Tag: Mark Reeder (Page 1 of 10)

FIFI RONG Interview

While Beijing-born avant-pop songstress Fifi Rong released her debut self-released album ‘Wrong’ in 2013, she actually made her first UK TV appearance on ‘The Paul O’Grady Show’ in 2008 as a member of THE TENORIONS.

Set-up by Yamaha to demonstrate their flagship portable electronic sequencer, when the trio disbanded, Fifi Rong relocated to Bristol in pursuit of her own sound.

Immersing herself in the world of trip-hop and working with the likes of Tricky, she came up with a sensual East West blend that placed her Chinese operatic trained voice within a modern technologically-driven musical backdrop.

One person impressed by her melancholic vocal presence was Boris Blank of YELLO who invited her to sing on the duo’s ‘Toy’ and ‘Point’ albums. Performing at the Swiss electronic pioneers’ live shows in Europe, she met Berlin-based British producer Mark Reeder who she later collaborated with on the track ‘Figure Of 8’, opening his 2021 ‘Subversiv-Dekadent’ collection which also featured his remixes of YELLO and NEW ORDER as well as the Fifi Rong track ‘Future Never Comes’

But Fifi Rong’s ambitious second album ‘There is a Funeral in My Heart, For Every Man I Loved’ is very much her own work. Recorded in English and her native Mandarin versions, it sees her reconnecting with her heritage in a concept album about doomed romance, a favourite subject in Chinese mythology and theatre. Heavy in heart, her haunting vocals are the prime focus of this beautiful listening experience.

Fifi Rong kindly spoke to ELECTRICITYCLUB.CO.UK about the making of her second long playing work and why there has been a five year gestation period, plus her thoughts on art and commerce in the digital world….

Your first album ‘Wrong’ was released in 2013, so why has it taken such a long time to follow-up with another long playing work?

I have made 22+ releases since 2013. The world of Spotify and playlist music don’t really invite albums. So it’s not the best way to go concerning exposure for every single song but I wanted to do it anyway and so people can always come back to this album in the future. A humble release without playing the ‘game’ so to speak.

It’s not like you have been idle over these years, with various EPs, singles and collaborations with Mark Reeder, Lo and YELLO, but have all the different working methods and time constraints made things more challenging?

Yeah, definitely slowed the album down. Touring, one of deals like with W Records, and a Chinese EP release side-track excitement and all. Collaborated with over 50 producers over the years. It’s been beautiful. No regrets.

The album begins with ‘Out Of Clock’, is running out of time our worst enemy?

Time is the most valuable assets to human lives. It’s in true melancholic beauty to appreciate and mourn for passed time. The song is most singing about the heart is running out of love after being broken time and time again.

Having once said ‘Love Is A Lonely Thing’, now ‘There Is A Funeral In My Heart, For Every Man I Loved’?

‘Love Is A Lonely Thing’ was going to be a part of this double album, but the album got too long so I had to let ‘Love Is A Lonely Thing’ be a single / EP leading into the album. They are very much on the same vibe.

You’ve delved into your Chinese heritage much more creatively than before, did you feel the time was right in many ways?

Yeah it’s like I didn’t miss Chinese food till much later in life here in the UK. Growing up through self-realisation, I feel the Chinese heritage part of me needed to be further developed. I miss China, my parents, and my root, and only writing in English is only half of me.

So were these songs written in Mandarin first?

No, English. I think in English, and then rewritten into Mandarin. I wouldn’t be encouraged to do the other way round. I also FEEL in English, and I have the ability to turn something into Chinese. This is a recent ability I discovered I had 🙂

Mandarin is such a beautiful language? Do you dream in Mandarin?

Yeah it’s beautiful. Hmm depends on if I dream about childhood or family. Then yes in Mandarin.

This album captures the notion of doomed romance…

Yeah, melancholic romanticism is almost an abstract feeling even without context I wanted to encapsulate. And I think I really have done it the way I wanted to. Very proud to a point I don’t care if others don’t like it. I’m just happy I did it.

Have you ever seen the 1963 Hong Kong film ‘梁山伯与祝英台’, known in English as ‘The Love Eterne’ based on the legend of ‘The Butterfly Lovers’? That was the first film I saw in Mandarin when I was a child!

Yes I have. That’s very ‘Romeo and Juliet’. Unfortunately, I never met someone I wanted to run away with. I only know how to bury them 🙂

Your voice is central to your music; how do you prefer to produce your vocals for recorded work, are there any particular tricks or equipment you can tell us about?

Yes the vocal production took hundreds of hours to compare itself to the big records out there. RX7, thanks to my friend Robert R Smith who introduced it to me, I would have manually edited all the imperfections out one by one. Also both my mixer Oskar Vizan and Robert told me to not record directly to the mic but to do an angle to avoid proximity effect whilst remaining intimate.

Was the album’s concept quite traditional in that it is 12 songs with a similar theme, feel and tempo?

I’d say it’s a concept album. And no. Traditional concept from my understanding (in recent times) is to have a BIG SINGLE, faster tracks to mix with some downtempo album songs. This is the opposite. I see it as sonic painting, fine art music that will really last, so I can’t care less what the industry expects. But if you are talking about traditional in terms of PINK FLOYD times, then yeah, I fully respect that. But still, they had ‘Money’ that was a huge single, and my least fave on the album. They were pressured to make a single all the same.

So the stylistic jumping around of a modern pop album was not really figuring your mind?

No, I don’t create within a framework of I should or should not and try to please a ‘market’. I please me first and foremost, and like-minded people will come and find great value in it.

Most of the album’s backing is very sparse, ‘Beg For Me’ in particular, how did you select the instrumental colours you wanted to use? Do you have any favourite VSTs?

Yeah Arturia is the most frequently used virtual instrument, and I have a tendency to go with dusty retro sounds. I was inspired by the Peruvian shaman who cracked my heart open with just Acapella. I wanted to use as little instrumentation as possible, but to make the double album interesting enough, I use some sounds to decorate the vocals. But like you said, this is a vocal-led album for sure.

‘Dream On’ captures some understated filmic drama, had there been any particular influences musically on this song?

Nah it’s a song I’ve kept for very long… sometimes when the song is so significant, I don’t know how the production falls into place. It has a spell on me though every time I listened to it, it took me away till the end and made me forget what I was looking for, such as a mistake in the mix etc. The song came from a dream, it had to be written, it begged itself to come out into the world. Putting on the clothes (production) for this song is just satisfying its own craving.

Do you have any particular favourite songs on the album?

‘Another Me’, ‘Love Yourself First’, ‘Dream On’, ‘Beg For More’, ‘Stay Away’, and several on the Chinese side of the album too. ‘I’m Enough’ is nice too.

You’ve ramped up your fan engagement online, how have you found balancing the time meeting their requests and demands?

I’ve done far more than this for music. But I have opened my heart this year for my supporters, and enjoying the journey!

You’ve got involved in the brave new world of NFTs?

