Tag: John Foxx (Page 16 of 19)

VILE ELECTRODES Re-Emerge…

16 May 2013 /

Following the release of their self-titled debut EP featuring brilliantly quirky electronic pop such as ‘Play With Fire’, ‘Headlong’ and the magnificent splendour of ‘My Sanctuary’, VILE ELECTRODES remained silent for most of 2012 as they wrote and recorded more material.

Then as the year drew to a close, they premiered their first song from the sessions ‘The Last Time’. NOT a cover of THE ROLLING STONES track which was subsequently ripped off by THE VERVE in its Andrew Loog Oldham lounge arrangement, singer Anais Neon described it as “our aural Ferrero Rocher and / or L’Oreal. Hope you like!”. Wintery like prime ‘Architecture & Morality’ era OMD, ‘The Last Time’ sounded nonchalantly cruel like CLIENT running a Siberian labour camp; the simple but brilliant video however showed Anais sitting contemplatively in a hospital waiting room while time passes her by…

Invited to support OMD’s upcoming tour of Germany in May following Andy McCluskey spotting the band while perusing ELECTRICITYCLUB.CO.UK, they will also be opening for John Foxx at Brighton Concorde 2 in June. Not only that, VILE ELECTRODES will be releasing a new EP ‘Re-Emerge’ to coincide with the tour and finally, their long awaited debut album ‘The Future Through A Lens’ in June which includes fan favourites ‘Proximity’, ‘Feed Your Addiction’ and ‘Deep Red’.

ELECTRICITYCLUB.CO.UK talked Synth Politiks with VILE ELECTRODES’ Martin Swan and Anais Neon and the practicalities of using antique synthesizers on stage…

Martin, what was your first keyboard or synth?

Martin: When I was about 14, my mum bought me a Casio PT20, which was a tiny keyboard just one step up from the old VL-Tone… and I wrote songs on it. I’d always known I had song-writing ability and, as soon I had this PT20, I was able to get on with it. When I was 16 the girl I was going out with had left school to get a job as a dental assistant. With pretty much her first pay packet, she bought me a Roland SH101 for my birthday! It was £185 from Vroom in Watford – where I ended up living above a few years later. So that was it! PT20, SH101 and, a few months later, I picked up an MC202, which is a little sequencer that goes with the SH101. It was only £50, which is unbelievable now. I used to write these little tunes (with no drums on them!) and record them onto cassette. It all started from there.

What types of synths do you like?

Martin: One of my real loves is string synthesizers. They’re not like regular synthesizers, in that they’re an older technology and quite primitive. None of the string sounds are that authentic by today’s standards. The manufacturers like Roland, Yamaha, ARP and Moog tried to make them sound like orchestras, so they put chorus units inside them to thicken their sound, and make them sound as big and as lush as possible. It’s the sound of a certain era of music for me. It’s that Gary Numan sound that sits over the Moog bass, it’s the sound of ULTRAVOX, it’s the sound of early OMD. It’s even the sound of indie acts like ECHO & THE BUNNYMEN and THE ICICLE WORKS. So I have a whole load of them and just fall into their swirly loveliness!

Your epic song ‘Deep Red’ from the forthcoming album has some great sounds…

Martin: For ‘Deep Red’, I set up some drones and held down the same key on about three different string synths and it creates this amazing atmosphere. There’s a Yamaha SK20, which plays the foreboding sound, and the higher parts are played on a Moog Opus 3. The thing about the Opus 3 is that it’s got a resonant filter, which is unusual for a string synth. With a chorus added on that, it sounds really spooky. There’s actually two melody lines, the first is played on a Yamaha CS15 and sounds like a filtered dying cat, for want of a better description, while the second one with the higher strings is played on the Moog.

Your favourite instrument appears to be the Korg MS20? It must be a pain to use live?

Martin: The worst thing about using the MS20 live is lugging the flight case around. It’s actually pretty simple to use! It’s got big dials so it does look a bit like it’s controlling radar or something, but it means it’s easy to know where you are with it. It’s also really reliable, unlike some of the other gear that we have used in the past; it stays in tune and the filters are really strong. I know it really well so I can do what I want to do on it.

Anais, your set-up is a bit simpler, what do you use?

Anais: I’ve got the Korg mini-Kaos pad and the KP3 that I use for sampling my vocals and adding harmonies and sound effects. I play an SH-101, as does Martin, and a Roland RS-09 – one of our beloved string synths! I’m also controlling the sequencers these days as well. Basically I do everything and Martin just stands around looking pretty. *laughs*

I have inherited a love of synths from Martin, but I’m not a true synth geek and I don’t know all the subtle differences the way Martin does. For me it’s a case of “that one has a really lovely sound, we have to have more of that!”.

