Tag: Mike Thorne

Vintage Synth Trumps with DAVE BALL

20 May 2023 /

Although he began with a Fender Telecaster, twin stylus Stylophone and second hand Akai reel-to-reel tape recorder to compose primitive ambient experiments, when a young Dave Ball bought a MiniKorg 800DV duophonic synthesizer, he never looked back.

On his first day as a fresher on the Fine Art degree at Leeds Polytechnic, he asked for directions from a second year student wearing a leopard skin printed shirt and gold lame jeans; that student was Marc Almond and the pair were make history as SOFT CELL…

Over four decades on, SOFT CELL have proved to be one of the most influential electronic pop acts ever with BRONSKI BEAT, PET SHOP BOYS, FRANKIE GOES TO HOLLYWOOD, PSYCHE, NINE INCH NAILS and even DEPECHE MODE owing more than a debt of gratitude to Messrs Almond and Ball for the doors they opened. During their imperial Some Bizzare phase between 1981-1982, SOFT CELL scored no less than five Top4 UK hit singles with ‘Tainted Love’, ‘Bedsitter’, ‘Say Hello Wave Goodbye’, ‘Torch’ and ‘What’ in little more than 12 months.

After SOFT CELL first disbanded in 1984, Marc Almond would go onto long and varied solo career while Dave Ball found success as a member of the dance duo THE GRID with Richard Norris. Almond and Ball would reunite to co-write three songs for the former’s ‘Tenement Symphony’ album, but a full SOFT CELL reunion would not take place until 2001. A comeback album ‘Cruelty Without Beauty’ was released in 2002 supported by extensive touring but behind the scenes, tensions were lingering. Following Marc Almond’s near-fatal motorcycle accident in 2003, the pair did not speak for many years.

But in 2018, SOFT CELL surprised the world by announcing what was intended to be a final concert at London’s O2 Arena. Having also recorded an excellent new single ‘Northern Lights’ b/w ‘Guilty Cos I Say You Are’, the special magic between Almond and Ball could not be denied. In 2022, their fifth SOFT CELL studio album ‘*Happiness not included’ was released with a number of its songs having been previewed during the duo’s 2021 live celebration of their debut album, now released as the concert film ‘Non-Stop Erotic Cabaret… And Other Stories: Live’.

However, Dave Ball was to have his own brush with mortality, spending part of 2022 in intensive care in a London hospital after seriously damaging his lower vertebrae. Placed in an induced coma, he had to miss SOFT CELL’s North American concert dates. Steadily regaining his health and fitness, Dave Ball is vowing to be on top form again for SOFT CELL’s series of outdoor live shows in 2023.

And it was a chipper Dave Ball who accepted ELECTRICITYCLUB.CO.UK’s invitation to chat over a round of Vintage Synth Trumps and talk about SOFT CELL’s past, present and future…

So the first Vintage Synth Trumps card is an EMS VCS3…

The first time I saw one of those was Brian Eno using one with ROXY MUSIC and Dave Brock from HAWKWIND had one as well. So there’s a few legendary rock stars that have had them but I’ve never actually owned one. I had a quick play with one once at Guildford University, they have a big music college there so had a Moog System 55 and a VCS3. I was messing around with all the little pins and making weird echoey noises. I’ve always wanted to have one, they look like a lot of fun!

The next card by coincidence is the EMS Synthi AKS which is the compact suitcase version of the VCS3…

These EMS synths are the sort of synths I dream about, I’ve seen them but had no experience recording with them. I always get these two mixed up though, they were based in Putney weren’t they? I think there’s someone still making them but the originals cost a fortune and go for thousands now.

How do you feel about these remake synths, like the Korg ARP Odyssey which you have used live?

I think they’re alright y’know, I’ve got a Behringer 2600, that sounds pretty good… the one that I’m interested in at the moment is a rack mounted Wasp remake which they’ve done. There’s a connection to EMS isn’t there?

Yeah, Chris Huggett who did the original EDP Wasp worked on the Akai S1000 alongside David Cockerell who was at EMS…

…so I’ve bought one, they look like a lot of fun and I really like the sound of them as well. It actually sounded like a wasp, really thin and nasty! *laughs*

You were using the new Korg ARP Odyssey for basslines like on the live version of ‘The Art Of Falling Apart’ that is featured on the ‘Non-Stop Erotic Cabaret…And Other Stories: Live’ film, how you find it compared to the Korg Synthe-Bass SB100 or other synths like the Minimoog?

A lot of the stuff live is programmed to computer and I’m just beefing things up and adding to them. I do like the Korg ARP Odyssey, it’s got a very distinct sound. When I hear one of those, I always think of Billy Currie, especially the early ULTRAVOX stuff, he got that machine sounding fantastic. Also, a lot of early KRAFTWERK videos, you see one as well. That famous ‘Tomorrow’s World’ clip, they had a Minimoog and an Odyssey. I’ve never actually played an original authentic Odyssey so I wouldn’t be able to compare although the keys are smaller… I just take it as what it is. It IS a Korg version.

How do you find those small keys cos you’re a big fella? *laughs*

Yeah, I’ve got big fingers but I’m quite nifty with them. At home when I’m just messing about, I sometimes use one of those Akai MPK things and they have little keys on them. You get used to them and I’m quite nimble with my big fingers! *laughs*

So with the ‘Non-Stop Erotic Cabaret…And Other Stories: Live’ film, what are your memories of those shows and revisiting material like ‘Entertain Me’, ‘Chips On My Shoulder’, ‘Seedy Films’ and ‘Secret Life’ which hadn’t been aired in concert since 1982?

It was great because I’m not in the habit of listening to my old material at all, but as I knew the shows were coming up, I had to check the first album again. It was really refreshing to hear it and listen to how much we’ve changed and stuff. But what was really good about doing the shows was for a lot of people who have great memories of that album, it was the first time they’d ever heard us live, so I think it was great for them to hear the whole album being done live. It was actually the first time we’d done it, we’d never performed the album in its entirety in sequence before.

When we first made it, we used some of the tracks off it but not all of them. It was good to hear it as a whole peace. We are thinking of maybe doing the same thing with ‘The Art Of Falling Apart’, cos that could be quite a good show because a lot of people really love that album as well…

I think that would be a brilliant idea Dave…

We’ve got quite a few possibilities and options after these upcoming outdoor shows and ‘Let it Rock’… is it called ‘Let It Rock’?

It’s called ‘Let’s Rock’ but I do think is the weirdest possible name for a heritage pop festival brand… *laughs*

‘Let’s Rock’, it sounds it could be SHOWADDYWADDY on the bill! *laughs*

Yes! EXACTLY! That’s my point! It’s easy to understand the brand concepts of ‘Rewind’, ‘Here & Now’ and ‘Forever Young’, but ‘Let’s Rock’ when there’s no rock? It is head scratching but they are doing the business…

I’d never heard of them until we were approached… my only problem at the moment with playing gigs is my mobility; I’ll probably have to use a wheelchair to get on stage! It doesn’t really matter because I sit down when I play anyway. So getting on and off stage is my only primary concern at the moment, never mind the 10,000 people that are going to be watching us! Once I’m on stage and I’m locked in, so long as I don’t start wheeling backwards, I’ll be fine! *chuckles*

Here’s another card, and it’s an Oberheim OBXa…

There were two schools, those who went for the OBX and people like me who went for the Prophet 5, it was a very similar sort of synth in terms of the way it worked and the polyphony of it but I was always a Prophet 5 man. But I did buy an Oberheim DMX drum machine which was part of that kit series that included the DSX sequencer and OBX.

Was the DMX more cost effective than the LinnDrum?

When we recorded ‘The Art Of Falling Apart’, we used the Linn 1, the Linn 2 and the DMX so it wasn’t to do with cost, it was just sonics. The Linn was a better machine in terms of it being easier to trigger with a click track, whereas the DMX wasn’t quite as simple, but it was being used on a lot of early hip-hop and electro records so I liked the sound of it more, it was a bit more punchy I thought.

Here’s something I’ve always wanted to ask you Dave, you used the Synclavier on the first two albums but bought a PPG Wave 2.2 for ‘This Last Night In Sodom’, so why did you pick that over the Synclavier or Fairlight?

This was to do with price! I never bought the sequencer for the PPG though because I always used to play everything by hand. I liked the sound of it, it was a big machine and I wanted something that sounded quite modern and metallic. The Fairlight and Synclavier had dated by then and everybody had used them on everything, so it was nice to break away from that really.

So no Fairlight, no Synclavier, that album was PPG and the DMX although my favourite drum machine would probably be the Roland TR808 out of all of them. That’s the one we used on the first album, I think we got one of the first ones off the production line. Mike Thorne also had it when we got to New York, he had a Synclavier and TR808 set-up ready to go so that was great, so we didn’t do it totally fresh *laughs*

The next card I’ve pulled out is a Roland Juno 60 and I know you used this at the O2 show in 2018…

I had one for a short while, a friend had one second-hand so I got it off him. The thing about all Roland synths is they all have a fantastic sound, you can’t really beat them. Gary Barnacle who plays sax for SOFT CELL, he has a Roland Jupiter 8 in mint condition and he said the asking price for them now is £30,000 which is crazy! I wouldn’t pay that even though it’s a wonderful synth, I might give you three and a half grand! *laughs*

How do you feel about the software emulations of these classic synths?

They’re not bad, because it’s electronic sound, it’s easier to emulate that than it is a natural sound. The drum sounds, they’ve got nailed. The thing about the original synths is the oscillators, sometimes they drift a bit and you get that lovely fadey thing, but they’ve probably got that built into some of these reproduction VST plug-ins so that they drift in amongst themselves.

‘Monoculture’ was the launch single off the first comeback album ‘Cruelty Without Beauty’ in 2002, so had your approaches to making music for SOFT CELL changed by then?

