With an aim to “destroy authenticity in pop” and “embrace the superficial”, when FISCHERSPOONER were launched at a lavish art space event in London, Casey Spooner turned to his musical partner Warren Fischer and said “Warren, press play…”
Some would call it performance art while others thought the mimed escapade was an affront to real music and reacted angrily… despite much press hype, the single ‘Emerge’ stalled at No25 in 2002 and Ministry Of Sound who had signed FISCHERSPOONER internationally were left with egg on their faces. Q magazine would later place the parent album ‘#1’ in their 2006 list of “The 50 Worst Albums Ever!”
What came to be called electroclash was not considered cool by a wider public that was still drunk after the hangover that was Britpop! Like New Romantic before it, electroclash seen as self-indulgence by elitist poseurs but despite being ridiculed, longevity is nothing to be scared of. Today, the music of 1977-1983 has proved its worth as KRAFTWERK, THE HUMAN LEAGUE, NEW ORDER, DURAN DURAN and their like continue to fill arenas and festival fields around the world.
So now is the time for a re-evaluation of ‘When The 2000s Clashed’ and presented ”Machine Music For A New Millennium”; comprising of 5 themed CDs, the set has been compiled by Jonny Slut, founder of London club nite Nag Nag Nag and Mark Wood of READERS WIFES who DJed at the SOFT CELL reunion shows with superb sets that focussed on the songs, doing away with the self-important mixing and beat matching that afflicts many egocentric deckmeisters…
Just as New Romantic had a range of names which didn’t stick like Blitz Kids, peacock punks, futurists and the dreaded Cult With No Name, designations like synthcore, tech-pop and Romo were banded about before electroclash stuck. It became the all-encompassing term for this glittery yet gritty variant of electronic dance pop where klanky drum machines did battle with analog arpeggios, throbbing basslines on the oompah radar and often, snarly or spoken rather than sung vocals!
CD1 comprises of “Fundamentals” and here, superb trailblazing tracks such as ADD N TO (X)’s ‘Plug Me In’, JEANS TEAM’s ‘Keine Melodien…1, 2, 3, 4’, ZOMBIE NATION’s ‘Kernkraft 400’, ‘Hand To Phone’ by ADULT. and ‘Rippin’ Kittin’ featuring Miss Kittin take their place alongside PET SHOP BOYS’ Orange Alert Mix of ATOMIZER’s ‘Hooked On Radiation’ and LEGOWELT’s sinister ‘Disco Rout’. But it’s Peaches who steals the show with the feisty buzzy lo-fi romp of ‘F*ck The Pain Away’!
FISCHERSPOONER lead CD2’s “Essentials” summary with ‘Emerge’ and offering fine support are THE KNIFE with ‘We Share Our Mother’s Health’ and Richard Norris’ THE DROYDS with the reworded DURAN DURAN cover ‘Girls On Pills’. Although ‘Seventeen’ from LADYTRON is the undoubted classic of this set, other highlights include ‘What Was Her Name?’ from Dave Clarke featuring CHICKS ON SPEED and ‘Take A Walk’ by Andreas Bolz while DETROIT GRAND PUBAS offer the enjoyably bizarre ‘Sandwiches’!
CD3’s “Developments” documents the crossover of what many perceived as the electroclash sound into the mainstream charts with HOT CHIP, GOLDFRAPP, MGMT, LCD SOUNDSYSTEM and YEAH YEAH YEAHS as well as Annie and Róisín Murphy all present if not necessarily correct with THE CHEMICAL BROTHERS remix of ‘Slow’ chosen rather than ‘Come Into My World’, Kylie Minogue’s collaboration with FISCHERSPOONER.
Meanwhile it’s the Princess Superstar voiced take on ‘Exceeder’ as ‘Perfect’ rather than Mason’s superior original instrumental that is included. That aside, Khia’s ‘My Neck My Back’ can now be seen as a forerunner of Marie Davidson.