Martin: She does that a lot with the Juno 6, which is why a lot of our songs have got Juno arpeggios in them. ‘Proximity’ prominently features it.

Anais: Martin was in the studio and just started off a simple drum loop and kicked off an arpeggio sequence on the Juno and I went “oh my god”… half an hour later, ‘Proximity’ was written! It’s such a beautiful sounding bit of kit. We’ve actually decided to take it to Germany with us!

There are two fascinating synths in your armoury; one you’ve just mentioned which is the Roland RS09 which Mick MacNeil from SIMPLE MINDS used on ‘Love Song’…

Martin: It’s a string synthesizer which does organ and strings…

Anais: It doesn’t make that many sounds really does it? *laughs*

Martin: It’s got very basic sounds, but what it does is quite unique. It has this ensemble, as soon as you add vibrato it starts to sound great, a real OMD vibe to it like ‘Almost’. Because it’s so simple, it’s a fantastic instrument to use live; four sounds but really strong. We use it a lot for top melody lines. It’s small for a string synth so it’s more practical. It’s got such a richness, very 1978-79! I think THE CURE used one on ‘The Funeral Party’ as well as an ARP Quartet but not many bands have used it, that’s one of the reasons why I like it as well.

And you have one of the most modern monophonic synths in the Dave Smith Mopho which features on ‘Re-Emerge’ from your new EP…

Martin: Our Mopho was in the first batch that came into the UK, and I was very lucky to get it. I can thank The Arts Council here, because I got it as part of their ‘Take It Away’ scheme so it didn’t cost me a penny up front and I’ve paid for it since on interest free credit. It’s a modern take on the Sequential Circuits Pro-One, which is a classic analogue monosynth that DEPECHE MODE and Howard Jones played.

The Mopho is a combination of that and the Moog Source, which was the first monosynth that had memories. Obviously, it really helps for playing live to switch from one patch to another. But it’s quite sturdy and the sounds are more contemporary than the SH101 for example. I think LITTLE BOOTS’ keyboard player Chris Kemsley was the first person in the UK to get one. It’s kind of old school vintage synth in one way but it’s got a modern aesthetic as well. It’s very muscley!

That’s the thing for me, VILE ELECTRODES music isn’t stuck in the 80s but neither is it completely contemporary, it’s somewhere between the two. And hopefully as a result, doesn’t date too badly! We’ve decided not to take the Mopho to Germany with us, though. We’re taking our new Analogue Solutions Leipzig SK instead!

How do you feel about being invited to support OMD and John Foxx?

Anais: It’s a fabulous opportunity, and a genuine surprise! It may sound like a fawning cliché to say it, but they are honestly some of our favourite musicians, and naturally huge influences on us. I could be wrong but, particularly for OMD, I think fan opinion played a role in our being offered the slot, as there were lots of people talking about us in OMD forums, and we’ve had a wonderful show of support since we told people.

We keep saying that we feel so lucky, and there is an element of luck, as there are so many great and deserving bands out there. But at the same time we do work really hard at building relationships with the people who support us, and they in turn work hard to tell people about our music. Which is good, as we’re rather rubbish at that part!

Modesty aside, it’s a kind of validation, too, for what we do creatively. We are just who we are, and we haven’t tried to follow any particular format or formula, or create a special mystique. And we don’t have some grand plan or intended career trajectory. We just make pop music. We use electronic instruments. But what we do doesn’t sound like contemporary pop, but neither does it particularly sound like classic synthpop, or dance-pop, or minimal wave, or post-punk or whatever. Our songs really cross a whole load of different styles, and I think people recognize that we’re not easy to pigeonhole, and that we have something a bit different to offer as a result.

Martin: OMD were the first band I ever saw live, the band I spent my teenage years obsessing about and collecting everything I could of theirs. So it’s amazing!! But it still hasn’t really sunk in. It’s so exciting, but also quite daunting. Most small bands in the UK don’t get to play to more than about 50 people on a regular basis, so it’s big step up, and we’ve got a lot of work still to do to feel like we’re representing what we do properly on a big stage.

You’re known for your big live set-ups. Are you reducing what equipment you’re taking to Germany for the OMD tour?

Anais: We had planned to but, having spent some time in rehearsal with a stripped down set, it just didn’t feel… very us! So we’re back to ‘Neon and Swan, and an army of synths’! Though we’re not taking our drum pads! In one way that’s a shame, because when we play them live it adds a really great performance and visual element, but we realised we did need to streamline a little bit. And we didn’t want the tour management team to think we were taking the p*ss! *laughs*

It’s very important for us, when performing, to do as much as we can live, and you can’t do that for our songs with just a couple of synths and a drum machine. Most of our tracks have been recorded live in the studio, with everything running and being played (hopefully) in sync together. This includes some very old and very fragile pieces of equipment, some of which we definitely wouldn’t risk taking on the road, as we could never afford to replace them if something happened to them! As a consequence, our recorded sound can be difficult to reproduce on stage. If we think something is really integral to a particular track, then we do try to recreate it but, to us, playing live should be a unique experience each night. It isn’t the same as being in the studio – it should be a performance!