Involvement is an understatement. I’m in it full time now, I urge everyone to come with me and thank me later 🙂

What’s next? Is a live presentation of ‘There Is A Funeral In My Heart, For Every Man I Loved’ on the cards?

Due to the unpredictability of the pandemic, live tour is not too likely, but maybe something small in London is possible. However, it’s more likely to make it a virtual metaverse experience.


ELECTRICITYCLUB.CO.UK gives its warmest thanks to Fifi Rong

‘There is a Funeral in My Heart, For Every Man I Loved’ is available via the usual digital platforms and physically from https://fifirong.bandcamp.com/

http://www.fifirong.com/

https://www.facebook.com/fifirongmusic/

https://twitter.com/fifirong

https://www.instagram.com/fifirong/

https://open.spotify.com/artist/64yPy2kBAhOJSRxOEtL3Qk


Text and Interview by Chi Ming Lai
Photos by Dylan Chubb
20th December 2021

ELECTRICITYCLUB.CO.UK’s 30 SONGS OF 2021

Despite the general appetite for nostalgia with boxed sets and coloured vinyl of classic albums hogging the pressing plants, there was a lot of excellent new music released in 2021.

The quality of individual tracks released in 2021 was extremely high but at the end of the day, only 30 songs can be selected as a snapshot of the calendar year. As Monica Geller in ‘Friends’ once said, “Rules are good, rules help control the fun” – rules, routine and structure = creativity and fun 😉

So the highly commended group who did not quite make ELECTRICITYCLUB.CO.UK’s 30 songs of 2021 includes Tobias Bernstrup, David Cicero, Alice Hubble, Michael Oakley, Jason Priest, Nina, Eric Random and Kat Von D’s duet with Peter Murphy, along with SIN COS TAN, FIAT LUX, LONELADY, GLITBITER, KNIGHT$, PEAKES, DESIRE, SOFTWAVE, XENO & OAKLANDER, BUNNY X, PISTON DAMP, FRAGRANCE. and HANTE.

So here are ELECTRICITYCLUB.CO.UK’s 30 songs of 2021, presented as usual alphabetically by act with a restriction of one song per artist moniker.


ACTORS Love U More

Thanks to the recruitment of new bassist Kendall Wooding, the male-to-female ratio of ACTORS has equalled up and altered their dynamic. The vocal duality between guitarist Jason Corbett and keyboardist Shannon Hemmett aka LEATHERS takes an increased role in the band’s developing sound. With the brooding baritone counterpointed by girly soprano and male falsetto to provide an uneasy uplift to the gloomy domino dance, ‘Love U More’ was a statement of intent like a goth DURAN DURAN with metronomic rhythms and eerie synths.

Available on the album ‘Acts Of Worship’ via Artoffact Records

https://www.actorstheband.com/


BAND ELECTRONICA featuring MIDGE URE Das Beat

Midge Ure finally launched his BAND ELECTRONICA project as a recording entity with ‘Das Beat’, a glorious slice of Teutonic robopop in collaboration with Wolfgang Flür. With “Beats through wires, beats through walls”, the icy motorik bossa nova was complimented by a blisteringly catchy synth hook in the classic Kling Klang tradition and harked back the Glaswegian’s days hearing KRAFTWERK at The Blitz Club and making music with VISAGE and ULTRAVOX. Dancing is a given to the synthesizer rhythm.

Available on the single ‘Das Beat’ via BMG Rights Management

http://www.midgeure.co.uk/


JORJA CHALMERS Rhapsody

Although a seasoned musician as the sax and keyboard player for Bryan Ferry over the past 10 years, Australian multi-instrumentalist Jorja Chalmers did not release her first album until 2019. The superb take on SIOUXSIE & THE BANSHEES ‘Rhapsody’, an orchestrated gothic epic off their ninth album ‘Peepshow’, featured an intriguing electronic warble within its stripped down arrangement. From its claustrophobic cocoon, Chalmers sounded trapped inside an unsettling icy soundscape of synthetic strings and choirs.

Available on the album ‘Midnight Train’ via Italians Do it Better

https://www.instagram.com/jorjachalmers/


CLASS ACTRESS Saint Patrick

CLASS ACTRESS is the nom de théâtre of one-time Giorgio Moroder protégée Elizabeth Harper. Releasing a new EP ‘Sense Memory’ which initially featured three cover including THE SMITHS’ ‘Ask’ but steadily expanded with new material, the percussive ‘Saint Patrick’ featured an array of infectious synth hooks while Harper’s richly passionate vocal over some strident keyboard work combined like Nerina Pallot fronting BOY HARSHER for a brilliant slice of modern electronic pop.

Available on the EP ‘Sense Memory’ via Terrible Records

https://classactress.com/


HATTIE COOKE I Get By

Perhaps more intentionally pop than Hattie Cooke has ever been before on her previous two long playing outings, an intimate gravitas comes with the expanded electronic texturing on her third album ‘Bliss Land’ and this is undoubtedly stamped on its opening song. The hypnotic ‘I Get By’ was superb with ringing hooks, sweeping soundscapes and airy understated vocals that wouldn’t have sounded out of place on an Italians Do It Better ‘After Dark’ compilation.

Available on the album ‘Bliss Land’ via Castles In Space

https://twitter.com/hattiecooke


DANZ CM Human Existence

‘The Absurdity of Human Existence’ is the debut album by DANZ CM, the artist formally known as COMPUTER MAGIC. New York based Danz Johnson is the synth girl behind both vehicles with a passion for the development of the electronic music. Reflecting the album’s title, the total melancholic brilliance of ‘Human Existence’ sees our heroine make a sombre declaration that “you can’t save me, I can’t save you” in a manner reminiscent of CHROMATICS meeting OMD.

Available on the album ‘The Absurdity Of Human Existence’ via Channel 9 Records

https://www.zdanz.com/


DAWN TO DAWN Care

Danceable dreampop trio DAWN TO DAWN feature in its line-up Tess Roby who released her debut album ‘Beacon’ on Italians Do It Better. Also featuring Adam Ohr and Patrick Lee with their Minimoog, Roland System 100, Roland Juno 60 and Korg 700s armoury, ’Care’ was written on a cold winter’s night and unsurprisingly captures that mood. Nocturnal yet rhythmic, Roby’s alluring folk-tinged vocal offsets the various synthetic overtures for a mysterious weightless quality.

Available on the single ‘Care’ via https://dawntodawn.bandcamp.com/track/care

https://www.facebook.com/dawntodawnmusic


DEVOIR Mercer

Leeds based duo DEVOIR comprise of Imogen Holmes who released the impressive ‘Lines’ EP as IMI and Jacob Marston. A product of lockdown, although ‘Mercer’ is entirely electronic, it differs slightly from IMI in its four-to-the-floor construction. So imagine GOLDFRAPP at an Alpine rave in the Hornlihutte basecamp next to The Matterhorn. As the cinematic techno builds, the magnificent voice that graced IMI soars and shines, expressing itself at the extremes of alluring spoken word and piercing high soprano.