‘Monoculture’ was sort of conceived for live and mixing purposes, I made it so that it was the same tempo as ‘Memorabilia’ and it’s in the same key. So when we used to start the show with ‘Memorabilia’, it would segue straight into ‘Monoculture’, it was almost like a DJ mix to get everybody dancing with the same groove on a familiar and new track. It was a looking backwards and facing forwards kind of thing, looking back at what we’d done before and projecting what we were going to do next, recreating our own past in a way, future retro, whatever you want to call it *chuckles*

The show saw the premiere of songs from ‘*Happiness Not Included’, one of them was ‘Purple Zone’ and at Hammersmith Apollo, PET SHOP BOYS were in attendance…

On the second night at Hammersmith, we knew that PET SHOP BOYS were on the guest list so I told Marc, he was like “oh great” and pretended to be nervous as they had front row seats. Funnily enough, they were sitting next to Richard Norris, my other half in THE GRID… he said they were taking loads of photographs which is quite flattering *laughs*

After the show, my manager Chris Smith came to say that Neil Tennant and Chris Lowe were backstage and did I want to say hello? I did of course, but Marc doesn’t stay around at gigs and he’d already gone, so they came into my dressing room and we had a few beers. We chatted for about an hour and they asked about ‘Purple Zone’; Chris Smith then enthusiastically suggested to them about doing a remix and they were like “Yeah! We’d love to do it”.

Neil then asked if he could sing on it and I thought that would be fantastic so we let them do what they do best. They came back with the PET SHOP BOYS version of SOFT CELL. Neil and Marc’s voices work so well together and it was a really good record for both PET SHOP BOYS and SOFT CELL, the profile we got, I think it was the most played record on radio at the time and it No1 in various dance charts and No7 in the Music Sales chart, whatever that means. It did us all a lot of favours and a lot of good.

But then…

The weird thing was that while that was all going on, I was in hospital. Normally if I got this kind of news, I’d be out with my mates celebrating with champagne… but not in hospital I’m afraid! Chris Lowe had been chatting to me after the gig about how it was going to be a weird year in pop in 2022! I thought “what does he mean?”, but it turned out to be a weird year for me! So it was like having a third year of lockdown! But I’m out and on the loose again, not quite on the streets yet but I’m raring to go! I’ve not quite got my dancing shoes on yet! *laughs*

Another card and it’s an OSCar, I don’t know if you’ve ever used one?

No, a friend of mine had one of those, it had a great cutting sound but the designed was quite weird wasn’t it, it looked like a bit of Lego! They’re very sought after those, I don’t know much about them, most of the synths you’ve picked out, I’ve never actually owned! That’s quite remarkable really *laughs*

So there’s an extended version of ‘*Happiness not included’ coming out later this year entitled ‘*Happiness now extended’?

Yes, this was done in my absence, so I can’t take any responsibility for the artistic input for it. In the past, we used to do the longer version first and then edit it down; so this is kind of the other way round. For the early SOFT CELL stuff, we’d put a longer arrangement down for a 12” version.

Marc would do the vocal and ad-lib sections and then we’d get it down until we got the single. That was when we had to use razor blades and tape, we didn’t have digital editing which is so much easier. People who have grown up with digital and can just splice tracks together and move vocals around, they don’t know they’re born! *laughs*

I’m sounding like an old bloke cos I am, but it’s so much easier to do stuff now with computers. Back in the olden days, you had to do it physically. You could sort of fly things in but it was a lot more tricky.

I’m looking forward to hearing the extended version of ‘Nighthawks’ which was a stand-out on ‘*Happiness not included’… but that started as a solo track?

I put that together in my kitchen initially, I used just one Roland synth and a couple of little Korg sequencers to have these two patterns going. I then went to Warner Brothers Studio, I just recorded the MIDI off the two sequencers and tidied it all up on the Mac and re-ran it to the Roland and did various overdubs of that with different filter settings and stuff, decays, delays and what have you. There a bit of real piano reversed and I did the original voice on it.

It was just a bonus instrumental on a CD compilation for the deluxe box of my book ‘Electronic Boy’ but then Marc heard it and loved it. It was quite different to everything else, it was very sequencey. He did a vocal and got this New York drag performance artist Christeene to do this weird mad voice on it that sounds fantastic, it was very scary sounding. We kept the music and the original title ‘Nighthawks’ after the famous Edward Hopper painting that reminds you of loneliness and isolation, it’s what the original track was inspired by.

Was the stylisation of the sequencers on ‘Nighthawks’ influenced by any of your work with CABARET VOLTAIRE on ‘The Crackdown’ in 1983?

I never thought of that until you said it but I suppose it does have that CABARET VOLTAIRE static funky sequence about it, but you’re right, it is!

I don’t if you’ve heard it but there’s a remix of ‘Nighthawks’ by Chris & Cosey, I love that. When they asked for the brief, I just said “dirty disco”, I think it’s one of my favourite SOFT CELL remixes of the last period of work we’ve done, it doesn’t bear much resemblance to the original but it still sounds fantastic.

There is also going to be a ‘*Happiness now completed’ companion album featuring unreleased mixes, remixes and B-sides as well as covers of Giorgio Moroder, X-Ray Spex and Fad Gadget?

‘Back To Nature’ by Fad Gadget we did a while ago but Marc’s done a new vocal. X-Ray Spex ‘The Day The World Turned Day Glo’ was recorded with my friend Dave Chambers who has a Pro-Tools set-up at his home and we took the music over to Marc who did his vocals at Dean Street studios.

And the Giorgio Moroder thing ‘First Hand Experience Of Second Hand Love’ was recorded with Rick Mulhall, we sequenced that up at his place in Richmond; that’s the track that Marc and I always wanted to do because we’d bought the album ‘From Here To Eternity’ when it came out in 1977. We both had vinyl copies of that, with Giorgio and his wonderful bristling moustache, the dark sunglasses and curly perm on the front cover, it was a classic look for a synth wizard at the time. We’d recorded it once before with Ingo Vauk but that recording got lost, it had disappeared into the electronic ether so to speak! It’s probably on a hard drive in a skip! Who knows? *laughs*

Marc suggested we should do it again, it’s such a great song and a perfect one for SOFT CELL. Marc did the lead vocals and Philip Larsen did the vocoder bit as I was not able to attend. I think it sounds great, my manager Chris Smith said they’d sent a copy to Giorgio Moroder’s office in Los Angeles so we’re just waiting to see if we get a thumbs up from Da Maestro. Hopefully, he’ll be pleased that we’ve covered one of his songs.

OK, we’ve got your final Vintage Synth Trumps card and it’s a Powertran Transcendent 2000…

I know that JOY DIVISION had one which Bernard Sumner built from a kit, the synth sounds they had were fantastic, very haunting and I really liked that. My only experience of this was a guy at my art college bought one, but he made it into an art piece! He built it but had taken off the original control panel and drilled out a new one that was made of Perspex. He put all the knobs back on so there was no way you knew what any of them did! Then he had it wall-mounted with two speakers and set up a basic sinewave tone and it was up to the person looking at it to twiddle a knob and see what it did, it was like Dada synth and totally random, it was brilliant!

Was there ever a synth you bought that didn’t meet expectations?

I bought a lot of synths in my time but all of them made at least one good sound. Even if I buy a synth and only use sound, it always pays for itself. Every synth I’ve ever bought has been used on a record. I don’t think I’ve ever really wasted money on a synth. But there was this Akai sequencer which I could never get working properly. I’ve actually had trouble with Akai sequencers before to be honest. I used to love the Akai samplers, I still have an S1100 which was a great machine but I never got on with Akai sequencers, I’ve never really liked those MPC things… I can’t get my head around the architecture, that’s probably the only time I’ve spent money and regretted it. They’re my only “bête noire” I suppose, Akai sequencers! *laughs*

What are your future plans?

I‘m working with Richard Norris on new tracks for THE GRID, we’ve put a new spin on the way we’re doing THE GRID which is sounding fantastic so very pleased about that. We’ve got no guaranteed release yet, but we’re talking to a number of record companies and things are looking positive in all that respect. We’re very excited.

In my home studio, I’ve been getting some new rough ideas for backing tracks for SOFT CELL, should there be another album. Marc seems to want to do another one and I do. I hope there may be another SOFT CELL album but you’re going to have to wait a while, it probably won’t surface until the back end of next year so it will be 2025 when it actually comes out… 2025, its sounds so futuristic that doesn’t it? *laughs*

ELECTRICITYCLUB.CO.UK gives its warmest thanks to Dave Ball

Special thanks to Debbie Ball at Create Spark

‘*Happiness now extended’ is released on 28 July 2023 as a double vinyl LP, for tracklisting and pre-order, please visit https://www.softcell.co.uk/product/happiness-now-extended-double-black-vinyl

The companion CD edition ‘*Happiness now completed’ is also out on the same day, for tracklisting and pre-order, please visit https://www.softcell.co.uk/product/happiness-now-completed-cd

The concert film ‘Non-Stop Erotic Cabaret… And Other Stories: Live’ is available now as a bluray or DVD with separate accompanying live soundtrack as 4LP + 2CD sets from LiveHereNow at https://liveherenow.co.uk/pages/soft-cell

SOFT CELL perform in the UK and Europe throughout Summer 2023, dates include:

Rochester Castle (7 July)**, Let’s Rock Southampton (8 July), Let’s Rock Shrewsbury (15 July), Barcelona Poble Espanyol (23 July), Saffron Walden Audley End (11 August )*, Steyning Wiston House (9 September)***

* with special guests OMD + HEAVEN 17
** with special guests PETER HOOK & THE LIGHT
*** with special guests HEAVEN 17 + ABC

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

http://www.softcell.co.uk

https://www.facebook.com/softcellband/

https://twitter.com/softcellhq

https://www.instagram.com/softcellhq/

https://www.facebook.com/daveballofficial

https://twitter.com/daveballelectro

https://www.instagram.com/daveballelectro/

Text and Interview by Chi Ming Lai
Live Photos by Roger Kamp
20 May 2023, 6 July 2023

A Beginner’s Guide To MIKE THORNE

20 February 2023 /

Photo by JR Host

Born in Sunderland, Mike Thorne began learning to play piano at the age of 11.  

The lessons sparked a passion for music that led to him buying a tape recorder so that he could record songs off the radio. He then studied composition at The Guildhall School of Music & Drama. But despite later graduating with a physics degree from Oxford University, the music industry was where he wanted to be. His first jobs included tape op, journalist and then A&R at EMI looking after THE SEX PISTOLS during their short tenure at the label in 1976.

This led to becoming a house record producer at EMI and his first assignment involved recording 120 saxophones playing ‘The White Cliffs Of Dover’. After recording several live albums including ‘Live at The Roxy’, Thorne got his break producing French rock band TÉLÉPHONE whose eponymous debut album went gold.