Martin: Not much of what we use has memories, and we purposefully don’t make detailed notes, preferring to go on how things sound rather than what the settings are supposed to be. And things will go wrong – they always do! Expect confused arm-flinging, puzzled looks and raised eyebrows… it’s part of the fun! For me, the idea that the live experience should be different from what you’re hearing on the recording is very important. Or else you could just sit at home and listen to the record! But in terms of capturing that, it’s just a matter of…

Anais: … excitement and enthusiasm really. At least it is now! I’d never been in a band before VILE ELECTRODES, and both song-writing and performing were totally alien to me. When we first started out I needed prescribed structures and sounds. It was so hard for me to be on the stage in the first place that, if something was different, it totally threw me off course. I forbade Martin from making any weird unexpected noises, as it made me think I’d missed my cue or something! But I’m over that now. Expect weird noises galore.

Photo by Doralba Picerno

How are you finding playing live now that you’ve streamlined to just the two of you?

Anais: VILE ELECTRODES started out as two-piece, but I was such a nervous performer that it was all I could do to stand behind a microphone and remember my lyrics. So we invited some good friends to join the band, in part as moral support for me, but also to fill the gaps where Martin didn’t have enough arms to do everything.

As the Vile schedule got busier, the others felt they weren’t able to commit the time and energy that the band was starting to require, so we went back to being a two-piece. By that time my nerves had mostly subsided, anyway, and I was able to take on more roles – and more equipment! Nowadays, Martin complains that he hasn’t got enough to do on stage! In short, being a two-piece is brilliant and has totally changed how we’re able to work together and make creative decisions.

Photo by Doralba Picerno

Until recently Anais, you were moonlighting as Gillian Gilbert for NEW ORDER tribute band RE:ORDER?

Anais: We’ve just done our last ever RE:ORDER gig (until the Re:Union, of course!); basically, when VILE ELECTRODES were just starting out, I had a call from Will (RE:ORDER’s Barney, and a longtime friend of mine) to say that they were losing their Gillian, and did I maybe happen to know someone that could maybe play a little bit of keyboards and maybe a little bit of guitar hint hint… it seemed like a good chance to get a bit of on-stage experience where I wasn’t going to be the centre of attention, so I signed up. It’s been great fun, and we’ve played some brilliant venues, and it really helped with my confidence building as a performer. I’ll miss it, but I think I’ve got plenty of Vile activities to be focusing on at the moment!

ELECTRICITYCLUB.CO.UK gives its warmest thanks to VILE ELECTRODES

Please visit http://www.omd.uk.com for further details for VILE ELECTRODES’ 2013 German tour supporting OMD which includes: Hamburg Docks (21st May), Bielefeld Ringlokschuppen (22nd May), Berlin Tempodrom (24th May), Leipzig Haus Auensee (25th May), Köln E-Werk (27th May)

VILE ELECTRODES also open for JOHN FOXX & THE MATHS on Friday 7th June at Brighton Concorde

VILE ELECTRODES’ 3 Track CD EPs ‘Play With Fire’, ‘The Last Time’ and ‘Re-Emerge’ are available as downloads via http://vileelectrodes.bandcamp.com/

‘The Future Through A Lens’ will be released in Summer 2013. It can be pre-ordered along with other VILE ELECTRODES merchandise and music via their online store at http://vileelectrodes.bigcartel.com/

http://www.vileelectrodes.co.uk

http://www.facebook.com/vileelectrodes

http://vileelectrodes.blogspot.com/

https://twitter.com/vileelectrodes

Text and Interview by Chi Ming Lai
16th May 2013

Rhapsody and Exponentialism… The Art of JOHN FOXX Reinterpreted

14 May 2013 /

John Foxx has been highly prolific of late and this month sees the release of two tasteful artefacts which has the electronic pioneer revisiting his past while continuing to look forward simultaneously.

Both also showcase the platform he has given in particular to rising female musicians within a synth scene so notoriously noted in the past for its boys with their toys stance. But now, the girls are allowed to play with those toys too!

The first of these is ‘Rhapsody’, 10 tracks recorded live at London’s MemeTune Studios in late 2011 shortly after the JOHN FOXX & THE MATHS ‘Interplay’ tour. This series of shows was noted in particular for the addition of Hannah Peel’s screeching electric violin on material from Foxx’s ‘Metamatic’ and early ULTRAVOX! phases.

Featuring also Serafina Steer on bass and synths plus Foxx’s Mathematical sidekick Benge on electronic percussion and synths, the wide scope of the material is given a thematic core by this highly competent quartet, each bringing in their individual skills for a sum greater than its parts.

