Tag: Mesh (Page 1 of 7)

MESH: The Mr & Mr Interview

5 September 2026 /

Photo by Kieran Gallop

MESH continue their 2026 tour in support of their most recent album ‘The Truth Doesn’t Matter’.

Released 10 years since the last MESH album ‘Looking Skyward’, ‘The Truth Doesn’t Matter’ provided dark commentary on this age of post-factual lies and muddled political viewpoints that have allowed fascism to be normalised and empathy to be treated as the enemy.

The album’s closing track ‘Be Kind’ needed no explanation while the cut and thrust metaphors of ‘Exile’ could be seen on either personal or political levels. Elsewhere the more sparsely orchestrated ‘Hey Stranger’ was offset by wonderfully bubbling arpeggios for one of those classic sad MESH ballads with a lyric attempting to reach out to those in less fortunate circumstances.

While there was a lot of MESH to take in on this double opus, ‘The Truth Doesn’t Matter’ saw Mark Hockings and Rich Silverthorn climb yet another rung on the ladder of acclaim and continue to be a live draw in Europe. To meet increased demand, MESH have announce the second leg of their tour with dates in Germany, Poland and Czechia where they play the Sever Synth Festival alongside AESTHETIC PERFECTION, FROZEN PLASMA, LAKESIDE X and AUGER.

ELECTRICITYCLUB.CO.UK brought Mark Hockings and Rich Silverthorn together for an interview with a twist; in the style of the old married couple TV quiz show ‘Mr & Mrs’, the pair answered the same questions on their creative partnership and personal relationship separately without knowledge of the other’s answers… the results make fun reading! So here are MESH playing ‘Mr & Mr’!

What was your first impression of the other?

Mark: I was initially blown away by the fact that there was someone in Bristol that seemed to want to do all of the same things in music that I did. Same influences, same musical history. He seemed to have his sh*t together technically. I was impressed by the amount of cool gear he had and that his studio had an 8 track tape recorder. And he seemed really nice.

Rich: I met Mark through playing gigs in and around Bristol. He came to a gig I was playing and introduced himself. The following week I went to see his band. My first and lasting impression of Mark was his voice. He sang one song and I instantly thought “wow this guy can sing!”

Who has the best record collection?

Mark: Probably Rich. I suspect we actually have the same record collections up to a point in time. I have more guitar music probably.

Rich: Me of course. Mine is a collection of weird and wonderful electronic artists along with some timeless classics, Mark’s is full of Droop Doggy Dog, Jay Zed and Dr Dred and all that rap nonsense that leaves me cold. Haha… I’m sure he will say otherwise!

What song by another artist does the other love that you hate?

Mark: Rich hates any rap music. I’m pretty sure he doesn’t like the collected works of Ol’ Dirty Bastard for example.

Rich: There was a period in the mid-to-late 90s that Mark was listening to loads of this stuff which just didn’t connect with me at all!

Photo by Guido Braun

What was the moment that you knew you could be in a band together?

Mark: For me it was when I first saw him play at a venue called the Bristol Bridge Inn. He had another singer then. I felt the need to talk to him afterwards which is not something I would have normally done. I suspect his would be when I sung one song in the same venue with a band I was in at the time. I normally played keyboards.

Rich: I rang Mark after our first meeting at the gigs I mentioned and asked if he would be interested in writing together with no pressure. We met at my small studio and wrote ‘Waste of Time’ in an evening. I think that ticked all the boxes and we knew that there was potential.

What’s the skill or trait which the other has in abundance that you wish you had?

Rich: Computer / IT skills. Mark is a nerdy genius when it comes to all this kind of stuff. I on the other hand just use computers to fulfil a task. They are just a tool to me. Also his ability to write lyrics with such deep heartfelt feelings.

Mark: His organisational skills certainly. He gets into the weeds with stuff which I really admire and is a huge benefit to the band. His programming skills with drums.

When Neil Taylor left MESH in 2006, things could have gone either way… how did you deal with the situation to enable you to be the band you are today?

Mark: I’m pretty sure we treated it as a set-back rather than a game-over scenario. There was a certainly a big hole left by Neil, as a friend and as a big part of the whole musical process, but we knew we could still write songs together – I don’t think that was ever really a worry for us. We started on the journey as a duo and that’s where we found ourselves again. Dynamics shift in these situations I guess, but our friendship and work relationship has never been in question.

Rich: It was a period where we both thought “well that’s it then, MESH is done” but the desire to carry on writing was the energy we used to continue. Mark and I was always the writing partnership whereas Neil was a very good organiser and took care of all the administrative stuff. It was this role that we had to take on to continue. ‘A Perfect Solution’ was our first album without Neil and still feels like a more “pure” album than anything previous. There were less compromises musically than ever before.

Photo by Kieran Gallop

How would you describe your songwriting dynamic?

Mark: We are very in tune I think. He writes music that he knows will help me write the song lyrics and although I know I can wrong-foot him on what I send back, ultimately I’m confident that I know his taste well enough that he’ll like what I’ve done, even if it takes a while. We work extremely well together. I think we both know when to step back on a difference of opinion, because we’ve learnt over the years to listen and to not make snap decisions on initial impressions. That’s a difficult place to get to when dealing with two people with strong opinions. We both bring different things to the process, but we also have a lot of common ground.

Rich: I have no idea. There is definitely something but it’s hard to put into words. If you ever listened to each other’s demos before they become fully blown songs they have an individual distinct sound, it’s only the combining of the two that creates that MESH sound. Interestingly we can’t actually write together. It’s always one of us comes up with an idea working alone and then presents it to the other for their unique input.

Is there a musical instrument or piece of tech that is owned by the other that you covet?

Rich: Maybe not so much nowadays. Between us we have a stupid amount of gear almost to the point we look like collectors rather than people who actually use it. Mark has a cool selection of modular gear which is quite inspiring, but I know I just wouldn’t use it enough to justify having it. I think we have both found ourselves in that position if we want something, we just go and buy it.

Mark: The Analogue Solutions Impulse Command.

Photo by Guido Braun

When was the last time you walked out angry after a disagreement between you and how did you resolve it?

Mark: I don’t remember that happening. If it did, I’ve forgotten.

Rich: Setlists can be a bit of a controversial subject at times. We both have our favourite songs and reasons for playing certain tracks so there can be a bit of tension. Also for me soundchecking is another tense time on a daily basis when you are on tour. Having known each other for so long, I think we can read each other well enough and know when to back off. So in answer to the question, I really can’t remember a time when it’s got that bad.

There’s an Autumn concert tour coming up, how do you decide the setlist, do you have an individual power of veto?

Mark: It’s by committee. Myself and Rich I guess have the final say, and we both have our own favourites that we like to play. If one of us doesn’t like a particular track and the other does, then we might mix it about from night to night as a form of compromise.

Rich: Well as it is ‘The Truth Doesn’t Matter’ tour the setlist is heavily biased to that album. Obviously we have to do the “non-negotiables” as we call them, like ‘Born To Lie’, ‘Last One Standing’ and ‘Taken For Granted’ and then we try and throw in a few curve balls from our back catalogue. The older we get and more songs we write, the harder it gets. Generally it’s an amicable discussion and no one stamps their feet when they don’t get their way. It’s about putting on a good dynamic show that has a crescendo at the end.

Now you’ve had some distance, how do you back on the making and subsequent reception of ‘The Truth Doesn’t Matter’?

Mark: We had a bit of an initial go at it, then lost momentum for a few years. We did a lot of shows, there was Covid (yawn) then we kind of started up again. It was slow at first and then it ramped up big time. A very productive and enjoyable time. It’s very satisfying to start to assemble something resembling a record, particularly the nearer you get to finishing it and seeing it as complete work. I really enjoyed doing the photographs and the artwork, buying stuff from eBay (like the dummy heads) to make all the pages. I guess my favourite part is always getting together with Olaf in Germany to mix it. We all had a lot of fun during that time.

Rich: It is always difficult for me to judge. The whole time during the writing process, I am never sure it’s good enough or whether it will meet people’s expectations but since the release, it has been crazy. It seems that everyone loves it. So many good reviews and the sales have been fantastic. Only recently, I sat and read all the comments on YouTube for the singles and the album. It’s quite overwhelming, so I guess we done something right.

