Tag: Jimi Tenor

MR NORMALL Interview

The Amazing Adventures Of Mr Normall have gained a loyal cult following within the post-punk and electronic music world.

With a handshake, big smile, good guy profile, the Finnish music fan’s charming photographs with members of SPARKS, JAPAN, ULTRAVOX, BLANCMANGE, HEAVEN 17, DEPECHE MODE, VISAGE and MARSHEAUX among many, have endeared visitors to his website chronicling his travels.

After appearances in a number of promo videos including Kim Wilde and BEF’s cover of ‘Every Time I See You I Go Wild’ , Mr Normall was more recently cast as the star of the silent art movie ‘Nuntius’.

The film with its live soundtrack by Jimi Tenor and Jori Hulkkonen has played to audiences around the world, with Mr Normall occasionally joining the musicians with on stage cameos at selected performances.

ELECTRICITYCLUB.CO.UK had the pleasure of catching up with Mr Normall for another chat about his continuing amazing adventures…

Since ELECTRICITYCLUB.CO.UK last spoke to you in Spring 2011, your fame spread far and wide in some unexpected places. Richard Barbieri wanted his photo taken with you, what was the story here?

Oh yes… that was a surprise and very positive one. We had been friends on Facebook for some time but I had no idea that he knew who I was or that he had paid any attention to me. Then last December – all of a sudden – he tags me and comments “it’s my ambition to have a photo with you”.

Of course it was humour, but I was very pleased nevertheless. JAPAN is my No 1 favourite band and to be sort of acknowledged by one of them was very cool. Mr Barbieri had his wish come true three months later in Birmingham where I went to see him play live. Richard Barbieri is a first-class artist and a very nice person.

You were also recognised by someone in 2014?

I did speak with Jonathan Ross at the SPARKS aftershow at the Union Chapel in December 2013 but he didn’t recognise me, I would have been really surprised if he did. The subject of our chat was ULTRAVOX. He prefers the John Foxx version of the band.

Do you think this recognition all escalated after Jori Hulkkonen asked you to appear in the ‘Take Me To Your Leader’ video for PROCESSORY?

In Finland, a few people did comment about the music video when meeting me but I don’t remember it happening anywhere else. However, I’m certain that ‘Take Me To Your Leader’ video made Mr Normall better known, even if I haven’t got much feedback about it.

The music video was done and released in spring 2011. I was really hoping to see it on TV back then, but it was just about that time when music videos disappeared from TV altogether.

The idea on me appearing on Jori Hulkkonen’s music video started actually almost a year before at the night when ULTRAVOX was playing live in Jori’s home town of Turku. After the gig was over, I and several other people – including Warren Cann – went to the unofficial ULTRAVOX after party at the club called Dynamo. There I told Jori, that if he’s interested to feature me on a music video in the future, I’m game. Few months later Jori contacted me about the subject and the result was ‘Take Me To Your Leader’ music video.

I must tell you this… after the ULTRAVOX gig in Turku when we arrived at the Dynamo club, I had a really good “Steve Strange moment”: The gig venue was quite far from city centre, so we took a big taxi to get the posse to the club. When we got to the Dynamo, I was walking in first and Warren Cann right behind me.

The DJ was playing ‘Fade To Grey’ by VISAGE and at that moment I felt just like that bit on the VISAGE music video tape where Steve Strange arrives a club in Paris and ‘Fade To Grey’ is playing in the background. That was THE way to enter to the club.

Of course after this, Jori and his musical partner Jimi Tenor asked you to appear in their film ‘Nuntius’, this had an interesting concept?

Jori Hulkkonen and Jimi Tenor had talked about making a film, but I suppose they didn’t have clear idea what it should be about. In July 2013 I met both of them at the Turku Modern festival and said that I would like to be in their film if they were interested.

The big idea was to make a silent film that would be shown only with live soundtrack by Tenor and Hulkkonen themselves. The film and its music would never be released in any format or be ever available online. Live performances only.

First days of filming ‘Nuntius’ were in May 2014. We started the car journey from Central Finland where I live and drove next to the Russian border in South-East Finland. The destination was an amazing place called Parikkalan Patsaspuisto (Parikkala sculpture park). We stopped to film where ever the scenery looked right. As far as I know, there wasn’t any actual plot ready when we started.

The only rough plot in the beginning was that “I’m being sent from one place to another to get something from there” and the genre is going to be Sci-Fi, perhaps something à la Tarkovsky.

What was filming like for you?