Foxx’s collaborations with Louis Gordon may have revitalised his musical aspirations, but what the Benge partnership did was provide a depth of humanity which perhaps had not shown itself in Foxx’s work since his ULTRAVOX! days. The addition of younger players such as Peel and Steer plus vital, energetic new material such as ‘Catwalk’ contributed to what was possibly Foxx’s best ever live show, not a bad achievement considering the former Dennis Leigh is now in his fourth decade in the music industry.

Like Foxx’s recording of ‘The Omnidelic Exotour’ from 1997, ‘Rhapsody’ is a closed set live recording with no audience. The beautiful instrumental take of ‘The Good Shadow’ with its pulsing sequences and eerie violin will have some recalling the intro of Gary Numan’s ‘Cry The Clock Said’.

Meanwhile the reworking of ‘Hiroshima Mon Amour’ retains the serene quality of the original with elements such as the sax are replaced by synth and Benge compliments percussively with Simmons thuds. The highlights though inevitably are ‘The Shadow Of His Former Self’, ‘Just For A Moment’ and ‘He’s A Liquid’ where the violin of Hannah Peel wails to an enjoyable pitch bent frenzy!

Of course, a lot ‘Metamatic’ era material actually featured bass guitar so Steer’s fluid four string, while not quite putting the funk into proceedings, gives a closer representation of the period’s mechanised groove on songs like ‘Burning Car’. Peel and Steer’s elements combined with Benge’s synthetic drums interestingly beg the thought of how ULTRAVOX might have sounded had Messrs Foxx, Currie, Cross, Cann and Simon stayed together to record ‘Metamatic’? ‘Rhapsody’ is a great souvenir of the ‘Interplay’ tour although it could have done with being slightly longer; ‘Plaza’ and ‘Watching A Bulding On Fire’ would have been worthy inclusions but it’s probably best to have the audience wanting more.

Meanwhile, on the ‘Exponentialism’ EP, two songstresses, who have supported JOHN FOXX & THE MATHS’ live shows and contributed to latest album ‘Evidence’, are given an opportunity to glow in the darkness as I SPEAK MACHINE and GAZELLE TWIN premiere their vivid interpretations of Foxx’s back catalogue. Both hit soprano ranges in their vocal capability and that automatically allows them to put their own stamp on some iconic work. GAZELLE TWIN told ELECTRICITYCLUB.CO.UK in 2012: “I prefer covering songs written or sung by men. Perhaps because it instantly allows me to create a new perspective on it.”

So with I SPEAK MACHINE, the new electronic vehicle for American musician Tara Busch, she assumes the role of predatory female and her aggressive take on ‘My Sex’ is the complete opposite to Foxx’s original detached tone of resignation. Unsettling and eerie, the new arrangement is tremendous. Meanwhile, ‘I Want To Be Machine’ is virtually rewritten by Busch with the Ballardian lyrics now accompanied by abstract synthetics and robotics that are well away from the early Bowie-esque folkisms of the ‘Ultravox!’ album’s longest track. It’s as if the roles in ‘Demon Seed’ have been reversed!

Hauntingly sedate, GAZELLE TWIN, the alias of Brighton based Elizabeth Walling, gives a stripped down rendition of ‘Never Let Me Go’ with a neo-acappella intro before it oozes into a collage of choral beauty reminiscent of Foxx’ own ‘Cathedral Oceans’ trilogy. Appropriately sounding like she’s drowning, GAZELLE TWIN’s choice of ‘He’s A Liquid’ as her second cover reflects the metaphysical fascinations of her own compositions like ‘I Am Shell I Am Bone’ and ‘I Turn My Arm’. Sung from the female perspective, it highlights an ambiguous sexual angle to one of the highlights from ‘Metamatic’.

There was once an ‘In The City’ fanzine special about the Foxx-led ULTRAVOX! entitled ‘Past, Present and Future’. Both ‘Rhapsody’ and ‘Exponentialism’ show that more than 30 years after that publication, JOHN FOXX still very much represents the past, present and future of independently minded electronic music.

‘Rhapsody’ and ‘Exponentialism’ are released by Metamatic Records and both available as CDs or downloads from http://johnfoxx.tmstor.es/

JOHN FOXX & THE MATHS play a headline show at Brighton’s Concorde 2 on 7th June 2013 with support from VILE ELECTRODES

http://www.johnfoxxandthemaths.com/

http://www.metamatic.com/

http://myblogitsfullofstars.blogspot.co.uk/

http://www.hannahpeel.com/

http://www.serafinasteer.com/

http://analogsuicide.com/

http://www.gazelletwin.com/

Text by Chi Ming Lai
14th May 2013

HANNAH PEEL Harbour

25 April 2013 /

Following touring with JOHN FOXX & THE MATHS, Hannah Peel has finally produced what many of her new found admirers hoped she would do… she has recorded a beautiful synth friendly song.