What’s your favourite MESH album and why?

Rich: They all have a place in my heart as they transport me back to time in which they were written. Some of the early albums I listen to and still can’t believe we actually managed to make them given the technology we had at the time. Tape machines, samplers, SMPTE timecode etc. I look back with fondness to most of them but if I was forced to choose I think it would be ‘The Truth Doesn’t Matter’. As a body of work there isn’t any song on that album I would change or do differently.

Mark: ‘The Truth Doesn’t Matter’; I think it represents our best work to date, musically and lyrically. I think it is also Olaf’s best mixing work.

What is your favourite city to visit on tour?

Mark: I like Berlin personally.

Rich: I have always liked Berlin for its history and culture, but also places like Moscow were very cool to visit.

What is the essential thing that you can’t do without on tour?

Rich: Earplugs (bus life isn’t easy with snoring people)

Mark: My Shokz headphones for listening to podcasts when I go to bed on the bus. And my new essential is an electric longboard which I brought with me in April this year.

On the tour bus, top bunk or lower bunk and why?

Rich: Top bunk for me. I’m not keen on being down at people’s feet level when everyone is going to bed leaving their shoes near you.

Mark: Top definitely. It sways more (which I like) and it’s away from people’s shoes!

What’s the most annoying habit that the other has on tour?

Rich: Taking forever to get out of the venue. Mark generally is the very last person to leave the dressing room every night! Haha…

Mark: It’s not annoying, but Rich is obsessed with coffee in the morning. I find it quite funny if there isn’t any in the venue as soon as he walks in as he quickly starts get agitated.

Favourite MESH song to play live and why?

Mark: At the moment it’s ‘Everything As It Should Be’ from the new album. Don’t know why. I just like the energy of it. Over the long term I would say ‘Last One Standing’.

Rich: Probably ‘Born To Lie’. It’s just a full on rock out kind of song with good crowd participation.

What’s your favourite concert by another artist?

Rich: DEPECHE MODE ‘Songs Of Faith and Devotion’ Tour, the last time they were good live… controversial, I will probably get hate mail now! Plus I saw NINE INCH NAILS on the ‘Pretty Hate Machine’ Tour at the Bierkeller, a small venue in Bristol. I just remember it being like a riot and the end, so much energy.

Mark: I rarely watch concerts but I was impressed with Taylor Swift’s ‘Eras’ tour.

Cars or Motorbikes? F1 or MotoGP?

Mark: Cars. MotoGP

Rich: Well I am a full on Motocross fan. I used to race when I was younger and still love it and watch all the GPs and American series so I guess “bikes” but just in MXGP format as opposed to MotoGP.

Which F1, MotoGP or any other motorsports team pairing, past or present is most like MESH?

Rich: Senna and Hill 1994 I have no idea why but what a combo that was…

Mark: Colin McRae & Nicky Grist? I know that’s not what you were getting at though… maybe Jacky Ickx and Derek Bell? Endurance teamwork! 😀

ELECTRICITYCLUB.CO.UK gives its special thanks to Mark Hockings and Rich Silverthorn

‘The Truth Doesn’t Matter’ is released by Dependent Records and available from https://spkr.store/collections/mesh

MESH 2026 European live dates include:

Krefeld Kulturfabrik (1st October)+, Braunschweig Westand (2nd October)+, Dresden Reithalle Strasse E (3rd October)+, Berlin Kesselhaus (4th October)*, Łódź Klub Scenografia (5th November), Halle / Saale Capitol (6th November), Liberec Dům Kultury Sever Synth Festival (7th November)

Special guests +BLACKBOOK *DE/VISION REDUX

https://www.mesh.co.uk/

https://www.facebook.com/meshtheband

https://www.instagram.com/mesh.co.uk/

https://www.threads.com/@mesh.co.uk

Text and Interview by Chi Ming Lai
5th September 2026

MESH The Truth Doesn’t Matter

2 March 2026 /

It’s been 10 years since the last MESH album ‘Looking Skyward’…

The duo of Mark Hockings and Richard Silverthorn continue to be a live draw in Europe while the former has been busy with his BLACKCARBURNING solo project. But the world has changed considerably since ‘Looking Skyward’ and now ‘The Truth Doesn’t Matter’ in this is the age of post-factual lies.

As if to make up for their recorded absence of nearly a decade, the new MESH album contains a whopping 16 tracks which capture the dark undertone of muddled political viewpoints that allow fascism to be normalised and empathy to be treated as the enemy.

Photo by Guido Braun

On the opening title song, “The truth doesn’t matter if no-one gets hurt” could be a catchphrase from that vile orange Mussolini and the song provides a stark statement on the present state of geopolitical affairs. Fast and frantic as the heavens open with heavy rainfall, ‘A Storm Is Coming’ needs no explanation in the fierce tension expressed lyrically and musically. Moving onto something moodier and more personal, ‘I Lost a Friend Today’ reflects on loss…

With a determined stance, ‘Trying to Save You’ is a MESH banger with futurepop inflections that will become a live favourite while featuring the delectable voice of Mari Kattman, ‘Bury Me Again’ is a steadfast epic which gets an eerie angelic ending. ‘I Bleed Through You’ provides more emotive propulsion in another classic MESH anthem, as does ‘Kill Us With Silence’ which does electro rock far better than DEPECHE MODE have done in the last 20 years… there, ELECTRICITYCLUB.CO.UK has said it AGAIN!

With stabbing synths and a rumbling triplet, the cut and thrust metaphors of ‘Exile’ could be seen on personal or political levels, but if taken as the latter, there are questions on the rise of far right extremism as the turmoil is observed in isolation. Following that rousing highlight, there is another as MESH get into an 808 STATE on the rousing ‘Everything As It Should Be’ with a simple but effective synth solo to boot in “the path of least resistance”.

The more sparsely orchestrated ‘Hey Stranger’ is offset by wonderfully bubbling arpeggios for one of those sad MESH ballads while with an acoustic strum amongst the sequences and string machines, ‘Not Everyone Is Lonely’ heads towards the home straight with the message to “don’t get left behind”. The closing mandate is to ‘Be Kind’ and “enjoy their success when you are not at your best”; this is Hockings’ clarion call to his ‘Friends Like These’ to avoid “the judgement of crowds”.

Every type of MESH track is gathered on ‘The Truth Doesn’t Matter’; there’s the fast ones, the anthemic stompers, the emotive slowies and the instrumental interludes ranging from the dramatic cinematics of ‘Polygraph’, the rhythmic computer speech-laden ‘1031030’ and the brooding spy drama of ‘Cipher’ which could be mistaken for present-day Gary Numan. There is a lot of MESH to take in on this new body of work, but fans will be extremely happy with what is on offer with the double opus that is ‘The Truth Doesn’t Matter’.

‘The Truth Doesn’t Matter’ is released by Dependent Records on 27th March 2026, formats include limited edition boxset signed by MESH, hardcover 2CD artbook including exclusive 9 track bonus CD The Full Truth, gatefold black vinyl double LP and standard CD – pre-order from https://spkr.store/collections/mesh

MESH 2026 live dates include:

Oberhausen Kulttempel (2nd April), Berlin Huxleys (3rd April), Hamburg Docks (4th April), Leipzig Felsenkeller (5th April), Prague Lucerna Music Bar (6th April), Munich Backstage (7th April), Frankfurt Batschkapp (9th April), Cologne Carlswerk Victoria (10th April), Hannover Pavillon (11th April), Bristol Trinity (1st May), London 229 (2nd May), Sheffield Corporation (3rd May), Malmö Plan B (14th May), Gothenburg Musikens Hus (15th May), Copenhagen Viften (16th May), Taunton Electric Summer (30th August), Liberec Dům Kultury (7th November)

https://www.mesh.co.uk/

https://www.facebook.com/meshtheband

https://www.instagram.com/mesh.co.uk/

https://www.threads.com/@mesh.co.uk

Text by Chi Ming Lai
2nd March 2026

ELECTRICITYCLUB.CO.UK’s 30 SONGS OF 2009

18 February 2026 /

ELECTRICITYCLUB.CO.UK didn’t exist until March 2010 but one of the reasons for it coming into being was that synths had returned to the pop mainstream in 2009 with a vengeance.