Available on the single ‘Mercer’

https://www.facebook.com/wearedevoir


DIAMOND FIELD feat BELINDA BRADLEY A Kiss Apart

DIAMOND FIELD is the musical vehicle of Andy Diamond, the New York based Kiwi who, looks to studio icons such as Hugh Padgham, Rupert Hine and Peter Wolf as his heroes. With a backing track like NEW ORDER’s ‘Your Silent Face’ reworked by OMD, ‘A Kiss Apart’ is superb and sees a velvet performance by Belinda Bradley of New Zealand collective SELON RECLINER; akin to the other Belinda, Ms Carlisle crossed with Marcella Detroit there is a gorgeous chorus and some great synth interventions recalling lost Mute trio PEACH.

Available on the album ‘Diamond Field’ via Sofa King

https://diamondfieldmusic.com/


DLINA VOLNY Bipolar

Inspired by the spectre of the former Soviet Union, Minsk trio DLINA VOLNY explore post-punk with a dance beat not unlike NEW ORDER. Having already had two albums already under their belt and singing in English with an inherent Eastern Bloc gloom in Masha Zinevitch’s vocals throughout their Italians Do It Better period, their fifth single for the label ‘Bipolar’ was dark disco with plenty of synth and mystery that asked “But what is it like being on the border?”.

Available on the album ‘Dazed’ via Italians Do It Better

https://www.instagram.com/dlina_volny/


LAURA DRE All Day, All Night

With her mix of modern synthpop and synthwave coupled to her deep nonchalant vocals, Laura Dre captures the rainy dystopian air of ‘Blade Runner’, but with a sexy enigmatic allure and a mischievously wired groove that wouldn’t go amiss in a West Berlin nightclub. The glorious uptempo disco number ‘All Day, All Night’ offers great crossover potential; drenched in sparkle and a delicious percussive base. It’s a number for fans of early PET SHOP BOYS, complete with a classic Tennant / Lowe styled instrumental middle eight.

Available on the album ‘Moving Spaces’ via Outland Recordings

https://lauradre.com/


DURAN DURAN Featuring CHAI More Joy!

Celebrating 40 years as recording artists, DURAN DURAN released their 15th studio album ‘Future Past’ in a “live for the moment” reference of how something today can become a cherished memory in times to come. The chiptune inspired ‘More Joy!’ was reminiscent of past glories, its syncopated disco poise capturing DURAN DURAN at what they do best and with hypnotic electronics offset by a wonderful bass guitar run and chants by Japanese rock band CHAI, its exuberant manner presented the right dose of escapism.

Available on the album ‘Future Past’ via Tape Modern / BMG

http://www.duranduran.com/


GLÜME Get Low

Like a tattooed Marilyn Monroe dropped into Twin Peaks, GLÜME is a shimmering new starlet in the Italians Do It Better stable. From her debut album ‘The Internet’, ‘Get Low’ was an intriguing slice of accessible avant pop about the high of falling for someone where brain chemistry and nervous systems are affected. Applying some rumbling electronic bass, stabbing vintage synths and simple but prominent digital drum beats, ‘Get Low’ sounded not unlike an experimental hybrid of OMD and LADYTRON!

Available on the album ‘The Internet’ via Italians Do It Better

https://www.facebook.com/babyglume


ROBIN HATCH Airplane

Made using the T.O.N.T.O. synth complex created Malcom Cecil and Robert Margouleff which was made famous by Stevie Wonder, the same titled album is the fifth solo body of work by the Toronto-based neoclassical composer and multi-instrumentalist Robin Hatch. The sinister ‘Airplane’ took shape around an avant garde soundscape. Utilising the talents of doom metal violinist Laura Bates of VOLUR alongside the synthetic strings and hypnotic generative blips, this encapsulated an unsettling gothic grandeur.

Available on the album ‘T.O.N.T.O.’ via Robin Records

https://twitter.com/robinhatch


ITALOCONNECTION featuring ETIENNE DAHO Virus X

For Italian musician veterans Fred Ventura and Paolo Gozzetti, the ethos of ITALOCONNECTION is “to sound vintage in a modern way”. The superb ‘Virus X’ featuring French veteran Etienne Daho sprung a surprise as a suave slice of Gallic synthwave. With its downbeat verse and an emotive chorus, this was as a fitting musical document of the past year and half’s tensions while using toxic personal relationships as a poignant lyrical analogy.

Available on the album ‘Midnight Confessions Vol1’ via Bordello A Parigi

https://www.facebook.com/italoconnection


JAKUZI Hiç Işık Yok

Hailing from Turkey, JAKUZI’s Italo flavoured song ‘Hiç Işık Yok’ saw the usual cowbells substituted by processed pots and pans, while the mix of classic brassy tones and chilling synth pads blended to create something rather unusual and extraordinary. Working with Maurizio Baggio who mixed the most recent albums by BOY HARSHER and THE SOFT MOON, the Italian producer turned what had been a gothic futureless mood piece with a sombre vocal intonation into a dark but catchy electronic disco number.

Available on the EP ‘Açık Bir Yara’ via City Slang

https://www.facebook.com/jakuz1/


JOON Good Times

2021 was a year craving for more ‘Good Times’ and JOON, the electronic solo project from Maltese producer Yasmin Kuymizakis did her best to remember them. Another recent signing to Italians Do It Better, she reflected on “The way you sing your songs and make me dance, the way you take a chance on a little romance” before affirming “You remind me of the good times”. It all captured a charming innocence in a dreamy Mediterranean take on Japanese City Pop.

Available on the album ‘Dream Again’ via Italians Do It Better

https://www.templeofjoon.com/


КЛЕТ Eternity

КЛЕТ is a music project of Bohemian-born composer and producer Michal Trávníček. Primarily celebrating the Soviet space programme with its impressive series of firsts, while the ‘Alconaut’ album’s pivotal track was its opener ‘Gagarin’s Start’ which honoured the handsome hero who was the first man in space as he prepared for lift-off, the spacey Sovietwave mood over 13 tracks made for an enticing listen. The sparkling sparseness of ‘Eternity’ with its stuttering vintage drum machine provided another highlight.

Available on the album ‘Alconaut’ via https://claat.bandcamp.com/album/

https://www.instagram.com/kletwave/


LEATHERS Reckless

LEATHERS is the more synth focussed solo project from ACTORS keyboardist Shannon Hemmett. The undoubted highlight of her debut ‘Reckless’ EP was the title song. Resigned and accepting, she was still alluring in her voicing despite the heartbreak of her love being so cruel and dangerous. A rather lovely slice of synthpop in that classic melancholic vein with an infectious steadfast motorik beat, it again showed that Canada again was leading the way in the modern version of the form.

Available on the EP ‘Reckless’ via Artoffact Records

https://www.leatherstheband.com/


CATHERINE MOAN Drop It!