The “Evolutions” themed CD4 opens with the still outstanding ‘We Are Your Friends’ from JUSTICE VS SIMIAN but while also including DIGITALISM, SOULWAX, CSS and NEW YOUNG PONY CLUB, this particular part of the collection proves to be the most hit and miss of the entire box, but it’s all just a matter of taste…
CD5 looks back at the “Origins” of electroclash with the usual suspects like KRAFTWERK, SPARKS, THE NORMAL, CABARET VOLTAIRE, THE HUMAN LEAGUE, GINA X PERFORMANCE, NEW ORDER, HEAVEN 17, FAD GADGET, VISAGE and SOFT CELL all included. But while is it wonderful that a track other than ‘Homosapien’ in the brilliant ‘Telephone Operator’ is included from the Pete Shelley back catalogue alongside the Germanic quirkiness of ‘Fred Vom Jupiter’ by DIE DORAUS UND DIE MARINAS and ‘Zauberstab’ by ZaZa, this could almost be any other alternative collection of influential electro works.
Instead, this fifth disc could have gathered tracks from the period by THE HACKER, THE FAINT, FC KAHUNA, GREEN VELVET, NORTHERN LITE, SYNTAX or TECHNOVA next to DJ Hell, Felix Da Housecat, Anthony Rother, Tiga or Ferry Corsten, with the latter’s ‘Whatever!’ nonchalantly voiced by Esmee Bor Stotijn from 2006 being a slice of prime cut electroclash.
The way it was in the past 25 years ago, this boxed set shows that the back-to-basics approach of many of these tracks provided an excitement that led to an albeit short-lived reinvigoration of electronic pop by acts whose names began with an “L” like Little Boots, La Roux, Lady Gaga and Ladyhawke.
Gathering a diverse selection of artists, producers and remixers ranging from the biggest starlets and synthpop duos to cult bands and underground DJs, ‘When The 2000s Clashed: Machine Music For A New Millennium’ highlights that the passing of time has finally been kind to electroclash and in selecting from the best of its kind, what is left is great electronic pop music. So when synthwave is reassessed in 10 years time and gets the boxed set treatment, will it too have evergreens that have stood the test of time? It will but it probably won’t have as many as ‘When The 2000s Clashed: Machine Music For A New Millennium’.
1984 saw FM synthesis, sampling and computer controlled systems taking a more dominant role in not just electronic music making but within mainstream pop as well.
The ubiquity of the Yamaha DX7 with its realistic sounds and the dominance digital drum machines meant that inventive electronic sound design would take a backseat. This meant that the otherworldly fascination that had come with Synth Britannia was now something of a distant memory. But despite the popularity of the Emulator at this time for its factory disk derived symphonic strings, brass and choirs, the Roland Jupiter 8 remained the main analogue synth for the likes of THE BLUE NILE and TALK TALK as well as Howard Jones.
While Trevor Horn and his team were well equipped with all the state of the art equipment money could buy for the ZTT releases of THE ART OF NOISE and FRANKIE GOES HOLLYWOOD, OMD and HEAVEN 17 were among those who purchased the Fairlight Series II. SOFT CELL and Gary Numan chose the PPG system while THE HUMAN LEAGUE opted for the Synclavier II.
However, despite all the high tech, the most disappointing record of the year was undoubtedly ‘Hysteria’, THE HUMAN LEAGUE’s lukewarm follow-up to ‘Dare’ which departed from the supreme synthpop formula of its predecessor. ‘Dare’ producer Martin Rushent had left the troubled sessions following disagreements with the band but as the recording continued to be prolonged, his replacement Chris Thomas soon followed him through the door. Hugh Padgham who had worked with Phil Collins on his key hit recordings was drafted in to finish the record.
Although the excellent ‘Louise’ saw the estranged couple from ‘Don’t You Want Me?’ cross paths again a few years on, the laudable attempt at political observation and guitar-driven dynamics ‘The Lebanon’ confused fans. Meanwhile the remainder of the album was underwhelming, with the reworked version of ‘I Love You Too Much’ sounding a poor shadow of the dynamic Martin Rushent original which had premiered on the Canadian ‘Fascination! EP in 1983.