Not only were there new acts dabbling with old school electronics getting into the charts, but the classic innovators were finally being recognised with the BBC documentary ‘Synth Britannia’ for their wider contribution to popular culture while PET SHOP BOYS were given an Outstanding Contribution To Music award at the BRITS.

‘Synth Britannia’ focussed on that exciting period between 1977-82 and deservedly elevated the synthesizer into being a cultural entity its own right, rather than being tagged as some kind of embarrassment which was how synthpop had been mockingly portrayed by TV shows in the past.

On ‘Synth Britannia’, in response to misconceptions on how the music was made, Andy McCluskey of OMD recalled: “The number of people who thought that the equipment wrote the song for you; ‘well anybody could do it with the same equipment that you’ve got’… F**K OFF! Believe me, if there was a button on a synth or drum machine that said ‘hit single’, I would have pressed it as often as anyone else would have… but there isn’t!”

Synth in 2009 was consolidated by female acts that had made initial impressions in 2008 like LADY GAGA, LITTLE BOOTS and LA ROUX while CLIENT and MARSHEAUX came back with new albums. To join the dots between the different generations of synth, Gary Numan took part in a BBC 6Music special at the end of the year with LITTLE BOOTS.

But the wider public remained a little confused about the newer electro stuff with lazy labels like “80s” or “retro” when attempting to describe anyone who preferred using a Korg over a Rickenbacker! Sexism and misogyny was still rife and reaction to these artists from those claiming to be synth music enthusiasts was not entirely positive. In a time before social media had taken its hold on society, several internet music forums started to look like that horrific right-wing comic The Daily Mail!

Wasn’t one of the original motivations for using the synthesizer to break down barriers and challenge convention? Some obviously forgotten level of the bile and disdain that greeted THE HUMAN LEAGUE, SOFT CELL and DEPECHE MODE when they first found fame… despite this, the boys were coming out to play again as HURTS, MIRRORS, DELPHIC and VILLA NAH premiered their modern day synthetically-assisted wares.

At this time, aspiring acts were uploading videos to YouTube as a launch pad and this was how ‘Wonderful Life’ by Manchester duo HURTS came to wider attention. Formed from the ashes of the horrendously attired DAGGERS, Theo Hutchcraft and Adam Anderson brought suits and a smarter sophistication to their pop sound which recalled the productions of Trevor Horn and his work with PROPAGANDA in particular. The traction would lead to a deal with Sony Music via RCA’s Major Label imprint for their music to be formally released in 2010.

Even established indie rock bands were getting in on the act and New York trio YEAH YEAH YEAHS utilised throbbing electronics alongside their usual guitars on ‘Zero’ to exude a fuzzy new wave aggressiveness for the dancefloor while Karen O’s soaring vocal lifted proceedings to a glorious crescendo.

Elsewhere, with a whole generation now never actually paid for entertainment due to MySpace, YouTube and illegal filesharing platforms like Napster and Bearshare, music retailer Zavvi collapsed not long after Woolworths did at the end of 2008. HMV were able to consolidate as a result and demanded exclusive editions to be sold through their stores. iTunes was reigning supreme but Spotify opened public registration for the free service tier in the UK, although its impact was not instant as its initial portfolio was limited. Meanwhile, there was a continuing surge in interest for live gigs of established acts although ticket prices became vastly inflated to account for the loss in music sales.

2009 was a very busy year of album releases and gigs. PET SHOP BOYS and DEPECHE MODE delivered deluxe packages with bonus discs containing superior material to their slightly disappointing parent albums but remained in demand for their concerts. A-HA got back to synthetically driven melodies and recorded their best album since their heyday before deciding to split up for good (or so it seemed) while the classic line-up of ULTRAVOX returned with a well-received reunion tour. As an interim project before their comeback album ‘History Of Modern’ in 2010, OMD went the art installation route with ‘The Energy Suite’ and a reconfigured KRAFTWERK performed alongside the Team GB at The Velodrome during the Manchester Arts Festival.

But this was a period where NEW ORDER, BLANCMANGE and VISAGE had yet to return while OMD and ULTRAVOX were still to release new music following their live reunions. Also at this point, HEAVEN 17 and CHINA CRISIS had not fully evolved into becoming regulars on the domestic live circuit.

From officially available purchased or free downloads with a restriction of one track per artist moniker and presented in alphabetical order, ELECTRICITYCLUB.CO.UK retrospectively selects its 30 SONGS OF 2009, a year of undoubted quality and transition…

A-HA Nothing Is Keeping You Here – Steve Osbourne UK radio edit

“Stunning return to form” is a horrifically overused phrase often applied to bands like REM, but on what was originally billed their swansong album, A-HA actually achieved that with ‘The Foot Of The Mountain’. Going back to their synthesized roots, this toughened up electro ballad had all the usual Nordic hallmarks of the haunting sadness and emotive melodicism that made Morten, Paul and Mags such favourites in their commercial heyday.

Available on the A-HA single ‘Nothing Is Keeping You Here’ via WEA

https://www.a-ha.com/

ANNIE Songs Remind Me Of You

Norwegian songstress Annie had an ordeal with her ‘Don’t Stop’ album subject to a 12 month dispute with her former label Island Records. When it emerged, ‘Songs Remind Me Of You’ was a fantastic number on it filled with high octane electronic dance flavours. “How does it feel…to hear your songs on the radio?” she asked as an exquisite devenir a gris shift took its place amongst the spiky synthesized mix provided by Richard X.

Available on the ANNIE album ‘Don’t Stop’ via Totally / Smalltown Supersound

https://www.annieofficial.com/

ANTHONIO Annie

Conceived as a jokey publicity stunt for the Italo disco flavoured Annie single ‘Anthonio’, Richard X and Hannah Robinson used its backing track to create a brilliant tongue-in-cheek response to her tale of broken holiday romance. Sebastian Muravchik, the charismatic vocalist of modern Italo exponents HEARTBREAK amiably played the role of the disimpassioned Latin lover; he continues to make music as SNS SENSATION.

Available on the ANTHONIO single ‘Annie’ via Pleasure Masters

https://www.facebook.com/wearesns

ARTHUR & MARTHA Autovia

ARTHUR & MARTHA were Adam Cresswell and Alice Hubley; their debut single ‘Autovia’ was the first release on Happy Robots Records in 2008. But when it came to recording the album ‘Navigation’, the incessant Dr Rhythm drum machine was given a more hypnotic Motorik makeover while there was an extended end section with some cosmic wig-outs like STEREOLAB meeting NEU!

Available on the ARTHUR & MARTHA album ‘Navigation’ via Happy Robots Records

https://www.facebook.com/arthurandmarthaband/

AU REVOIR SIMONE Another Likely Story

Brooklyn trio AU REVOIR SIMONE formed in a mission to “to celebrate the keyboard” and stated that their main influences were Casio, Roland, Korg, Alesis, Rhythm Ace, Univox, Yamaha, Nord and Suzuki. ‘Another Likely Story’ encapsulated wistful melancholy in abundance. This was without mentioning the gorgeous string machine sounds, ringing counter-melodies, chattering rhythm units and angelic vocal harmonies.

Available on the AU REVOIR SIMONE album ‘Still Night, Still Light’ via Moshi Moshi Records

http://www.aurevoirsimone.com/

BAT FOR LASHES Pearl’s Dream

The outsider musical vehicle of Natasha Khan, while the first single ‘Daniel’ from the second BAT FOR LASHES album ‘Two Suns’ may have marked her out as a kind of Gothic FLEETWOOD MAC, on the eerie ‘Pearl’s Dream’, she indulged in some Linn Drum programming accompanied by icy synth washes and an ULTRAVOX styled electronic bassline. BAT FOR LASHES would cover DEPECHE MODE’s ‘Strangelove’ in 2011.

Available on the BAT FOR LASHES album ‘Two Suns’ via Warner Music

https://www.batforlashes.com/

CHEW LIPS Salt Air

With their lo-fi “8-bit Casiotone drone-disco”, CHEW LIPS quickly attracted the attention of hip tastemakers like BBC 6Music’s Steve Lamacq. With a melancholic edge amongst all the blips and blops, the impressive debut single ‘Salt Air’ showcased an accessible promise with pulsing sequencers and drum machines chugging away augmented by some octave shifting bass and occasional guitar like a female-fronted NEW ORDER.