Having treated the world with her charming cover of the Alan Wilder penned DEPECHE MODE B-side ‘Fools’, Philadelphian songstress CATHERINE MOAN launched her debut album with the self-composed ‘Drop It!’, song craving the joy of nightlife after a year of lockdown confinement. Dreamily floating over a classic four chord progression with an eerily sombre apocalyptic understatement, ‘Drop It!’ channelled her innocent sound in the manner of ELECTRIC YOUTH meeting STRAWBERRY SWITCHBLADE and MARSHEAUX via her own bedroom aesthetic.

Available on the album ‘Chain Reaction’ via https://catherinemoan.bandcamp.com/album/chain-reaction-2

https://www.facebook.com/Catherine-Moan-105421111625150


KARIN MY Loop

While Karin My has been working with TWICE A MAN and MACHINISTA over the last ten years, it was only in 2019 that she stepped out to front her own traditionally derived electronic songs. A steadfast drum machine propels ‘Loop’ while sweeping symphonic melodies in the vein of ULTRAVOX accompany the despairing resignation. The closing computer generated female speech declaring “identification – procedure – quote – hyphen – perform – display – go to – loop – full stop – execute” added to the dystopian unsettlement.

Available on the album ‘Silence Amygdala’ via Ad Inexplorata

http://www.karinmy.net/


NATION OF LANGUAGE This Fractured Mind

Using a rigid motorik backbone and capturing a danceable ethereal shudder, ‘This Fractured Mind’ breathed new life via its sprightly synth tones in a reference to the past. Although there was also some frenetic bass guitar grit to provide a hint of claustrophobia, the machines that had only been friends previously became family in the NATION OF LANGUAGE sound. Dealing with the spectre of unrealised dreams and jealousy towards more successful others, by the end of ‘This Fractured Mind’, any inferiority complex is countered with hopeful acceptance.

Available on the album ‘A Way Forward’ via Play It Again Sam

https://www.nationoflanguage.com/


NORTHERN LITE Ich Fürchte Nein

The project of Andreas Kubat and Sebastian Bohn, the 2001 NORTHERN LITE single ‘Treat Me Better’ was a cult favourite on the electroclash scene. Translating as “I don‘t think so…”, Kubat reflected on enforced isolation and staying sane. In a chorus that could be roughly interpreted: “You can‘t be happy and by liked by everyone at the same time”, ‘Ich Fürchte Nein’ was a delightfully catchy synthpop tune with a bright and jolly melodic section contrasted by a vocal of a more anxious disposition.

Available on the album ‘Ja’ via UnaMusic

https://www.northernlite.de/


GARY NUMAN The Chosen

While ‘Savage’ depicted a deserted post-apocalyptic world, clad in darkness, The Ade Fenton produced ‘Intruder’ saw Planet Earth react to human kind’s self-destructive misdemeanours by unleashing a virus! “It feels betrayed, hurt and ravaged. Disillusioned and heartbroken it is now fighting back” said Gary Numan poignantly.  ‘The Chosen’ was fast paced synth rock and filled with pleading messages embroiled in frustration and despair, asking “Do you need one more sign?” and “Can you see, or are you so blind?”

Available on the album ‘Intruder’ via BMG

https://garynuman.com/


MARK REEDER & FIFI RONG Figure Of 8

Mark Reeder first met Fifi Rong who at the Berlin Kraftwerk in 2016 when she was singing in concert with Swiss trailblazers YELLO. From his album ‘Subversiv-Dekadent’ , the opening track ‘Figure of 8’ was a magical new collaboration between the two with a cinematic backdrop of sparse piano and glistening sequences over which the exquisite Chinese songstress added her distinctive air of mystery to a more metronomic rhythm construction than perhaps heard on her own work.

Available on the album ‘Subversiv-Dekadent’ via MFS

https://fifirong.com/

https://mfsberlin.com/


R. MISSING Crimeless

New York City-based darklings R. MISSING are fronted by Sharon Shy, a vocalist with an elegant Jane Birkin-like presence while the studious Toppy Frost does the music. 2020’s ‘Placeholder For The Night’ signalled airier developments in their increasingly synthy sound, but the wonderful ‘Crimeless’ was R. MISSING’s most electronic pop noir statement yet. It was like CHROMATICS carefully reconfigured for the dancefloor with Sharon Shy presenting a whispery singing style that could easily be mistaken for Ruth Radelet.

Available on the single ‘Crimeless’ via Sugarcane Recordings

https://rmissing.com/


SCHÖNHEIT Danse Du Robot

Subtitled ‘Hommage à Florian’, ‘Danse Du Robot’ was a magical tribute to the late KRAFTWERK co-founder with hints of ‘Trans Europe Express’ from Swedish producer Martin Lillberg, the man behind SCHÖNHEIT. Not exactly a prolific project with singles in 2014 and 2019, Lillberg however records under various monikers including as DEOLETUS, DESTINY NATION, INESI, LAURENTIA, LOVE ON DRUGS, MY SWEETEST PUNCH and WML as well as holding down a day job as a classical percussionist.

Available on the single ‘Danse du Robot (Hommage à Florian)’

https://swedishelectroscene.bandcamp.com/track/danse-du-robot-hommage-florian


SEA FEVER De Facto

SEA FEVER are the new eclectic Manchester combo featuring second generation members of SECTION 25 and NEW ORDER, Beth Cassidy, Tom Chapman and Phil Cunningham. ‘De Facto’ was a delightful electro-disco feast with a rhythm rush that screamed strobelights and likely to fill indie club dancefloors while also crossing over to lovers of synth. With echoes of NEW ORDER and THE CHEMICAL BROTHERS, it captured a vibrant energy worthy of Manchester and its musical heritage.

Available on the album ‘Folding Lines’ via Kartel Records

https://seafeverband.com/


UNIFY SEPARATE Embrace The Fear

As the prospect of interacting with others again set off anxieties after 18 months of social distancing, for Scottish Swedish duo UNIFY SEPARATE, it was time to ‘Embrace The Fear’. While the theme was relatable to lockdown, the lyrical gist touched on the more general existential crises that afflict many as they navigate a life crossroads. But despite the air of unease and the grittier disposition, as with most of UNIFY SEPARATE’s output, there was light at the end of the tunnel.

Available on the single ‘Embrace The Fear’ via https://unifyseparate.bandcamp.com/track/embrace-the-fear

https://www.facebook.com/usmusicspace


WAVESHAPER Lost In The Cloud

Gorgeously melodic within a claustrophobic drama, ‘Lost In The Cloud’ did as the title suggested like Vangelis meeting Giorgio Moroder at the Necropolis on a dreamy dance trip. A lovely little uplifting synth instrumental, Tom Andersson the man behind WAVESHAPER suggested something darker, saying “Imagine Red Riding Hood trapped in the Digital Cloud, behind the Mainframe. How would she feel? What would she see? There is probably more to fear than a wolf in the forest…”

Available on the album ‘Mainframe’ via Waveshaper Music Production

https://www.facebook.com/Waveshaperofficial


A selection of ELECTRICITYCLUB.CO.UK’s favourite music in 2021 is on its ‘Missing U’ playlist at
https://open.spotify.com/playlist/4rlJgJhiGkOw8q2JcunJfw


Text by Chi Ming Lai
11th December 2021

Vintage Synth Trumps with MARK REEDER

Photo by Crystal Reeder

His portfolio has included NEW ORDER, DEPECHE MODE, PET SHOP BOYS, JOHN FOXX, BLANK & JONES, WESTBAM, MARSHEAUX, THE KVB, NOBLESSE OBLIGE, KOISHII & HUSH, QUEEN OF HEARTS and many more.