New Yorkers THE SHIRTS and the Peter Godwin fronted METRO were among those followed, but it was his work on the first three albums by WIRE – am art-punk band he spotted and signed to PINK FLOYD’s label Harvest – that drew the most critical acclaim. The records demonstrated Thorne’s willingness to experiment in the studio, stripping down structures while adding electronic elements where appropriate.

Recognising that electronics and computers were the future of pop music and that a reinvention was likely by responding to new possibilities, Thorne had the foresight to purchase the first version of the NED Synclavier in 1979. A polyphonic digital sampling system and music workstation which used FM synthesis, it was to become his production mainstay and arrived in time for Colin Newman of WIRE’s first solo release and Scottish new wave quartet BERLIN BLONDES’ only long player.

Thorne moved to New York to become a freelance producer, working mostly at Media Sound Studio. But it was while in London working on the soundtrack to a Julie Christie film ‘Memoirs Of A Survivor’ that Thorne was commissioned by Phonogram Records to produce their new signing B-MOVIE. The deal had been brokered by Some Bizzare, an umbrella organisation that was more stable than label and part of the 2-for-1 arrangement was for him to work with a Northern synth duo called SOFT CELL. The rest, as they say, is history…

‘Tainted Love’, a cover of a song written by Ed Cobb and recorded by Gloria Jones, went to No1 and was the biggest selling UK single of 1981. It also spent a staggering 43 weeks on the US Billboard Hot 100. During the recording of ‘Tainted Love’, Thorne conceived a new way of producing an extended dance mix… the 12” single would be arranged and recorded first, with the 7” single version edited from sections of the longer track. Phonogram boss Roger Ames felt the track was a little slow so it was varispeeded up slightly for release!

Meanwhile, SOFT CELL were to enter an imperial phase of five successive Top4 UK hit singles with Thorne at the production helm including ‘Bedsitter’, ‘Say Hello Wave Goodbye’, ‘Torch’ and ‘What’. However, with the overwhelming success of their debut long player ‘Non Stop Erotic Cabaret’, tensions brewed during the recording of SOFT CELL’s appropriately titled second album ‘The Art Of Falling Apart’ leading to Thorne parting ways with the duo.

In 1984, Thorne was to produce one of the most important albums of his career when he was teamed up with BRONSKI BEAT for ‘The Age Of Consent’. The trio of Jimmy Somerville, Larry Steinbachek and Steve Bronski soon fragmented after its release, but Thorne followed Somerville to his new project THE COMMUNARDS with Richard Coles to achieve yet another No1 in a HI-NRG cover of ‘Don’t Leave Me This Way’; it was also the best-selling UK single of 1986.

Thorne’s ethos was always “to make music I liked with people I liked”. As well as working with more esoteric clients such as Marianne Faithful, Nina Hagen and Laurie Anderson, he was appreciated for his crossover potential in the mainstream with Daryl Hall & John Oates commissioning him to construct an Extended Club Mix of ‘Maneater’ in 1984 which included a breakdown clearly influenced by the middle section of the ‘Tainted Love’/ Where Did Our Love Go’ 12” segue.

Although Thorne ceased working as a hired hand from 1995 following , he continued as a producer for artists signed to his label imprint The Stereo Society while he issued his first his solo record ‘The Contessa’s Party’ in 2005 featuring special guests Kit Hain, Lene Lovich and Sarah Jane Morris.

Despite achieving two best-selling UK singles of the year, Mike Thorne has often slipped under the radar in discussions about notable record producers who led the start of the digital era. Documenting a significant and trailblazing career, here are 20 tracks selected by ELECTRICITYCLUB.CO.UK which act a Beginner’s Guide to Mike Thorne, listed in yearly and then alphabetical order by artist moniker with a restriction of one track per album project.

WIRE I Am The Fly (1978)

WIRE’s sophomore offering adopted more song structure, art- rock approaches and synthesizer textures brought in by Thorne. In what became one of WIRE’s signature tracks, ‘I Am The Fly’ had menace and provocation. It even prompted their audiences at gigs to start lying down, waving their limbs in the air like dying flies! Its influence can be heard from TUBEWAY ARMY’s ‘My Shadow In Vain’ to ELASTICA’s ‘Lined Up’.

Available on the WIRE album ‘Chairs Missing’ via Pink Flag

http://www.pinkflag.com/

BERLIN BLONDES Framework (1980)

A meeting of synthesizers, art rock and obscure vocals, Glasgow’s BERLIN BLONDES exuded the detached European cool of David Bowie during his Mauerstadt exile and were unusual at the time for using a drum machine. ‘Framework’ was syncopated futurist disco featuring crashing electronic beats and icy flashes of synth under the influence of SPARKS and MAGAZINE.

Available on the BERLIN BLONDES album ’The Complete Recordings 1980-81’ via Cherry Red Records

https://www.discogs.com/artist/512473-Berlin-Blondes

COLIN NEWMAN Order For Order (1980)

WIRE lead vocalist Colin Newman pursued a solo career and his first album featured the songs created for their anticipated fourth album. Produced by Thorne,it could be considered a sonic companion to BERLIN BLONDES. While tracks such as ‘Order for Order’ could be compared to Gary Numan due to its sombre synth lines, it had more in common with MAGAZINE.

Available on the COLIN NEWMAN album ‘A–Z’ via Sentient Sonics

http://www.coldwarnightlife.com/features/shine-on-colin-newman/

B-MOVIE Remembrance Day (1981)

Despite being alongside DEPECHE MODE, SOFT CELL, BLANCMANGE and THE THE on the ‘Some Bizarre Album’, B-MOVIE were unable to secure a Top40 chart entry with the poignant magnificence of the Thorne produced ‘Remembrance Day’. But the song gained cult status and in 2004, THE FAINT presented a fine interpolation in ‘Southern Belles In London Sing’ for their ‘Wet From Birth’ album.

Available on the compilation album ‘Dawn Of Electronica’ (V/A) via Demon Music Group

http://www.b-movie.co.uk/

KIT HAIN Spirits Walking Out (1981)

Kit Hain had an international hit ‘Dancing in the City’ with Julian Marshall in 1978 but after the duo split, Hain issued her debut solo album ‘Spirits Walking Out’ produced by Thorne. One of the highlights was the synthesized cabaret noir of the dramatic title song. Hain had a role in the SOFT CELL story as it was her Roland CR78 Compurhythm which Thorne used as the rhythmic backbone to ‘Tainted Love’.

Available on the KIT HAIN album ‘Spirits Walking Out’ via Renaissance Records

https://kittusmusic.com/

SOFT CELL Bedsitter – Early Morning Dance Side (1981)

With direction from Thorne, SOFT CELL often incorporated extra vocal sections into their 12” extended formats. ‘Bedsitter’ added a marvellous rap from Marc Almond where he asked “do you look a mess, do have a hangover?” before taking a little blusher. The literal kitchen sink drama to song concept saw tea leaves pushed down the drain as the night life started all over again.

Available on the SOFT CELL album ‘The Twelve Inch Singles’ via UMC

https://www.softcell.co.uk/

NINA HAGEN Tiatschi Tarot (1982)

Recorded in New York with Thorne, ‘NunSexMonkRock’ was the debut solo adventure by eccentric German singer Nina Hagen, as well as her first record in English. While it was primarily a dissonant mix of punk, funk and reggae, ‘Taitschi-Tarot’ was a delightful oddball avant opera piece using piano and synths that covered Buddhism, reincarnation and yoga.

Available on the NINA HAGEN album ‘Nunsexmonkrock’ via Sony Music

https://ninahagendas.beepworld.de/

SOFT CELL Torch – 12” version (1982)

Punctuated by John Gatchell’s flugelhorn, ‘Torch’ came in the middle of SOFT CELL’s imperial pop phase and the 12” version was a pièce de résistance, fuelled by Almond and Dave Ball partying on the New York club scene where they had met Cindy Ecstasy. In an amusing spoken middle section, her nonchalant off-key vocal counterpointed Almond’s fabulously forlorn romanticism.

Available on the SOFT CELL boxed set ‘Keychains & Snowstorms’ via UMC

https://www.facebook.com/softcell

THE THE Uncertain Smile (1982)

Still Matt Johnson’s finest five minutes as THE THE, ‘Uncertain Smile’ on its single release featured a wonderfully rigid TR808 pattern, lovely layers of synths and a variety of woodwinds including flute and sax. Produced by Mike Thorne, this fuller sounding and more emotive take far outstripped the bland overlong ‘Soul Mining’ album cut.

Available on the THE THE album ’45 RPM – The Singles’ via Epic Records

https://www.thethe.com/

SEONA DANCING More To Lose (1983)

SEONA DANCING were the synthpop duo comprising of a young Ricky Gervais and his University friend Bill McRae. With Gervais adopting a melodramatic Bowie-like persona as a doomed romantic, their first single ‘More To Lose’ produced by Mike Thorne was of its time. However, its incessant rhythms and tuneful keyboard inflections had appeal and the song became a surprise radio hit in The Philippines.

Available on the SEONA DANCING single ‘More To Lose’ via London Records

http://www.rickygervais.com/

SOFT CELL The Art Of Falling Apart (1983)

During the making of ‘The Art Of Falling Apart’, Thorne was viewed as a controller and spy for Phonogram. As former art school students, pop stardom did not suit SOFT CELL so there was no option but for Marc Almond and Dave Ball to self-destruct. The imploding disposition of title song couldn’t have soundtracked a mental breakdown any better.

Available on the album ‘The Art Of Falling Apart’ via Mercury Records

https://www.instagram.com/softcellhq/

BRONSKI BEAT Smalltown Boy (1984)

BRONSKI BEAT were nothing short of startling, thanks to their look, their minimal synth sound and Jimmy Somerville’s lonely earth shattering falsetto. The trio had sought to be more outspoken and political in their position as openly gay performers and the tale of the Mike Thorne produced ‘Smalltown Boy’ about a gay teenager fleeing his hometown made an important statement.

Available on the BRONSKI BEAT album ‘The Age Of Consent’ via London Records

https://www.jimmysomerville.co.uk/

THE COMMUNARDS Disenchanted (1986)

After leaving BRONSKI BEAT, Jimmy Somerville formed THE COMMUNARDS with future TV vicar Richard Coles and took Mike Thorne with him to produce their self-titled debut. The brilliant ‘Disenchanted’ heavily recalled the sound of his previous band. Somerville was never able to never stuck around in his bands for long as his relationship with Coles was dissolved after a second album ‘Red’ in 1987.

