Undo Records are to release ‘History 1984-1991’, a special compilation box set of the lost French technopop act VIENNA.
Formed sometime in 1984 under the name ACADEMIE, they comprised of vocalist Odile Arias, her brother Dominique and Thierry Martinez.
Impressing with a demo that caught the attention RCA Records, they went on to support noted French band INDOCHINE who had an international hit with ‘L’Aventurier’.
Changing their name to VIENNA, their 1984 debut single was the sublime ‘Say You Love Me (Tu As Juré)’. Coincidently having named themselves after the ULTRAVOX song, Warren Cann later appeared as a guest drummer on INDOCHINE’s album ‘7000 Danses’!
Influenced by KRAFTWERK and Synth Britannia acts such as DEPECHE MODE and OMD, VIENNA sounded like a dreamy, less industrialised cousin of HARD CORPS who had supported DEPECHE MODE during the ‘Music For The Masses’ tour. But the DM connections didn’t end there for Odile was Martin Gore’s girlfriend during this period, having met at a DM show after VIENNA signed to Mute Sonet France in 1987. She can be seen as part of the Mode entourage in the D A Pennebaker documentary ‘101’.
Another great single ‘Pour Ne Pas Me Toucher’ produced by Rico Conning (best known for his ‘Blind Mix’ of DM’s ‘Strangelove’ with Daniel Miller and co-producing Gore’s ‘Counterfeit’ covers EP’) was issued shortly after but by 1989, VIENNA were no more. Odile Arias continued briefly as a solo artist, releasing ‘Reste Avec Moi’ in 1990.
Fast forward to 2014, and those singles plus B-sides like ‘Viens Dans La Chambre’ have been given a chance to shine again by Undo Records. ACADEMIE material such as ‘Push Me Down’ and the solo recordings have also been gathered on CD1 of this 4 disc set. CD2 is made up of the ‘Lost Mute Album’ while CD3-4 comprise of unheard demos including a Karl Bartos produced instrumental of ‘Pour Ne Pas Me Toucher’.
As can be expected, the sound quality is variable, ranging from full studio masters to cassette recordings but several numbers like the sparsely chirpy ‘Rendez-vous Sur La Mer Noire’ and the moodier ‘Un Dernier Dimance Avant La Guerre’ are wonderfully exquisite diamonds in the mine that have now been unearthed. Odile’s exquisite Gallic allure provides much of the enjoyment to the synthesized soundtrack.
In an exclusive interview, Odile Arias answered some questions that ELECTRICITYCLUB.CO.UK put to her about VIENNA and her time in the DEPECHE MODE circle…
When you listened back to the tapes to produce this compilation, what memories did it bring back to you?
Mainly, the first image that came back to me was either the home studio I used to work in or the ‘machines’ I used to work with for the making of this or that particular song, or the emotions or facts that had inspired it to me.
But then after a moment, it started bringing back this huge patchwork of snapshots from the eighties which I was indeed happy to recall and remember and get drowned in.
It’s a bit like the kind of feeling you can have when you bump into a close friend you haven’t seen for so many years but you’re still attached to. I am not a nostalgic person, so to me it felt nice though a bit strange to feel linked again to this part of my life. It focused on feelings that I am glad to recognize as still being part of me, but that I have other ways to express now.
Which of your songs do you think particularly stand the test of time?
Well, considering the combination of lyrics and melody, I think that the ones from the CD2, which we called the ‘Lost Mute Album’, remain very interesting and efficient. Even now, I still enjoy listening to ‘Naufragés’, ‘Un Dernier Dimanche Avant La Guerre’, ‘La Terre Est À Nous’, ‘Aller Trop Loin’ or ‘Viens Dans La Chambre’, and I’d still be very glad to sing them. But it’s quite hard for me to answer, there are so many different fields in music. Some people really like the sound of the eighties, some others definitely hate it.
To me, a good melody by itself, can always stand the test of time. I think its’ much harder to make a song where both the lyrics and the melody will stand it, and the lyrics that I wrote were definitely much better later on. For example, I’ve never really liked ‘Say You Love Me’. I don’t know why the record company choose this one song for the single? Even then, I had much better ones. The manner of thinking of most artistic directors I have met will always remain a mystery for me.
You had the opportunity to do a version of ‘Pour Ne Pas Me Toucher’ with Karl Bartos?
We all used to be very fond of KRAFTWERK and Karl Bartos was a friend of our first producer, Maxime Schmidt who had been involved in some KRAFTWERK’s promotion or production and with whom he shared the same passion for cycling. After meeting him in Paris, Karl came to visit us in this studio in Belgium while we were working on the first version of this song. He clicked on the melody and once back to Germany he created this own new version of the song with a friend of his, and Maxime gave us the option to release it if we wished to. It was so amazing!
Well on the other hand, working with them on that song implied that I would have to go to Germany alone, not with the band I mean, and then work on our music without the band. It was quite hard to decide, I was really puzzled.
Karl’s version also sounded very much “KRAFTWERK” style and not really “VIENNA” anymore. My admiration for KRAFTWERK was so strong that I thought I might not be able to defend my own notion of this “VIENNA” sound, so that in the end, right or wrong… and probably wrong though… I didn’t go!
Why did the debut album from VIENNA originally never actually get finished / released?
Our first record company, RCA/BMG, was waiting for a really successful single before investing any money in an album. But we didn’t stay long enough with them. Maybe they didn’t bet on the right songs also. Very quickly deep disagreements arose between us and Maxime Schmidt.
We then shifted to Mute Sonet France, with more interesting producers and sound engineers, something humanely and musically much closer to our expectations, more stimulating also, but then again they still shared the same marketing approach. That’s why the ‘Lost Mute Album’ is merely a projection of what our first VIENNA album could have been.
Retrospectively, with hindsight, I think we should have given more concerts so as to defend the songs that we wished to use in an album.
Do you think your close relationship with DEPECHE MODE helped or hindered you?
Neither one nor the other I think, I mean «professionally».
I was very determined not to use my relationship with Martin to obtain benefits for VIENNA. That was really important to me. I didn’t feel like boasting or using this nice feeling so as to promote myself or my band and become more famous through it. For example, I never took any pictures of me with Martin… which I regret now, of course, so if anyone still has any of these, I would certainly be very happy to see them and of course have them! Rather hard to believe in the Facebook world! But on the other hand, it certainly helped me in my musical and personal development.
Martin encouraged me a lot to go on and keep working on my own music. With the greatest simplicity and humility, he introduced me to his own way of working, to different practices and approaches. I could just enter the studio while he was recording ‘Counterfeit’, his first solo album with Rico Coning, and stay with them, listen, learn…
And I’ve also learned a lot from the DM concerts, from backstage on the ‘101’ tour. Martin also introduced me to the Elvis world and to the country music which was totally unknown to me. Well, it’s quite a shame but I’ve grown up mostly listening to either French songwriters or classical music. I still had lots to learn. Then again, what better music lesson indeed than witnessing the birth of ‘Personal Jesus’ or ‘Enjoy the Silence’?