Mark Reeder is the jovial Mancunian who ventured over to Germany in 1978 in search of electronic music records and never returned home, eventually settling in West Berlin.

Immersing himself in the local art and punk scene, he arranged JOY DIVISION’s now legendary gig at Kant-Kino, managed MALARIA! and was Factory Records representative in Der Bundesrepublik.

On Mayday 1982, he paid a visit to the DDR and while taking photos of the grand parade in East Berlin, he was arrested by the STASI and taken in for interrogation, under suspicion of working for M16. Unable to draw any conclusions, other than he was trying to corrupt the youth of East Germany with pop music, the East German Secret Police marked his file ‘Subversiv-Dekadent’.

The experience inspired Reeder’s most recent double album named after his STASI classification. Comprising of productions and remixes made by himself and his engineer Micha Adam, it celebrated his cross-border artistic ethos and also included collaborations with the likes of Fifi Rong and Alanas Chosnau, as well as solo work on which he lent his own spoken voice.

The two high profile centrepieces of ‘Subversiv-Dekadent’ focus on Reeder’s reworkings of NEW ORDER’s first new single since 2015 ‘Be A Rebel’ and YELLO’s evergreen ‘Vicious Games’. But room is also given to newer acts such as the Dutch-based American BIRMINGHAM ELECTRIC, Manchester’s MFU, DEER Mx from Mexico and hailing from the Chinese city of Chengdu, STOLEN who opened for NEW ORDER on their 2019 European tour.

Another NEW ORDER support act Zachery Allan Starkey makes appearance via a remix of ‘Coked Up Biker Anthem’ which saw Reeder realise some of his mad axeman fantasies having grown up as a fan of Jimi Hendrix. But accepting ELECTRICITYCLUB.CO.UK’s invitation to play a round of Vintage Synth Trumps, Mark Reeder kindly chatted about his love of classic synthesizers and how they have been used throughout his career.

Ok, our first card is the Roland SH7…

I’ve seen one but never had one, I had an SH9 which I used at the end of DIE UNBEKANNTEN and the start of SHARK VEGAS. In fact, the bassline of ‘You Hurt Me’ which we released on Factory in 1984 was made with an SH9. They were very similar kinds of synthesizers but the SH7 had a few extra features. I actually played the bassline of ‘You Hurt Me’ by hand all the way through for six minutes non-stop, it wasn’t a sequencer! If you made a mistake, there was no way of going back and you had to start again! *laughs*

What was the drum machine you were using at the time?

We had an 808 and a 606…

And the next card is an Oberheim 2 Voice…

I never knew anyone who could afford Oberheim stuff until it became more affordable in the late 80s, no-one I knew had the 2 Voice. But the OBXs was really good, you could do some great things with them but the earlier ones weren’t readily available, so you didn’t really see anything you could buy… no-one had any money in Berlin in the 80s! A Prophet 10 would be like 10 years wages! *laughs*

So, when you were conceiving ‘Subversiv-Dekadent’ which was a reference to that time in 80s Berlin, and your cover photo of the May Day parade and your STASI file, did you select a palette of specific vintage synth sounds to work with?

I’ve always worked like this, when I started to get back into actually making music again, as more of a remixer and producer than before, I had this idea that I only wanted to have a small selection of things that I could draw from to maintain a particular sound. I made my own drum kits, three different kinds and I would interchange within each one.

So, I might have three different claps but I’d put two together and manipulate them to create another type of clap sound. So, the sounds are all drawn from the same three basic kits and say with a snare, I might add another instrument into that snare mix, but it’s all the same block if you like.

It’s the same in a way with synthesizers as well, I don’t have loads, and I keep it reasonably contained. If you have too many, you end up spending too time trawling through thousands and thousands of sounds, but if you have a limited amount of possibilities, then you have to be creative within those few things. I’ll take pads off one synthesizer and put the dirt in from an MS20 underneath, and it will change the sound of the pad. And if you put that through a chorus, it will automatically give that a different sound.

I’ve not got loads of synthesizers in the studio, but we’ve got quite a few. We’ve got quite a few plug-ins too, initially I was a bit dubious about them, but meanwhile a few of them are really quite good and very useful…

Do you have a favourite of the plug-ins?

Well, we’ve got Omnisphere which we use regularly, as I find it’s got a few sounds which I’ll always use and they’re easy to manipulate, but they’re always the same basics. I think I always choose the same couple of sounds *laughs*

We’ve got an ARP plug-in and that is quite good and an EMS one because I could never afford a real one. I’ve got a plug-in version of the Roland SH101 but having the original thing is different, it has a totally different feeling to it. It depends what you want to do with it. The plug-in doesn’t come near, but it has its own sounds that are useful. I have a Juno 106 and my studio partner Micha Adam has a plug-in 106 and a boutique version, although it’s similar in certain sounds, neither sound like a real 106. But each has features that the real 106 doesn’t have, like the arpeggiator or the delay, so you kind of mix them all together, that’s how I work.

Photo by Crystal Reeder

What was your approach to reworking ‘Vicious Games’ by YELLO from 1985 for ‘Subversiv-Dekadent’?

The original track was like “I’ve got a sound sampler and I’m gonna show you how to use it” so it’s like all these ideas together and a vocal connecting everything.

When YELLO sent me the parts, I realised there were more vocals recorded than used on the track and I thought it was a shame that this track of idea wasn’t actually a song. So, I reworked Rush Winter’s wonderful vocals into a song, to give it a definitive verse-chorus-verse-chorus structure, like a 21st Century version of an 80s song.

I used the Oberheim OBX and Juno to make the pad at the beginning and made it more song structured. I looped the guitar part so that it became a groove. People have come up to me and said they love the Donna Summer ‘I Feel Love’ bit that I added, but it’s in the original track, it’s just that you can’t hear it because it’s mixed down so much within the track. You don’t really get to experience that part, so I thought it would be nice to feature that as the break, so I cannibalised the original.

What did Boris and Dieter think of it?

They love it, Boris said I was very daring for changing their song so much and not make it sound like their original, but it does! You can hear I’ve used as many of the original parts as possible but I’ve rearranged it completely.

Photo by Chi Ming Lai

So, we go from you remixing ‘Vicious Games’, an old YELLO track to remixing a brand new NEW ORDER song ‘Be A Rebel’…

As with all my remixes, I like people to be able to recognise the song, I don’t want to take some unused backing track and just drop in some vocals, to me that’s not a remix. I take all the parts I require from the original song and rework them so that they will fit my groove. The idea was make the Elektron bassline more pulsating, give a driving feeling to it.