Available on THE COMMUNARDS album ‘Communards’ via London Records

https://www.facebook.com/officialjimmysomerville

HOLLYWOOD BEYOND Save Me (1987)

HOLLYWOOD BEYOND was the vehicle of the flamboyant Mark Rogers and he went Top10 with the Stephen Hague produced ‘What’s The Colour Of Money?’ in 1986. Mike Thorne was brought in to produce one track, ‘Save Me’, for the parent album ‘If’. Released as a single, it was an attempt to make a funkier version of BRONSKI BEAT and THE COMMUNARDS.

Available on the HOLLYWOOD BEYOND album ‘If’ via Warner Music

https://www.discogs.com/artist/134514-Hollywood-Beyond

LAURIE ANDERSON The Day The Devil (1989)

Having emerged from New York’s avant-garde scene, Laurie Anderson’s fourth studio album ‘Strange Angels’ saw her attempt to move away from performance art into a more musical territory. Taking singing lessons and developing into a soprano, Thorne produced four tracks on the album including ‘The Day the Devil’, a gothic art mini-opera with sinister diabolic overtones.

Available on the LAURIE ANDERSON album ‘Strange Angels’ via Warner Music

https://laurieanderson.com/

CHINA CRISIS Red Letter Day (1989)

While CHINA CRISIS had recorded their fifth album with STEELY DAN’s Walter Becker, Virgin Records had felt there were no potential hit singles. So the band were despatched to re-record three songs including ‘Red Letter Day’. Using a sharp piano figure reminiscent of Rupert Holmes’ one hit wonder ‘Escape (The Pina Colada Song)’ with more counterpoints, synths and vocal harmonies.

Available on the CHINA CRISIS album ‘Diary Of A Hollow Horse’ via Virgin Records

https://www.facebook.com/chinacrisisofficial

BRONSKI BEAT I’m Gonna Run Away From You (1990)

Mike Thorne reunited with BRONSKI BEAT whne they rebooted with a new vocalist Jonathan Hellyer who had a falsetto similar to Jimmy Somerville. The first track released was a frantic dance cover of ‘I’m Gonna Run Away From You’, a Northern Soul song made famous by Tami Lynn. Sadly, Larry Steinbachek passed away in 2017 and Steve Bronski in 2022.

Originally released as a single by Zed Beat, currently unavailable.

http://www.bronskibeat.co.uk/

INFORMATION SOCIETY Peace & Love, Inc (1992)

From Minneapolis, INFORMATION SOCIETY had their breakthrough with ‘What’s On Your Mind (Pure Energy)’ in 1988. From the album of the same name on which Thorne produced 4 tracks, ‘Peace & Love, Inc’ was spikey and energetic social commentary with heavy rave influences with 808 STATE samples thrown in.

Available on the INFORMATION SOCIETY album ‘Peace & Love, Inc’ via Tommy Boy Records

https://www.facebook.com/informationsociety

PETER MURPHY Our Secret Garden (1992)

For his fourth solo album, BAUHAUS front man Peter Murphy sort to capture the live feel of a band, having sampled musicians on his two previous works. The spacious and exotic ‘Our Secret Garden’ saw keyboards played by Murphy himself alongside the producer’s Synclavier. The ‘Holy Smoke’ album also reunited Thorne with B-MOVIE’s Paul Statham who was now acting as Murphy’s wingman.

Available on the PETER MURPHY album ‘Holy Smoke’ via Beggars Banquet Records

https://www.petermurphy.info/

MARC ALMOND We Need Jealousy (1996)

Mike Thorne’s reunion with Marc Almond proved to be tense with the singer dismayed that the producer was still using his Synclavier. A change in record labels led to Thorne’s productions being remixed by THE BEATMASTERS and BIZARRE INC. Mixed by Gregg Jackman, ‘We Need Jealousy’ featured some great bassline programming but the experience drained the producer.

Available on the MARC ALMOND album ‘Fantastic Star’ via Mercury Records

http://www.marcalmond.co.uk/

For personal commentary by Mike Thorne, archive articles and information on releases by The Stereo Society, please visit https://stereosociety.com/

Text by Chi Ming Lai with thanks to Simon Helm
20th February 2023

CONFORM TO DEFORM: THE WEIRD & WONDERFUL WORLD OF SOME BIZZARE Interview

12 January 2023 /

“There is no musical barrier of peoples acceptance, the only musical barrier is the media. (music press, radio & television.) Remember what people cannot see or hear, they cannot think about.”: Some Bizzare ‘?’

Along with Factory and Mute, Some Bizzare was one of the focal points of independently minded music and culture. It can be credited with launching the careers of SOFT CELL and THE THE while DEPECHE MODE, BLANCMANGE, B-MOVIE, CABARET VOLTAIRE, EINSTURZENDE NEUBAUTEN, FOETUS and PSYCHIC TV have also been part of its story.

At the centre of it all was Stevo Pierce, a Dagenham lad who ran club nights playing electronic music and was bolshy enough to approach rock paper Sounds about publishing his Futurist chart.

Having helped get his charges SOFT CELL to No1 with ‘Tainted Love’ in the summer of 1981, Stevo caught an unsuspecting music industry on the hop. “I’ve got you by the boll*cks” he once declared and he could name his price as he shopped his roster to the major labels. His methods could be unconventional and there were legendary stories about teddy bears being sent to meetings with cassettes stating his demands including supplies of sweets for a year.

Stevo’s ace was often to get the major labels to underwrite recordings while still keeping ownership of them himself. And the majors loved dealing with him… for a while at least. But next to the million-selling singles, there were raids by the Vice Squad, sex dwarves, death threats, ecstasy parties and meltdowns with one notable incident when Stevo and Marc Almond trashed the offices of Phonogram Records in Spring 1983.

Wesley Doyle traces the weird and wonderful world of Some Bizzare in his new book ‘Conform To Deform’. It features new contributions from many of the major players in the story including Marc Almond, Dave Ball, Matt Johnson, Daniel Miller, Steve Hovington, Neil Arthur, JG Thirlwell aka Clint Ruin / Jim Foetus, Stephen Mallinder, Anni Hogan, Michael Gira and long suffering personal assistant Jane Rolink, as well as Stevo himself.

Documenting the rise and fall of Some Bizzare, Wesley Doyle chatted to ELECTRICITYCLUB.CO.UK about how his excellent book came together as well as answering some hypothetical questions of interest…

What inspired you to document the story of Some Bizzare?

I’ve been a fan of the label since my early teens, and it was a really important part of my growing up and development. I’d been waiting for years for somebody to write a book, because I wanted to see all those stories collected in one place, but it seemed no writer or publisher wanted to take it on. So I thought I’d do it myself. I wrote a feature for Record Collector, a kind of top 20 Some Bizzare releases, which in the back of my mind I thought I could use as part of a book pitch. Which I did, and Jawbone picked it up.

With ‘Conform To Deform’, you’ve opted for a chronological quotes narrative?

I like oral histories – everyone has their own truth, and I think juxtaposing people’s recollections in their own words is a really interesting way of finding out what actually went on. But initially I started writing the book as a third person narrative, mainly because I didn’t think some of the key players would be willing to talk. It soon became apparent most people were happy to share their recollections, so I shifted it to the oral history format.

I think it works well, and it captures the personality of the characters involved. Some of the characters were so larger-than-life and their voices so strong, and there was a lot of humour that may have been lost otherwise. Stevo’s way of communication is famously unique, and people like Marc Almond, Dave Ball, Anni Hogan and Jane Rolink are all Northerners, so they have this innate sense of humour that wouldn’t have come across if I’d had been pontificating in some kind of flowery prose. Matt Johnson as well is a very funny man, which might surprise some people.

Compared with Mute and Factory, Some Bizzare was more stable than label… see what I did there! *laughs*

That’s good, I wish I’d thought of that!

I guess it’s in the book’s title, ‘Conform To Deform’; Stevo wanted to get in bed with the major labels so that he had their clout. He worked closely with Daniel Miller at the beginning but Mute were a small operation and at the time Daniel wanted to keep it that way. Stevo always thought big – from the very beginning Some Bizzare wasn’t aiming for a minority audience. There were no little independent releases, the first album came out on Phonogram, as did the first run of singles from SOFT CELL and B-MOVIE. Stevo really wanted to hit a big audience, although I don’t think it did him any favours in the long run. As Daniel says in the book, knowing what Stevo’s taste in music was, it was only going to end in tears.

But you can’t deny the success of ‘Tainted Love’. It’s hard to make a comparison now, what with success being measured in billions of streams. In 1981 over a million people in the UK left their homes, walked into their local record shop and handed over money to own that song. And that gave Stevo carte blanche to go to the major labels with bands like THE THE, EINSTÜRZENDE NEUBAUTEN and PSYCHIC TV and they would take a punt on them.

I don’t know if you remember a quote from Marc Almond and I think it was in NME; he said that an artist can only truly be subversive if they have access to the mainstream…

I think it’s true – again, ‘Conform to Deform’. I found out about FOETUS because Marc brought him on TV when SOFT CELL covered SUICIDE’s ‘Ghost Rider’ on Channel 4’s ‘Switch’ show – which was on a teatime on a Friday! I was speaking to Karl O’Connor aka Regis and we both had the same response to that appearance, it totally changed us. So in that respect, getting music like that on mainstream television was a truly subversive act. It was all well and good when CABARET VOLTAIRE were on Rough Trade or Crépuscule and their music reached a few thousand people in trench coats, but it’s only when they were on Some Bizzare and had access to Virgin’s money that people paid real attention. If you want reach people, you’ve got to go though the most popular channels, you’re just in an echo chamber otherwise. Which is fine, but you’ll never change anything.

It’s amazing to think that a lot of the stuff that we were into around that time was being featured in a so-called teen pop magazine like Smash Hits. But talking about the serious music press, it’s interesting that Sounds, at the time known for being more of a rock and heavy metal music paper, published Stevo’s Futurist chart and employed Beverley Glick aka Betty Page to interview these new acts using synths, rather than say the NME?

I remember Sounds being the most open minded of the big four papers generally. They were always seen as the lesser of NME, Melody Maker and Record Mirror, so they really had to fight for their place at the table. Editor Alan Lewis wanted to reach as many people as possible, so you had Garry Bushell writing about the Oi! movement, Geoff Barton writing about heavy metal, Jon Savage writing about post-punk, and Beverley Glick writing about what became the New Romantics. In retrospect it was far more open minded than the other papers.