What did you do after VIENNA dissolved? Are you still doing music?
I’ve released one single with Mute Sonet France and wrote some of the songs that can now be found in the VIENNA Box. I made a demo with Bertrand Burgalat with a French cover of ‘A Letter To A Friend’, but we never released it. I took Church Organ lessons at the Conservatoire de Musique of Marseille. Big sound with no plugs and wires, rehearsing alone in a dark and gloomy empty church, (a childhood dream of mine!), and also an introduction to counterpoint, harmony, and a basic ways of writing music on paper.
I followed my Italian fashion photographer boyfriend, Antonio Capa, in Italy and worked with him as a collaborator, but never stopped writing some kind of easy piano sketches to be reused later on, like some kind of intimate musical note book .
After having converted my analogical home studio into a digital one, I wrote a lot of new songs, mostly with just piano, voice, and very light arrangements, giving more importance on the lyrics, with the idea of offering them to French singers who could be interested. I ended up with a very warm response from Michel Coeuriot, a quite famous French producer I had always been very found of, and who used to work with my favourites French songwriters. He was willing to work on the arrangements of my songs and offered me to start doing so immediately.
This was the beginning of a very exiting collaboration that finally decided me to try to stay in Paris, where I moved with Antonio.
Unfortunately while working on the final demos, Antonio fell seriously ill, having a cancer, so I suspended the project to just care for him until he died, in Italy.
Then I had to quickly find a new way of living and of supporting my own self, afford a place to stay, find a job, everything. Financially, it was no longer possible for me to go on with the music in Paris. I was in Italy then and I sure preferred to stay there.
Now I live in Italy, by the sea, in this beautiful wild Liguria, were I met a huge diversity of amazing musicians. I am still doing music, of course: giving a hand to the mix for some concerts, playing the accordion with great amatory band, GLI ILLUSTRI CUGNI who play covers of Fabrizio De Andrè (a very famous and important Italian’s poetry songwriter I discovered while living here), giving local concerts singing French songs from the sixties with local fellow musicians in my little band ODILE ET SES COPAINS, giving piano lessons also.
Nothing professional, just a different, simpler and more humble approach of music, where I am still learning and discovering things with lot of fun and the freedom that success most of the time… I think… robs you.
ELECTRICITYCLUB.CO.UK gives its warmest thanks to Odile Arias
The release of DEPECHE MODE’s ‘Delta Machine’ this week has been welcomed by Devotees around the world. Cited by many as a return to form, Mode fans are in a happy place right now.
One fan who is especially happy is noted Slovakian harpist MICHAL MATEJCIK who was invited by none other than Martin Gore to play at the weekend’s album launch party in Vienna which DEPECHE MODE also attended and performed at.
He came to prominence within the DM Community following a solo European tour performing DEPECHE MODE songs such as ‘Pimpf‘, ‘Enjoy The Silence‘ and ‘A Question Of Time‘ rearranged for the harp. His performances drew acclaim and praise, culminating in a special broadcast of one show on Bratislava‘s Radio FM last December.
He once described playing harp as being like a union between music and painting for him. As well as playing in large orchestras and smaller ensembles, Michal also teaches piano and harp. Last year he toured with GEORGE MICHAEL and the multi-national popoperatic vocal quartet IL DIVO.
Michal kindly spoke to ELECTRICITYCLUB.CO.UK about the motivations for his moving, classical reinterpretations of Basildon’s finest and opening for his favourite band…
How did you first discover DEPECHE MODE?
It was sometime in the late 80s when I got hold of some tapes from a school mate of mine. I grew up in ex-Czechoslovakia in the times when the music from The West was under strict censorship. The sources for this music were only the smuggled tapes in very bad quality with not even whole songs and recordings from Western radio stations. After hearing those synth sounds, it was love at the first sight.
So were you at any time interested in taking up the synthesizer in your own musical career rather than the harp?
I have been playing piano since my childhood and as a child I wanted to have some synthesizers and make music like DM. Only when I was 18 did I start playing harp and at that time, DM were already using more guitars and drums than synthesizers. So I didn’t think about the change in the end.
How did you get inspired to arrange DM songs for the harp?
I arranged DM songs for the piano and guitar first so when I begun to play the harp I tried only ‘Enjoy The Silence‘ because it’s very melodic. I thought it was impossible to arrange other songs. A few years later , a very good friend of mine – Martin Vladar (who you might be familiar with from his collaboration on Alan Wilder’s ‘Collected‘ film) organised a DEPECHE MODE party and asked me if I could play some songs on harp at the party, because that would be something brand new, not what fans have seen and heard before. I thought it was a very good idea – bringing DM songs to fans but in a completely different way. So I started to arrange more tracks.
Of course in your day job, you have been integrating classical into pop music and recently toured with GEORGE MICHAEL. What was that experience like for you?
It was the best experience in my life. The touring is very exciting and playing in sold-out big arenas with a popstar like GEORGE MICHAEL was always my dream. This tour with GM was very important for me and it was nice to play song ‘I Remember You’ alone with him on stage, only the two of us. I was lucky to experience everything backstage and see all crew in action, see whole process of building the stage and meet interesting people like Kerry Hopwood who is also programmer on the DM tour.
As a classically trained musician, you are in a better position than most to assess the music. So what is it about the quality of DM’s work that makes them so appealing in a theoretical sense?
In theory, musically speaking, it is combination of all the harmonies, sound colours, rhythm ideas, instrumental riffs, tones range, overall development and timing in the track, the minor/major key of the song and also Dave and Martin’s voices. All these factors make the songs interesting.
I think Alan used to mix them all very well with his meticulous sense for soundscapes and I guess something’s got lost from their songs after his departure. Anyway, this question would be very good topic for a dissertation at the Royal Academy Of Music. 🙂
‘It Doesn’t Matter Two’ is a case in point as that appears to have been influenced by modern composer Philip Glass?
Oh really? Thank you, my students like to play Glass, so for the next lesson, their homework will be ‘It Doesn’t Matter Two’ 🙂
Well, I don’t think I have the right to say it was influenced. If the influence for this song was by Philip Glass, I know that Alan at that time was listening to his music. We could as well say that ‘Speak & Spell’ was influenced by Mozart, because the album is very simple, easy, funny – just like Mozart’s music.
What is your favourite DM song to play live on the harp?
‘It Doesn’t Matter Two’ works well and I like to play ‘Clean‘ also. This last track from ‘Violator‘ is very emotional and atmospheric with a heavy melody and I am glad that I could arrange it for such an instrument like harp. Actually I have adapted the acoustic version DM played during PTA studio sessions.
Always when I come to play the DM covers on harp I ask this question: “Will the audience accept my arrangements?”. DM fans are not really that kind of people who visit classical music concerts and don’t have the experiences to listen to one classical instrument for one hour. So for some tracks, I use programmed drums or Dave’s vocals and try to make it more interesting for the audience.
Has there been a DM song you’ve wanted to do but that just doesn’t work on the harp?