Available on the CHEW LIPS single ‘Salt Air’ via Kitsuné Music

https://www.facebook.com/CHEWLiPS

CLIENT Make Me Believe In You

In an approach that more than suited their fourth album’s “brazenly bossy” title of ‘Command’, Client B and Client A covered Curtis Mayfield’s soultastic and groove laden ‘Make Me Believe In You’. Co-produced by Martin Glover aka Youth, the KILLING JOKE bassist added a more rhythmic energy. Proceedings were danced up while an icy edge coming from his frenetic guitar work took its place alongside the hypnotic pulse.

Available on the CLIENT album ‘Command’ via Out Of Line Music

https://www.facebook.com/ClientMusic/

DELPHIC Counterpoint

Manchester band DELPHIC had a multi-instrumental set-up featuring a mix of synths, sequencers guitars, bass and electronic percussion accompanied by a funky live drummer in a manner that was like A CERTAIN RATIO gone right! Co-produced by Ewan Pearson, ‘Counterpoint’ crossed ORBITAL and NEW ORDER with James Cook’s vocals possessing a vulnerable tonal quality amongst all the vibrant tension.

Available on the DELPHIC single ‘Counterpoint’ via R&S Records

https://www.facebook.com/delphicmusic

DEPECHE MODE Oh Well

‘Oh Well’ was the first Martin Gore / Dave Gahan song collaboration and although their parts were written separately, it showed that DEPECHE MODE benefitted from creative tension. Sounding like ‘Supernature’ with a DAF fetish, this was a rare thing, a DM dancefloor number. It captured an energy that was seriously lacking on the lamely disappointing ‘Songs Of The Universe’ main feature.

Available on the boxed set ‘Sounds Of The Universe’ via Mute Records

https://www.depechemode.com/

EDITORS Papillon

EDITORS first became known for sombre JOY DIVISION aping guitar-driven indie hits like ‘Munich’ and ‘All Sparks’. With Flood at the production controls and Brad Fieldel’s theme for ‘The Terminator’ as an influence for their third album ‘In This Light & On This Evening’, the Birmingham band ventured into synths with the rhythmic and ominous ‘Papillon’, sounding like a cross between BLANCMANGE and NEW ORDER.

Available on the EDITORS album ‘In This Light & On This Evening’ via Kitchenware

https://www.editors-official.com/

EMMON Secrets & Lies

Having impressed with her first proper solo synth-based album ‘The Art & The Evil’ as EMMON away from her indie pop girl band PARIS, Emma Nylén’s sophomore offering ‘Closet Wanderings’ was a natural progression with more darker songs and instrumentals utilsing danceable energetics. ‘Secrets & Lies’ was a thrusting opening number that showed that Sweden had electronic pop acts following on from THE KNIFE.

Available on the EMMON album ‘Closet Wanderings’ via Wonderland Records

https://www.facebook.com/emmonsweden/

IAMX Think Of England

Following his wider breakthrough with the appropriated named second IAMX album ‘The Alternative ‘, Chris Corner was hitting his stride post-SNEAKER PIMPS. Developing on his accessible electro-gothic grandeur, ‘Think Of England’ added some frantic rhythmic fervour tension with words of contradiction and confusion about his home country. Having relocated to Berlin, the ‘Kingdom of Welcome Addiction’ was his ode to the city.

Available on IAMX album ‘Kingdom Of Welcome Addiction’ via Unfall Productions

https://iamxmusic.com/

KITE Looking For Us

After their 2008 self-titled EP, the alternative rock-rooted KITE were finding their feet in the world of synths with their second EP. Coming over like ERASURE meeting Vangelis, ‘Looking For Us’ also had Nicklas Stenemo’s vocals giving a growly passionate edge to contrast to Christian Berg’s synthpop backing. The ‘II’ EP would get a Swedish national record chart high of No58 but the best was yet to come from the Swedish duo.

Available on the KITE EP ‘II’ via Dais Records

https://www.facebook.com/KiteHQ

LADY GAGA Dance In The Dark

There had been rumours that LADY GAGA would cover DEPECHE MODE’s ‘People Are People’ but while that didn’t happen, ‘Dance In The Dark’ saw Stefani Joanne Angelina Germanotta borrowing sonic elements of DEPECHE MODE and NEW ORDER. Highlighting the dangers of cosmetic surgery, this captured a new wave electronic pop feel that featured strong hints of ‘Strangelove’ and ‘True Faith’.

Available on the LADY GAGA album ‘The Fame Monster’ via Interscope Records

https://www.ladygaga.com/us-en/

LA ROUX Tigerlily

Comprising of Elly Jackson and silent partner Ben Langmaid, although it featured the UK No1 single ‘Bulletrproof’, the standout from the debut album by LA ROUX was the fierce ‘Tigerlily’. The crisp electro bossa-nova with its thudding synth toms was sweetened with a steel drum flavour to sound like a pop version of THE KNIFE. The middle eight featured ‘Thriller’ inspired monologue by Jackson’s actor father Kit only added to the tension.

Available on the LA ROUX album ‘La Roux’ via Polydor Records

https://www.facebook.com/laroux

LITTLE BOOTS featuring PHILIP OAKEY Symmetry

LITTLE BOOTS had been named BBC Sound Of 2009 and her debut album ‘Hands’ was highly anticipated. At the time ‘Symmetry’ was unveiled as a duet with Phil Oakey, THE HUMAN LEAGUE had not released any new material since 2001. With a fabulous chorus and Victoria Hesketh doing her best Susanne Sulley impression, the end result was magic. “Tell me your dreams and I’ll tell you all my fears” he dryly asserted, but this is Phil talking…

Available on the LITTLE BOOTS album ‘Hands’ via 679 Recordings

http://www.littlebootsmusic.co.uk

http://www.thehumanleague.co.uk

MARSHEAUX Radial Emotion

Having shown great promise with their previous albums ‘The E-Bay Queen’ and ‘Peek-A-Boo’, Greek duo MARSHEAUX raised their game and delivered their best album in ‘Lumineux Noir’. With a battle of squelchy synths taking place amongst the game jingles and syndrums, ‘Radial Emotion’ was the collection’s most immediate track with its thumping syncopated electro rhythms, noisy oscillations and rousing vocals.

Available on the MARSHEAUX album ‘Lumineux Noir’ via Undo Records

https://www.facebook.com/marsheaux

MESH Only Better

Mark Hockings and Richard Silverthorn found themselves slimmed down to a duo after the departure of Neil Taylor which provoked an understandable existential crisis with MESH close to calling it a day. This led to some darker thematic undertones on the next album ‘A Perfect Solution’. The delicate balance between bitterness and sweetness was exemplified by ‘Only Better’, a gritty offering that possessed a veiled hint of optimism.

Available on the MESH album ‘A Perfect Solution’ via Dependent Records

https://www.mesh.co.uk/

MIRRORS Look At Me

“Bored of tradition”, James New met Ally Young and began formulating ideas “to do something that was considered from the ground up”. Joined by James Arguile who embraced the idea of making soulful electronic pop, the first fruit of labour was ‘Look At Me’; recorded on GarageBand with sonic distortion creeping in, it was released as a one sided red vinyl single on Pure Groove with the sleeve sticker outlining the MIRRORS manifesto.

Available on the MIRRORS EP ‘Broken By Silence’ via Skint Records

https://www.facebook.com/groups/404571368236796

MISS KITTIN & THE HACKER Ray Ban

Having trailblazed electroclash with tracks like ‘You & Us’, ‘Life On MTV’ and ‘Frank Sinatra’, Caroline Hervé and Michel Amato renewed their creative partnership on the imaginatively titled album ‘Two’ which included a cover of ‘Suspicious Minds’. But the highlight was the deep brooding ‘Ray Ban’ which captured an air of Gallic menace that more than suited Hervé’s persona as the nonchalant Miss Kittin.