Those pop acts who had topped the UK charts in 1983 like CULTURE CLUB and SPANDAU BALLET also suffered from lacklustre follow-ups and were superseded by the rise of WHAM! Despite the absence of a new studio album, DURAN DURAN managed to score a No1 with ‘The Reflex’ and a No2 with ‘The Wild Boys’, both in a creative union with Nile Rodgers while making an impact in 1984 was Nik Kershaw.
The split of YAZOO the previous year led to Alison Moyet issuing her first solo album ‘Alf’ but the new Vince Clarke project THE ASSEMBLY lasted just one single ‘Never Never’ featuring the vocals of Feargal Sharkey. Comparatively quiet in 1984, NEW ORDER released their most commercial single yet in ‘Thieves Like Us’.
With bands like A FLOCK OF SEAGULLS, THE PSYCHEDELIC FURS and U2 having achieved success in North America with a more rock derived template, the lure of the Yankee Dollar steered SIMPLE MINDS towards that less artful bombastic direction with the ultimately flawed ‘Sparkle In The Rain’. The purer synthesizer sound was now less desirable in terms of Trans-Atlantic marketability and pressure was put on acts to use more guitar and live drums, something that would become even more prominent in 1985.
So until then, here are 20 albums selected by ELECTRICITYCLUB.CO.UK seen as contributing to the electronic legacy of 1984. Listed in alphabetical order, there is a restriction of one album per artist moniker
ALPHAVILLE Forever Young
Fronted by Marian Gold, German trio ALPHAVILLE broke through in the UK with a Zeus B Held remix of ‘Big In Japan’ and while that particular version is not included on the ‘Forever Young’ album, the original mix held its own alongside songs like ‘Sound Like A Melody’ and ‘Fallen Angel’. Meanwhile, the poignant title song has since become an evergreen anthem borrowed by the likes of THE KILLERS and JAY-Z!
From the off, THE ART OF NOISE were rattling cages. ‘Beat Box’ was the track which scared KRAFTWERK enough for them to delay the release of their ‘Technopop’ album and rework it as the underwhelming ‘Electric Cafe’. The crazy staccato sample cacophony of ‘Close (To The Edit)’ which was later borrowed by THE PRODIGY for ‘Firestarter’ still sounds as fresh and mad as ever while ‘Moments In Love’ heralded a new age in mood music.
On the back of hit singles in ‘Blind Vision’, ‘That’s Love That It Is’ and ‘Don’t Tell Me’, the brilliantly titled second BLANCMANGE album ‘Mange Tout’ became their biggest seller. Another surprise came with a melodramatic cover of ABBA’s ‘The Day Before You Came’; considered an odd but daring decision at the time, it was something of a cultural prophecy with ABBA now fully reabsorbed into mainstream popular culture.
Glum Scottish trio THE BLUE NILE had an innovative deal with Linn, the Glasgow-based high quality Hi-Fi manufacturer where their crisply produced debut ‘A Walk Across The Rooftops’ as used by dealers to demonstrate the sonic range of their products. ‘Tinseltown In The Rain’ and ‘Stay’ got BBC Radio1 airplay and while they were not hits, the artful album became a favourite among the cognoscenti and other musicians.
When BRONSKI BEAT first appeared, they were nothing short of startling, thanks to their look, melodic synth sound and Jimmy Somerville’s lonely earth shattering falsetto. ‘The Age Of Consent’ used their position as openly gay performers to make important statements such as ‘Smalltown Boy’, ‘Why’ and ‘Need A Man Blues’ as well as the anti-consumerist ‘Junk’ and the self-explanatory protest song ‘No More War’.
Featuring the blissful ‘Sensoria’, the second Some Bizzare long playing adventure of CABARET VOLTAIRE saw Stephen Mallinder and Richard H Kirk at possibly their most accessible yet while still remaining alternative. With a Fairlight CMI now taking over from the previous tape experiments alongside the punchy rhythmic backdrop, tracks like ‘Do Right’ and ‘Slammer’ exemplified their alternative club direction.