While not quite KRAFTWERK, the song entitled ‘Harbour’ features electronic sweeps and synthesized percussion alongside assorted guitar textures, piano and harp. The dreamy soundscapes combined with Miss Peel’s sweet voice make it sounds a bit like LITTLE BOOTS doing a lush ballad.

Whatever, the end result is gorgeously enjoyable. Accompanied by a suitably nautical themed video filmed on location on Canvey Island and directed by The Mitcham Submarine, ‘Harbour comes from her brand new EP ‘Nailhouse’, named so after the Chinese neologism for homes belonging to people who refuse to make room for development and are thus referred to as “stubborn nails”.

Hannah Peel has been a busy lady with the Orkney Isles inspired project THE MAGNETIC NORTH and also contributed to the new JOHN FOXX & THE MATHS album ‘Evidence’. As well as recording the follow-up to her debut album ‘The Broken Wave’, she will soon be rejoining the JOHN FOXX & THE MATHS’ live band for their tour of the UK supporting OMD.

The tour reconnects her with the electronic pioneers from The Wirral; she covered ‘Electricity’ for her debut EP ‘Rebox’ while her composition ‘Organ Song’ was sampled for the OMD track ‘Bondage Of Fate’ on the 2010 OMD album ‘History Of Modern’.

The ‘Nailhouse’ EP is available on limited edition white vinyl and as a download via the usual digital retailers

Hannah Peel plays with JOHN FOXX & THE MATHS for a headline show at Brighton Concorde 2 on 7th June 2013 supported by VILE ELECTRODES

http://www.hannahpeel.com

http://www.facebook.com/hanpeel

http://blog.johnfoxxandthemaths.com/

Text by Chi Ming Lai
25th April 2013

OMD Interview

21 April 2013 /

Photo by Tom Oxley

‘English Electric’ is genuinely a stunning return to form.

Utilising their KRAFTWERK, NEU! and ENO influenced avant pop template, the original creative nucleus of Paul Humphreys and Andy McCluskey have married their classic sound to glitch techniques, modern computer voice generators and sympathetic contemporary production for a wonderfully cohesive work.

The long standing influence of Düsseldorf’s Fab Four – Ralf, Florian, Wolfgang and Karl – is more apparent on ‘English Electric’ than on any other previous OMD album. From first single ‘Metroland’ to ‘Kissing The Machine’, a sonic collaboration with Herr Bartos which also features PROPAGANDA’s Claudia Brücken, OMD’s Germanic circle is now complete.

Interestingly, some OMD fans weaned on ‘If You Leave’ and ‘Sailing On The Seven Seas’ appear to have been confused about OMD recording an electronic album with references to KRAFTWERK. But right from the off with ‘Electricity’ (which was effectively the song ‘Radio-Activity’ speeded up), Kling Klang has been the seed of OMD’s genesis. McCluskey recently included ‘Radio-Activity’ AND ‘Trans Europe Express’ among his baker’s dozen of favourite albums for The Quietus so this should not have come as any great surprise!

‘English Electric’ could well be the best OMD album since 1983’s ‘Dazzle Ships’. The sparkling but bittersweet synthpop of ‘Helen Of Troy’, the Edward Hopper referencing realism of ‘Night Café and the lovely Paul Humphreys vocalled ‘Stay With Me’ are all prime jewels in the OMD crown.

Meanwhile THE TORNADOS meet LA DÜSSELDORF blitz of ‘Dresden’ will have live audiences up on their feet despite its macabre lyrical context. Although closely related, ‘Dresden’ is however not actually about the bombing in the Second World War in the same way ‘Enola Gay’ was about Hiroshima. Instead, it uses the city as an unsubtle metaphor about relationship breakdown, an emotive topic that connects with the album’s theme of unfulfilled utopian dreams.

Photo by Ed Fielding

There are also unconventional chorus-less songs like the magnificent ‘Our System’ which sees drummer Mal Holmes turn into Phil Collns for the song’s explosive climax. But the biggest surprise is ‘The Future Will Be Silent’, a squelch laden commentary about audio pollution… despite its dubstep drops, the end result remains somehow distinctly OMD!

OMD also embark on an extensive world tour and the various support acts in each territory showcase the best of established and new talent in a thoroughly reinvigorated electronic music scene. Special guests in the UK are JOHN FOXX & THE MATHS who need no introduction; the former ULTRAVOX front man’s partnership with vintage synth collector extraordinaire Benge also features on stage, the multi-talented Hannah Peel whose ‘Organ Song’ was sampled for the OMD track ‘Bondage Of Fate’ from the previous OMD album ‘History Of Modern’. She also covered ‘Electricity’ for her debut EP ‘Rebox’.