Oh yeah, plenty of them of course. There are many reasons why DM songs wouldn’t work on harp. Firstly, there are emotional lyrics people relate to and when I arrange DM songs for harp in the instrumental form, the lyrics are lost and they just don’t work that well. I can work with melodies only and if there is a good strong one, then it’s good for harp. But the most problematic tracks to adapt for harp are ‘Songs Of Faith & Devotion‘ songs. Every song has a fantastic development, graduating layering of sounds with every verse and every chorus plus there are really big atmospheres in the songs. That’s why it’s difficult to play them only on one instrument.
How was it performing at the Vienna album launch party with DEPECHE MODE present?
It was really an honour to open for DEPECHE MODE as I am a big longtime fan. Everything came all of a sudden and clicked easily. I received an email with an offer to support DM in Vienna and then the things just happened. And I don’t remember in DM’s history that a support act would actually play their own songs!
The crowd’s reaction was fantastic and they enjoyed the harp covers because people were singing to what I was playing and even waved their hands in ‘Never Let Me Down Again‘. Martin and Peter Gordeno came to watch my performance from the backstage and they laughed when the fans were singing to harp. I am really glad I got such opportunity and my dream came true.
What are your own favourite DEPECHE MODE memories?
Many of my favourite life memories come with DM’s music really. There are many tracks that remind me particular event or era, or there’s a track that evokes some mood or emotional state I was in.
ELECTRICITYCLUB.CO.UK gives its grateful thanks to MICHAL MATEJCIK
Special thanks also to Deb Danahay
MICHAL MATEJCIK gives a performance in Bratislava on 6th April 2013 the Nu Spirit Club as part of an official release party for new DEPECHE MODE album
Also on 22th April 2013, he gives another performance in Slovakia for another release party for ‘Delta Machine‘ in the city of Banska Bystrica at Klub 77. And on 30th May 2013, there will be a performance at Babylon in Berlin as a part of a book presentation. This has been written by Dennis Burmeister and Sasha Scherbelberg who have one of the biggest DM collections in the world. This book, entitled ‘Monument’, details their collection
It was a weak year musically overall, but a number of acts with great potential emerged.
However, in stronger years, a fair number of these acts would not have been shortlisted, it has to be said. So here are ELECTRICITYCLUB.CO.UK’s 30 Songs of 2012, listed in alphabetical order.
All have been released either in physical formats or digitally as purchasable or free downloads during the calendar year.
However, the list is limited to one song per artist. It also does not include tracks which are exclusive to streams and videos or DJs only promos like the remix of REPUBLICA’s ‘Christiana Obey’… so maybe next year perhaps?
AUTOMATIC WRITING Continuous
Consisting of the Merrick Brothers, AUTOMATIC WRITING are the angry OMD if you can imagine that! Their sombre, ENO influenced template is like Wirral’s finest have been given a contemporary anthemic facelift by having WHITE LIES Harry McVeigh recruited as lead vocalist! ‘Continuous’ whirs and spins while driven by mutant motorik beats and dysfunctional claustrophobia. The flip ‘Falling’ is a more mid-tempo cousin and is another worthy addition to the duo’s developing sound.
BRIGHT LIGHT BRIGHT LIGHT is Welsh songwriter/producer Rod Thomas who adopted his ‘Gremlins’ referencing moniker to prevent being mistaken for an acoustic act which he clearly now is not, despite his folkie roots. As the opener to the long awaited album ‘Make Me Believe In Hope’, ‘Immature’ is a great start as it rhythmically percolates in the manner of THE POSTAL SERVICE before a terrific synth section unexpectedly lifts the whole piece several notches. This is a superbly emotive and sensitive piece of pop.
Available on the album ‘Make Me Believe in Hope’ via The Blue Team/Aztec Records
From ‘The Lost Are Found’ album produced by Stephen Hague which also features versions of songs originally by PET SHOP BOYS, DUBSTAR and STINA NORDENSTRAM among others, CLAUDIA BRÜCKEN’s lively reinterpretation of Bowie’s ‘Everyone Says Hi’ from ‘Heathen’ unveils a previously hidden heartfelt connection, a call for contact like Major Tom in ‘Space Oddity’. Dressed with catchy synth riffs and fuzzy shades, it combines ice maiden chill and organic warmth for an artful sound.
Available on the album ‘The Lost Are Found’ via There (there)
ROBYN doing an electro cover of ‘The Whole Of The Moon’ may not sound immediately appealing in concept but that’s how this punchy number starts before elevating into a rousing, spirited synth anthem. CHVRCHES could become the next electro combo to shake up the mainstream pop world since LA ROUX. A great song with great melodies and weird noises, herein ‘Lies’ the bridge between leftfield and bubblegum pop. The follow-up ‘The Mothers We Share’ underlines this promising Glaswegian trio’s capability.
VINCE CLARKE Featuring ANE BRUN Fly On The Windscreen
Novelist Tonya Hurley commissioned her brother-in-law VINCE CLARKE to record a stark cover of his former band’s ‘Fly On The Windscreen’ with vocalist ANE BRUN as part of promotion for her literary trilogy ‘The Blessed’. While the guitar-like textures appear to have been borrowed from the original in an act of artistic continuity, the rest of the arrangement is quite different as the vulnerable feminine twist acts as the ‘Twilight’ Generation’s perfect introduction to DEPECHE MODE.
Available as a download single via iTunes and Amazon
COMPUTE is Ulrika Mild, a Gothenburg girl who discovered synthpop via DEPECHE MODE’s ‘Speak and Spell’. ‘Light As a Feather’ is a bouncy but melancholic ditty which suggests a snow mountain of vulnerability. That is certainly apparent in Ulrika’s sweet, fragile voice. It’s beautifully sequenced with layers of eerie string machine for that distinctive Nordic chill.
Available on download album ‘The Distance’ via iTunes and Amazon
Roberta Fidora shows yet another fine turn of aggressive resignation like SIOUXSIE SIOUX in a padded cell while instrumentalist Macaulay Hopwood picks out his unsettling bass notes to full effect. While this CURXES tune is perhaps more guitar driven than what would normally be expected of most electronica, ‘Spectre’ is positively Spartan with symphonic synth stabs and industrial beat snaps…it’s the sound of the overground or Goth ‘n’ Bass…or even Gotham Bass; geddit? Simply exhilarating!
Available as a download single via Amazon and iTunes
DIVINE KNIGHTS Clouds (THE SANFERNANDO SOUND remix)
Goth laden PET SHOP BOYS from the theatrical Aussie duo dreamily remixed by THE SANFERNANDO SOUND. This is richly synthesized with lashings of atmosphere and accessible melancholy. The extrovertly camp pair have even subverted the realm of the talent show by getting into the semi-finals of ‘Australia’s Got Talent’. Dannii Minogue said: “I think DIVINE KNIGHTS are brave for coming on a show like this because not everybody is going to get them…but I really hope they do well!”