The first mix I made was the Cheeky Devil one, which appears on ‘Subversiv-Dekadent’ that I made more for the elderly semester of NEW ORDER fans that don’t like the techno side. I know people who will get a remixes CD or vinyl and they’ve got techno versions of the track that they love, but they can’t get their heads around it. I thought I’d do one which had a “ploddy” kind of feel that’s not so fast even though it’s exactly the same tempo, one that chugged along and put more emphasis on the vocals.

For the Dirty Devil remix for the NEW ORDER release on Mute, I wanted to make it so that Bernard could listen to it in his car while he was on the motorway, more driving and I must confess I prefer this remix to the one I did for ‘Subversiv-Dekadent’ but that chuggy version had to work within the framework of my album. I just changed the volume of a few things within the mix like the loudness of the hi-hats in the Elektron driving version.

You actually added some guitars into your remixes of ‘Be A Rebel’ which aren’t on the NEW ORDER original?

There was initially no bass guitar on the original version. There was a guitar, but it was all quite jangly… that style kind of slowed my track down, so I played what I needed… in fact my guitar mirrors Bernard’s vocal quite a lot. I thought I’d play a melody on the guitar like a sequence… some people thought it sounded like the ghost of Hooky’s bass, but it’s my Les Paul playing that and some power chords to embellish the end.

So what’s your guitar playing like compared with your keyboard prowess?

They equally as cr*p! *laughs*

Time for another card and it’s a Prophet 10…

I don’t know anybody who owned a Prophet 10. Susanne Kuhnke from MALARIA! owned a Prophet 5 but I only ever saw a Prophet 10 in a music shop and you weren’t allowed to touch it!

By the time when you supported NEW ORDER as SHARK VEGAS in 1984, they would have swapped their Prophet 5s for Octave Plateau Voyetras?

Yes, they’d just got it. A few years before, Bernard had got an ARP so he gave me his Transcendent 2000…

Did you ever do anything useful with the Transcendent 2000?

It just makes a noise! It doesn’t make any kind of like sounds that your granny is going to like! It goes “KKKKHHRRRKK” or “TSCHHHHHH”, it’s a noise synthesizer, white noise, pink noise! A Wasp you can kind of play but the Transcendent didn’t make any keyboard notes. All the crazy “TSCH-TSCH-TSCH-TSCH” noises you hear on the JOY DIVISION records were made by the Transcendent *laughs*

Photo by Kai von Kröcher

On your albums, you like to do new collaborations and on ‘Subversiv-Dekadent’, you worked with Fifi Rong who has a connection with YELLO…

I met Fifi Rong at a YELLO gig in Berlin. She told me she was playing a gig in a small bar the next evening and invited me. She was absolutely mind-blowingly good and she explained what each song was about, it was very endearing. I thought she was so talented, she’s very hands on and so determined.

I thought it would be nice to work with her to give her another platform other than YELLO. You could hear that she has an interesting voice with that high Asian tone. So, I remixed ‘Future Never Comes’, that was such a nice track and as I was doing that, I had another track that I asked her to do a vocal on. I didn’t hear anything from her for about 3 weeks and then she sent me this track that became ‘Figure Of 8’. I decided to start and close ‘Subversiv-Dekadent’ with Fifi because I felt she deserved to have those important positions within the framework of the record. She’s been working on her own new album for 2 years and it’s finally getting there, it is an interesting record, a really nice album, I think she’s done really well and got the right ambience.

And the next card is a Yamaha CS30…

I must confess I always found Yamaha gear to be interesting but very cold. I have a TX module which is like a DX7 and has all the sounds, which I’ve had for decades… it’s a limited thing. I don’t use it much, only for specific things like if I want a hard tone filtered in with something else to give it a colder edge. I never bought an actual DX7 because it was too complicated to programme. It had bits like marimba sounds that sounded good, but everyone had one, as it was the first big affordable synthesizer back in the 80s. Everyone dumped their analogue synths for a DX7 and I’m thinking WHY!?!

The DX7 sounded super modern and dead professional at the time, but I didn’t get my module until very late when nu-beat and acid house started, it made a slappy kind of hard bass sound that fitted.

Photo by Martyn Goodacre

Did you get into Akai samplers at all?

I had an Akai S900, I was talking to Micha Adam about them just the other day and how they were the best thing on the market at the time with the longest sampling time. I had a Roland sampler which had an expanded sampling time of 2 seconds! And then there was the Ensoniq Mirage which had its own 30 second samples but when you tried to sample something yourself, you only had a small amount of time. And then came the Akai S800 and that had 20 seconds!! *laughs*

The Akai S900 cost a fortune and was so complicated, there was a lot of fiddling around, twiddling knobs and pressing things! It had a manual the size of the Holy Bible and they knew no-one was going to read this thing, so it came with a VHS video cassette so that you could watch how to programme the thing! It was a really good tool to use once you got used to it and sounded good compared to the others. But then the Akai S1000 came and that had 90 seconds of sampling time which was amazing! I did a couple of remixes in the 90s with the Akai, one for Nina Hagen of ‘Du Hast Den Farbfilm Vergessen’… she hated it! It never came out! *laughs*

How did you put together your 13 minute epic ‘You Can Touch Me’?

That was an idea that’s really three tracks in one and it kind of went on and I thought I’d better stop it at some point! *laughs*

It was originally born from an idea for an album, that had a great underlying groove and I took a snippet from an Eiven Major track to use as a loop in the techno part of the track. I like taking a track that will morph from one thing and end up as another. ‘With You Can Touch Me’, it became that. It starts off very sexual, dark and mysterious… it’s like when you meet someone for the first time, you go through the actions of foreplay and it gets to the climax, the song is a bit like that, very Wet & Hard! It goes into the lyric where “you can’t touch me” and at the end, it goes into this mad techno thing. I’m not a singer, but for that track, it fitted and it sounds alright. I couldn’t find anyone else who wanted to do it to be honest.

I made it just so I could play it in clubs, mostly the DJ who plays after me is usually a techno DJ so I wanted to give them something at the end of my set that they can mix into. It’s my closing track and it’s so long, I can pack all my stuff away while it’s playing and the DJ after me can either let it play out or mix into it. *laughs*

The final card, it’s an EDP Wasp!

I never actually owned one, I borrowed a Wasp, Mijk van Dijk had a Wasp. It’s a bit like the Transcendent, but it has more tone and easier to use. I never recorded anything with it, I just messed around with it, it was quite good. You could mix it with other sounds to add some grit.

You’re working on the debut album of BIRMINGHAM ELECTRIC who are on ‘Subversiv-Dekadent’ with your remix of ‘How Do We End Up Here?’?

