers, ‘Swing’ succeeded in out Roxy-ing ROXY MUSIC while the haunting ‘Nightporter’ was the ultimate Erik Satie tribute. A new found interest in Japanese technopop saw Sylvian collaborate with YELLOW MAGIC ORCHESTRA’s Ryuichi Sakamoto on the splendid closer ‘Taking Islands In Africa’.

‘Gentlemen Take Polaroids’ was released as V2180

http://www.nightporter.co.uk/


BRITISH ELECTRIC FOUNDATION Music For Stowaways (1981)

When they left THE HUMAN LEAGUE in Autumn 1980, Martyn Ware and Ian Craig Marsh formed BEF, releasing ‘Music For Stowaways’, an instrumental album only available on cassette to accessorise Sony’s brand new Stowaway portable tape player. However, the name of the new device was changed to Walkman! With economic recession decimating the industrial heartland of Sheffield, the futurist horror of ‘Music To Kill Your Parents By’ and the doom laden ‘Uptown Apocalypse’ connected with the album’s concept of a walking soundtrack to life.

‘Music For Stowaways’ was released as TCV2888

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


THE HUMAN LEAGUE Dare (1981)

After two albums ‘Reproduction’ and ‘Travelogue’ containing “synthesizers and vocals only” failed to set the world alight, manager Bob Last played a game of divide and rule on the original line-up. Vocalist Philip Oakey and Director of Visuals Adrian Wright would recruit Ian Burden, Jo Callis, Susanne Sulley and Joanne Catherall to record the now classic ‘Dare’ album under the auspices of producer Martin Rushent. Like KRAFTWERK with the heart of ABBA, it was a dreamboat collection of worldwide hits.

‘Dare’ was released as V2192

http://www.thehumanleague.co.uk/


HEAVEN 17 Penthouse & Pavement (1981)

HEAVEN 17’s debut ‘Penthouse & Pavement’ was a landmark achievement, combining electronics with pop hooks and disco sounds while adding witty social and political commentary about yuppie aspiration and mutually assured destruction. The ‘Pavement’ side was a showcase of hybrid funk driven by the then new Linn Drum Computer and embellished by the guitar and bass skills of youngster John Wilson while the ‘Penthouse’ side was more like an extension of THE HUMAN LEAGUE’s ‘Travelogue’.

‘Penthouse & Pavement’ was released as V2208

http://www.heaven17.com/


SIMPLE MINDS New Gold Dream (1982)

“You want to be with Virgin so bad that you’ll sign anyway” said Richard Branson to SIMPLE MINDS when they wanted to defect from Arista Records. And sign they did after the promise of US tour support. SIMPLE MINDS lost their intensity and recorded a great album filled with pretty synthesized melodies, textural guitar and driving lead bass runs. The titles like ‘Someone Somewhere In Summertime’, ‘Colours Fly & Catherine Wheel’ and ‘Hunter & The Hunted’ made investigation essential.

‘New Gold Dream’ was released as V2230

http://www.simpleminds.com/


DEVO Oh, No! It’s Devo (1982)

By 1982, DEVO had become much more of a synth based act with programmed percussion to boot. Under the helm of producer Roy Thomas Baker who had worked with both QUEEN and THE CARS, their sound moved away from the guitar dominated art rock of their Eno produced debut ‘Q: Are We Not Men? A: We Are Devo!’ As quirky as ever, the album’s concept was a response to criticism from the press about their imagery… thus they asked “what would an album by fascist clowns sound like?”

‘Oh, No! It’s Devo’ was released as V2241

http://www.clubdevo.com/


OMD Dazzle Ships (1983)

For OMD’s first album for Virgin, Andy McCluskey and Paul Humphreys delivered ‘Dazzle Ships’, a brave sonic exploration of Cold War tensions and economic corruption. Although it featured some of the band’s best work like ‘The Romance Of The Telescope’, ‘International’ and ‘Radio Waves’, ‘Dazzle Ships’ sold poorly on release. The band were strictly A&R’ed after that and never the same again, but this fractured nautical journey has since been vindicated as an experimental landmark.

‘Dazzle Ships’ was released as V2261

http://www.omd.uk.com


RYUICHI SAKAMOTO Merry Christmas Mr Lawrence (1983)

Being the best looking member of YELLOW MAGIC ORCHESTRA, it was almost inevitable that Sakamoto San would turn to acting. His first role was alongside none other than David Bowie in ‘Merry Christmas Mr Lawrence’ and with it came his soundtrack. The main title theme tune resonated with emotion and traditional melody, even without the voice of David Sylvian whose dulcet tones featured on the single version retitled ‘Forbidden Colours’ while ‘The Seed & the Sower’ was also a highlight.