With Pete Burns now looking more and more like Gina X, it was no big surprise that her producer Zeus B Held was helming DEAD OR ALIVE’s electronic disco direction. An energetic cover of KC & THE SUNSHINE BAND’s ‘That’s The Way’ was the hit breakthrough but there was also mighty sequencer dance tunes such as ‘Misty Circles’ and ‘What I Want’, as well as the Morrissey fronting ABBA serenity of ‘Far Too Hard’.
Despite more adult songs with S&M metaphors about capitalism and doubts about religion, ‘Some Great Reward’ was the last innocentDEPECHE MODE album. With Gareth Jones now taking on a co-production role with Daniel Miller, the sampling experimentation was honed into the powerful metallic pop of ‘Something To Do’, ‘Master & Servant’, ‘If You Want’ and ‘Blasphemous Rumours’ while there was also the sensitive piano ballad ‘Somebody’.
FRANKIE GOES TO HOLLYWOOD Welcome To The Pleasure Dome
The Trevor Horn produced ‘Welcome To The Pleasure Dome’ was a double album that should have been edited down to a single record but that would have missed the point. Featuring three supreme UK No1 singles in ‘Relax’, ‘Two Tribes’ and ‘The Power Of Love’, FRANKIE GOES TO HOLLYWOOD had their place cemented in musical history, regardless of the radio bannings and controversial marketing stunts.
With songs like ‘Playtime’ and ‘Love In Mind’, Robert Görl took a cool escapist journey into synthpop on ‘Night Full Of Tension’ dominated by digital drum machines and sequencers. In a volte face from the DAF drummer, he exuded a relaxed English vocal style in the manner of Bryan Ferry and David Bowie. There were also additional vocal contributions from Annie Lennox on ‘Charlie Cat’ and the duet highlight ‘Darling Don’t Leave Me’.
The success of ‘The Luxury Gap’ brought money into HEAVEN 17 and this was reflected in the orchestrally assisted Fairlight jamboree of ‘How Men Are’. “I think it’s an underrated album and that was when we were probably in our most daring and creative phase” said Martyn Ware and that manifested itself on the sub-ten minute closer ‘And That’s No Lie’ and the outstanding Doomsday Clock referencing opener ‘Five Minutes To Midnight’.
Having been an early adopter of the Fairlight CMI on ‘Magnetic Fields’, Jean-Michel Jarre utilised it further to create an instrumental palette sampled from 25 spoken languages on ‘Zoolook’. It also saw the use of notable musicians including Marcus Miller, Yogi Horton, Adrian Belew and Laurie Anderson who lent her voice to the delightfully oddball ‘Diva’. The magnificent highlight was the 11 minute ‘Ethnicolour’.
‘Human’s Lib’ was the beginning of Howard Jones’ imperial phase, with four hit singles ‘New Song’, ‘What Is Love?’, ‘Hide And Seek’ and ‘Pearl In The Shell’ included on this immediate debut. But there was quality in the other songs with ‘Equality’ sounding like an arrangement blue print for A-HA’s ‘Take On Me’ and the title song about Ruth, David and Dennis touching on the complexities of love triangles!
‘Human’s Lib’ is still available via Cherry Red Records
After the jazzier overtones of ‘Warriors’, ‘Berserker’ was conceived as “a science alternative album” by Gary Numan and therefore much more of an electronic proposition. Dominated by the PPG Wave system which had been the heartbeat of FRANKIE GOES TO HOLLYWOOD, ‘My Dying Machine’ pumped like ‘Relax’ while the rhythmic title song and the exotic ‘Cold Warning’ provided other highlights.
With its embracement of calypso, reggae, indie and mainstream pop, ‘Junk Culture’ was perhaps even more experimental than ‘Dazzle Ships’ and took OMD outside of the Germanic sound laboratory they had emerged from. Known for two slightly inane hits, ‘Locomotion’ put them back into the UK Top5 while ‘Talking Loud & Clear’ only just missed out on the Top10. However, the best single from the album ‘Tesla Girls’ stalled at No21!