Available on the MISS KITTIN & THE HACKER album ‘Two’ via Nobody’s Bizzness

https://www.instagram.com/misskittinofficial/

https://www.instagram.com/the_hacker_amato/

ROÍSÍN MURPHY Cry Baby

A superb collection of soulful 21st century electronic disco, ‘Overpowered’ was the second solo album from Roísín Murphy who found fame with MOLOKO and struck big with the international club smash ‘Sing It Back’. The Richard X helmed ‘Parallel Lives’ penetrated with some steady and deep sub-bass, providing a nice bonus to an album where Murphy had gloriously sounded not unlike Lisa Stansfield fronting PET SHOP BOYS.

Available on the ROÍSÍN MURPHY album ‘Overpowered’ via EMI Records

https://www.roisinmurphyofficial.com

KATY PERRY Hot ‘N’ Cold – Marsheaux radio mix

Katy Perry kissed a girl and liked it, but behind all the shock tactics were some quality songs written by Cathy Dennis and in the case of ‘Hot ‘N’ Cold’, Swedish megapop producer Max Martin. Taking its cue from the PET SHOP BOYS remix of THE KILLERS’ ‘Read My Mind’, this superb reworking by MARSHEAUX was truly banging! When presented to Katy Perry’s management, they were none too pleased but the lady herself loved it and sanctioned its release.

Available on the KATY PERRY single ‘Hot ‘N’ Cold’ via EMI Minos

https://www.katyperry.com/

PET SHOP BOYS featuring PHILIP OAKEY This Used To Be The Future

‘This Used To Be The Future’ was a dream trioet that featured both PET SHOP BOYS and Philip Oakey of THE HUMAN LEAGUE, recorded as a bonus song for ‘Yes etc’. With Lowe actually singing albeit autotuned, as opposed to just speaking, this celebration of yesterday’s tomorrow saw Oakey deadpan that his utopian dream didn’t quite turn out as predicted on ‘Tomorrow’s World’!

Available on the PET SHOP BOYS album ‘Yes / Further Listening 2008-2010’ via Parlophone Records

https://www.petshopboys.co.uk/

RÖYKSOPP featuring ROBYN The Girl & The Robot

The centrepiece of RÖYKSOPP’s third album ‘The Girl & The Robot’ was perhaps the culmination of Robyn’s steady rise as a truly independent female artist. Despite having gained success in 1997 with the R’n’B tinged ‘Show Me Love’, her superiors at BMG reacted negatively to her new electropop aspirations inspired by THE KNIFE. Frustrated, she bought herself out of her contract and set up her own Konichiwa Records, giving her the freedom to work with whoever she wanted.

Available on the RÖYKSOPP album ‘Junior’ via Wall Of Sound / PIAS

http://royksopp.com/

http://robyn.com/

SALLY SHAPIRO Looking At The Stars

The Swedish duo of Johan Agebjörn and the anonymous singer taking the pseudonym of SALLY SHAPIRO had an unexpected cult success with their debut album ‘Disco Romance’ in 2006. ‘Looking At The Stars’ was a delightful nocturnal highlight from the second long player with a shuffled arpeggiated bass and lyrics by Roger Gunnarsson about his late grandmother. FM ATTACK later provided a remix.

Available on the SALLY SHAPIRO album ‘My Guilty Pleasure’ via Paper Bag Records

https://www.facebook.com/shapirosally

POLLY SCATTERGOOD Other Too Endless – Vince Clarke Remix (2009)

Polly Scattergood was managed by former Mute plugger Neil Ferris and her self-titled debut came out on Mute in 2009. An intense organic collection of ethereal songs, Scattergood was a promising talent unafraid to express emotion and vulnerability. From it, ‘Other Too Endless’ was bolstered by a superb Vince Clarke remix and highlighted the compatibility of her sound within a synthesized pop environment.

Available on the POLLY SCATTERGOOD single ‘Other Too Endless’ via Mute Records

http://www.pollyscattergood.com/

EMILIE SIMON Dreamland

Writing, producing and playing the majority of her material, France’s Emilie Simon had actually studied at the Sorbonne and a star in her own country. In her attempt to break the international market, her third album proper ‘The Big Machine’ was her first entirely sung in English. ‘Dreamland’ was a delightful slice of Gallic electro-chanson weirdness that managed to combine elements of Kate Bush, Alison Goldfrapp and Björk.

Available on the EMILIE SIMON album ‘The Big Machine’ via Barclay

https://www.facebook.com/emiliesimonofficial/

THE SOUND OF ARROWS Into The Clouds

Thanks to their self-made CGI assisted visual imagery, THE SOUND OF ARROWS were once described as resembling “Disney meets Brokeback Mountain”! Based in Stockholm, Oskar Gullstrand and Stefan Storm issued the dreamy widescreen synthpop of ‘Into The Clouds’. Swathed in that beautiful Nordic melancholy, the duo evoked a shimmering otherworld; it was the No1 in Popjustice’s 2009’s list of best pop singles.

Available on THE SOUND OF ARROWS single ‘Into The Clouds’ via Labrador Records

https://www.facebook.com/thesoundofarrows/

VILLA NAH Envelope

VILLA NAH launched themselves as a recording act with the ‘VN’ EP featuring 3 fantastic songs in ‘Ways To Be’, ‘Daylight’ and the crystalline ‘Envelope’. Juho Paalosmaa and Tomi Hyyppä took their name from the East Helsinki suburbs where they lived and teaming up with Jori Hulkkonen as co-producer, the songs were a taste of the debut album ‘Origin’ which impressed enough that the duo would open for OMD in 2010.

Available on the VILLA NAH album ‘Origin’ via Keys Of Life

https://www.facebook.com/villanah

Text by Chi Ming Lai
18th February 2026

A Beginner’s Guide To GARETH JONES

1 April 2024 /

Gareth Jones was born in Lancashire and while he played a number of instruments as a youngster, his interest soon turned to music technology with the purchase of a tape recorder.

He gained his formal training at the BBC and began working as an engineer in various recording spaces including Pathway, a small 8 track studio in North London which was frequently used by Stiff Records and where THE DAMNED recorded ‘New Rose’ in 1976. It was there that he worked on MADNESS’ debut single ‘The Prince’ in 1979. But it was his work with former ULTRAVOX front man John Foxx and his 1980 long playing debut ‘Metamatic’ that was to be his breakthrough.

This led to work producing esoteric acts such as TUXEDOMOON and TAUCHEN-PROKOPETZ; it was while working with the latter on the 1983 ‘DÖF’ record in Vienna that it was suggested that Jones mix the album at Hansa Tonstudio in West Berlin. At the time, it was the most high-tech complex he had ever worked in and prompted to his relocation to die Mauerstadt.

Many British bands began recording and mixing in Berlin as the exchange rate made things highly cost effective. It was while Jones was engineering the recording of the third DEPECHE MODE album ‘Construction Time Again’ at John Foxx’s own studio The Garden in Shoreditch that he proposed mixing the record in Berlin. He had been initially reluctant to work with DEPECHE MODE who he considered lightweight but was eventually persuaded by Foxx to become their Tonmeister.

Gareth Jones was a pioneer in the use of state of art digital equipment including the NED Synclavier and AMS digital delays; among his techniques was using the big ballroom at Hansa to capture atmospheres created by sounds being played through large amplifiers which were then recorded with microphones, creating a huge cavernous sound.

Although chiefly known for his work with synths and sampling, Jones also worked with more guitar driven bands such as WIRE, THE HOUSE OF LOVE, INSPIRAL CARPETS and MOGWAI as well as dark lord Nick Cave. After the fall of The Iron Curtain, Jones later returned to London where he remains today at his current base theArtLab within The Strongroom complex in London.

Having fought cancer in 2008, he continues to produce, mix and compose with a third SUNROOF album with Daniel Miller currently in progress. Meanwhile Jones had also provided his expertise and guidance to emerging studio personnel via the Red Bull Academy.

With a restriction of one track per album project and in chronological order, here are 20 tracks which form ELECTRICITYCLUB.CO.UK’s Beginner’s Guide to the innovative career of Gareth Jones.

JOHN FOXX Plaza (1980)

Having departed ULTRAVOX, when John Foxx recorded his debut solo record, Gareth Jones was the engineer at Pathway, a studio known for its reggae sessions. While the aim was a starker vision of electronic music, both Foxx and Jones absorbed dub influences where things would be stripped back but one sound given all the power. As well as the surprise hit single ‘Underpass’, this aesthetic suited the dystopian ‘Metamatic’ opener ‘Plaza’.