Meanwhile, the Belgian and Dutch dates will be supported by METROLAND, a duo with Kling Klang burned into their circuitry and whose debut album ‘Mind The Gap’ is an affectionate technological journey inspired by the London Underground network; their electronic restyling of IGGY POP’s ‘The Passenger’ has to be heard to be believed while their appropriate remix of ‘Metroland’ is a big favourite of Rusty Egan.

The striking VILE ELECTRODES will be the opening act for the German tour and ELECTRICITYCLUB.CO.UK is particularly proud as they first  featured on the site in 2010. They were also chosen by Andy McCluskey as a direct result of him perusing this very site. Andy McCluskey spoke about OMD’s new opus…

What inspired you to make ‘English Electric’ more conceptual?

It was the logical step forward. ‘History Of Modern’ was a collection of songs in various OMD styles. But we got loads of sh*t for just making a good album with ‘History Of Modern’. If U2 or SIMPLE MINDS just make an album that sounds like them, everyone will applaud them for getting back to basics. *laughs*

I don’t think people who crave songs are going to be disappointed. Having said that, ‘Our System’ is probably more akin to things like ‘Stanlow’ and ‘The Romance Of The Telescope’.

You’re making a statement of intent by launching the album with one of the experimental tracks ‘Decimal’ AND releasing ‘Metroland’, the longest track on the album as a single?

‘Metroland’ is a beautiful song with a simple but beautiful lyric, even if I say so myself… we’re very happy with it. So the beginning of this campaign is yes, making a statement of intent and flagging that we believe in what we’ve done on this album. The people who will buy the album will buy it hopefully because they’ve heard ‘History Of Modern’ and hopefully because they are OMD fans; they will buy it in the first two weeks. Then, hopefully, the people who liked ‘Sister Marie Says’ and bought ‘History Of Modern’ because they heard it on Radio2 will then go and buy the album when they hear the next two singles… this is the theory! *laughs*

Photo by Tom Oxley

‘Dazzle Ships’ was made in a period of adversity and insecurity… with ‘English Electric’ we are sort of in that situation with the economic uncertainty and the spectre of terrorism. What similarities can you identify spiritually with the two albums?

That’s an interesting thought isn’t it… does it find itself in similar economic and political landscape? In some respects, yes it does. But I don’t think that bad as the economies are, I don’t think most people in the Western democracies probably feel quite as fearful as they did in the early 80s of atomic destruction.

So the landscape isn’t exactly the same… y’know you’ve asked me a question I don’t know the answer to, well done! There are similarities and there may be similarities in the way it is being conceived because of the environment, but I would have to admit they are unconscious. I do want to stress we have not tried to recreate ‘Dazzle Ships’! It was a little frustrating for people to be talking about ‘Decimal’ being just ‘Time Zones’ for 2013… no it’s not! It’s completely different. It’s like saying because it’s got a speaking voice in it, it sounds like ‘Time Zones’… that’s like saying THE CLASH were like THE BEATLES! It just doesn’t hold water!

What techniques have you used to conceive these shorter, collage pieces?

For ‘Atomic Ranch’, Paul turned me on to these Vox Machina plug-ins. It’s quite nice to hear the three voices offset against each other… and one of them which most people seem to think of as the wife, is she going off-message or is she going on-message at the end? I don’t know… she changes. ‘Please Remain Seated’ is a combination, there’s a second half with a programmed voice and my words but the first half is an airport recording in Chinese. When you hear them in the context of the album, the linking pieces actually set up the next piece of music very beautifully.

Is the internet today’s short wave radio?

In practical terms, the internet has influenced ‘English Electric’ because it’s a source of information in the same way that German imports were when we were teenagers and the short wave radio was; when you’re interested and alert, you soak up anything you can get. I discovered the sound of Voyager going through the magnetosphere of Jupiter on YouTube and I downloaded vocal machine programmes and samples from the internet. I used to have ring binder folders to do my homework in because OMD, we are geeks and we research our songs. My laptop became my ring binder with a load of stuff that we downloaded from the internet; information that we didn’t even get round to using like The Doomsday Clock… watch out for that one!!

Photo by Tom Oxley

Your 1993 co-write with Karl Bartos ‘Kissing The Machine’ has been reworked by Paul Humphreys for inclusion on ‘English Electric’ and Claudia Brücken is featuring too?

The original version was wonderful although not as many people have ever heard it as it was merited as I was very proud of it and I think Karl as well. I did want more people to hear ‘Kissing The Machine’ but the sound of it and lyrically concept of it fitted with the kind of dystopian vibe of the whole ‘English Electric’ album.