‘Merry Christmas Mr Lawrence’ was released as V2276

http://sitesakamoto.com/


CHINA CRISIS Working With Fire & Steel – Possible Pop Songs Volume 2 (1983)

Produced by Mike Howlett, ‘Working With Fire & Steel – Possible Pop Songs Volume 2’ allowed CHINA CRISIS to deliver a more cohesive album following the four producers who steered their debut ‘Difficult Shapes & Passive Rhythms – Some People Think It’s Fun To Entertain’! Best known for the brilliant Emulator laced hit single ‘Wishful Thinking’, the album is much more than that with melancholic synth melodies and woodwind counterpoints over a combination of real and programmed rhythm sections.

‘Working With Fire & Steel – Possible Pop Songs Volume 2’ was released as V2286

https://www.facebook.com/pages/China-Crisis/295592467251068


DAVID SYLVIAN Brilliant Trees (1984)

By 1984, Sylvian had a lucrative solo deal that gave him total artistic control. Side one of his debut solo offering adopted more of a laid back jazz feel as on ‘The Ink in the Well’ and ‘Red Guitar’. Meanwhile the second side had synthetic Fourth World overtones with avant garde trumpetist Jon Hassell and sound painter Holger Czukay as willing conspirators, with echoes of Sylvian’s previous work with JAPAN in the funky ‘Pulling Punches’ and the emotive ‘Weathered Wall’.

‘Brilliant Trees’ was released as V2290

http://www.davidsylvian.com/


BRIAN ENO Thursday Afternoon (1985)

When CD was launched, Brian Eno’s inquisitivity asked: “what can be done now that could not be done before? What kinds of music does that suggest?”. ‘Thursday Afternoon’ was a 61 minute ambient journey that could be listened to uninterrupted on CD and the lack of surface noise meant it could also be very quiet. Using a Yamaha DX7 and minimal sustained piano, it soundtracked video paintings of the model Christine Alicino in vertical portrait format, so the TV had to be turned on its side to view it!

‘Thursday Afternoon’ was released as EGCD64

http://brian-eno.net/


PHILIP OAKEY & GIORGIO MORODER Philip Oakey & Giorgio Moroder (1985)

‘Together in Electric Dreams’ did better than any singles from THE HUMAN LEAGUE’s lukewarm ‘Hysteria’ album. So Virgin swiftly dispatched Oakey to record an album with Moroder and it remains one of the most under rated pieces of work that either party has been involved in. The segued first side was a total delight featuring the rousing ‘Why Must The Show Go On?’ while the Donna Summer aping ‘Brand New Love (Take A Chance)’ was another highlight, along with the stupendous ‘Now’ on side two.

‘Philip Oakey & Giorgio Moroder’ was released as V2351

http://www.moroder.net/


THE BLUE NILE Hats (1989)

The Blue Nile hatsWhenever THE BLUE NILE are mentioned, it’s their 1983 album ‘A Walk Across The Rooftops’ that is always discussed in breathless awe. But actually, the follow-up ‘Hats’ is the trio’s crowning glory. Both albums were licensed to Virgin Records through a deal with Linn, the high quality Hi-Fi manufacturer. ‘Hats’ featured more synthesizers and drum machines. With hopeless romanticism and rainy drama, the glorious centrepieces were ‘Headlights On The Parade’ and ‘The Downtown Lights’.

‘Hats’ was released as LKH2

http://www.downloadhome.co.uk/thebluenile_dlc/thebluenile.html


THE FUTURE SOUND OF LONDON Lifeforms (1994)

THE FUTURE SOUND OF LONDON became flag bearers of avant garde electronic music and seen as successors to TANGERINE DREAM and Eno. Signing to Virgin in 1992, the duo invested in some Akai S9000 samplers and given free rein to experiment, resulting in the complex sweeps and rhythmical collages of ‘Lifeforms’. A double opus of downtempo electronic soundscapes, the influence of the BBC Radiophonic Workshop loomed heavy in the sonic playground.

‘Lifeforms’ was released as V2722

http://www.futuresoundoflondon.com/


MASSIVE ATTACK Mezzanine (1998)

Despite band relations being at an all-time low, MASSIVE ATTACK produced some of their finest work on ‘Mezzanine’. With dark undercurrents and eerie atmospherics, the album’s highpoints featured the vocals of COCTEAU TWINS’ Elizabeth Fraser on the hit single ‘Teardrop’ and the spy drama magnificence of ‘Black Milk’… Heavy on samples, the collective were sued for the unauthorised use of MANFRED MANN’S EARTH BAND’s 1972 song ‘Tribute’ on ‘Black Milk’!