Those first two days of filming in May 2014 were the most fun and memorable for me. Maybe because it was a new situation and the realisation that this is really happening. Also the car journey itself with Jimi, Jori and Marjaana was fun.

There was three more filming days in 2014 and they were mainly done in an art studio in Helsinki. The studio is very high inside and it has a round platform which moves up and down, and also rotates. The studio was made in 1950s and it was made for the sculptor Kalervo Kallio, who was a son of Finland’s President Kyösti Kallio. The studio is the setting for the “other place” where Mr Normall is being sent somewhere else to get something. I would have never spent time at this special place if it wasn’t for ‘Nuntius’.

In May 2015, there were two days of filming in Helsinki for the second version of ‘Nuntius’. Those shoots were done at several locations. The latest shoots were just recently in July 2017 when we filmed around Estonia over three days.

It was much like the first shoots three years earlier because also this time we drove around the country and stopped where scenery was suitable to be filmed. There are strange ex-military places in Estonia that have been deserted after the Russian Army left them when Estonia got independent. Those were exciting days and I definitely wouldn’t had ever visited those places without ongoing ‘Nuntius’ production.

I don’t know yet what will become of all the new shots; will it be the third version of ‘Nuntius’ with a lot of new stuff or will they became a whole new entity à la ‘Nuntius – Part 2’ or something like that?

You made a new friend named Louis while riding a motorcycle?

Louis the dog was only one year old, but he was already a real pro. There was one shot with Louis which could have ended badly… I was driving a sidecar motorcycle in a tunnel in Helsinki and Louis was sitting in the sidecar. It was a public road and there was other traffic too. The shot had to be done several times and if Louis had jumped out of the sidecar, he might have been hit by a car.

He had a collar and a leash was around my arm, but I’m not sure what would have happened if Louis wanted to jump out of very loud old motorcycle. Luckily he was very cool all the time and it seemed like he knew what we were doing.

I saw Louis again last year and he wouldn’t stop barking at me. I’m not sure what he meant by that.

‘Nuntius’ has taken you around the world with you making cameos while Jori and Jimi are performing. Which locations or events have you found most interesting? Any funny stories?

I have attended several ‘Nuntius’ shows in Finland and also few abroad. Berlin was special because that day was also Jimi Tenor’s 50th birthday, so that evening at the Lido was also his birthday party.

The Sonar Festival 2015 in Barcelona: ‘Nuntius’ was on Saturday afternoon and DURAN DURAN played at the festival the same night. There was my big chance to meet them but it didn’t happen. Barcelona in June is hot even late in the evening and I was wearing a heavy 3-piece suit. Not the best possible choice when everyone else had T-shirt and shorts.

The most important ‘Nuntius’ performance for me has been the one in Düsseldorf in October 2016 where it was a part of the ELECTRI_CITY_CONFERENCE. ‘Nuntius’ was the last item of the two day conference – or rather a festival of electronic music – and right before it, the stage was occupied by John Foxx and co for their ‘Evidence Of Time Travel’ performance.

What made this particular ‘Nuntius’ showing so special was that there was several of my favourite artists in the audience, as well as friends whom I have seen at gigs before. Jori summed it up very well: “The audience wasn’t big but it was a good quality audience”.

I have been watching John Foxx on my TV screen hundreds of times and now he was watching me on the big screen. Surreal.

One more special memory… my first – and so far only – visit to Berlin was in March 2015. After arriving to the city and finding my hotel, I went out to have my first ever walk in Berlin. Kreuzberg was only few minutes away so I went that way. Soon I saw some gig posters on a wall – not THE wall – and among them was the special ‘Nuntius’ poster made for the evening’s show. My first time in this big city and when I step out of my hotel there’s a poster featuring a photo of me. It was a unique and strange moment for a visitor from the Finnish countryside.

You’ve made a number of other appearances in videos and photoshoots, are there anymore in the offing?

We are likely to do more shots for ‘Nuntius’ later this year but that’s all. It would be nice to feature in a music video again, especially by an artist that I like. It would be great to experience that again.

Peter Hook had an amusingly and typically Mancunian response when you introduced yourself to him in Düsseldorf?

What was it that he said? I think his kind reply was “there’s nothing normal about you” when I introduced myself. I disagree, of course 😉

Tony Visconti has just about seen it all, so what was your encounter with him like?

I did meet him briefly a few times when HOLY HOLY played live in London and Sheffield during September 2014. I was also at the ICA to listen to Tony Visconti and Woody Woodmansey talk about making the album ‘The Man Who Sold The World’. Both of them were very friendly and didn’t mind signing a few Bowie CD sleeves for me. Getting records signed is a good excuse to approach an artist and it gives you a moment to have a brief chat.