Your book discusses the Futurist / Blitz Kid divide when New Romantic was not actually a thing yet, which is something the media, fans and record labels have forgotten…

In 1981 I was 12 years old and buying Smash Hits, so New Romantics and Futurists were the same thing to me, I wasn’t aware that there was a perceived difference. But Beverley and Stevo in particular were quite clear that New Romantics DID NOT exist in 1980, it was a retrospective thing.

Rusty Egan was on the Blitz Kid side and Stevo was on the Futurist side, and what surprised me was how visible both were when it came to the press. Stevo was so embedded in Sounds, he was a big character in that paper.

Having spoken to the people that were there, no-one said anything about New Romantics, it was Futurists and Blitz Kids. Blitz Kids were ULTRAVOX, SPANDAU BALLET, DURAN DURAN and VISAGE while Futurists were slightly edgier stuff like SOFT CELL, BLANCMANGE, FAD GADGET and CLOCK DVA. And never the twain would meet!

The whole thing got put on a pedestal when the ‘Some Bizzare Album’ came out in early 1981, it’s now become iconic and prescient but how do you think it stands up today?

What I found interesting was that Stevo did ask lot of established bands to be on it, like CABARET VOLTAIRE, THROBBING GRISTLE and CLOCK DVA. He wanted it to reflect what he was playing out as a DJ rather than a showcase for new acts. But those bands didn’t want to do it, so by default it became a compilation of new artists. It’s a weird one, when you listen to the ‘Some Bizzare Album’ now, there’s a lot of very strange stuff on there. You’d be hard pushed to listen to even the BLANCMANGE or THE THE tracks and think “Ooh, they’re going places!” *laughs*

ILLUSTRATION’s ‘Tidal Flow’ is one of the most commercial things on it but they didn’t do anything else. B-MOVIE’s ‘Moles’ is pretty strong, but even SOFT CELL’s ‘The Girl With The Patent Leather Face’, although a highlight, you still wouldn’t think, “This is a multi-million selling act we have here”.

But the ‘Some Bizzare Album’ does have DEPECHE MODE on it, one of the biggest bands in the world and ‘Photographic’ is one of their best songs, and I think a lot of the album’s reputation rests with that. So it’s a real curio, if you listen to the other label compilations around the time like Virgin’s ‘Methods Of Dance’ and stuff like that, they were probably a bigger indicator of what people were actually listening to.

On the ‘Some Bizzare Album’, what do you think are the best tracks outside of the “BIG 5” of DEPECHE MODE, SOFT CELL, THE THE, BLANCMANGE and B-MOVIE, I nominate ILLUSTRATION and THE FAST SET?

The ILLUSTRATION one is good and THE FAST SET’s cover of ‘King Of The Rumbling Spires’ is OK, but the single ‘Junction 1’ which they put out on Axis / 4AD is a better song I think. I really like the BLAH BLAH BLAH one, I’m a big fan of Tom Waits so when I think back to my own musical development, something like ‘Central Park’ would have teed me up for stuff like that.

A purely hypothetical question, what would have happened if DEPECHE MODE had been on Some Bizzare and SOFT CELL had been on Mute?

That’s a great question. Well for a start I think Dave Gahan would have had to go into rehab sooner! *laughs*

Seriously though, I don’t think either band would’ve been as successful, either creatively or commercially. You only have to listen to the demos SOFT CELL did with Daniel to hear that the regimented, sequenced production that worked so well for DEPECHE MODE didn’t for them, the exception being ‘Memorabilia’ of course. Plus SOFT CELL wouldn’t have gone to New York and had the experiences they did, which changed not only their creative direction but so many of their label mates too.

And with his more leftfield musical tastes, Stevo would’ve grown tired of Depeche’s early poppier stuff pretty quickly. And I don’t think he would’ve been emotionally mature enough to support them through Vince leaving and encouraging them to carry on. I think they would’ve have gone the way of B-MOVIE had they signed Some Bizzare.

Although Paul Statham from B-MOVIE could be considered Some Bizzare’s silent success story with his later co-writes for Peter Murphy, Dido and Kylie, why do you think out of the “BIG 5” that the band did not break into the mainstream?

Like lot of people, the first time I heard B-MOVIE was on the Flexipop flexidisc when ‘Remembrance Day’ was paired with SOFT CELL ‘Metro MRX’. If you follow the threads, then there were the singles ‘Marilyn Dreams’ and ‘Nowhere Girl’ plus there were two EPs before that, which positioned them as a perfect post-punk band. Personally, I always thought B-MOVIE had more in common with THE TEARDROP EXPLODES, THE SOUND and ECHO & THE BUNNYMEN. And Rick Holliday’s keyboard playing was very accomplished, much more musical and didn’t really fit in with that one-fingered synth thing. B-MOVIE’s singer Steve Hovington speaks very openly in the book about how at the time B-MOVIE thought they were geniuses and felt they should have been given a lot more respect than they got. And people at Phonogram genuinely thought they had a rival to DURAN DURAN on their hands. But it soon became apparent they weren’t that kind of band.

Rick Holliday was the last to join B-MOVIE and the first to leave when he went off with Cindy Ecstasy so I think the chemistry and group mentality of the band got really altered…

With most bands the chemistry is unique, and once you start to tamper with it, you lose something. As soon as Rick left, they changed the line-up and got session players in to re-record and re-re-record those early songs. By the time they finally released an album, they really weren’t the same band and they’d kind of lost what made them great. They were signed to Sire by that point and maybe weren’t really in control. Sometimes limitations are better and working within those parameters becomes part of the end result. Other times, you can give musicians access to big studios and big money, but they just lose what was good about them. I actually think B–MOVIE are a much better band now than they were during that mid-80s period.

Which version of THE THE ‘Uncertain Smile’ is your favourite, ‘Cold Spell Ahead’, the single version produced by Mike Thorne or the ‘Soul Mining’ one?

I’m going to be pedantic and say it’s actually none of those, it’s the 10 minute 12 inch version with the flute and sax produced by Mike Thorne. Outside of his work on ‘Untitled’, that was the first thing I heard by Matt Johnson. And taken with the two B-sides – ‘Three Orange Kisses From Kazan’ and ‘Waitin’ For The Upturn’ – it’s simply some of the best music ever recorded in my opinion.

I always thought it was a shame Matt Johnson didn’t stay working with Mike Thorne…

Yeah, that was a Stevo thing…

Some Bizzare’s union with CABARET VOLTAIRE’s club-oriented era now seems obvious but at the time, it wasn’t because they were known to be uncompromising and independent on their own?

I didn’t really know anything about CABARET VOLTAIRE before their Some Bizzare period, ‘Just Fascination’ was the first thing I heard by them. As far as I was concerned, they were like a new band who had just signed to Some Bizzare. Mal (Stephen Mallinder) told me they felt they had gone as far as they could go with Rough Trade and wanted to move onto bigger budgets and bigger studios. I was astounded to find they had nothing prepared when they made ‘The Crackdown’, they went into Trident Studios for a week, having never worked with a producer before, and just made it from scratch. Flood was engineering, Dave Ball played some keyboards and Stevo shopped the end result to the major labels.

What do you think was the seed of it going wrong for Some Bizzare?

That’s a tough one… I think Stevo wasn’t able to find another SOFT CELL, a big-selling pop act which could balance out his more left-field artists. So he didn’t have a contingency when bands wanted to leave. Also, this amazing idea of getting leftfield bands to be treated as bona-fide unit shifting pop stars, soon fell apart when the amount of money that the majors were spending on the records wasn’t being reflected in the amount of money being made. It was the cold hard facts of business that bit them on the arse in the end. I agree with Jim Thirwell aka FOETUS that the A&R decisions went out of the window. Maybe if Stevo had signed YELLO, who he was after at one point, things may have been different. But he signed TEST DEPARTMENT instead… which kind of sums it up! *laughs*

Some Bizzare had a great visual identity, so what was your favourite artwork?

The childish part of me wants to say, “the w*nking devil” on the cover of the ‘Infected’ 12”. I have the design on a T-shirt which I’ve only wore out once and even then kept it covered up! *laughs*

I love Andy Dog Johnson’s stuff for THE THE; I interviewed Matt a couple of times for the book and he was super generous. The second time I went to see him, he let me look at some of his brother’s sketchbooks… the guy was astounding, the colour palettes he used were incredible. I love Val Dehnam’s stuff although I know that’s not to everyone’s taste, but the cover of ‘Torment & Toreros’ is amazing. And I love the cover to the second compilation album too.

I’ve always loved SOFT CELL ‘Say Hello Wave Goodbye’ by Huw Feather…

Of Huw Feather’s work it would be ‘Torch’ for me, such an incredible, confusing, vibrant image. There was a lot of one-off bits of artwork produced for the label, and over the years I’ve tried to track down all the fan club stuff and merch flyers that were produced. There were some brilliant single-use magazine adverts, too. In particular one for ‘Bedsitter’ from Sounds – a line drawing of what a bedsit would look like looking up from a bed. It didn’t appear on anything else, it was unique piece of artwork for the music press. I had far too much visual material to include in the book so a lot of it got left out. I’m aiming to get some of it up on my Instagram feed around the time of publication so people can see it.

What is the ultimate Some Bizzare record?

I think THE THE’s ‘Infected’ project is the ultimate crystallisation of what Stevo was trying to do. It’s a challenging piece of work – both musically and lyrically – and visually very strong. And there was an accompanying film which was incredibly expensive and again very cutting edge for the time. And of course Stevo got it bankrolled by a major label who lost their shirt on it – there was no way it was going to recoup. Yet it still stands up to this day – you can watch the film now and still be impressed by its production values, and the music is still incredible. The Some Bizzare ethos runs all the way through ‘Infected’.

What about the legacy of Stevo and Some Bizzare?

Stevo would disagree, but I think there are still people doing what he tried to do. DJ Food in the book mentions James Lavelle which I thought was a good example. Also Wiley too, who uses mainstream channels when they suit him, and goes underground when they don’t. A lot of legacy artists who now own their own means of production make their albums and then shop them to whichever label that gives them the best deal. People like Damon Albarn, Paul Weller and Nick Cave who retain artistic control but use the clout of a major, that’s definitely a Stevo thing.