We’ve been working on quite a lot of songs together and they’ve become an album. It’s a synthpop album in its own way, Andy Evans has got a very distinctive voice that colours the music and gives it his own edge. It’s not dissimilar to how I work with Alanas Chosnau, but I try to keep Alanas’ song ideas directed towards his kind of sound, if you know what I mean. I’m also working on a second album with him. I keep them separate, but as I use the same kind of sounds, there is always this “me” thread running through the music.

When you’re writing songs with people, you have gaps while they’re figuring out their part, especially when having to do it online, so you can use the time to work with somebody else. So for example, I’m doing something with Andy and when there’s a break, I’ll do something with Alanas in between. I’m quite happy the way the BIRMINGHAM ELECTRIC album has turned out, it’s been quite a nice project.

Photo by Crystal Reeder

What’s happening with STOLEN at the moment?

STOLEN have gone from being “a band to watch” to playing headline gigs in China now. Since the pandemic, their career has had a meteoric rise, as no Western artists are allowed to play in China at the moment, so promoters have been forced to look at their home-grown talent and have realised they actually have some really good and interesting bands there.

With STOLEN having opened for NEW ORDER on their 2019 European tour, it boosted their credibility enormously back home and has added to their attraction, so now they’re performing at festivals to 25,000 people. They’re playing a gig virtually every week and in between, they’re trying to write and record another album. So, they’re sending their parts to me too, that means I’m doing three albums parallel!

I guess whoever’s gets finished first will get released first! But it’s a lot more difficult not having them in the studio, because if they were there in person, you can bounce ideas off immediately. And the time difference with someone in China and being in Europe isn’t easy, usually when they’re in the studio, you’re going to bed! It’s a bit complicated! *laughs*

I want to make everyone happy, but I also like a challenge. When it all fits, it can be very rewarding.


ELECTRICITYCLUB.CO.UK gives its sincerest thanks to Mark Reeder

‘Subversiv-Dekadent’ is released as a download double album, available from https://markreedermfs1.bandcamp.com/album/subversiv-dekadent

Mark Reeder’s Dirty Devil Remix of ‘Be A Rebel’ features on the NEW ORDER double 12” clear vinyl EP and expanded CD collection released by Mute Artists also featuring mixes by Arthur Baker, Stephen Morris, Bernard Sumner, Maceo Plex and Paul Woolford

A one hour long Operating//Generating special on Mark Reeder is broadcast for 4 weekends from Saturday 4th September 2021 at 1800 CET on laut.fm at https://laut.fm/operating-generating

https://mfsberlin.com/

https://www.facebook.com/mfsberlin

https://www.facebook.com/markreedermusic/

https://twitter.com/markreedermfs

https://www.instagram.com/markreeder.mfs/

https://open.spotify.com/artist/1n7yJzVVfUO2MiQskjmzqW

Vintage Synth Trumps is a card game by GForce that features 52 classic synthesizers available from
https://www.juno.co.uk/products/gforce-software-vintage-synth-trumps-2-playing/637937-01/


Text and Interview by Chi Ming Lai
1st September 2021

MARK REEDER Subversiv-Dekadent

‘Subversiv-Dekadent’ was the East German Secret Police classification given to Berlin-based producer and remixer Mark Reeder in his STASI file.

On Mayday 1982, Mark Reeder paid a visit to the DDR part of the then-walled city and while he was taking photos of the grand parade, he was arrested by the STASI and taken in for interrogation.

He had been under surveillance as they suspected he was working for M16 and about to assassinate their esteemed leader Erich Honecker… either that or he going to corrupt the youth of East Germany with pop music!

Indeed, it was the latter; but for those who received Reeder’s smuggled-in cassettes of JOY DIVISION, NEW ORDER and the like, it was more like an education as fictionally documented when Mark Reeder lookalike Martin Rauch, HVA agent codename Kolibri, in ‘Deutschland 83’ lit up with joy on hearing DURAN DURAN for the first time on that prize symbol of capitalism, the Sony Walkman!

During those tense Cold War times of East versus West and The Iron Curtain, all the eternally optimistic Reeder wanted to do was to unite people through music. So when The Berlin Wall fell at the end of 1989 and the imminent threat of nuclear holocaust was lifted with the promise of a better, more open-minded world, he did his bit by establishing Masterminded For Success (MFS), a dance label that achieved great success across the European club scene.

Fast forward to the 21st century, and the world is struggling with narcissists despite a pandemic crisis, driven into conflict by power, corruption and lies by that age-old management and control technique of “divide and rule” which most citizens understand but ultimately fail to actually recognise.

A recognised internationalist, Mark Reeder is doing his bit again by issuing a double album named after his STASI classification of productions and remixes made by himself and his engineer Micha Adam.

Celebrating his cross-border artistic ethos, where the songs have been restyled, he has added guitar, bass and synths while he has also lent his spoken voice to his own solo productions.

‘Subversiv-Dekadent’ is bookended by Fifi Rong who Reeder first met at the Berlin Kraftwerk in 2016 when she was singing in concert with Swiss trailblazers YELLO. The first track ‘Figure of 8’ is a magical new collaboration between the two with a cinematic backdrop of sparse piano and glistening sequences over which the exquisite Chinese songstress adds her distinctive air of mystery to a more metronomic rhythm construction than perhaps heard on her own work.

Closing the collection, Reeder offers ‘The Present is a Gift Mix’ of Fifi Rong’s 2016 single ‘Future Never Comes’, an eerie and very Berlin-inspired concoction where Chinese musical theatre meets electro Weimer Cabaret via Synth Britannia for a haunting slice of initial after brilliance

YELLO themselves appear via the superb ‘Wet&Hard Remix’ of ‘Vicious Games’; tightened up and given a modern treatment without losing the essence of the 1985 original with the sexy vocals of Rush Winters given the spotlight.

The original ‘Vicious Games’ was an intricately woven patchwork of samples and Reeder even amusingly drops in an ‘I Feel Love’ sequence during the middle eight.

‘United’ by QUEEN OF HEARTS was one of the outstanding highlights from Reeder’s previous 2017 collection ‘Mauerstadt’ and making a welcome appearance on ‘Subversiv-Dekadent’ is the track that precipitated his union with frontfrau Liz Morphew; dressed with cooing vampishness, the ‘Electrically Excited Remix’ of ‘Neon’ is nearly 8 minutes of gently energetic Schaffel.

Both having also appeared on ‘Mauerstadt’, MFU return with a ‘Brexile Remix’ of ‘Law’ that is a blend of distorted guitars, synth pulses and post-punk Mancunian vocals while THE KVB have ‘White Walls’ remodelled as a ‘Stoner Remix’, which is actually a fairly good description despite the frantic arpeggio and claustrophobic string machine.

China’s STOLEN are considered by Reeder to be the most exciting band he’s seen since NEW ORDER and his ‘Sinner Remix’ of ‘The Loop Sin’ is another of his classic productions; full of heavy propulsive grit and live textural enhancements, this denser but more compact version applies an extra bounce on the bass and highlights why the Chengdu six-piece were chosen to open for NEW ORDER on their European tour on 2019.