Co-produced by Bernard Sumner of NEW ORDER, ‘From The Hip’ followed founder member Larry Cassidy’s statement that “you can’t be a punk all your life”. Recruiting vocalist Jenny Ross and keyboardist Angela Cassidy, ‘Looking From A Hilltop’ with its clattering drum machine, pulsing hypnotism and ominous synth lines was the album’s standout while ‘Program For Light’ explored further electronic territory.
If ‘The Art Of Falling Apart’ was the difficult second SOFT CELL album, ‘This Last Night In Sodom’ was an even more challenging proposition with some tracks even mixed in mono! The thundering percussive cover of ‘Down In The Subway’ was a metaphor for Marc Almond’s mental state while ‘L’ Esqualita’ provided some fabulous gothic menace alongside the frenetic rush of ‘Soul Inside’, all aided by Dave Ball and his PPG Wave 2.2.
Now a trio, the second TALK TALK album saw them work with producer Tim Friese-Greene who would also have a songwriting role alongside Mark Hollis. Still reliant on synthesizers for its aural template, the initial five song sequence from ‘Dum Dum Girl’ to ‘Tomorrow Started’ was superb, taking in the title song, the magnificent ‘Such A Shame’ and the emotive ballad ‘Renée’. It sold well in Europe but was largely ignored in the UK.
Following their breakthrough record ‘Quick Step & Side Kick’, ‘Into The Gap’ was the most commercially successful THOMPSON TWINS studio album, putting the quirky trio into the US Top10. With Tom Bailey now taking on a co-producer role alongside Alex Sadkin, it featured the megahits ‘Hold Me Now’ and ‘Doctor Doctor’ while the neo-title song ‘The Gap’ offered an Eastern flavoured take on ‘Trans-Europe Express’.
With self-produced sessions in the Musicfest home studio of Midge Ure, there were more obviously programmed rhythm tracks than previously while tracks ranged from the earnest rock of ‘One Small Day’ to the sequencer-driven ‘White China’. The apocalyptic Michael Rother influenced ‘Dancing With Tears In My Tears’ that gave ULTRAVOX with their biggest hit since ‘Vienna’ although the Celtic overtures of ‘Man Of Two Worlds’ was the album’s best song.
Berlin-based musician and DJ Luca Venezia, better known as CURSES, presents ‘Next Wave Acid Punx DEUX’, his second curated compilation exploring the darker side of club music though the decades. The first volume had been a lockdown inspired exploration of his own record collection.
Released by Eskimo Recordings and featuring 49 tracks, the music is split into three distinct chapters with more than half being previously unreleased; “Many of these songs come from friends close of mine, or artists I perform with and tour with a lot, whose music and craft I admire and champion.” Luca Venezia told ELECTRICITYCLUB.CO.UK about the set, “We are all making a very niche style of music, and everyone is approaching it in their own unique way, it is only natural we migrate to be friends and share the stage together… like a primal instinct.”
Conceived with his ideal night out in mind, compiling such an compilation was not without its headaches; “Fortunately with the help of Eskimo and N.E.W.S., the licensing team are an absolute powerhouse” recalled Venezia, “It wasn’t easy, especially the older material, like Malcolm McLaren’s ‘Madame Butterfly’… and yes, there was SO much music I wanted but couldn’t get the rights to. Not because the artists said no, but because it was impossible to find WHO owned the rights now. Members in bands split up, some pass away, some vanish… it’s a puzzle at times to license the 80s underground electronic gems”.
Chapter 1 contains the pioneering acts of the past that were occasionally signed to major labels and even flirted with the mainstream pop charts. The set opens with ‘Distant Dreams Pt 2’, a wonderful suitably obscure 1980 B-side from THROBBING GRISTLE, while another lesser known gem comes from BIG AUDIO DYNAMITE with ‘The Big V’, the instrumental variant of the 1986 single ‘V. Thirteen’.
The first name likely to be recalled when dark club music comes to mind, especially to Taylor Swift fans, are CABARET VOLTAIRE and they fit like a glove on this compendium with ‘Blue Heat’ from ‘Micro-Phonies’, as do Dutch band CLAN OF XYMOX with ‘Obsession’, an excellent example of classic electro-goth disco.