Available as a download single via Amazon and iTunes
Texan duo ELEVEN:ELEVEN comprise the feline vocals of Sicca with the instrumentation of Jake Childs and throw in a variety of influences including Italo Disco, Hi-NRG and Electroclash. ‘No Words’ recalls MISS KITTEN & THE HACKER, capturing a tense nightlife seediness. Short but sweet with a swirling middle section, who needs an extended dance mix when the point is made in two and a half minutes? ELEVEN:ELEVEN have proved danceable electronic pop music can be made that’s syncopated and subtle.
GAZELLE TWIN Changelings (JOHN FOXX & THE MATHS remix)
Stark and mysterious, the living art of GAZELLE TWIN is the moniker of Elizabeth Walling, the Brighton based songstress whose brooding, unsettling Hauntronica has impressed in all the right circles. JOHN FOXX & THE MATHS’ version of one of her best tracks ‘Changelings’ sees Mr Foxx adding his own Cathedral Oceans sweeps to Benge’s Mathematical solutions. In an productive year profile wise, her music was used in the promotion for the film ‘Prometheus’.
Available on the album ‘The Entire City Remixed’ via Anti-Ghost Moon Ray Records
GRIMES is the kooky Montreal sensation that is Clare Boucher and this LYKKE LI fronting KRAFTWERK tune is sumptuously infectious. Despite almost unintelligible vocals, ‘Oblivion’ is probably the most immediate track on the ‘Visions’ album although other tracks like ‘Genesis’ and ‘Be A Body’ explore similarly accessible synthesized avenues. ‘Oblivion’ is ideal for those looking for subtler percussive colours and synthesized tapestries in a leftfield lady meets pop princess fusion.
HUSKI first came to public attention on the trendy Shoreditch electro scene back in 2007 with ‘Take Me Your Picture’. The late lamented Word magazine described ‘Close To The Edge’ as sounding “not unlike how Clare Grogan might if she took a guest slot with THE HUMAN LEAGUE”. As both THE HUMAN LEAGUE and ALTERED IMAGES worked with the late Martin Rushent, that is not as peculiar as it first sounds and it brims with a cutesy allure.
IAMAMIWHOIAMI is the enigmatic electronic multimedia project fronted by Jonna Lee. From her first full length album ‘Kin’, ‘Drops’ is uptempo but almost trancelike. The beats are subtle with just layers of ice and chill to compliment. The clattering fits of noise and metallic textures add to the hypnotism. Jonna Lee’s piercing larynx will polarise listeners but this is Nordic weirdness in all its wonderful glory.
Available on the album ‘Kin’ via To Whom It May Concern
Hailing from Belgrade and featuring the nucleus of vocalist Jelena Miletić and instrumentalist Jovan Vesić, INJE have had the pleasure of supporting HURTS and FAITHLESS in their home country. Their chromatic East European charge will almost certainly please followers of LADYTRON. The excellent ‘Kofein I CO2’ from their EP ‘Protok’ is sort of DUBSTAR in Serbo-Croat meets DAVID LYNCH soundtrack, possessing an aural magnetism that is gorgeously layered with an air of wispy innocence.
‘Killer Boots’ is cooing new wave electropop with an immediately catchy Italo vibe…think ‘Self Control’ or even ‘Touch Me’! Appropriately decadent and sexy, this catchy song is produced by GARY NUMAN collaborator Andy Gray. Colourful, energetic and glamourous, KOVAK are like BLONDIE meeting DRAGONETTE and GWEN STEFANI through a TUBEWAY ARMY voltage controlled filter.
Is it dubstep or is it electro? ‘Keep On Dreaming’ actually sounds more like the latter. When the half beat/two step influences kick in, luckily they do so without the irritating, skipping CD nightmares that devilishly plague most dubstep. But like with all crossover songs, it is the flavour rather than the full blown experience that often wins favour. Confused? Just enjoy… this number by young Stockholm songstress Josefine Jinder features lots of lovely synths!
From the creative minds of former MIRRORS man Ally Young and Lee Newell from one-time indie darlings VIVA BROTHER, ‘Braveface’ is a chilling but uplifting piece of mood music which comes over like OMD fronted by HARD FI! With its Cool Britannia meets Synth Britannia fusion via the Big Apple, LOVELIFE’s genre blend may be confusing indie and electronic music fans alike but at least it’s different.
Since slimming down to a trio, MIRRORS have been heading for a sparser, textural direction which is perhaps less immediate than their debut album ‘Lights & Offerings’ but nevertheless rewarding with further listens. The beautifully stark drama of ‘Between Four Walls’ is sublime and full of post 3am drama. With echoes of OMD, CHINA CRISIS and THE BLUE NILE, it is high end atmospheric electronic balladry at its best. “Do you ever wonder how you’ll ever get there when you never turn back around?”
Comprising of Glen Wisbey on synths and the suave persona of Christopher Beecham on vocals, MODOVAR’s most immediate number is the emotively rousing ‘Clearly’. Beecham is a man with a self-confessed admiration of ALISON MOYET so ‘Clearly’ connects as a song of love in the first degree. It is just one of their “melodic, anthemic, chorus led songs, lyrically focused on the undercurrents of love and the human condition”. Also check out their cover of ROXY MUSIC’s ‘Same Old Scene’.
Available on the download EP ‘Clearly’ via Amazon and iTunes
MOTOR’s electro stomper ‘Man Made Machine’ features vocals by DEPECHE MODE’s Martin Gore in a collaboration that sounds not unlike a camp IGGY POP being backed by an angry GOLDFRAPP. In the absence of DM material in 2012, this has been a worthy substitute with Gore luring nervously over the duo’s brand of harder edged techno electro. Incidentally, the same titled parent album also features guest such as GARY NUMAN and NITZER EBB’s Douglas J McCarthy.
New York domiciled Anglophile duo THE MYSTIC UNDERGROUND’s make “pop songs for the disenchanted, disillusioned and disenfranchised”. Featuring Vladimir Valette on vocals and Benedetto Socci on keyboards, their “life…set to a dance beat” touches a nerve and now more so than the NEW ORDER influenced ‘Remember Me’. An emotive guitar assisted number in the vein of ‘Leave Me Alone’, it is slightly mournful and despaired but melodically secure.
Available on the download EP ‘Dreamers & Lovers’ via Stereosonic Recordings
BJÖRK goes synthy via THE KNIFE on ‘Thousand Loaded Guns’, a danceable tune that provides a degree of accessibility into the world of darker Nordic climes. Hailing from the forests of Djura in Sweden, KARIN PARK is yet another child of Drejer-Andersson, straddling between electropop and artier aspirations. Her sound is sonically awkward, albeit in a liberating artistic way. Scandinavia is a great place to be musically at the moment.
Available on the album ‘Highwire Poetry’ via State Of The Eye Recordings
Following her Arrival in 2011, QUEEN OF HEARTS graced the music world with a glitzy slice of electro schaffel appropriately entitled ‘Neon’. On first hearing this live, The Electricity Club gleefully pronounced that this managed to out Goldfrapp GOLDFRAPP. While this had the obvious hallmarks of Lady Alison’s glam stomp, Queenie added her own cooing poptastic flavour, recalling RACHEL STEVENS’ under rated and great lost album ‘Come & Get It’.