Of course, Reeder is known for his close friendship with NEW ORDER and his remixes of ‘Singularity’, ‘Academic’ and ‘The Game’ were notable for improving on their initial guises from the ‘Music Complete’ album. His driving ‘Cheeky Devil Remix’ of their most recent single ‘Be A Rebel’ presents a more rigid staccato treatment before tripleting in the chorus while adding guitars that were actually absent from the original mix.

One notable new inclusion to the Mark Reeder portfolio is BIRMINGHAM ELECTRIC led by Dutch-based American Andrew Evans whose previous singles ‘Light of the World’ and ‘Moving Target’ featured long-time OMD drummer Malcolm Holmes; The ‘Crying Remix’ of ‘How Do We End Up Here?’ is a rather good vibey tune with vocoder treatments like a disco lento AIR.

‘Subversiv-Dekadent’ is not just about remixes and Reeder gets to fly solo as well. The percussive ‘21st Century Girl’ sees him quoting from cult TV show ‘The Prisoner’ as his soundtrack penetrates with its almost industrial demeanour, augmented by a guitar lick reprise from his own Save Yourself Mix of ‘Manifesto’ by BLANK & JONES and a cheeky burst of T-REX’s ‘20th Century Boy’,

Described by Reeder himself as “a Wet&Hard trilogy”, the three part ‘You Can Touch Me’ starts in a moody mantric fashion with groans and synth sweeps, before pacing up with a growly bass. It all seems a bit superfluous at first but it sets the scene and gets progressively hypnotic, segueing into a propulsive rumbling section that adds more menace to an already sinister track. As Reeder impassively asks “do you want to touch me?”, it eventually slows down after a frenzy of frenetic rhythmic clatter. This is fine provocative dance music if a little too long, but when it hits the spot during the majority of its 13 minutes, it is mighty!

‘Children Of Nature’ was Reeder’s fine 2019 long player with Alanas Chosnau, best known as one of Lithuania’s biggest singing stars with his penchant for DEPECHE MODE. In an ‘Unpredictable Remix’, ‘Love Of My Life’ mutates into something more minimal but harder compared with the original mix. Meanwhile, in collaboration with Mr Sam and Rani Kamal, ‘I Surrender’ is soulful pop given a shadier new wave treatment with the incongruity adding more tension.

‘Dead Souls’ from Hong Kong domiciled Mexicans DEER Mx is not the JOY DIVISION song but a fit of snarling aggression and strident gothic drama to electronic screeches not heard since ‘Crazy Horses’ by THE OSMONDS. Ending with sampled blasts of mariachi trumpets in the background, it is delightfully odd. However, the heavy deadpan resonance of LIARS and ‘Staring at Zero’ will not be for everybody although their eccentric frontman Angus Andrew has declared Reeder’s ‘Two Thousand Yards Stare Remix’ as his favourite of his own work.

Already rock focussed, ‘Coked Up Biker Anthem’ from New York-based Zachery Allan Starkey sees Reeder realise some of his mad axeman fantasies with his guitar enhanced ‘Leather & Beers’ rework by taking the dystopian metal original into even more speedy Alice Cooper territory. But with an icy build, CEMETERY SEX FAIRIES’ ‘Tanz Allein’ sees a move away from Reeder’s usual four-on-the-floor template and maintains an enjoyably creepy quality with the scary German Grimm tales vocal.

While many purchasers will be NEW ORDER and YELLO completists after the exclusive remixes on ‘Subversiv-Dekadent’, this Mark Reeder collector has so much more to offer. As well for presenting his sometimes lesser-lauded abilities as a composer, it also provides a platform for emergent acts from all around the world to be discovered.

Despite being regarded as ‘Subversiv-Dekadent’, through music Mark Reeder has unified more people than any politician has. In this modern online environment, the influence of music is more international than ever. It makes people connect, love, dance, escape and protest. This diverse collection does that, and isn’t that what music is all about.


‘Subversiv-Dekadent’ is released by MFS as a download double album, available from https://markreedermfs1.bandcamp.com/album/subversiv-dekadent

https://mfsberlin.com/

https://www.facebook.com/mfsberlin

https://www.facebook.com/markreedermusic/

https://twitter.com/markreedermfs

https://www.instagram.com/markreeder.mfs/

https://open.spotify.com/album/0XRaQMRD4ILpdRetyRvBo6


Text by Chi Ming Lai
12th March 2021

STOLEN The Loop Sin

Chinese band STOLEN had been due to open for NEW ORDER in Spring 2020 in Japan and celebrate their 10th anniversary with a national tour. But with the coronavirus crisis, these live dates were put on hold as the world went into lockdown.

After the restrictions were lifted in their home city of Chengdu in May 2020, STOLEN performed the first post-lockdown live internet gig to over 650,000 viewers across the world. With China being able control their pandemic and its citizens compliant with the ongoing but more relaxed restrictions, STOLEN were able to embark on their tour in November 2020 to a rapturous response.

Having already supported NEW ORDER on their six date European tour in Autumn 2019, STOLEN continue to solidify their position as the leader of a new generation of Chinese artists which also includes FIFI RONG, QUIETER THAN SPIDERS and Re-TROS.

Following the release of their excellent breakthrough album ‘Fragment’ on MFS in Autumn 2018, produced by Mark Reeder and his regular collaborator Micha Adam, the Berlin based studio partnership have given the Sinomatic techno-rock sextet a subtle makeover with a Sinful Remix of ‘The Loop Sin’.

With a video using fan-recorded footage from various gigs including the 2019 NEW ORDER tour where it was the set closer, the buzzy extended jam of ‘The Loop Sin’ is a classic Reeder production full of heavy propulsive grit and live textural enhancements.

But the new denser version applies an extra bounce on the bass while additional synthetic strings and rhythmic elements boost the climatic instrumental layers over eight minutes, showcasing STOLEN’s brand of Sinomatic technorock.

The parent ‘Fragment’ album, from which ‘The Loop Sin’ was originally homed, is a well-thought out, well-crafted record with plenty of adventure, space and mystery within its multi-genre cocoon.

It all illustrates why Mark Reeder considers Liang Yi, Duan Xuan, Fangde, Yuan Yu Feng, Wu Jun Yang and graphix director Formol to be one of the bands he has been most excited about since NEW ORDER.

Meanwhile continuing his artistic kinship with NEW ORDER, there will be a Mark Reeder remix of their most recent single ‘Be A Rebel’ released in Spring 2021 via Mute Artists.


The Sinful Remix of ‘The Loop Sin’ is available via the usual digital platforms

The original version of The Loop Sin is taken from the album ‘Fragment’ released by MFS as a double vinyl LP, available from https://mfsberlin.com/

Digital formats of ‘Fragment’ available direct via https://stolenmusic.bandcamp.com/

https://www.facebook.com/STOLENfromChina/

https://www.instagram.com/stolen_official/


Text by Chi Ming Lai
21st January 2021

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