Paul has completely thrown everything else away and reworked the track from scratch. And yes, it sounds quite like KRAFTWERK! When Paul gets the bit between his teeth and he has a really great direction, he fires some wonderful stuff up! It’s interesting because Paul had the idea of asking Claudia to do the vocal in the middle eight and I said “let’s do that”. So we did it in the middle but I suggested we start it with the “I want you to want me – I need you to need me…” bit through a vocoder and went “y’know, could you ask Claudia to do it in German as well?” Oh! German in the middle, it’s so good on the music, it just sounds fantastic! It’s very exciting to be able to have Claudia Brücken on an OMD tune!

How did the collaboration with MARSHEAUX producers FOTONOVELA, ‘Helen Of Troy’ come about? Most people in the UK and US won’t have heard of them…

George Geranios and Nick Bitzenis of FOTONOVELA were our label bosses in Greece via their Undo Records and they sent me this track… the demo had Nick going “Helen Of Troy – Helen Of Troy” so I took his vocal off as you do [*laughs*], chopped it all up and rearranged it… it’s gorgeous! I have used some of Nick’s backing vocals. It was the third one completed on the album, I love it to bits! And ‘Helen Of Troy’ is much more of a metaphor than either of the ‘Joan Of Arcs’ were.

Several of OMD’s best songs have been inspired by the ethics of conflict and war… ‘Enola Gay’, ‘Bunker Soldiers’, ‘Silent Running’; does ‘Dresden’ fall in that category?

‘Dresden’ is a whopping great, unsubtle metaphor… it was interesting that we found ourselves in Dresden, it was quite incredible but the song had already been written before I went. It’s not about the bombing of Dresden in the same way as ‘Enola Gay’ was about the aeroplane that dropped the atom bomb.

‘Idea 3’ has been turned into ‘Stay With Me’, is there’s an ‘Idea4’?

We’ve always got bits and pieces left over. I think they will get used. ‘Ideas 1-3’ were all melodies written by Paul, it was just a question as to whether they would get turned into songs. ‘Idea 1’ became a B-side. ‘Idea 2’ became ‘History Of Modern (Part II)’ and ‘Idea 3′ has finally became ‘Stay With Me’ and that’s another great melody.

What are the bonuses that come with the various formats of the album?

The B-side of ‘Metroland’ is ‘The Great White Silence’. In the collector’s tin, there is a 7 inch vinyl; one side has got ‘Our System’ which by general consensus is everyone’s favourite song on the album while on the back of it is a song called ‘Frontline’ which is only available on that 7 inch vinyl.’Frontline’ was influenced and inspired by The Arab Spring and the vast majority of the drum track is entirely made out of machine gun, cannon and artillery fire. The song’s working title was ‘Artillery’.

There’s one more track called ‘No Man’s Land’ on iTunes and there’s also a couple of totally instrumental abstract pieces that don’t even have actual titles that may be further B-sides down the line.

You just signed a worldwide deal with BMG…

We’ve signed to BMG for publishing and global rights on this album only. It’s a new model, they’re a rights company, not a record company. They don’t have a great big building with 500 staff that is a massive overhead, they have a small office with a handful of people. Each deal they do is a bespoke deal for each artist in each territory, employing freelance people to work the project for its lifespan; that’s all it costs them. This is one of the new models in the music industry to see if there is a functioning new model! *laughs*

How does ‘English Electric’ compare with ‘History Of Modern’?

‘History Of Modern’ is what it was because of the circumstances it found itself in. There’s a feeling abroad that ‘English Electric’ is quite powerful and well conceived. That’s nice. There will be people who will have a whinge about it, but I don’t think the people who like songs will be in any way disappointed.

‘English Electric’ has been a hard album to make… really hard! Much harder than ‘History Of Modern’, it’s been torn out in several different ways for several different reasons.

By the time it was completed, both of us were emotionally and physically exhausted. We’re starting to get our energy back and we are getting feedback which is incredibly positive. Many people who have heard the album are very excited about it. It’s been an interesting journey these last couple of years writing this album. It’s been very exciting.

Where do you stand on modern vocal processing technology? I find it surprising some people who adore Kraftwerkian vocoders go “UGH! Autotune!”?

People draw lines in sound in weird and arbitrary places don’t they? *laughs*

I would say anything is fine. I’m a little bit bored of pop vocals with Autotune as an effect but modern production is so clean that you can hear all the separation between the instruments and the voices so clearly that unless you are the most incredible singer, actually most people are Autotuned! It’s just a case of how much they’re Autotuned… have you just pulled it into tune or is it patently obvious and sliding? I have no problem with anything being used, all I’m interested in is does it work for me, what do I get out of it? If I get something out of it, then everything is fine!

How are you finding new electronic acts these days?

I enjoy your website and I’ve discovered some very interesting bands actually…

Oh, who have you found recently?