As far as trying to push boundaries and change people’s minds about artistic expression, I don’t know. Things like the ‘Sex Dwarf’ video would be seen as relatively tame and facile now, I don’t think it would shock anybody…

…it’s not RAMMSTEIN’s ‘Pussy’ is it? *laughs*

No, it’s not, thank god! *laughs*

I don’t really know what sort of boundaries stuff like that is pushing to be honest, it doesn’t seem to have a point. The thing about Some Bizzare and what Stevo was trying to do, whether he knew it or not, was he allowed people who would not have access to that kind of platform to be heard. For a while, you could find out about bands like EINSTÜRZENDE NEUBAUTEN or SWANS, read about what they were trying to do, and then decide for yourself if you wanted to pursue their music further.

Your website is testament that the early-to-mid 80s period was a golden age for leftfield artists moving into the mainstream, which was great for the most part. But a lot of those acts adjusted their music to make it more palatable. THE FUTURE changed to THE HUMAN LEAGUE who signed to Virgin, and then split into THE HUMAN LEAGUE MKII and HEAVEN 17, and both made concessions to ongoing commercial success, for better or worse. But Neubauten always sounded like Neubauten, and Stevo’s attitude was, “Why shouldn’t they be on Virgin too? Get the music out there, and let people make up their own minds.”

ELECTRICITYCLUB.CO.UK gives its warmest thanks to Wesley Doyle

‘Conform To Deform: The Weird & Wonderful World Of Some Bizzare’ is published by Jawbone Press on 14th February 2023 as a 392 page softback book with 16 page of photos, signed copies available from https://www.roughtrade.com/gb/product/wesley-doyle/conform-to-deform-the-weird-and-wonderful-world-of-some-bizzare

A live event celebrating the release of the book takes place on Tuesday 28th February 2023 at Rough Trade East, The Old Truman Brewery, 150 Brick Lane, London E1 6QL, tickets available from https://dice.fm/event/ygl6p-conform-to-deform-the-weird-wonderful-world-of-some-bizzare-live-28th-feb-rough-trade-east-london-tickets

http://jawbonepress.com/conform-to-deform/

https://twitter.com/WesleyDoyleUK

https://www.instagram.com/wesleydoylewrites/

Text and Interview by Chi Ming Lai
12th January 2023

Is SOFT CELL Non-Stop Erotic Cabaret the Best Album of 1981?

2 November 2021 /

“Well! Here we are again!” Sorry, that’s actually a lyric from another band touring on the 40th Anniversary of a classic 1981 album.

Despite saying hello and waving goodbye with a final show at London’s O2 Arena in 2018, SOFT CELL have not only got a new album ‘*Happiness Not Included’ slated for release in February 2022, but they will also perform their seminal debut album ‘Non-Stop Erotic Cabaret’ in its entirety for the first time.

But as SOFT CELL celebrate the legacy of ‘Non-Stop Erotic Cabaret’ alongside their other hits, they will also be previewing tracks from ‘*Happiness Not Included’.

Although it has been four decades since the seedy personas of Marc Almond and Dave Ball, photographed by Peter Ashworth, adorned the front cover and hit the shelves of WH Smith, Boots, Littlewoods and Woolworths, the fact that ‘Non-Stop Erotic Cabaret’ was available where your parents and grandparents shopped can now be seen as being one of the most subversive acts in popular culture.

Art students who met at Leeds Polytechnic, the album title came from one of the neon signs outside The Raymond Revue Bar in London’s Soho where Almond lived, an area that at the time was full of strip clubs, sex shops and entrances saying “model upstairs”.

While JAPAN glamourised Chinese Communism on ‘Tin Drum’ and THE HUMAN LEAGUE presented working class aspiration like a synthpop ABBA on ‘Dare’, SOFT CELL told of the grit that could come with glitter in musical tales about dirty old men, prostitutes, grooming, sexual deviance, personal grievance, tabloid sensationalism, middle class entitlement and living in squalor. Only the pair of tunes by OMD about the brutal execution of a teenage girl on ‘Architecture & Morality’ were historically darker than SOFT CELL’s gutter heart take on reality.

The recent Twitter listening party hosted by Tim Burgess highlighted the worldwide love and affection for ‘Non-Stop Erotic Cabaret’. With Marc Almond and Dave Ball on hand to provide insights and memories on the making of the record, a number of interesting points of trivia were provided.

While the duo were in New York to record and mix the album with producer Mike Thorne, ‘Tainted Love’ became a hit in Germany. So with Ball otherwise engaged in working the state-of-the-art NED Synclavier and the much more basic Roland Synthe-Bass SB100 which provided SOFT CELL with a very distinct sound, Almond was despatched to perform the song on TV show ‘Disco’ with a Dave Ball lookalike who ZDF tried to keep in shadow and out of shot, but failed!

Of ‘Entertain Me’, Marc Almond said “This is about people who are just never satisfied. The pop star world we found ourselves in after the success of ‘Tainted Love’”; but of this new world they were now part of, Dave Ball recalled “it was all a big adventure. Highlights were meeting Divine and Madonna in Danceteria then meeting Andy Warhol at The Factory”

‘Secret Life’ was revealed to be a preceding song to ‘Say Hello Wave Goodbye’ about a politician’s affair with a prostitute whose other secret is that he is also a cross dresser… with sex scandals still rife in Parliament, the songs on ‘Non-Stop Erotic Cabaret’ are as relevant as ever.

‘

‘Bedsitter’ is another case in point which despite its bittersweet ode to nightlife, on which the Roland TR808 Rhythm Composer was heard on a UK hit single for the first time, reflects on the poor quality accommodation offered by private landlords thanks to the selling off of affordable council housing in Britain; the effects of this Thatcherite policy are sadly still felt today.

Although with a lyric originated by Dave Ball about his own father, the most sinister song when applied to the present is ‘Frustration’ which could be a narrative on incels or “involuntary celibates”, the deeply unpleasant right wing faction of males who are unable to get a romantic or sexual partner despite desiring one, but whose misguided and ignorant anger spills into misogyny and racism.

The most important aspect about ‘Non-Stop Erotic Cabaret’ though is that it possessed catchy off-kilter tunes with great synth hooks and edgy lyrics over infectious machine beats. With its No1 single and a pair of Top 5s, SOFT CELL initially stole a march on DEPECHE MODE whose own debut ‘Speak & Spell’ paled in comparison. But while Almond and Ball first spilt in 1984, PET SHOP BOYS picked up their baton and although they smoothed the template out, proved that the technologically assisted pop duo format still had legs.

There is much to reasonably justify ‘Non-Stop Erotic Cabaret’ as the Best Album of 1981, but if it isn’t, then it is certainly in the Top 5 alongside THE HUMAN LEAGUE, JAPAN, KRAFTWERK and OMD in what was a sensational year for electronic pop music.

SOFT CELL’s 2021 ‘Non-Stop Erotic Cabaret’ 40th Anniversary live dates:

Glasgow O2 Academy (10th November), Manchester O2 Apollo (12th November), Leeds O2 Academy (13th November), London Hammersmith Apollo (15th November), London Hammersmith Apollo (16th November) – tickets available from https://myticket.co.uk/artists/soft-cell

The new album ‘*Happiness Not Included’’ is released on 25th February 2022 via BMG, the single ‘Bruises On My Illusions’ is available now on CD and 12″ vinyl formats from https://softcell.tmstor.es/

http://www.softcell.co.uk

https://www.facebook.com/softcellband/

https://twitter.com/softcellhq

https://www.instagram.com/softcellhq/

Text by Chi Ming Lai
Photos by Peter Ashworth
2nd November 2021

SOFT CELL Interview

18 August 2018 /

Photo by Dave Chambers

One-time Leeds Polytechnic art students SOFT CELL set the blueprint for acts such as PET SHOP BOYS and ERASURE with their stark but danceable synthesizer driven pop and were undoubtedly ahead of their time.

Managed by Stevo Pearce of Some Bizzare Records who secured them a deal with Phonogram Records, Marc Almond and Dave Ball had an amazing run of Top 40 hit singles between 1981-1984.

Having entered into cultural folklore with their catalogue of classics such as ‘Memorabilia’, ‘Tainted Love’, ‘Bedsitter’, ‘Say Hello Wave Goodbye’, ‘Torch’, ‘What!’, ‘Where The Heart Is’ and ‘Soul Inside’, Almond and Ball will say hello and wave goodbye with a final concert at London’s O2 Arena on Sunday 30th September 2018 and a soon-to-be-released celebratory 10 disc boxed set entitled ‘Keychains & Snowstorms: The SOFT CELL Story’. Every recorded track from the duo’s Phonogram-era is represented on ‘Keychains & Snowstorms: The SOFT CELL Story’ in some form or another, with all of the singles presented in their extended 12 inch format.

Photo by Peter Ashworth

Meanwhile, there will also be tracks like ‘Divided Soul, ‘Somebody, Somewhere, Sometime’, ‘The Night’, ‘Monoculture’, ‘Desperate’ and ‘Darker Times’ released  in 2002 following Almond and Ball’s unexpected reunion as SOFT CELL.

Among the rarities included will be the debut SOFT CELL EP ‘Mutant Moments’, ‘The Girl With The Patent Leather Face’ from the iconic ‘Some Bizzare Album’, tracks recorded under production auspices of Daniel Miller, rarities, demos, BBC radio sessions, new remixes and live recordings.

On a sunny August day, Dave Ball took time out from preparations for the final concert and kindly chatted about the return of SOFT CELL and their past life of vice…

What concept did you follow for ‘Keychains & Snowstorms’ with regards the budget and restrictions you had?

It wasn’t really so much how much budget we had, but how much material we had; things came out of the woodwork. We’ve got stuff from the very first ever show which we did in 1979 at Leeds Polytechnic for the Fine Art Department party right up to the present day really. There’s rare mixes of quite well-known tracks and a performance from Los Angeles in which Michael Jackson was in the audience! So there’s lots of rarities and oddities.

There’s also a DVD which is most of our British TV performances on ‘Top Of The Pops’ plus ‘Old Grey Whistle Test’, ‘Oxford Road Show’ and even a programme called ‘Supersonic’; ‘Non Stop Erotic Video Show’ is on there too.

It’s got a lot of stuff, there’s a great book that comes with it which has got quotes from people like Neil Tennant and Trent Reznor, so it’s interesting … if anybody is a serious fan, I think it’s a must! It looks beautiful, it was Chris Smith’s idea to have the neon Revox, it’s such as iconic image in its own right, Dave Chambers took the pictures. It’s such a simple design but looks nice as a piece of art, you could have it on your mantelpiece.