Available on the download EP ‘Neon’ via All Things Go Records
Hailing from downtown Los Angeles, RITUALS comprise vocalist Neil Popkin and electronic producer Julian Denis. ‘James’ is rousing neo-NEW ORDER meets THE BRAVERY (remember them?) stomper which is only slightly short of being outstanding due to its demo-ish production…but the song resonates with an appealing doom. ‘Walk Away’ from their 2011 debut EP is another fine example of their potential.
SIN COS TAN Trust SIN COS TAN is the new mathematically charged project of ace producer Jori Hulkkonen and VILLA NAH’s Juho Paalosmaa, “a synthesized duo of great promise, broken dreams, and long nights”. They have certainly delivered with ‘Trust’, all draped in melancholy with emotive vocals haunted by the ghost of Billy Mackenzie. This is subtle, hypnotic dance music with layered strings, sampled cimbalom and Cold War dramatics, it is one of the songs of the year.
Available on the album ‘Sin Cos Tan’ via Solina (Europe) and Sugarcane Recordings (Rest of World)
Bristol’s SINESTAR are a full blown five-piece band with drums, bass and guitar as well as synths and their MESH derived synthesized rock has the potential to crossover into several electronic sub-genres. With a so far small but impressive body of work as showcased on the ‘I Am The Rain’ EP, the terrific ‘Hurricane’ is like FAITHLESS gone rock! Catchy, tuneful and anthemic, they just need to work on the production.
Available on the download EP ‘I Am The Rain’ via Dead Rat Recordings.
STRANGERS have been perilously close to COLDPLAY territory on occasions. But on ‘Safe/Pain’, a moody slice of sweeping synth noir with a lonely piano intro, the big surprise comes when a series of rave stabs cut in for the ultimate euphoric lift, crossed with a bit of dubstep! The BBC loved ‘Safe/Pain’ and used it for a clip of Team GB’s immense cycling achievements at the end of the London 2012 Olympics, while they got support slots with BLANCMANGE and CLAUDIA BRÜCKEN under their belt.
‘It’s Dark’ could be RAMMSTEIN reincarnated as DEPECHE MODE with fewer the flame throwers! TITANS’ vocalist Dan Von Hoyel sounds like a lower register Dave Gahan winning a fight with a less Teutonic Till Lindemann. In an electronic sub-genre known for its shouting, ‘It’s Dark’ manages to sound menacing without forcing the aggression. The edgy electronic backing from Fredrik Mattsson and Jimmy Svensson blends marvellously with the band’s doompop manifesto.
Available on the download album ‘For The Long Gone’ via Progress Productions
There were so many songs that could have been chosen but with this opener from their err… Brilliant comeback album was ULTRAVOX’s optimistic message of intent. Musically, ‘Live’ is ‘Dancing With Tears In My Eyes’ without the imminent nuclear holocaust! The instrumental breakdown, which drops to a magnificent pulsing sequence, piano and lone bass drum before the climax, is pure LA DÜSSELDORF and really is something to be savoured.
Available on the album ‘Brilliant’ via Eden Recordings/EMI Records
While recording their long awaited new album ‘Inhale’, MARSHEAUX added to their remix portfolio with a terrific reworking of a track dating back to 1969 by Japanese classic singer SAORI YUKI. Adding incessant beats, infectious pulsing synth and melancholic washes of sound to the more organic re-recording with PINK MARTINI from 2011, this brings Kayokyoku (a style of Japanese music thatabsorbs various Western styles) into the electro age with a Melody For a New Dawn.
DEPECHE MODE founder members Vince Clarke and Martin Gore have recorded together for the first time since 1981’s ‘Speak & Spell’.
The fruit of their endeavours is ‘Ssss’, a collection of minimal techno which is very much Martin Gore’s kind of disco.
Indeed, the album is very reminiscent of Gore’s DJ set on the final night of 2011’s Short Circuit Presents Mute. ERASURE were headlining the event and it was there that the pair first discussed their project formally.
The tracks were put together by the two Basildon electro boys via exchange of sound files by email.
The most immediate track is the marvellous ‘Lowly’ which opens the album with some sweeping synthetic strings over metronmic rhythms. Other tracks like first single ‘Spock’ follow-up ‘Single Blip’ and the ironically titled ‘Skip This Track’ follow a more stripped system of incessant dance but overall, these tracks are possibly more accessible than purer forms of techno, thanks partly to the duo’s inherent song based prowess.
However, ‘Ssss’ is distinctly wordless but provides an interesting beat driven addition to the lineage that already includes YAZOO, THE ASSEMBLY, ERASURE, RECOIL and various other solo DM projects. With regards ‘Ssss’, The Blitz Club’s legendary DJ Rusty Egan has commented “…love the VCMG album”.
SARAH BLACKWOOD has been a striking presence on the music scene since 1995.
First as the singer of DUBSTAR, she scored hits with lush Stephen Hague produced kitchen sink dramas such as ‘Not So Manic Now’, ‘Stars’ and ‘No More Talk’. Following three albums ‘Disgraceful’, ‘Goodbye’ and ‘Make It Better’ on Food Records and increasingly muted interest from a public still drunk on ‘Cool Britannia’, DUBSTAR disbanded and in 2002, Sarah was recruited to front female synthpop duo TECHNIQUE.
The brainchild of multi-instrumentalist Kate Holmes, TECHNIQUE’s superb ‘You & Me’ was massively popular in the Far East via a cover version by Chinese songstress Coco Lee. They had been booked to support DEPECHE MODE in Europe when original singer Xan Tyler went AWOL.
Somewhere in Leipzig of what became a 15 date tour with Basildon’s finest, Kate and Sarah chose the name CLIENT and adopted a musikarbeiter approach in the tradition of KRAFTWERK’s ‘The Man Machine’. They also initially shunned using their real names, choosing to be mysteriously referred to as Client A and Client B in a ‘1984’ inspired Orwellian twist.
Signed to Mute Records via the Toast Hawaii imprint curated by DEPECHE MODE’s Andy Fletcher, CLIENT released two well received albums ‘Client’ (2003) and ‘City’ (2004). With their eponymous manifesto, they announced “Client… satisfaction guaranteed… innovate never imitate… we aim to please… .at your service”. This impressed all the right people and they were invited to play prestigious supports slots with electronic godfather KARL BARTOS.
Achieving greater success in Europe than in the UK with their own brand of gritty electro, CLIENT signed to German label Out Of Line who issued their last two albums ‘Heartland’ (2007) and ‘Command’ (2009) on the continent.
Meanwhile back home, they established their own Loser Friendly label and a fashion line. In the interim during 2008, Sarah issued a Client B solo EP ‘Acoustic At The Club Bar Dining’ which featured former DUBSTAR bandmate Chris Wilkie. Included were stripped down versions of both DUBSTAR and CLIENT songs plus covers of NEW ORDER’s ‘True Faith’ and THE SMITHS’ ‘Stop Me If You Think You’ve Heard This One Before’.