‘Mezzanine’ was released as WBRCD4

http://www.massiveattack.co.uk/


Text by Chi Ming Lai
20th August 2013, updated 1st June 2023

BEF Featuring KIM WILDE Every Time I See You I Go Wild

The new video for BEF’s ‘Every Time I See You I Go Wild’ sees Kim Wilde turn into ‘Buffy The Vampire Slayer’ for a battle against vampires and other forces of evil.

Directed by Paul D, it also sees cameos from BEF mainman Martyn Ware, Wall Of Sound supremo Mark Jones and post-punk music personality Mr Normall.

It comes from the third volume of the ‘Music Of Quality & Distinction’ series and subtitled ‘Dark’, The striking electronic cover of the Northern Soul favourite is best known in a version by JJ Barnes but was written by Stevie Wonder. However, it appears to have confused some of Kim Wilde’s fanbase, rather like earlier in the year when OMD released ‘Metroland’ to mixed responses from their followers who couldn’t understand why the band had recorded an electronic track influenced by KRAFTWERK!

But this has to be expected when acts have careers spanning 30 years with periods of mainstream international success. This BEF recording actually takes Kim back to her synthesized beginnings with songs such as ‘Kids In America’, rather than huge sellers such as ‘You Came’ and ‘You Keep Me Hanging On’, a SUPREMES cover which has also been reworked by BEF!

Arranged by THE MODIFIED TOY ORCHESTRA’s Paul Duffy, ‘Every Time I See You I Go Wild’ features just Roland System 100, a marvellous user friendly synth that was the mainstay of early HUMAN LEAGUE, BEF and HEAVEN 17, courtesy of its esteemed operator Martyn Ware.

So what’s there not to like about an electronic Northern Soul cover… after all, one of the biggest selling singles of the Synth Britannia era happened to be one of those 😉


‘Every Time I See You I Go Wild’ is from the BEF album ‘Music Of Quality & Distinction Volume 3 – Dark’ and released as a single by Wall Of Sound on 19th August 2013

https://www.facebook.com/BritishElectricFoundation/

https://www.kimwilde.com/


Text by Chi Ming Lai
18th July 2013

BEF Music Of Quality & Distinction Vol3 – Dark

The third volume in BRITISH ELECTRIC FOUNDATION’s ‘Music Of Quality & Distinction’ series has been long awaited.

Subtitled ‘Dark’, it was first announced back in 2007 and the majority of it was premiered at a special BEF weekend showcase at The Roundhouse in 2011.

‘Music Of Quality & Distinction Vol1’ was issued in 1982 to great fanfare, a sophisticated K-Tel album recorded under the musical directorship of Martyn Ware, then recently departed from THE HUMAN LEAGUE and soon to find fame as part of HEAVEN 17.

Featuring vocalists such as Tina Turner, Sandie Shaw, Paul Jones and Billy Mackenzie, it was a critical if not a commercial success but effectively revived the career of the Soul Siren born Anna Mae Bullock as well as kickstarting Ware’s impressive production portfolio which later encompassed ASSOCIATES and ERASURE.

1991 saw the release of ‘Music of Quality & Distinction Vol2’ which had much more of a mainstream soul vibe; Tina Turner and Billy Mackenzie returned while other notable vocalists included Chaka Khan, Billy Preston, Green Gartside and Terence Trent D’Arby whose massive selling debut ‘Introducing The Hardline…’ was produced by Ware.

The concept of ‘Music Of Quality & Distinction Volume 3 – Dark’ though is dark interpretations of perceivably upbeat songs.

The chilling, stark electronics and eerie soundtrack arrangements on several tracks have led to Ware producing some of his most distinctly industrialised work since his days with THE HUMAN LEAGUE. The tremendous opener ‘Every Time I See You I Go Wild’ is a case in point.

Using just a Roland System 100, instrumentally it could have come from ‘The Dignity Of Labour’ or ‘Reproduction’while Kim Wilde’s spirited vocal adds a human twist to what sounds like THE HUMAN LEAGUE meets DEPECHE MODE. There’s even a tongue-in-cheek reference to ‘Don’t You Want Me’ thrown into the metallic mix for good measure!

Another great fusion of soul mechanics is ‘Don’t Wanna Know’, a John Martyn cover voiced by former COMMUNARDS co-vocalist Sarah Jane Morris. Still sounding like a lower register Jimmy Sommerville, Morris’ bluesy tones contrast well with the synthesized backing. In a variation to the theme, Green Gartside adds his distinctive raspy touch on The Delfonics’ ‘Didn’t I Blow Your Mind This Time’ which absorbs the senses with its silky sonics and complimentary guitar textures.