Are you including Peter Ashworth’s many photos of SOFT CELL?

The thing is, it’s been such a productive time for us that Richard Franklin who did Marc’s coffee table book, we’ve been working with him on one. I had a meeting over at Peter Ashworth’s flat a few months back, he found a load of stuff from the early 80s, lots of test shots and polaroids, a bin bag full of them! So we sat there one afternoon by the river sipping champagne looking through these test sheets of amazing stuff that people have never seen. Now this is not tied in with the boxed set, this is like a separate project. The audio is the boxed set and the visuals will come out next year as a proper hard backed book.

Is there going to be a souvenir programme for the final concert?

Of course there will be a programme, that’s going to be interesting… there’s lots happening, Universal are going to be re-reissuing all the albums on vinyl while the final one ‘Cruelty Without Beauty’ which we did with Cooking Vinyl, that will be released for the first time on vinyl, which is ironic considering the name of the label *laughs*


Your debut EP ‘Mutant Moments’ had a very art school vibe while the next single ‘Memorabilia’ b/w ‘A Man Can Get Lost’ was more clubby…

‘Mutant Moments’ was very homemade, very lo-fi and made on no money, done at art college. But we thought we needed a producer and we had the chance when Daniel Miller came along.

We gravitated towards him because we loved ‘Warm Leatherette’ plus we knew Frank Tovey who was FAD GADGET, he did MUTE 002 which was ‘Back To Nature’. We passed a cassette to Frank and asked him to play it to Daniel but at first, he didn’t really get it.

Eventually we managed to persuade him to do a single in a 16 track studio in East London called Stage One where we recorded ‘Memorabilia’ and ‘A Man Can Get Lost’ … it was a bit confusing that because the 7 inch came out as ‘A Man Can Get Lost’ while the 12 inch came out as ‘Memorabilia’!

And ‘Memorabilia’ became this big club hit, it even got in the American dance charts! I think that’s why we got a chance at doing another single with Photogram because they were quite astonished and probably thinking “how are these two art school guys getting a record into the American dance chart?”.

But we were very self-motivating… even with ‘Mutant Moments’, I managed to get three plays on Radio1 with no record label, management or plugger! We did the Futurama2 festival at Leeds Queens Hall in 1980, I had a test pressing with me just in case and lo-and-behold, I saw John Peel! So I made a beeline for him and went “Excuse me sir” while doffing my cap, “may I give you this?”… he was like “oh thanks” and put it in his filing cabinet *laughs*

I thought nothing more of it but he played ‘Metro MRX’ three times on his Radio1 show, all this on a chance meeting. So you never know your luck 😉

You did a re-recording of ‘Metro MRX’ that ended up being issued by ‘Flexipop’ magazine which uses the same electronic rhythm track as ‘New Life’ by DEPECHE MODE?

That was done with Daniel Miller, his bass drum at that time was an ARP 2600, which was a semi-modular system which apparently he bought second-hand from Elton John which was used on tour! It’s a fantastic synth, I’d loved to have had one! Talking of ARP, I’ve just got an ARP Odyssey reissue which has an absolutely beautiful sound because we’ve got a bit of a deal with Korg so that’s quite handy *laughs*

After ‘Mutant Moments’ and ‘Memorabilia’, did you notice that SOFT CELL were morphing into something much more synthpop, because the songs on the demos that are in the boxed set and which formed ‘The Bedsit Tapes’ did not end up on ‘Non-Stop Erotic Cabaret’…

Yeah, ‘The Bedsit Tapes’ were all just little sketches and a lot were written by me at art college, they were just doodles really. When I met Marc, he was a performance artist and I was just doing weird synth music for him. But he asked if he could sing some of my songs, and I was like “great” because I’m not a singer and he looked fantastic, when I first met him I thought “that’s a front man!”.

So we started to think about how to get a sound; Marc had been working at Leeds Warehouse in the cloakroom and they were playing a lot of New York disco, so he was bringing these records home that he’d borrowed. So we were getting more and more into music with a heavy dance beat and heavy basslines.

That’s how ‘Memorabilia’ came about, it was directly influenced by all that and us deliberately doing something a bit more clubby. I give Marc full credit for steering it there and suggesting we do something with more of a James Brown bassline. So I started noodling repetitively, it wasn’t sequenced but it started sounding like those Techno records which came later. We inadvertently came across that sound and with Daniel’s help obviously, we created something amazing.

Photo by Peter Ashworth

You’ve talked about the rhythmic and art school side, but where did the tunes spring from?

Marc’s always been the very big pop fan as have I, plus I’m a big fan of a lot of film music like John Barry. So we’ve always been strong on our melodies.

I’d play a little tune and Marc would do something that counters it. KRAFTWERK, YELLOW MAGIC ORCHESTRA and DEPECHE MODE are very melodic.

The most successful electronic bands are all extremely melodic and fantastic. It’s all very good listening to drones, I mean I love Brian Eno and even some of that has amazing melodies, but it’s like being washed over in water colour.

I do like a powerful theme and I like the subject matter of a song to be powerful and to have some kind of a thematic quality with it, like a James Bond song such as ‘Goldfinger’, a very powerful musical element and a powerful vocal element.

Even on ‘Mutant Moments’, there’s a track called ‘L.O.V.E Feelings’ which had a John Barry vibe, so it seemed to be there even back then?

There was this pub Marc and I used to frequent. On a Sunday evening, they had a singalong-with-the-organist night and there would be this old bloke with a Hammond organ and this drummer who had this round tom and he’d have his newspaper on that, doing the crossword with his pint and a fag in his mouth, playing the hi-hat and bass drum! And then there was this mad old lady who had drunk too much sherry trying to sing Shirley Bassey! I think Peter Kay captured all that with ‘Phoenix Nights’, so it was kind of like a p*ss take of that! You can hear Marc giggling at the end!

He did that a few times when we were recording, we were doing something recently going through some of our old tracks and I found a multi-track of a take of ‘Tainted Love’ and when Marc gets to the first chorus, he’s in fits of giggles, I don’t know why!


Despite being art school boys, did a new discipline have to emerge with ‘Mutant Moments’, just by the nature of having to choose four songs to record for an EP?

At that point, we went through what we’d got and thought those were the best four songs we had at the time, so that’s why those ended up on it. It was never done as a commercial enterprise.

It was more like a promotional thing and it did work because it got us on Radio1 and we started getting more and more gigs. It built very gradually over a two year period…

So this is where Stevo picked up on you?

Yes, that was after Futurama2, he wasn’t there but asked if there were any interesting unsigned electronic bands there and people kept saying our name. So he got involved… he was very lucky, he was an opportunist really, but he had good ears and was putting together a compilation which became the ‘Some Bizzare Album’ which helped us immensely.

Us and DEPECHE MODE were singled out as the ones to watch. But unfortunately, we did this gig at Crocs in Rayleigh, Essex… DEPECHE MODE were the house band and SOFT CELL were the main act, we were absolutely appalling and they were fantastic! There were all these people from London like VISAGE and SPANDAU BALLET there to check us out and they were chucking pennies at us, we were dreadful.

But that’s when Daniel Miller got involved because we knew we had to get the sound better, and as he’d signed DEPECHE MODE, we thought he might know what to do with us and luckily he said yes. We didn’t want to create any rivalry but DEPECHE MODE were cool because their take on electronic music was different. We always got on fine with DEPECHE MODE.

Was this the night where legend has it, Tony Mayo from NAKED LUNCH took a dig at Marc?

I think he said “You’re a load of sh*t”, but then Rusty Egan said to Stevo to drop us because he thought we were rubbish! *laughs*

I’ve known Rusty for years and in fairness to him, when ‘Memorabilia’ came out, he changed his mind. He used to have two copies of it and keep it going for like half an hour, mixing into each other because he loved it so much. That really was the key track that changed the momentum upwards and obviously, what happened next is history as they say…

Photo by Peter Ashworth

Do you remember much about the recording of ‘The Girl With The Patent Leather Face’ for the ‘Some Bizarre Album’?

That again was done at art school with a couple of Revoxes, a toy Chinese instrument that I put a pick up on for that clanging sound, a Korg synth and a Rhythm Master drum machine. It was a little black box that had the usual bossa nova / jazz / disco / pop presets, but only 1 or 2 of those were useable *laughs*

The guy who ran the sound studio in Leeds Poly was a guy called John Darling who’s sadly no longer with us, he had a nice home studio in the Yorkshire Dales and a proper mixing desk, so we tried to polish it up as much as possible on zero budget. It came out as it was, so we were surprised when people like journalist Betty Page aka Beverley Gillick gave it a really good review!

Your drum machine journey has been quite interesting…

I bought a Boss Doctor Rhythm DR55 which was used on those BBC Radio sessions and the first time I used anything to do with Roland, because Boss was part of the same company.

When we did ‘Tainted Love’, we used a CR78 Compurhythm which had a monophonic output which our engineer Paul Hardiman cleverly managed to split the bass and the snare by gating one off the other so that they were isolated, it probably helped that it was quite a simple rhythm. The rest of the percussion came from Marc’s Pearl Syncussion unit, a Synare which looked like a flying saucer and an Electro-Harmonix Crash Pad which had a trigger made out of cork! So all that zapping and sounds that are like smashing pottery on the segue of ‘Tainted Love’ with ‘Where Did Our Love Go?’ were done with those, alongside the live finger snaps. Simple but effective!

Photo by Poalo Di Paolo

Then you moved onto a Roland TR808?

I think SOFT CELL were the first band to use a TR808 in the British charts with ‘Bedsitter’. As soon as ‘Tainted Love’ went massive, the record company said we had to do an album and our producer Mike Thorne was an Englishman who lived in New York, so he suggested recording it there… we weren’t going to say no! So off we went to Manhattan for a few months. I took my little Korg SB100 Synthe-Bass which was the SOFT CELL bass sound on the first album.

When I got to the studio, I thought “what’s that?”… Mike had bought one of the first 808s in America and I thought “bloody hell, that’s amazing”! I immediately took to it and developed my own style. I loved it, it was instant, I had a feel for it.