Playing live shows with both CLIENT and DUBSTAR in Europe throughout 2010, Sarah Blackwood aka Client B gave a highly insightful interview to ELECTRICITYCLUB.CO.UK over coffee about her influences, her career so far with her two acclaimed bands, women in electro and… Alison Goldfrapp’s breasts!!
How did you first get into electronic pop music and who inspired you?
I can remember the first I saw KRAFTWERK on ‘Top Of The Pops’.
I can’t remember how old I was, but I remember my dad getting hold of me and dragging me in front of the TV going “listen to this, this is fantastic” and that’s one memory that kinda sticks in my head.
And the other one was seeing GRACE JONES with a cigarette in her mouth… she’s not really electronic but she’s just that glacial sort of cool, I thought was she was the coolest thing ever.
When you’re kids and you’re all growing up, you all share music and my mates were really into Lionel Richie and Whitney Houston and I was like “it’s alright” . And then PET SHOP BOYS ‘West End Girls’ hit and I was like “Oh! That’s me!”. And friends who realised I liked PET SHOP BOYS said “you might like THE CURE, THE THE, DEPECHE MODE” and I got into it through all that.
But I love all sorts of music, not just electronic. But it’s more electronic that pushes my buttons, cos I was a real rock girl when I was growing up. I liked LED ZEPPELIN and things like that, I used to hang out in rockers’ pubs and now I just can’t listen to it! Just completely OD-ed on 70s excessive guitar!
And that was the whole thing about DUBSTAR, Chris Wilkie’s guitar playing was so restrained but on tour, he was sometimes “I’m so miserable, I just want to do a Jimmy Page solo just to let out all my fury! I need some catharsis”. But he just doesn’t play like that cos he’s such a modest guy that he wouldn’t play like that anyway!
I think it’s sometimes difficult to get guitarists to hold back, they’re quite egocentric.
Yeah, but Chris is not like that, he was so understated and I was always trying to push him forward in DUBSTAR but he was very low in the mix. This time I’ve gone more Chris driven.
You’ve heard this guitarist joke haven’t you? What have premature ejaculation and a guitar solo got in common? You know when it’s coming and there’s sod all you can do about it!!
Ha! Ha! I mean it’s just like that dinosaur sort of… y’know, Jimmy Page playing bloody guitar with a bow! It’s just like making noise, it’s not even clever! It’s just… UGH! Not that it’s anything against Jimmy Page cos he was a childhood idol and all that, but so was MADONNA!
You been spotted at recent YAZOO and HEAVEN 17 gigs? Are the bands of your youth still something that you’re very passionate about?
Yeah, they’re part of your fabric of your growing up.
For me it would be ABBA I think, I was a massive ABBA fan. I suppose they’re more pop than electronic, but that song MADONNA did ‘Nothing Really Matters’ on ‘Ray Of Light’, it’s so ABBA it’s just wonderful. And the new SOPHIE ELLIS-BEXTOR song ‘Bitter Sweet’, that’s so ABBA, the harmonies! It’s what I grew up with, ABBA and THE BEATLES.
You joined TECHNIQUE in 2001 for the DEPECHE MODE tour, were you singing songs like ‘You & Me’ from the Pop Philosophy mini-album?
Yeah, that’s a great song!
I’d love to hear a recording of you singing it.
That’s a good idea! And ‘Quiet Storm’, that was a really good one!
When CLIENT first started in 2002, the musical landscape was quite different and you were fighting a battle for the synthesizer with LADYTRON, MISS KITTIN and GOLDFRAPP.
We didn’t know all this was going on. Me and Kate shut ourselves away and just started making music together. Then we took it to our publisher and he just went “Have you listened to MISS KITTIN?” and we went “No, who’s MISS KITTIN?”, “Have you listened to LADYTRON?” and we went “Who are they?”
And it was like, “oh my god”, there’s something going on out here and we felt like we were just treading in the water.
And then all the electroclash struck with a vengeance and suddenly it was PEACHES because GOLDFRAPP hadn’t actually embraced the scene at that point, they were still doing ‘Felt Mountain’, which I think really was better. I love Alison Goldfrapp’s voice, it’s great but I don’t like it when it’s all about the sound as opposed to what she’s singing about. I don’t like singers who don’t pronounce the words properly!
When you heard all about these girls, did you ever feel any kind of affinity with them like you were sisters in arms?
Yeah, I mean like the LADYTRON girls. I was a bit disappointed with them on tour cos they weren’t that friendly, but then I realised they’d been sat on a bus for three months and we hadn’t! They didn’t really want to socialise. I thought they were so cool and I was a bit starstruck by them I guess!
The lads were really friendly. But then I could see it from their point of view; when you’re felling like, really mucky and you’ve been on a bus for three months, it’s just horrible!
But the landscape has changed now…
I think we’ve paved the way but to be honest, people are seeing it as a fashion thing again, that women in electronic music is yet another passing fashion and it isn’t I’m afraid! WE’RE HERE TO STAY!!
What do you think of the recent bunch electropop girls like LITTLE BOOTS and LA ROUX that you helped open the doors for?
I really admire them, they have far more balls and self awareness than I had when I was their age and that helps to make them good songwriters. I’m in awe. Go girls!!
What did you think their albums?
The LITTLE BOOTS one I liked and LA ROUX, I went “oh god, it’s an 80s pastiche”, but actually it’s the LA ROUX one I’m still playing. I think she’s really got it and she’s made my DJ set. I also love LADYHAWKE.
And what do you think of the new crop of boys like MIRRORS, HURTS and VILLA NAH?
I’ve heard HURTS, it’s like JOY DIVISION meets PET SHOP BOYS so they can’t go wrong but I can’t find anything! It’s so difficult to know about music these days. I just go on iTunes and Spotify and let it lead me. That’s quite exciting, but I always end up at THROBBING GRISTLE somehow!!
CLIENT are well known for their sexy Cold War Chic. Where did the original inspiration for the uniform look come from?
Cold War Chic… oh, I like that!
Basically, it started because we didn’t know what to wear on tour with DEPECHE MODE and we just thought “we’re not trying to upstage them, we just want something that will blend us in, we don’t want to look the height of fashion, we don’t want to spend too much money and we want to feel like everyone”. Plus if they threw anything at us, we wanted it to be something that was sort of disposable so we thought of the uniforms!
It was then kind of the Miss Moneypenny thing; secretary, sexually frustrated, all repressed because I had a very religious upbringing. Kate was like “God, your childhood sounds just like ‘Oranges Are Not The Only Fruit'”! I mean it wasn’t… my poor mum and dad, no it wasn’t! But it was kind of religious!
With the uniforms, it felt like we were going to work in the music industry and it’s a play on that as well. “Cheap cotton outfits” as Brix Smith-Start kindly observed! She came on tour with us and was so much fun. She has since re-invented herself as a successful style guru but she was one of the first iconic girl bass players… sod all the grunge girls, Brix was there first and so cool in THE FALL.