MIRRORS were your favourite new synth act but sadly they are no more. Is there anyone you’ve listened to who you would you rate today?

I suppose you mean new or relatively new acts? Hannah Peel makes good music with often unusual and interesting arrangements. One new band that I like is TINY MAGNETIC PETS. I’ve been listening to their new album on Spotify quite a lot.

Your portfolio has grown over the last few years, but is there anyone left you would still like to meet and be photographed with?

I have met quite a few artists but there are still many of my “official favourites” that I haven’t met yet. With some it’s already too late, but for those still in this dimension I would say David Sylvian and DURAN DURAN are the most important not-yet-met-artists.

Then there’s several others like one ex-member of KRAFTWERK whom everyone else seems to have met but not me. I’m not done yet with these ‘Close Encounters Of The Third Kind’.


ELECTRICITYCLUB.CO.UK gives its warmest thanks to Mr Normall

http://www.mrnormall.net/

https://twitter.com/MrNormall


Text and Interview by Chi Ming Lai
Photos courtesy of Mr Normall
3rd October 2017

ELECTRI_CITY_CONFERENCE 2016

The ELECTRI_CITY_CONFERENCE held its second event at Düsseldorf’s CCD following the success of the inaugural gathering.

With impressive line-up that read like a ‘Who’s Who?’ of electronic music, former NEW ORDER bassist Peter Hook, OMD’s Andy McCluskey, HEAVEN 17, WRANGLER, MICHAEL ROTHER, VILE ELECTRODES, METROLAND and TINY MAGNETIC PETS were among those who took part in 2015.

For the 2016 event, JOHN FOXX, STEVE D’AGOSTINO, RUSTY EGAN, MARSHEAUX, CULT WITH NO NAME, JIMI TENOR, JORI HULKKONEN and ERIC RANDOM played live while among the speakers were DANIEL MILLER, CHRIS LIEBING, MARK REEDER and CHRIS PAYNE.

The conference coincided with co-organiser Rudi Esch publishing ‘ELECTRI_CITY – The Düsseldorf School of Electronic Music’, an English language version of his acclaimed book documenting the development of the city’s innovative and inspiring music scene which spawned acts such as KRAFTWERK, DAF, RIECHMANN, NEU! and LA DÜSSELDORF. With Jochen Oberlack of Bellerophon Records acting as the weekend’s Master of Ceremonies, the first of the special international guests was MARK REEDER.

mark-reeder-in-dusseldorf2016Presenting his acclaimed documentary ‘B-Movie: Lust & Sound In West-Berlin 1979-1989’, the film captured the music, art and chaos of West Berlin before the infamous wall came tumbling down.

But as Reeder explained in his charmingly fluent Mancunian lilted German to Tassilo Dicke in the Q&A afterwards, the enclosed conscription free environment allowed a creative melting pot to emerge where everything and anything seemed possible.

Next up was CHRIS PAYNE in an interview hosted by ELECTRICITYCLUB.CO.UK. Best known as a member of GARY NUMAN’s band between 1979-1990 and for co-writing VISAGE’s ‘Fade To Grey’ with Billy Currie and Midge Ure, the Cornishman began by demonstrating his bass Cornamuse, a double reed instrument from the 14th Century.

Revealing that he studied Medieval music, he even treated the audience to a quick burst of ‘Cars’ before reflecting on its limitations and therefore highlighting the expansive possibilities of synthesizers.

Now domiciled in Normandy, he happily chatted about his period with Numan, recalling how he had 21 keyboards in his armoury and some of the practical jokes he played on the 1979 support act OMD.

At this time, OMD were a duo comprising of Andy McCluskey and Paul Humphreys plus a third member Winston. Despite some electronic music publications stating Winston was a drum machine, Payne confirmed that Winston was most definitely a tape recorder. And on the final night of the UK leg of ‘The Touring Principle’ at Hammersmith Odeon, Payne thought it would be amusing to put on the lock of the TEAC A344 4-track reel-to-reel to stop it from playing.

The genesis of ‘Fade To Grey’ occurred during soundchecks on ‘The Touring Principle’, but Payne recalled how the song’s cyclic structure had been composed during his time at music college.

With regards the song’s female French voice, while the eventual German No1 featured RUSTY EGAN’s then-girlfriend Brigitte, the idea had come from Monsieur Payne and featured on the original recording made at Martin Rushent’s Genetic Studios with a different lyric.