I can’t say… cos one of them is going to support us in Germany!

Is it CHVRCHES?

No! But a young British electronic band is supporting us in Germany. Obviously JOHN FOXX & THE MATHS are supporting us in the UK and how could we say no to John Foxx! *laughs*

How did JOHN FOXX & THE MATHS supporting in the UK come about?

We were just asking around as to who might be available that would be complimentary and somebody said John Foxx and we were like “NO WAY? Would he tour with us?”; he said “yes” and we said “yes please”! *laughs*

Well, you get to see Hannah Peel again!!

EXACTLY!! I emailed her as soon as I found out and said “Hello, are you on the tour?” and she said “Too right!”… so yeah! *laughs*

I’m looking forward to hearing who the young British electronic act is!

Yes, and we have a Belgian two-piece supporting us in Brussels and Utrecht…

…oh! METROLAND???

Yes, METROLAND are supporting us!

Have you checked out ANALOG ANGEL? Their track ‘We Won’t Walk Away’ sounds just like OMD!

I’ll have to check ANALOG ANGEL out, the last few weeks have just been f**king mental!

They’re a trio of weegies, I said your dad played for Celtic and it turned out they were Rangers fans! *laughs*

Ha! Ha! Y’know, it turns out I don’t think my dad played for Celtic! I think he was pulling a Walter Mitty on me! He played football and he was something to do with Celtic because he knew people at the ground when I was a kid and he used to take me up there. I’ve walked on the pitch and been in the trophy room… turns out he never played for the first team as far as I could find out!! Funny old world eh?

ELECTRICITYCLUB.CO.UK gives its grateful thanks to Andy McCluskey

Special thanks to Toby Harris at 100%

‘English Electric’ is released by BMG in CD, deluxe CD+DVD, download, vinyl and tin box set formats

OMD’s 2013 UK tour with special guests JOHN FOXX & THE MATHS includes:
Margate Winter Gardens (28th April), Birmingham Symphony Hall (29th April), Nottingham Royal Centre (1st May), Ipswich Regent Theatre (2nd May), London Roundhouse (3rd May), Bristol Colston Hall (5th May), Oxford New Theatre (6th May), Sheffield City Hall (8th May), Leeds Academy (9th May), Manchester Academy (10th May), Glasgow Royal Concert Hall (12th May), Gateshead Sage (13th May), Liverpool Empire (14th May)

The Benelux shows featuring special guests METROLAND include:
Utrecht Tivoli (Friday 17th May) and Brussels Ancienne Belgique (Monday 20th May)

The German tour with special guests VILE ELECTRODES includes:
Hamburg Docks (21st May), Bielefeld Ringlokschuppen (22nd May), Berlin Tempodrom (24th May), Leipzig Haus Auensee (25th May), Köln E-Werk (27th May)

Please visit the official OMD website www.omd.uk.com for further details on all shows on the ‘English Electric’ tour including the rest of Europe and North America

Text and Interview by Chi Ming Lai
21st April 2013

JOHN FOXX & THE MATHS Evidence

22 November 2012 /

JOHN FOXX & THE MATHS have released their third album in 18 months entitled ‘Evidence’.

The 15 tracks include collaborations with Matthew Dear on a version of ‘Talk’ which previously appeared on ‘The Shape Of Things’, US duo XENO & OAKLANDER on ‘That Sudden Switch’ and Tara Busch with her own ‘I Speak Machine’ mix of ‘Talk’.

Dubwisely surreal, the title track’s collaboration with North American post-apocalyptic trio THE SOFT MOON sees many of the starker, dystopian flavours that Foxx is best known for. Following the enjoyable flirtation with synthpop on JOHN FOXX & THE MATHS’ debut album ‘Interplay’, this is much more post-punk psychedelia like Gary Numan meeting Syd Barrett

The album sees available for the first time in physical format, Foxx and Benge’s brilliant minimal electro cover of PINK FLOYD’s ‘Have A Cigar’ (where the infamous “which one’s Pink?” line is changed to “which one’s Maths?”) while also included are Brighton songstress GAZELLE TWIN’s chilling remix of ‘A Falling Star’ and JOHN FOXX & THE MATHS’ reworking of her wonderfully emotive but unsettling single ‘Changelings’.

Regular live band member Hannah Peel adds eerie violin to instrumental ‘Neon Vertigo’ and the more angrily percussive ‘My Town’ although overall, the album takes on an atmospheric pace around more downtempo rhythmic constructions smothered in echoes.

‘Evidence’ is released by Metamatic Records

The ‘Analogue Circuit: Live At The Roundhouse’ DVD + CD set recorded at 2010’s Short Circuit Festival is also out now

http://blog.johnfoxxandthemaths.com/

http://www.thesoftmoon.com

Text by Chi Ming Lai
22nd November 2012

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