CLIENT’s success in Germany continues and you seem much happier with Out of Line Records there. Why do you think you’re more appreciated in the spiritual home of modern electronic music than in the UK?
People in the UK perceive electronic music as cheating I think. They like to see the blood sweat and tears and guitar music is seen as more emotionally honest… striking a chord on the heartstrings haha!!!
I don’t think people can appreciate the skill in electronic music… it’s more of a behind the scenes construction as opposed to an in-your-face performance and because we have no real tradition of electro, I think they think we all mime!!!!
It’s not until people like KYLIE and MADONNA use electronic music and really hit producers that people see it as integrated in pop music. But the actual women doing electronic thing, it still seems to people to be a fashion thing and it isn’t!
People just can’t seem to take it seriously. They either want to put you in the pop box or they want you to be guys in drainpipe jeans with a drug problem playing guitar… sort of four chords and the truth kind of thing!
I don’t think people can really get their heads round women doing it for themselves, running their own record label or running their own management or running their own merch business which is what me and Kate do. Y’know; doing our own DJ-ing, production, all that!
One thing I’ve experienced on fan forums and talking to supposed electro fans on the scene is they can’t seem to accept women on synthesizers. One person compared women doing electro to straight men doing show tunes or white men doing rap! Have you experienced that kind of prejudice?
I think in the UK, yeah! People don’t take you seriously because they think there’s a bloke behind the scenes pulling all the strings. And they think guys are writing the songs! We do have a bit of help with the programming from Joe Wilson from SNEAKER PIMPS. He is brilliant, his drum programming is absolute genius. A lot of people didn’t get songs like ‘Son Of A Gun’ until they hear it live. That drum loop is just superb!
All of SNEAKER PIMPS are doing alright for themselves aren’t they? Kelli Ali’s solo, Chris Corner is IAMX and Liam Howe is producing MARINA & THE DIAMONDS.
Yeah, Chris Corner is so good. His voice is incredible, he leaps around on stage and people think that he’s miming because he doesn’t miss his pitch. All I have to do is clap my hands above my head and my pitch is like… everywhere, let alone dancing!
Oh, I didn’t know that was Liam was producing MARINA & THE DIAMONDS, good for him.
How do you think the internet has helped sustain CLIENT’s profile and fanbase internationally?
Without the internet, we’d be nothing. We really embraced it. CLIENT were one of the first bands to get on MySpace. We just went for it because we saw it as a marketing tool as opposed to something to be shoved under the carpet and be scared of.
But it does p*ss me off with all the illegal downloading because how are we supposed to survive? Never would I have thought there would be someone talking in the House of Parliament for musicians but this guy from BIG COUNTRY just said “Imagine if we just opened the doors to HMV and come and take what you want?”
You’re working with Steve Hillier and Chris Wilkie again as DUBSTAR with a cover of THE PASSIONS ‘I’m In Love With A German Filmstar’ being your first release as part of a project for Amnesty International Catalunya. How did this come about and how will this develop alongside CLIENT?
Somebody approached Steve and he said to me and Chris “do you fancy doing this?” and we were like “OK”. So we all had to go away and think of what songs we wanted to do. I’d just done this thing for KIRSTY MacCOLL with Mark Nevin who wrote with her. And he asked me to sing some songs when it was a tribute for Kirsty on her birthday.
So I did that and that was the scariest gig of my life because her ex-husband Steve Lillywhite was there. My knees were just shaking. I’m a fan myself and I think she’s very underrated, as a lyricist she’s just amazing. What a f*cking tragedy!
So I said I’d love to do ‘New England’ or ‘There’s A Guy Works Down The Chip Shop Swears He’s Elvis’. Chris wanted to do ‘Under My Thumb’ because he loves THE ROLLING STONES. Steve said why don’t we do THE PASSIONS? And this is where the three of us come from. So Steve did this backing track but it was a really good song to sing. We played it to THE PASSIONS and they really liked it as well.
Is there any more DUBSTAR stuff coming up?
Yeah, that kind of got us back together because we had a false start. We’ve done a few more songs and demos. We’ll just see what happens. It so difficult because which way do you turn? Do you take them to a major or just do it yourself on the internet? We’re just getting a body of work together and we’ll think about playing live and see what unfolds rather than trying to force anything. We’ll see if anything comes to us.
I saw you in DUBSTAR in Cambridge supporting ERASURE in 1996. You didn’t look very happy?
Really? I remember that gig… bloody hell, I was terrified! No, I was never happy! DUBSTAR songs were always very hard to sing. And Steve did confess to me two weeks ago that he use to make them deliberately hard for me as a sort of game! *laughs*
That bit in ‘I Will Be Your Girlfriend’, “I’m the person with a plan” … I mean bloody hell! Incredible strain on the voice! Just having to jump around! I get so frustrated by my lack of range. The things I want to do with my voice, it’s just AAAGH! Can’t do it! Just really drives me insane! I think my voice is just there to sing words to cynical love songs!
Then in 2003, I saw CLIENT supporting KARL BARTOS and I remember being pleasantly surprised how happy you were on stage. You were winking to the crowd and smiling which never seemed to be the case with DUBSTAR?
No, it was always quite fraught in DUBSTAR. There was always some trauma going on and we were all hungover because we did an awful lot of drinking in those days! Another reason DUBSTAR never did too well because we were never properly managed. We had six managers in seven years and the time we did really well, we were managed by Food Records.
I loved a DUBSTAR B-side called ‘Unchained Monologue’…
We always took a lot of care with the B-sides. One we did called ‘View From Here’ should never have been a B-side. ‘Unchained Monologue’ was me and Steve at our most cynical!
With CLIENT and DUBSTAR, you’ve done a lot of cover versions from acts as varied as BILLY BRAGG, BILLY IDOL, PET SHOP BOYS, GARY NUMAN, NEW ORDER, THE SMITHS, ADAM ANT, ASTRUD GILBERTO and CHARLES AZNAVOUR. Of course, ‘Not So Manic Now’ was a cover too, it was originally by BRICK SUPPLY. You must have a very diverse record collection?
Yes, I’ve got all sorts. I like 60s Garage, cheesy house is a guilty pleasure. I like Country music; Tammy Wynette, Dolly Parton, Johnny Cash, Willie Nelson, Hank Williams!
Where did THE LIBERTINES collaborations with CLIENT on City come from? As an electro fan, I found that alienated me.
Well, Kate’s husband Alan McGee was managing The LIBERTINES.
Carl Barat and Pete Doherty really liked us. They called me ‘Sarah Bapples’ because I was quite fat in DUBSTAR and had quite big boobs.
Ha! Ha! I tell you who’s got enormous boobs… MARINA & THE DIAMONDS! They are f*cking huge!
Lucky girl… so’s Alison Goldfrapp! She’s got great legs! *laughs*
DUBSTAR launched right in the middle of guitar-led Britpop explosion with a polished synthesized sound. Often in your career, you do seem to find yourself regularly in the face of adversity from the real music police. Is the acoustic thing possibly motivated by a need to prove yourself?