Andy Bell provides one of the album’s standouts with his rendition of Kate Bush’s ‘Breathing’. A song that was never that upbeat in the first place, its narrative on the nuclear holocaust is given an even more disturbing counterpoint when Bell audibly recites scientific data on the effects of an attack.

While Bell’s distinctive timbre remains intact, on the orchestrated rock of ‘I Wanna Be Your Dog’, Boy George takes on a turn of deadpan and aggression that makes him almost unrecognisable! One of the stars of the BEF showcase at The Roundhouse, his onstage tale about going with Martyn Ware to see Gary Glitter in concert and getting the convicted felon’s autograph was priceless; “I don’t think it’s worth much money now” he quipped! That alone deserves a second track and appropriately enough, it is a near faithful ‘Make Up’ from Lou Reed’s ‘Transformer’. “We’re coming out…out of our closets” indeed!

Another thematic pairing comes with the return of the barefoot Queen of Pop, Sandie Shaw. After tackling ‘Anyone Who Had A Heart’ on ‘Vol1’, she gives it some Northern Soul welly on ‘Just Walk In My Shoes’, a tune written by one-time Motown signings The Lewis Sisters.

Meanwhile the Bacharach and David cover duties on ‘Dark’ go to the kooky Polly Scattergood who delivers a lovely ‘Felt Mountain’ era Goldfrapp styled performance of ‘The Look of Love’.

Trivia fact: ‘The Look Of Love’ (which featured in the original film version of ‘Casino Royale’) was beaten to the 1968 Oscar for Best Original Song by ‘Talk To The Animals’ from ‘Doctor Dolittle’!

‘Dark’ is a large collection of work, 16 songs in all and they appear to fall into three categories. As well as dark electronics, there are more contemporary dance assisted numbers and filmic ballads. Of the dancier numbers; melodramatic Sheffield newcomer David J Roch doing Bill Withers’ ‘Same Love’ is one of the big surprises with an emotive neo-acappella intro segueing into a meaty pulsing bassline, spacey whistles and haunting invader games.

HEAVEN 17 backing vocalist Billie Godfrey features on a similar but extended treatment of Bronski Beat’s ‘Smalltown Boy’ while Maxim aka Max Pokrovsky of the Moscow-based rock band Nogu Svelo! goes all campy Europop on an enjoyably over-the-top reading of ABBA’s ‘The Day Before You Came’; a virtual unknown before ‘Dark’… not anymore! The clarinet solo just sums up how gloriously loopy this rendition is!

The late Billy Mackenzie left this earth in 1997 and after his presence on the first two volumes, ‘Dark’ would not be complete without his legacy being represented.

This comes in the shape of a sparse, slowed down waltz rendition of ‘Party Fears Two’ by Glenn Gregory which first appeared on HEAVEN 17’s 08 versions compilation ‘Naked As Advertised’. An unexpected inclusion, this is an important centrepiece that sits well with the other songs in the compendium.

And Gregory almost steals the show with Frank Sinatra’s ‘It Was a Very Good Year’. Held together by a sampled drum loop and dressed with Ware’s bubbling synths, Gregory makes a perfect crooner in the tradition of Scott Walker, with echoes of his ‘Always Coming Back To You’ in the delivery. The 60 year old song itself takes on a magnificent dimension that will please any early HEAVEN 17 fan.

However, ‘God Only Knows’ and ‘Picture This’ performed respectively by Shingai Shinowa from The Noisettes and Kate Jackson from The Long Blondes are, while sweetly performed, possibly the two least essential items to ELECTRICITYCLUB.CO.UK’s ears on this album. But, such are the strengths of Ware’s curation and production that they are highly likely to be appeal to others. And this is one of the important selling points of ‘Dark’… there really is something for everyone.

Ending with new HEAVEN 17 backing vocalist Kelly Barnes on Teena Marie’s ‘Co-pilot To Pilot’, this is maybe the most incongruous item on the set with the backing track having been originally recorded for ‘Music of Quality & Distinction Vol2’.

Its Trans-Atlantic soul vintage is quite apparent, especially when belted out in that classic manner by the Macclesfield youngster.

Overall, ‘Music Of Quality & Distinction Volume 3 – Dark’ is a worthy adventure and Martyn Ware can pat himself on the back for realising his most challenging project to date. Whereas the first two volumes had record label support, ‘Dark’ has been self-funded, hence the time span of the work; Ware’s dedication, musical ear and co-ordinating abilities deserve recognition and reward.


‘Music Of Quality & Distinction Volume 3 – Dark’ is released by Wall Of Sound on 27th May 2013 as a single CD, deluxe 2CD with bonus instrumental disc and download

http://britishelectricfoundation.com/

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

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


Text by Chi Ming Lai
Photos by Richard Price and Chi Ming Lai
21st May 2013

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