Available on the JOHN FOXX album ‘Metamatic’ via Metamatic Records

http://www.metamatic.com/

TUXEDOMOON Incubus (1981)

Impressed with the sound of ‘Metamatic’, TUXEDOMOON had originally sought John Foxx to produce their next album ‘Desire’ but unavailable, he put the American art rockers in touch with Gareth Jones. “Gareth was brilliant, fabulous” said the band’s Blaine L Reininger, “He was able to teach us; kind of organise us”. On one of the highlights was  ‘Incubus’ which used the same Roland CR-78 Compurhythm used as on ‘Metamatic’.

Available on the TUXEDOMOON album ‘Desire’ via Crammed Discs

https://www.tuxedomoon.co/

JOHN FOXX Dancing Like A Gun (1981)

With a second album and studio both named ‘The Garden’, Gareth Jones was again working with John Foxx to realise both. After the colder overtures of ‘Metamatic’, Foxx had thawed out considerably after a holiday in Italy and as a result, traditional instrumentation returned. ‘Dancing Like A Gun’ contradicted its “Oppenheimer waltzing” line but blended synth with art rock to recall ‘Quiet Men’ from his ULTRAVOX days.

Available on the JOHN FOXX album ‘The Garden’ via Metamatic Records

https://www.facebook.com/johnfoxxmetamatic

DEPECHE MODE Two Minute Warning (1983)

Working alongside Daniel Miller who continued as producer, Gareth Jones had DEPECHE MODE sampling found sounds around the-then derelict surroundings of Shroreditch to create a new sonic template in pop. Songs like ‘Everything Counts’, ‘Pipeline’ and ‘More Than A Party had socio-political themes while the Alan Wilder composed ditty ‘Two Minute Warning’ reflected the heightened Cold War angst of the time.

Available on the DEPECHE MODE album ‘Construction Time Again’ via Sony Music

https://www.depechemode.com/

FAD GADGET Collapsing New People (1984)

Frank Tovey had been intrigued by the sound of German industrial band EINSTÜRZENDE NEUBAUTEN whose name translated into English as “collapsing new buildings” and their use of industrial equipment and found objects. So while recording at Hansa, he got Gareth Jones to record a large printing press nearby as the basis for a loop rhythm that became ‘Collapsing New People’, one of the best FAD GADGET singles.

Available on the FAD GADGET album ‘Gag’ via Mute Records

https://www.instagram.com/fadgadgetofficial/

BLAINE L REININGER Mystery & Confusion (1984)

For his first second solo album, Blaine L Reininger was reunited with Gareth Jones at the production helm. Using Roland’s portable pre-MIDI holy trinity of the TB-303 Bassline, the SH-101 monosynth and the TR-808 Rhythm Composer synced via a customised cable, its highlight was the cinematic synthpop of ‘Mystery & Confusion’ which saw the TUXEDOMOON leader exude a distinct Eurocentric spirit.

Available on the BLAINE L REININGER album ‘Night Air’ via Les Disques du Crépuscule

https://lesdisquesducrepuscule.com/blaine_l_reininger.html

PALAIS SCHAUMBURG Beat Of 2 (1984)

An influential Neue Deutsche Welle band from Hamburg, PALAIS SCHAUMBURG were on the bill with DEPECHE MODE at the 1981 Mute Night at the London Lyceum. Their members included Thomas Fehlmann who went on to join THE ORB as well as produce ERASURE and experimental producer Holger Hiller. The percussive ‘Beat Of 2’ turned out to be their final single and was produced by Gareth Jones alongside Inga Humpe.

Available on the PALAIS SCHAUMBURG album ‘Parlez-Vous Schaumburg?’ via Mercury Records

http://palaisschaumburg.com/

HUMPE HUMPE Yama-ha (1985)

A slice of quirky Neue Deutsche Welle from sisters Annette and Inga Humpe, ‘Yama-ha’ was produced by Roma Baran who had worked on Laurie Anderson’s ‘O Superman’. The “shopping list” synth and sample number listing a number of Japanese tech and vehicle manufacturers was remixed by Gareth Jones. Incidentally the B-side ‘Memories’ was produced by Conny Plank. In the UK, the duo was known as SWIMMING WITH SHARKS.

Available on the HUMPE HUMPE album ‘The Platinum Collection’ via Warner Music Group Germany

https://www.facebook.com/profile.php?id=100063561587623

EINSTURZEN NEUBAUTEN Yü-Gung (1985)

With their early albums characterised by harsh shouting and screaming, when Gareth Jones was brought in to work with EINSTURZEN NEUBAUTEN, it was to provide a sense of order to the West Berlin group’s experimental metal-bashing. Using sampling technology to provide an avant-dance palette to accompany Blixa Bargeld’s fierce chant of “FÜTTER MEIN EGO”, the sinister rhythm was inspired by the sound of chopping up speed!

Available on the EINSTURZEN NEUBAUTEN album ‘Halber Mensch’ via Potomak

https://neubauten.org/

BRONSKI BEAT Hit That Perfect Beat (1985)

Featuring new BRONSKI BEAT singer John Jøn Foster following the departure of Jimmy Somerville, ‘Hit That Perfect Beat’ was a frantically paced HI-NRG track helmed by Adam Williams of THE SELECTER who had been co-producer on EURYTHMICS’ singles ‘The Walk’ and ‘Love Is A Stranger’. Impressed by his work for DEPECHE MODE, Gareth Jones did the final mix which replicated the pumping presence of ‘Master & Servant’.

Available on the BRONSKI BEAT album ‘Truthdare Doubledare’ via London Records

https://www.facebook.com/bronskibeatband

DEPECHE MODE Stripped (1986)

Rising from Tonmeister to co-producer during ‘Some Great Reward’, Jones continued in the role for ‘Black Celebration’. By now, Martin Gore’s songs had got bleaker and bleaker. Inspired by German film director Werner Herzog, Daniel Miller wanted a dystopian intensity and the album to be lived, a feeling which ramped up when the band finished the album in Berlin. ‘Stripped’ was the “remarkable” single that heralded this darker direction.

Available on the DEPECHE MODE album ‘Black Celebration’ via Sony Music

https://www.facebook.com/depechemode

MINISTRY Just Like You (1986)

Having debuted with the synth-oriented ‘With Sympathy’ album in 1983, by 1986 MINISTRY had become more abrasive with industrial elements creeping into their sound. Engineered by Gareth Jones but produced by Adrian Sherwood of On-U Sound, the beat driven ‘Just Like You’ featured a Fairlight CMI which mainman Al Jourgensen had been able to acquire as a part of the deal with Sire Records.

Available on the MINISTRY album ‘Twitch’ via Rhino Records

https://ministryband.com/

NITZER EBB Let Your Body Learn (1987)

Founded by Bon, Douglas McCarthy and David Gooday, with their musical premise of “muscle and hate”, NITZER EBB took the seed of DAF to develop a danceable industrial finesse. While Phil Harding of PWL fame produced and mixed most of their debut long player released by Mute, Gareth Jones and Daniel Miller teamed up to remix their energetic single ‘Let Your Body Learn’ which had bee originally independently issued in 1986.

Available on the NITZER EBB album ‘That Total Age’ via Mute Records

https://www.nitzerebbprodukt.com/

ERASURE Blue Savannah (1989)

After his DEPECHE MODE Berlin trilogy, Gareth Jones remained in the Mute family and began a long-standing working relationship with ERASURE. The concept of ‘Blue Savannah’ was Roy Orbison doing electronic pop. As co-producer with Mark Saunders, he provided an uncluttered backdrop to showcase the soaring optimism of what was to become one of the most universally loved songs by Andy Bell and Vince Clarke.

Available on the ERASURE album ‘Wild!’ via Mute Records

https://www.erasureinfo.com/

IRMIN SCHMIDT Gormenghast Drift (1991)

When Mute Records licensed the CAN back catalogue in 1990 via their manager Hildegard Schmidt’s Spoon imprint, there came the opportunity to work on new solo recordings with their keyboard virtuoso Irmin Schmidt. With Gareth Jones as co-producer, while there were vocals and contributions from bandmates Jaki Liebezeit and Michael Karoli, the closing instrumental ‘Gormenghast Drift’ was an atmospheric delight.