Of course, NITZER EBB are present and correct with ‘Hearts & Minds’ while DAF stand firm with their declaration as ‘Brothers’ in their appealing but less heralded English language disco phase.
Collecting superb tracks from various acclaimed cult acts, ‘The Murder Of Love’ by PROPAGANDA and the I Dream Of Jeanne Mix of ‘Modigliani (Lost In Your Eyes)’ by BOOK OF LOVE demonstrate how the developing digital technology enabled powerful sampled sounds effectively at the flick of a switch. However, best of all are former SOFT CELL backing singers VICIOUS PINK who really should have had a huge worldwide hit with the brilliant Tony Mansfield produced ‘Cccan’t You See’
Chapter 2 moves the night on starting with ‘Voloczny’, an unreleased song from back in day by BOYTRONIC towards the present with modern day electronic producers such as Jennifer Touch and Kris Baha. In a new 2023 version, THE KVB come over like THE JESUS & MARY CHAIN with synths on ‘Still Warm’ while YEARS OF DENIAL capture plenty of stark menace on ‘It Sucks.
Canadian wife-and-husband duo ESSAIE PAS provide enigmatic prose en Français over a cascade of pulsing synths on ‘Retox’ while Berlin-based trio DINA SUMMER update the gothic disco template on ‘Darkness’. Affirming the international cast of ‘Next Wave Acid Punx DEUX’, Spain’s DAME AREA go on a heavier industrial club excursion via ‘Buon Cittadino’ but on the opposite side of the coin and Atlantic, DESIRE offer enigmatic coyness on ‘Love Races On’ outside of their Italians Do It Better stable.
Chapter 3 is the part of the night you probably should go home but don’t… a wilder, harder and more aggressive energy is here if you so desire. There is naturally a Dark Remix of ‘Machina’ from BOY HARSHER with guest vocals by Mariana Saldaña. But utilising tense triplets and brassy melodramatic stabs, CURSES revamps J.W.B. HITS THE BEAT’s ‘Body On Body’. CURSES returns to remix NUOVO TESTAMENTO’s ‘Heartbeat’ and there is an enjoyable instrumental in ‘Non Fiction’ by SILENT SERVANT.
Two of the best tracks come via Australia; ‘Burning Eyes’ is a Hi-NRG romp with wispy voice ad-libs courtesy of NEU-ROMANCER and ZANIAS’ ‘Tryptamine Palace’ is a tremendous textural dance track. ANDI VS RANDOLPH & MORTIMER make their presence felt with big beats on ‘Formidable Truths’ while Michel Amato aka THE HACKER does not disappoint with the previously unreleased ‘Monopoly’. To end, Greek synth duo PARADOX OBSCUR make a beefy contribution in ‘Evo-Devo’ that recalls French art pop duo LES RITA MISOUKO.
On the spiritual and musical thread that helped make this cohesive collection, Luca Venezia surmised: “Every artist involved has their own personal and unique take on the timeless love affair between human and machine. All the music on ‘DEUX’ also embraces the punk and DIY raw energy of live music into electronic music; artists LIKE YEARS OF DENIAL, BOY HARSHER, NUOVO TESTAMENTO, NITZER EBB, BOYTRONIC and DINA SUMMER are all good examples of how the music is very personal, verse chorus verse song-based concert music, yet can also be DJ’d in a club at 4am in a dusty thriving warehouse rave.”
Music from the past and present can sit comfortably together in the same place and ‘Next Wave Acid Punx DEUX’ proves it.
With thanks to Luca Venezia and Mirren Thomson at Eclectica
CREEP SHOW are back and their second album ‘Yawning Abyss’ is possibly more accomplished than their acclaimed debut ‘Mr Dynamite’.
An electronic supergroup comprising of John Grant, Stephen Mallinder, Ben “Benge” Edwards and Phil Winter, ‘Yawning Abyss’ was produced in Cornwall at Benge’s MemeTune studio.
John Grant is a successful singer / songwriter in his own right while Stephen Mallinder first found fame as a founder member of industrial dance pioneers CABARET VOLTAIRE before joining Benge and Phil Winter in WRANGLER.