Mute Records impresario DANIEL MILLER and techno guru CHRIS LIEBING followed and while Miller reflected on his love of German music which inspired his own recordings, he highlighted the musical kinship he had with Liebing and even joked that they would probably want to play exactly the same tracks during their DJ sets later that night at the Time Warp club night hosted by Salon des Amateurs.

The ELECTRI_CITY_CONFERENCE was about live music too and Manchester electronic veteran ERIC RANDOM had the honour of opening proceedings.

Random recently released his new album ‘Words Made Flesh’ on Austrian record label Klanggalerie, but the one-time CABARET VOLTAIRE and NICO collaborator made his return in 2014 with ‘Man Dog’, ‎having last issued a long player using his own name in 1986 as ERIC RANDOM & THE BEDLAMITES.

Opening with his set with the groovy ‘Knock Yourself Out’, he captured the ethos of the weekend with his sinister but funky, voice sample laden electro. Occasionally adding vocoder and his own FAD GADGET inspired vocals as on the hard beat driven ‘Let It Go’, the Germanic environment more that suited his stark style of presentation.

MARSHEAUX’s appearance prompted dancing in the aisles and despite monitor issues, the duo delivered a fine performance which can soon be witnessed in the UK at TEC004 in Norwich.

The brooding aggression of ‘Burning’ from the new album ‘Ath.Lon’ proved to be a highlight, while other newbies such as ‘Safe Tonight’ sat well next to slightly reworked fan favourites like ‘Breakthrough’, ‘Dream Of A Disco’ and ‘Come On Now’.

A beautiful rendition of DEPECHE MODE’s ‘The Sun & The Rainfall’ won over anyone who wasn’t already convinced, with two new converts being Claudia Schneider-Esleben, sister of KRAFTWERK co-founder Florian and JOHN FOXX who sat absorbed throughout the entire set.

Finishing proceedings on day one was RUSTY EGAN with a part live-part DJ presentation of his upcoming record ‘Welcome To The Dancefloor’.

Augmented by NIKONN and CHRIS PAYNE, it began with a marvellous dual overture where the latter performed instrumental piano based renditions of ‘Down In The Park’ and ‘Fade To Grey’.

He even sneaked in snatches of Numan evergreens ‘Are Friends Electric?’ and ‘Cars’ as well.

Seguing into the ‘Nu Cinematic’ ambient version of VISAGE’s German No1 featuring Payne on violin, there was then the surprise inclusion of the beautiful VISAGE instrumental ‘Whispers’; this was not entirely successful as the monitor problems continued, but it was a brave choice and more than welcome for that very reason.

Erik Stein from CULT WITH NO NAME joined the ensemble for ‘Ballet Dancer’ and ‘Love Is Coming My Way’, his voice more than complimenting the two synth heavy tunes before the video playback section. Featuring the lead vocals of Andy Huntley, Midge Ure, Emily Kavanaugh and Tony Hadley, such was his enthusiasm, Egan couldn’t resist joining in on the mic. But Egan got his turn on lead when he morphed into an MC for ‘Wonderwerke’, adding a “was ist das?” snarl shaped by his inimitable London swagger.

Closing the main set with ‘Thank You’, Egan’s vocodered list of musical heroes over layers of sweeping synths even prompted him to walk into the audience to encourage their additional robotised contributions.

The following day began with artists and journalists being given an informal tour of Düsseldorf by Rudi Esch. The landmarks included Düsseldorf HBF where KRAFTWERK had their iconic monochromatic photo on Gleis 17 taken and the entrance to the former Kling Klang studios.

Among those present were JOHN FOXX and MARSHEAUX, with one particularly memorable moment taking place outside Der Ratinger Hof, when Foxx held court as he chatted about working with Conny Plank on ‘Systems Of Romance’.

Appropriately, formal second day proceedings began with the showing of ‘Keine Atempause – Düsseldorf, Der Ratinger Hof und Die Neue Musik’, a film about the city’s music scene followed by a panel Q&A.

But afterwards, a familiar character from Berlin reappeared. The scheduled speaker MARTYN WARE had unfortunately been taken ill, so MARK REEDER kindly stepped in with an interview in English conducted by ELECTRICITYCLUB.CO.UK; this chat differed from the day before, focussing on Reeder’s own music career and his long association with NEW ORDER.