Available on the IRMIN SCHMIDT album ‘Impossible Holidays’ via Spoon Records

https://mutebank.co.uk/collections/irmin-schmidt

ERASURE Grace (1995)

An attempt at prog synth which Andy Bell referred to as ‘Bright Side Of The Sun’, the seventh ERASURE album saw Gareth Jones and Thomas Fehlmann work together as producers on the ambitious if flawed self-titled opus. While there was the brilliant under rated single ‘Fingers and Thumbs (Cold Summer’s Day)’, there were also beautiful emotive neo-classical moments such as ‘Grace’ among the highlights.

Available on the ERASURE album ‘Erasure’ via Mute Records

https://www.facebook.com/erasureinfo

BOYTRONIC Living Without You (2002)

The 21st Century incarnation of BOYTRONIC saw the return of original frontman Holger Wobker. The anthemic ‘Living Without You’, which was one of two songs produced by Gareth Jones for the parent album ‘Autotunes’, utilised an impressive array of instrumentation including electronics, filmic orchestrations and rock guitars as well as Wobker’s impassioned vocals.

Available on the BOYTRONIC album ‘Autotunes’ via Strange Ways Records

https://www.facebook.com/BoytronicOriginal/

MESH No Place Like Home (2006)

When it suggested that MESH work with Gareth Jones, the band were initially reluctant because of the inevitable DEPECHE MODE comparisons. But Rich Silverthorn remembered “He was a really nice guy. We spent about 10 days locked in eating Chinese food, laughing and mixing ‘We Collide’”. Of the six tracks Jones mixed, ‘No Place Like Home’ proved to be one of the most poignant songs of MESH’s career.

Available on the MESH album ‘We Collide’ via Dependent Records

http://www.mesh.co.uk/

GARETH JONES Safe Travels (2020)

On the milestone of his 65th birthday, Gareth Jones’ released ‘ELECTROGENETIC‘, his first album under his own name. Most of the tracks began as improvisations around a modular patch, then crafted in a blend of humanity and electronics. While in Detroit, he developed the subtle rhythmic pulse and absorbing keyboard overtures of ‘Safe Travels’, one of several poignant tracks commemorating his recently passed mother and mother-in-law.

Available on the GARETH JONES album ‘ELECTROGENETIC‘ via Calm + Collect

https://www.instagram.com/garethgeniusjones/

SUNROOF 1.8 – 2.3.19 (2021)

A studio collaboration between Gareth Jones and Daniel Miller, while this project mostly produced covers such as ‘Hero’ for ‘A Homage to NEU!’ in 1998 and assorted remixes, SUNROOF started playing live shows and finally released a debut long player ‘Electronic Music Improvisations Vol1’. It featured a collection of improvised modular experiments recorded in 2019, of which the energetic ‘1.8 – 2.3.19’ was the most immediate.

Available on the SUNROOF album ‘Electronic Music Improvisations Vol1’ via Mute Artists

https://mute.com/artists/sunroof

Text by Chi Ming Lai
1st April 2024

BLACKCARBURNING Interview

18 July 2023 /

A thoughtful electronic pop record, ‘Watching Sleepers’ is the debut long form release by BLACKCARBURNING.

Although the solo vehicle of Mark Hockings, lead singer of Bristol band MESH, BLACKCARBURNING features guests Mari Kattman, Neil Francis and Janne Marvannen of LAKESIDE X who take the lead vocals on a number of songs.

With the multiple roles of singer, songwriter, programmer and producer, Hockings addressed the existential crisis than emerged following the pandemic. While a number of tracks could easily have fitted onto any MESH album of the past 15 years, there are different paths taken, including songs in a more classic pop vein such as ‘Watch Me Die’ and ‘Love In Control’.

A man who has rarely given interviews as a member of MESH, usually leaving media duties to bandmate Richard Silverthorn, it was a pleasure to have Mark Hockings speak to ELECTRICITYCLUB.CO.UK about the collective ethos behind BLACKCARBURNING and the making of ‘Watching Sleepers’.

What was the seed that planted BLACKCARBURNING?

I guess this is starting to become a bit of a cliché, but this whole project started during the pandemic when I had a lot of quality time on my hands. I’ve always made music and worked a full-time job, but the amount of useable free time that opened up was unexpected, even though I continued to work throughout that time. I’m someone who has to fill free time productively, and this seemed to present an opportunity to do something different. Initially I just planned to write a few instrumentals and put them on Bandcamp. I even toyed with ringtones for phones.

The start of this whole project however was my work with Mari Kattman which went in a direction that I really didn’t expect. I’d done an instrumental and had used some vocal samples. I’d already done some work with Mari on a (so far unreleased) track MESH track called ‘Bury Me Again’ which turned out unbelievable well. I asked her to replace the samples I’d used to just give it a more natural and original feel, but it ultimately ended up as a full blown song.

That song became ‘Divide Us’, the title track from the third EP. Once I had that track, and endlessly gone over the possibilities in my head, I made the decision to try and write an EP. The EP became an album plus several EPs. That was essentially how it all started. It was the result of a number of gambles, text messages, blind leaps and of course, a global health emergency.

Is BLACKCARBURNING a solo project or is it more a collective with you as the musical director, a bit like how ELECTRONIC with Bernard Sumner and Johnny Marr was?

Mark: If I reluctantly had to classify it, I would say it’s a new band. I would not have been able to do this without the help of my collaborators, so I also wouldn’t say it’s a solo endeavour. I might even disagree with the term ‘project’. That implies that it’s something temporary, and it isn’t. As the band moves forward, I’m hoping to create something that feels more permanent and structured.

You began tentatively with some EPs, but was a full-length album always the intention?

By the time ‘The Mirror’ was (self) released, I already had the bones of an album. The intention was to release that album fairly soon after the EP. However, I was lucky enough to be introduced to Christian Petke and COP International and a record deal was signed. This changed the trajectory significantly and essentially gave me more focus and breathing space to get more album material together and release three more EPs. This all sounds very organised and structured, but it really wasn’t to start with. I was in unknown territory and really didn’t have a plan as such. It all worked out because of COP and Christian’s support, vision and direction.

Had any of this material been written originally for MESH like ‘All About You’ or ‘Reset’ for example?

Mark: Actually, not really. The only track that I considered as a MESH track was ‘Echo Chamber’. I’ve kept this work separate from MESH. I’d written a number of songs for the next MESH album before I started BLACKCARBURNING and those songs are still waiting to be worked on. The MESH work is very much a collaborative effort so it’s been easy to keep the two things apart.

What tools and hardware were you using in composition and pre-production?

Mark: I’ve got a fairly hardware based setup. I’ve used a lot of modular and semi-modular on this album, but also workhorses like the Moog Sub 37, Sequential REV2, Moog Grandmother, OP-Six. The Stylophone GEN-R8 is also used a lot as it’s so dirty sounding. Roland’s ACB machines SH-01 and the TR-6s are also very useful and sound great.

I’ve used a more hands on approach to the electronics, the modular being a part of that process. But also I’ve been using a lot of SOMA gear like the Pulsar 23 drum machine, Lyra 8 (drone synth), Enner (difficult to describe – you play it my bridging electronic circuits with your hands), The Pipe (again – difficult to describe – you play it with your voice), and Ether (detects and amplifies electrical interference in the environment). I’d like to get the new Terra but it’s expensive. That will have to wait for now.

Are you quite into modulars?

I use a lot of Noise Engineering and Make Noise modular gear. I particularly like Morphagene, X-Pan and Q-PAS from Make Noise. But things like Voltage Blocks and Quad LFO from Malekko – these signal processors are so flexible and can be routed to any CV input, modular or not (like the S37). I’m a real fan of Behringer to be honest. The Pro-One and the 2600, and I’ve just bought the Pro-800. I pretty much own all their guitar pedals because they are robust enough for the studio and cost about £20 each. Behringer have changed the game for a lot of musicians wanting the sound of rare and expensive analogue gear, but can’t afford the entry price. They take a lot of criticism, but personally I’m on board.