While ‘Yawning Abyss’ began as a bunch of sonic experiments using mostly Roland and Moog synths before being taken to Iceland for Grant and Mallinder to record their vocals, what particularly comes across in this sophomore CREEP SHOW adventure is its sense of fun and camaraderie, despite the tensions and menace captured within the resultant music.
With Stephen Mallinder slightly distracted by TikToker Rachel and her amusing posts about being disturbed by hearing CABARET VOLTAIRE’s ‘Soul Vine (70 Billion People)’ on a “cursed” mispressing of the Taylor Swift album ‘Speak Now (Taylor’s Version)’, he took time out from his Twitter account and sat alongside John Grant to have a quick chat with ELECTRICITYCLUB.CO.UK about the making of ‘Yawning Abyss’…
How do you look back on the making of ‘Mr Dynamite’ and its reception with your relative fan bases?
John Grant: I just remember that we had a lot of fun in the studio and didn’t really have a specific vision for the record. It was just friends seeing what they could come up with and we all had pretty hectic schedules at the time, so it wasn’t terribly easy to get together.
Stephen Mallinder: I think on reflection it was such a joy because we had no intention other than exploring all the ways the four of us connected artistically and refusing to have anything but a good time doing that. I’m glad people liked it but with respect, we did what we thought was right for us and figured that’s what people would want.
You all met up in Cornwall to lay down the musical bones of ‘Yawning Abyss’, was all the material created from scratch or were there ideas that you didn’t use in your own various guises and productions which were brought in?
John Grant: It was all from scratch.
Stephen Mallinder: It was all us from the very first note…
With this being your second album together, were there any new methods or roles in the creative dynamic that were consciously altered since ‘Mr Dynamite’? Were things even more relaxed this time round as sophomores?
John Grant: I would say we all pretty much played the same roles. Things were even more relaxed this time around. I even fell asleep a few times. While I was singing ‘Yahtzee!’ for example.
Stephen Mallinder: It was a big soup each of us adding ingredients until it tasted perfect. Yes, I had to shake the man awake in ‘Yahtzee!’
Which was everyone’s favourite synths or devices that they used on the album?
John Grant: Maybe the Serge or Mod Cam modular.
Stephen Mallinder: The modular to play hi-hats… old school wrangling…
The lyrics were written and recorded in Iceland, what did that vibe provide that wasn’t possible in Cornwall?
John Grant: I don’t think Iceland made anything possible that wasn’t possible in Cornwall. Except maybe working with engineer Kurt Uenala who has a deep knowledge of Ableton which is what we worked in during the session in Iceland. So he always has a trick or two up his sleeve.
Stephen Mallinder: Iceland was a result of needing to make the most of our available time but it did give things a twist and as John said, Kurt was great to work with and, for me, time in one of the most stunning places on earth.
‘The Bellows’ opens the album and features an array of vocal treatments and Middle Eastern resonances to set the scene?
John Grant: I’m pretty sure this is not a question.
‘Moneyback’ features an alternating avant-rap on crypto currency, how was that inspired?
John Grant: We’re always thinking about the myriad ways the money system sucks as one confronts that all day every day.
Stephen Mallinder: It was a nice way to bounce our voices together and the track pushed it into to the pacey electro vibe.
How did ‘Yahtzee!’ come into being, it’s quite bonkers!?
John Grant: It’s a meditation on the state of things in the US. Pretty much wrote itself. It’s just what came into my head for that music in that moment.
Stephen Mallinder: Pure energy from John and pulls no punches. A response from the gut to the times we live in.
It’s interesting how varied the tracks are with the trancier house influences on ‘Wise and the darker funkier territory of ‘Matinee’ as well?
John Grant: This is also not a question…
Stephen Mallinder: Variety is the spice … we ain’t one trick ponies, nor could ever be.
‘Bungalow’ is possibly the most conventional song on the album, it’s like electronic Bond theme?
John Grant: That sounds about right.
Stephen Mallinder: I think it’s the most beautiful and evocative track on the album – the perfect marrying of one of today’s greatest voices with lush, creeping electronics. An honour to do.