Interviewed by German journalist Ecki Stieg, JOHN FOXX gave a marvellously eloquent talk covering his entire career. Working with Brian Eno on the first ULTRAVOX! album, the one-time ROXY MUSIC synthesist told Foxx it was important to keep a space at the end of an album to make a new song out of nothing; that nothing of course became ‘My Sex’. Reflecting on the recording of ‘Systems Of Romance’ to applause from the attentive audience, Foxx also declared Conny Plank as the most important record producer since George Martin.

Despite the innovation of his debut solo album ‘Metamatic’, Foxx moved away from pure electronics due to criticism that his music was cold.

At the time he thought “Maybe I’ve done the wrong thing… it made me afraid of my own music in a way… I’ve never been any good at judging the quality of what I do, I like it but don’t know if it’s any good or not!” – this led to the more band oriented sound of the follow-up ‘The Garden’ which included the actual ‘Systems Of Romance’ song.

Talking about his third solo album ‘The Golden Section’, Foxx said “I wanted to combine electronics with psychedelia… I think I failed because I tried to fit too many favourite things together. It’s always a mistake, it’s like having a meal with all your favourite food, you have fish and pudding and cake and soup and it’s not good! You might love them all, but if you put them on the same plate… but it was out of enthusiasm so I can forgive my younger self for making mistakes like that!”

Post-punk balladeers CULT WITH NO NAME and their inherent laid-back atmospheres provided the perfect transition into the evening’s programme of live music. While many of CULT WITH NO NAME’s songs are piano based, it’s when they mix in some uptempo electronic tension that things get really interesting. This was exemplified by ‘Rosabelle Believe’, a new song featuring Steven Brown of cult art rockers TUXEDOMOON. Also including the best known number ‘Breathing’, those still recovering from the techno and deep house barrage at Time Warp on the night before would have found this set most welcoming.

Premiered in 2014 at London’s South Bank, JOHN FOXX and STEVE D’AGOSTINO supported by visual artist KARBORN gave an assured performance of ‘Evidence Of Time Travel’, “a unique investigation of the terrors and pleasures of temporal displacement. A sinister sonic architecture of drum-machine-music and analogue synthesizers”.

KARBORN’s cut-up images and filmed segments complimented the stark and stoic soundtrack.

A continually evolving audio / visual experience, the finale of ‘Empty Clothing Blows Across A Beach’ saw Katia Isakoff join the trio on a Moog Theremin.

Locking into a wonderfully trippy improvisation, disturbing schizophrenic voices also reverberated around the enclosure.

The second day concluded with a unique presentation of the silent art movie ‘Nuntius’. Featuring a live improvised soundtrack from Finnish musicians JIMI TENOR and JORI HULKKONEN, the film stars MR NORMALL as its central, alien character. Seemingly manufactured in outer space, MR NORMALL explores the woods, stares intensely and even rides a motorcycle sidecar combination through a tunnel in Helsinki with a Shetland sheepdog named Louis.

The film’s accompanying music ranged from blippy ambient to frantic motorik, with Tenor occasionally taking to a flute while Hulkkonen brought out his portable Trautonium, an electronic instrument with a pressure sensitive glided board and whose conceptual origins date back to 1929.

The whole experience was totally mindbending and when MR NORMALL appeared on stage with Tenor and Hulkkonen, things became even more surreal.

It was fabulous weekend that was a reminder of Düsseldorf’s importance as a centre for art, culture and fashion. With the rising profile of the ELECTRI_CITY_CONFERENCE, the 2017 event will be a must-attend date in next year’s diary.


ELECTRICITYCLUB.CO.UK gives its warmest thanks to Rudi Esch and Carsten Siewert

Live performances can be viewed at
http://concert.arte.tv/de/electricity-conference

www.electricity-conference.com/

www.facebook.com/ELECTRICITY.Conference

www.facebook.com/Electri.city.Esch/

www.jorihulkkonen.com/

www.facebook.com/jimitenor/

www.mrnormall.net/

www.metamatic.com/

www.altersonicsound.com/

www.karborn.com/

www.cultwithnoname.com/

http://rustyegan.net/

http://www.electronicmusiclibrary.com/

www.facebook.com/undonikonn/

http://marsheaux.com/

https://twitter.com/theericrandom

http://mute.com/

www.clr.net/

www.facebook.com/markreedermusic/

www.electroniccircus.co.uk/

https://bellerophon-records.com/

www.groenland.com/en/


Text by Chi Ming Lai
Photos by Markus Luigs, Roger Kamp, Lola Li and Chi Ming Lai
23rd October 2016