I’m a big fan of loop stations and use the RC-505 and RC-3 to build up large vocal lines or make some big toplines with guitar or synth. The results are unpredictable and interesting and very useable in most cases. Software wise, the most used stuff is XFER Serum, XFER LFO Tool, XFER Nerve (drum machine), XFER Cthulu. I’ve got a couple of cloud accounts with UVI and Roland. The UVI stuff is amazing and I use it on every track somewhere. The ACB Roland cloud stuff is also excellent and gets used a lot.

Guitar wise, I just use a Line6 Variax (James Tyner) which is a modelling guitar so you can use it like a Fender, or an acoustic, whatever you want. I really love it. Everything is sequenced with Cubase Pro. The album was written with a combination of v11 and v12. Remote vocal sessions were done with VST Connect / Performer – an incredible piece of software which allows me to run proper singer / producer sessions in real time.

‘Watching Sleepers’ is a very diverse record, what influences were you able to bring into the pot that maybe you hadn’t been able to before?

Certainly with ‘Watching Sleepers’, I felt a little more free to explore avenues that maybe wouldn’t feel like they fitted with my work in MESH. I’ve never felt restricted in MESH, but at the same time there are certain boundaries or a corridor that you need to be mindful of. Most of the songs on the album probably wouldn’t sit comfortably on a MESH album as such, but there is obviously a familiarity there that I think still appeals to MESH fans.

I’ve been able to be a bit more into the weeds with the writing, programming and sound design knowing that the buck essentially stops with me – nobody was going to step in and rescue the songs if I messed them up. I’ve also felt a little more free to try new directions and just see where they lead – I could take my time and wasn’t under any particular pressure – that helps a lot.

Working with Neil, Mari and Janne also opened up somewhat of a can of worms. It was something I’d not considered really. Particularly with the live VST sessions with Neil, I realised I had control over a voice that far exceeded what I could do myself, and this presented a raft of possibilities that would not have been possible before.

Having Mari Kattman singing ‘Divide Us’ is something of an outlier for the album, was it written for a female lead from the off?

The general direction of the album was to try not to get too much into any kind of blueprint. I want to be able to use this as an outlet for some experimentation and musical exploration. From my perspective I think everything ties together nicely, and Mari’s track is a typical example of where I wanted to go with this, not unlike Neil’s ‘Love in Control’ or ‘You Do What You Want’ from ‘The Mirror’ single, or ‘The Ghost of Being Alone’ from the ‘Reset’ single, or Janne’s ‘You Heart is Like An Island’ etc. I see them all as having something “off- kilter” but at the same time, they are a coherent body of work. But then I’ve lived with many of these tracks for a long time, so I’m maybe not the best person to judge.

Was a throbbing Moroder-esque electronic disco tune like ‘The Mirror’ something you had always wanted to do?

Yeah, love that kind of stuff. I’m just generally a fan of arpeggiated bass lines. I don’t think you can go far wrong with a repetitive sequence and a Roland drum machine. Not so much of a fan of disco, but certainly Moroder. I’ve always loved the way bands like DAF, NITZER EBB and PORTION CONTROL used the technique, but I always longed to hear something like that with a little more melody. These influences still play a big part in what I try to do and they raise their head periodically.

‘Echo Chamber’ brings in vocoder and throughout ‘Watching Sleepers’, you use a variety of vocal processing and tuning techniques, what do you say to those who feel that technology should not be used on the voice as it is cheating?

Vocal manipulation is pretty much a mainstay of every record now. If you have the tools to fix vocal issues, then most people will choose to use them. It doesn’t make any sense to release something that contains fixable mistakes. That said, I did all the vocals on ‘Watching Sleepers’ with little to no tuning work, instead opting to re-sing them where pitching was a noticeable problem. I had the time to do this, so it wasn’t an issue. I think it made the album a lot more ‘organic’ sounding and opened up the dynamics in general.

HOWEVER – I’ve got no problem in taking backing vocals and tuning them until they are unrecognisable, completely changing the melody and timing. Creating artificial vocal lines using the DAW, or tape recorders, loop stations, vocoders – whatever – all fair game. I don’t know about cheating – I find excessively tuned vocals obvious and annoying. I like the natural sound of untuned or ‘minimally’ tuned vocals, but I certainly wouldn’t leave obvious flaws unfixed if I thought it made the record worse for it.

How did the idea of using other vocalists for certain songs come about? How much of the album had been completed before this happened?

As I said, it initially started with ‘Divide Us’ and Mari Kattman. She also later contributed to the track ‘Watching Sleepers’ and ‘The Grace of Heavy Lifting’. I then asked Neil Francis to do the vocals for ‘Love in Control’, which again was somewhat of a revelation. Neil subsequently sung on ‘Happiness’, ‘Get Ready’, ‘Hive’, ‘Have You Seen Them Fight?’ and ‘Watch Me Die’. He also did backing for ‘Losing Our Way’ and ‘Echo Chamber’. With Janne, the process was slightly different. With all the other collaborations I’d done to that point, I’d recorded the songs with my vocals and we worked from there. With Janne I wrote the track specifically for him, taking into account his work with his band LAKESIDE X.

You did a combination of joint and remote collaborations, an example of the former being with Janne?

All the collaborations were done using VST Connect apart from Mari, where we just swapped files. The same was true with Howie Venton and his piano contribution to ‘The Sound of Running’. That worked well with Mari and Howie, but I did find the VST Connect experience so much more productive and flexible with Neil and Janne. What was great is that we could work together in real time, trying ideas, making up new harmonies, talking about arrangement, adding new musical parts etc. without having to wait for files to be sent. I could do as many takes as I thought we needed and at the same time I could keep an eye on background noise, levels, popping, mic presence and so on. It’s a game changer for me and has opened up a world of possibilities.

Were you pleasantly surprised when Neil Francis presented this Gene Pitney vibe to ‘Love In Control’?

‘Love in Control’ is a track that both myself and Neil are very proud of. He definitely brought something special to that recording and it remains one of my favourite tracks on the album, if not of my writing career. I was always looking for a kind of 50s feel to that track, and he delivered something that was both vintage and contemporary. We’re both very proud of the results.

Do you have any particular favourite tracks on ‘Watching Sleepers’?

I love all of the tracks to be honest. It’s difficult to single anything out as they all have their stories and they all mean different things to me. I just love the album as a complete body of work. To me, it would be like naming your favourite part of a new car – sure, it’s possible, but it’s all about how it works as a whole.

You also recently did a cover of ‘The Other Side Of Life’ for the JAPAN tribute album ‘Still Life In Polaroids’, what inspired you to record a version of the ‘Quiet Life’ album closer?

I was asked to contribute to the Coitus Interruptus Productions’ album ‘Still Life in Polaroids’. I actually chose a different track, but someone was already working on it, so I went with ‘The Other Side of Life’ although I hadn’t heard the track for some time. When I finally got around to listening to it again, I’d forgotten that much of the track is instrumental and it’s pretty long. So I kind of arranged it like a single and tried to get to the meat of the song without making it too meandering. It was pointless trying to emulate the musicianship as I’m not that skilled. To me it has a great hook, but it’s somewhat buried on the original. It was fun and thanks go to Yvette Winkler for making it happen.

Where have you gained the most satisfaction in doing BLACKCARBURNING?

My main satisfaction with music is twofold. I love the programming and working with electronic instruments – it was the reason I started writing music in the first place and remains my passion.

Secondly, I love the moment when something is finished. Many musicians struggle with this part of the process and for those people, nothing is ever really finished. I’ve got very good at drawing a line under something and moving on, so that moment when that decision is made and I can listen to the track as a finished piece of work is very special to me.

What is next for you?

My primary focus over the next year is going to be new MESH material and new BLACKCARBURNING material. I’m setting myself up for a lot of work, but I’ve learnt to manage my time and my priorities better (work and people) over the last couple of years, removed a lot of time-wasting and general distractions that were stopping me from being as productive as I like.

I’m also going to take some holiday…

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

Additional thanks to Christian Petke at COP International

‘Watching Sleepers’ is available now via COP International as a CD, deluxe 2CD + download from https://blackcarburning.bandcamp.com/

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Text and Interview by Chi Ming Lai
15 July 2023

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