Yes, I just think a good song will work if you can do it acoustically. Just like ‘I’m In Love With A German Film Star’, me and Chris did that acoustically at a club in Cologne. The acoustic gigs are just something to keep my hand in.
You’ve sung with some electro legends such as GARY NUMAN on ‘Redirected Mail ‘with DUBSTAR and DEPECHE MODE’s Martin Gore on ‘Overdrive’ with CLIENT…
I have actually! A lot of the new DUBSTAR stuff is being done on GARY NUMAN’s electric piano that Steve bought off him. I was in Manchester when we recorded Redirected Mail but Steve and Chris actually went down to Gary’s and sat and had ham and chips with him. They had a right laugh and had a really good time.
And then the Martin Gore one, that came about because Andy Fletcher played him some demos and Martin said he liked ‘Overdrive’. So Kate said to me “You’ve got lovely handwriting, you write him a letter” so I wrote him a letter going “Dear Martin… “*laughs*
And the next thing we knew, Martin had this newly set-up studio and recorded himself. The thing is, when we mixed the two vocals together, that was a moment! I didn’t know how it was going to work but when you heard it, it was like “woo!”… it was a bit spine tingling really!
BBC6 Music recently arranged live collaborations for LITTLE BOOTS with GARY NUMAN and LA ROUX with HEAVEN 17. You’ve kind of “done it before” but is there anyone who you’d like to perform with, either as CLIENT or DUBSTAR?
I think most of them are dead actually! I’m a massive admirer of JANIS JOPLIN. Anyone who can just open their mouth and sing in two octaves is just incredible. BJORK is amazing, but sometimes it gets on my nerves… f*cking sing properly!!
Actually, Stephen Hague always said me and Barney Sumner of NEW ORDER would be good together. I think his voice is just raw and honest. And that honesty I admire far more than vocal gymnastics!! With CLIENT, the song kind of formulates as it’s going along and that’s a really exciting process. I like flying by the seat of my pants and you’re just making stuff up. I like that reaching for something but it’s not quite formed.
I hate it when emotion is perceived as vocal dexterity. It’s like w*nky guitar solos to me! I can’t bear that, it’s just showing off and it’s not about the song. You read the lyrics and you appreciate the lyrics and you just try and convey them in a way that’s sincere, and mean it. And I think that’s what singing’s about. It’s not about “hey, listen to me, I can sing in top C and then in E flat.”
You’ve toured with MARSHEAUX in 2007 who are also your Out Of Line label mates. How was that tour and how do you like the concept of forming an all-girl electro supergroup with them?
All in the uniforms? They’re lovely! They sort of copied us, but it was the biggest form of flattery because they’re such lovely girls! It’s nice to think I’ve inspired something! We do love MARSHEAUX, it was a really nice tour actually that!
I remember the guy from the agency came back and there was like MARSHEAUX in various states of undress; there was me, Kate and Charlotte Heatherley from ASH in various states of undress, and there was our web designer Corinna Sanow and her girlfriend having a massage in the corner! And the guy walked in and he was like “oh my god”… he must have thought it was like Sodom and Gomorrah or something! He was just like “bloody hell!”*laughs*
You just painted a really amazing picture for me there… this supergroup has got to happen!! Can I have a backstage pass? *laughs* So tell us about your brilliant collaboration with WILLIAM ORBIT entitled ‘White Night’. What’s going to happen with that?
I don’t know, we put it on Soundcloud. It got put out on his album but not with me. Ironically, it was a song that Brix Smith-Start sang as well, she did a version of it. It was written by one of William’s really good mates and we had an afternoon working together… he looked at my notebooks and said “ooh, they’re very full of pain!”, I was like “oooh, brilliant!”. It was so lovely but he’s so in demand!
But I do think eventually, we should do something together because just his way of production. DUBSTAR were always massive fans but BLUR got to work with William on 13 because we said “please can we work with WILLIAM ORBIT?” and Andy Ross of Food Records said “yeah-yeah-yeah but you’re not ready for an album but BLUR are!”. And then William was going to do us and MADONNA stepped in… that was ‘Ray Of Light’! And DUBSTAR split!
Was that just a natural parting of ways? Musical or personal differences?
I think at the time, me and Steve weren’t getting on at all! We were both really jealous of each other. He was jealous of me singing and I was jealous of him being able to write songs! And the two things were just… we’ve made friends again now and everything but like he said to me the other day, he’d deliberately try and make the songs difficult as a kind of test which I think is quite hilarious actually. It’s very sweet of him to admit it… he was like “what the f*ck was I doing, making you jump from that to that?”
I was neurotic on tour with DUBSTAR. I get a bit like that with CLIENT as well but as soon as you get nervous, your neck tenses up, your vocal chords tense up so you’ve got to stay as unstressed as possible and just focus. On tour, it starts the moment you wake up that you’ve got to perform! Whatever happens during the day, that is the end goal so everything lead up to that.
What’s immediately happening next for you?
I am DJ-ing throughout UK and Europe. I have just finished some gigs supporting Alan Wilder’s RECOIL project. I’m doing some writing, some acoustic gigs with Chris… in fact the next one is June 6th in Hamburg at a book launch for Ian Curtis. I think it’s going to be a really lovely event.
What are your current favourite songs or albums, electronic or otherwise?
I bribe and bargain myself into running with the promise of listening to music!
So at the moment, I’m listening to JERMAINE STEWART’s ‘We Don’t Have to Take Our Clothes Off’!! It’s a brilliant song! I’ve got ROISIN MURPHY ‘You Know Me Better’, SNEAKY SOUND SYSTEM ‘Cancer City’, ‘Romeo’ by DONNA SUMMER, ‘Physical Attraction’ by MADONNA. Also some CHROMEO mixed by TIGA. That’s my running playlist for today!
There’s also a great song I like by a French girl named SOKO called ‘I’ll Kill Her’. It’s a girl and a guitar, check that out, it’s great! It’s how KATE NASH should have been!
ELECTRICITYCLUB.CO.UK gives its sincerest thanks to Sarah Blackwood
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Undo Records are to release ‘History 1984-1991’, a special compilation box set of the lost French technopop act VIENNA.
As can be expected, the sound quality is variable, ranging from full studio masters to cassette recordings but several numbers like the sparsely chirpy ‘Rendez-vous Sur La Mer Noire’ and the moodier ‘Un Dernier Dimance Avant La Guerre’ are wonderfully exquisite diamonds in the mine that have now been unearthed. Odile’s exquisite Gallic allure provides much of the enjoyment to the synthesized soundtrack.
Which of your songs do you think particularly stand the test of time?
Do you think your close relationship with DEPECHE MODE helped or hindered you?
What did you do after VIENNA dissolved? Are you still doing music?
This was the beginning of a very exiting collaboration that finally decided me to try to stay in Paris, where I moved with Antonio.
is available now on Mute Records
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