Do you each have a favourite track from ‘Yawning Abyss’? Would you like to do a third CREEP SHOW record?
John Grant: I love the melancholy of ‘The Bellows’ and how haunting the vocoded vox are. We definitely want to do another record.
Stephen Mallinder: I’m with John on ‘The Bellows’ but also think the title track captures what we achieved with the album.
There are a number of live dates coming up this summer, what will be the set up for that and what’s next after?
Stephen Mallinder: Come along and see… who knows what’s on the next page?
ELECTRICITYCLUB.CO.UK gives its grateful thanks to John Grant and Stephen Mallinder
A supergroup comprising of John Grant, Stephen Mallinder, Ben “Benge” Edwards and Phil Winter, CREEP SHOW released their acclaimed debut album ‘Mr Dynamite’ in 2018.
The histories of the individuals involved have been more than well documented and since then, John Grant has released two solo albums ‘Love Is Magic’ and ‘Boy From Michigan’ while Stephen Mallinder had two of his own ‘Um Dada’ and ‘Tick Tick Tick…’.
Busy boy Benge co-produced all of those bar ‘Boy From Michigan’ while he has also been working with Neil Arthur in BLANCMANGE and FADER, as well as John Foxx. Not to be left out, Phil Winter has been back with his experimental folk band TUNNG for two albums. All this without forgetting the regular Mallinder / Benge / Winter project WRANGLER who released their third album ‘A Situation’ in 2020. However, there was always this sense that the Bella synth union which was CREEP SHOW had more to offer…
Produced in Cornwall at Benge’s MemeTune complex as a bunch of sonic experiments using vintage synths before the tracks were taken to Iceland for Grant and Mallinder to record their vocals, the new album’s title ‘Yawning Abyss’ was inspired by “a cosmic event horizon” that Mallinder observed from his attic window while standing on a chair!
Opening proceedings with a punchy backing track, ‘The Bellows’ is like a blippy PET SHOP BOYS with layers of treated and vocodered vocals before being countered by enticing Middle Eastern resonances in the synth solo. A commentary on crypto currency, ‘Moneyback’ offers avant rap alternating between Grant and Mallinder which echoes the former’s ‘Voodoo’ while the accompanying vorsprung durch technik is rather engrossing.
The futuristic-flavoured ‘Yawning Abyss’ title track takes the pace down to a grooving midtempo with slight voice filtering on Grant’s delivery. ‘Matinee’ sees Mallinder get growly and as the track builds in size and tempo to a darker art-funk, it enters a close encounter of a different kind and becomes particularly ominous in the middle eight.
Moving into trancier house, ‘Wise’ is mysterious and minimal, bolstered by a barrage of synthetic noise. There comes another eccentric twisted rap on ‘Yahtzee!’ and despite the inherent weirdness, there are hooks within the squelchy sonics and frantic machine rhythms. ‘Bungalow’ though is conventional in comparison and perhaps comparable to a John Grant solo ballad; dressed with ivory flashes, harp runs and a synthetically sourced choir, with echoes of John Barry, this is akin to electronic Bond theme.
With schizophrenic voices penetrating from all sides indicative of the band name, ‘Steak Diane’ is an abstract experiment featuring bass guitar and reggae inflections to head into the final straight. To conclude, ‘The Bellows Reprise’ offers a shorter drum-less instrumental take on the album opener that adds the dramatic ‘Blade Runner’ sweeps of Vangelis.
Despite the tensions and menace captured within the music, the fun and camaraderie that was quite obviously had by the quartet in making ‘Yawning Abyss’ comes across, making ‘Mr Dynamite’ seem guarded in retrospect. Even the group photos for this album are more relaxed with everyone comfortable with the sophomore dynamic that now ensues. Straightforward in its approach with no egos or pretensions, ‘Yawning Abyss’ is an excellent experimental joyride.
Exeter Phoenix (15 June), Brighton ACCA (16 June), Jodrell Bank Blue Dot Festival (21 July), Hebden Bridge Trades Club (22 July), Latitude Festival (23 July), London Village Underground (25 July)
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