Then we had the Synclavier which was the first time I’d seen a polyphonic digital synth… so I’ve got this dirty little bass thing with this amazing very early techno drum machine that no-one had really used before and we did ‘Bedsitter’, everyone was asking me “how did you get that sound?”.

That drum machine, the bass synth and the Synclavier were seriously important to our sound and the whole first album. We also put on things like a Mellotron, a celeste, a bit of real piano and some real percussion, woodwind and brass. We found our sound very quickly when we worked with Mike in New York and we knew how to do it.

We had the songs, we never stopped writing and it was great to be able to hear them recorded properly. A lot of those songs we wrote at art school and been playing them for years so we knew what people liked, things like ‘Bedsitter’.

After the 808, you moved onto the Oberheim DMX on ‘The Art Of Falling Apart’?

Yes, I bought a DMX; we used a mix of that with the Linn Drum Mk1 and Mk2. But when I listen to those albums, I prefer the sound of the 808. I wished we’d carried on using it, but everyone was gravitating towards that more ‘realistic’ sound and the 808 was out of favour. Everyone wanted real snare and bass drum samples, Martin Rushent was using the Linn Drum with THE HUMAN LEAGUE. So it was the fickle world of pop y’know, so you tend to go with the flow on that… it was a bit stupid in that way I think.

Photo by Paul Cox

SOFT CELL did some glorious 12 inch versions, in particular ‘Bedsitter’, ‘Facility Girls’, ‘Torch’ and ‘Insecure Me’, which are long songs with song parts rather than just extended versions…

We always wrote songs to be long versions… people would normally do a radio version and then re-edit that, we just did a really long version and then take the best bits to compress them into a radio version which I think worked quite well for us.

We always seemed to get good results and everyone comments on how our 12 inchers seem to flow, but that’s because they’re written as long pieces and not an assemblage.

Before ‘Non-Stop Erotic Cabaret’, you did a BBC Radio session for Richard Skinner. ‘Seedy Films’ was on it and underwent the biggest transformation because it was quite fast at first and didn’t have the clarinet, what was it like doing those?

We were always very fast with Mike Thorne, he didn’t like to work long hours but with the BBC Radio sessions, you had to work ultrafast because you basically had a day to do four or five songs. Luckily, we were very well rehearsed, so it was down to me to get stuff done as quick as possible. A lot of the energy and pace we were going probably led to us speeding the track up subconsciously!

I always used to enjoy those sessions, they were recorded in Delaware Road in Maida Vale with Dale Griffin who was in MOTT THE HOOPLE and had moved on to be an in-house producer for the BBC. We were really good friends with Richard Skinner and David Jensen who we also did a session for. I got on well with those two guys, you could have a drink with them in the BBC bar after ‘Top Of the Pops’, they were very approachable, really nice.

Songs like ‘Chips On My Shoulder’, ‘Frustration’ and ‘Secret Life’ hit a zeitgeist with Marc’s lyrical observations?

There’s always been a more fantastical underworld side with SOFT CELL, but there was a track which never came out called ‘Bleak Is My Favourite Cliché’ and it’s still strangely relevant today. I look at Marc’s lyrics now and they have a very keen sharp wit, I think he’s an extremely excellent writer. I’ve always loved his lyrics and he just sees things from a very interesting point of view. It’s taken me a while to get what he’s saying .

Photo by Peter Ashworth

The success led to SOFT CELL taking a darker path towards ‘The Art Of Falling Apart’ and then ‘This Last Night In Sodom’, how do you think you were getting into this grittier mindset that harked back to art school?

‘Non-Stop Erotic Cabaret’ became a pop album, but by the time of ‘The Art Of Falling Apart’, we wanted to make something a bit more grown-up because we were getting a bit sick of being on TV programmes like ‘Tiswas’ and being perceived as lightweight pop fluff which we obviously weren’t.

When we did ‘Old Grey Whistle Test’ on the BBC in 1982, it was amazing the gravitas that programme had. People started treating us as more of an albums band because before that, we were seen as a singles act. So when we made ‘The Art Of Falling Apart’, it was a statement and much more heavyweight and mature, we were taken more seriously I think.

Was this why you chose ‘Numbers’ as a single?

I think we were just being contentious! *laughs*

We were deliberately just trying to p*ss off the record company, because they were p*ssing us off! That’s when Marc went mental after he discovered they were double packaging ‘Numbers’ with a free copy of ‘Tainted Love’ to try to boost sales. Marc went into the Phonogram office with Stevo and they went berserk, smashing up all the gold discs on the wall and chucking coffee at the A&R men… I wasn’t there I’m glad to say, but this story is quite legendary in Phonogram circles *laughs*

Wouldn’t it have been better to choose something more obvious like ‘Forever The Same’ or ‘Loving You, Hating Me’?

We did a lot of things just to be awkward, we refused to play ‘Tainted Love’ live in America which was the only thing they knew by us, which was f***ing stupid! *laughs*

And then putting out a single about homosexual rough trade and how many people you’ve f**ked that night is not going to appeal to the little girls who buy pop records is it? But we didn’t care at that point…

Photo by Peter Ashworth

The final first phase SOFT CELL single was a cover of ‘Down In The Subway’, was that reflective of your state of mind at the time?

That was an early R’n’B track by Jack Hammer with some really clever heavy lyrics.

It was one that Marc discovered and I thought it had a great rhythm to it, it was very SOFT CELL because it was in that netherworld and had that dark element to it. It was still a minor hit!

But what amazed me was the album ‘This Last Night In Sodom’ actually got in the Top10 despite being our least commercial album, it even has a track called ‘Mr Self Destruct’!

It was wilfully self-destructive and we made a conscious decision that it was going to be the last album, we’d do a couple of final shows and call it a day, we’d just had enough!

So the 2001 reunion, how do you look back on that and the ‘Cruelty Without Beauty’ album now?

It was great because it was unplanned to reform SOFT CELL. I’d worked with Marc on a few of his solo things like ‘My Hand Over My Heart’, ‘Meet Me In My Dream’ and a remix of ‘Waifs & Strays’, but he called me up at my studio with Ingo Vauk in Kensal Road and asked if I’d fancy meeting up for a coffee to discuss writing some tunes for other people. After coffee, I suggested going to my studio so we did about three or four numbers and Marc did some vocals. When we listened to them played back, we looked at each other and went “it’s SOFT CELL isn’t it?” *laughs*

So we recorded an album ‘Cruelty Without Beauty’ and started shopping it around, eventually Cooking Vinyl bought it and we toured it, playing festivals in Europe. Then we went over to America but it was not exactly the most successful tour in the world, it was a bit of a disaster that one but you live and learn. Then we came back from a festival in Venice and there were plans to do more shows and another record, but the awful motorbike accident happened and Marc was in a very bad way. That was it almost, we sort of lost touch and didn’t speak for about 15 years…

Photo by Joe Dilworth

‘Desperate’ was one of the highlights from that period, a swipe at the X-Factor generation and you got in some more John Barry references with that ‘Goldfinger’ thing going on in there…

That’s right, it’s always lurking around somewhere, any chance! Marc’s always had that social awareness and ‘Desperate’ was totally about celebrity culture.

But my favourite was ‘Monoculture’, although it’s an agricultural term, Marc mentioned it in passing… I thought it was brilliant.

Those two songs sort of sum up that repetitive and boring blandness in pop culture, it’s so safe and there’s no real serious artists coming through. They’ve all got that really irritating electronic Country sound that’s autotuned so they all sound like the same person, it’s monoculture. They’re desperate to be there for the opening of a can of lager! *laughs*

‘Caligula Syndrome’ was quite menacing…

That’s about people like Saddam Hussain, it’s to do with modern tyrants, it could be relevant today to people like Putin or even Donald Trump, they think they’re emperors… I mean, Trump’s apartment has gold plated everything. I’ve got this book of tyrants’ home interiors, people like Hitler and Idi Amin, they all had these palatial places like Nero; ‘Caligula Syndrome’ is a reference to that and tyrannical behaviour.

How’s the setlist coming along for the final show at the O2 Arena?

Marc did a survey of what were the most popular tracks and we can’t please everybody all of the time, there’s so much material. I think the show is going to be about two and a half hours long, so it will be quite taxing.

We’ve got backing singers, live brass and percussion, live synths, me and Marc… there will be nine people on stage and an array of engineers plus a lot of computer power on the mixing desk. And there’s a visual show which should look amazing.

The SOFT CELL social media teased a photo of your old live rack with the Korg 800DV, is that going to be brought out of retirement?

We’re making a documentary for BBC4, we did a little performance to camera and they wanted me to use my original synths at the Leeds Warehouse where we did our first proper shows. So the photo was just a reference to that really. That will come out some time after the show, they’ve not said when yet because we’re still filming. It’s quite in-depth and for once, I get to talk quite a lot! *laughs*

The boxed set has two remix discs, one is new versions using only original parts…

It was just tightening a few things up as a lot of the original stuff was all played manually, I didn’t want them to sound too mechanical but it was to make them sound more punchy and modern without sounding completely rehashed.

There’s one remix which Hifi Sean did of ‘So’ which was a B-side I knocked together for ‘What’, he’d been playing the original in clubs and it goes down really well with people into this Nu-disco stuff. So he did a dub mix of that and it got its first play on Radio1… for SOFT CELL to still be played on Radio1 these days is pretty amazing, considering we have the combined age of 120! *laughs*

Photo by Dave Chambers

Then there’s this continuous dub mix entitled ‘Non-Stop Euphoric Dubbing’…

That was meant to be more of a chill out sort of thing, you can just put it on and leave it in the background to get stoned to…

…I thought it sounded more like a horror film soundtrack!

I guess some people chill out differently! *laughs*

I could imagine a gothic ballet or dance commission coming out of this…

…now that’s an idea! *laughs*

There’s been a few theatrical things, there’s a musical that’s going to happen in London called ‘Tainted’, I briefly met the guy who’s done it because he lives near me and he gave me his card. I’d forgotten all about it, but he said he’d spoken to Marc. I was talking to my manager about it yesterday and he said it was all in hand.

ELECTRICITYCLUB.CO.UK gives its warmest thanks to Dave Ball

Special thanks to Debbie Ball at Create Spark

‘Keychains & Snowstorms: The SOFT CELL Story’ is released by Universal Music on 7th September 2018

SOFT CELL play their final live concert at London’s O2 Arena on Sunday 30th September 2018

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Text and Interview by Chi Ming Lai
18th August 2018, updated 9th July 2021

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