DEUTSCH AMERIKANISCHE FREUNDSCHAFT, also more commonly referred to as DAF, undoubtedly all but invented electronic body music; the late veteran DJ John Peel charmingly called them the “Grandfathers of Techno”.
Featuring the nucleus of Gabi Delgado-Lopez on vocals and Robert Görl on drums and electronics, their punky ethos utilised the availability of the-then newly affordable synthesizer technology, attaching the Korg MS20 semi-modular synth driven by its corresponding 16-step SQ10 analog sequencer to heavy Teutonic rhythms.
DAF’s music was a confrontational statement against the very strong American influence in popular culture that had seeped into post-war Germany. But following the cult success of their acclaimed Virgin album trilogy of ‘Alles Ist Gut’, ‘Gold Und Liebe’ and ‘Für Immer’ produced by Conny Plank, DAF went into hiatus after falling under a haze of “sex, drugs and sequencer”.
1982’s ‘Für Immer’ with its best known song ‘Kebabträume’ had already seen DAF veer towards synthpop territory at various points, but it was still something of a surprise when the DAF drummer appeared in 1984 with an eight track album made in that vein, released on Mute Records.
Görl’s solo career had begun with a standalone single ‘Mit Dir’ in 1983. Dark, brooding and magnificent, the song was to become a favourite among the cognoscenti, eventually borrowed by a newer generation of electronic duos like SIN COS TAN, reinterpreted for Prada commercials and covered by DJ HELL with STEREO MCs. But by ‘Night Full Of Tension’, Görl had lightened up considerably and the artwork even had him looking totally relaxed, posing by a swimming pool.
Co-produced by Mike Hedges who had worked his studio magic on ASSOCIATES ‘Sulk’, the percussive backbone of the record was dominated by an Oberheim DMX, in a contrast to the live drumming that DAF followers were used to. And while sequencers were still prevalent, the patterns were now more sophisticated, thanks to the advent of digital sequencers like the Oberheim DSK which could control polyphonic synths such as the OBXa which DAF had used on ‘Für Immer’.
Singing in English apart from on the solemn Brecht-influenced cabaret art piece ‘Gewinnen Wir Die Beste Der Frauen’ reciting a 13th Century Poem by Walther Von Metze, Görl exuded a relaxed vocal style in the manner of Bryan Ferry and David Bowie that actually came over more like Yukihiro Takahashi of YELLOW MAGIC ORCHESTRA and Winston Tong of TUXEDOMOON.
Photo by Sabine Raef
And in another twist, ‘Night Full Of Tension’ featured vocal contributions from Annie Lennox; the two had met when Görl played on EURYTHMICS’ ‘Belinda’ from ‘In The Garden’ which Conny Plank had produced. Laced with ad-libs by Lennox, ‘Playtime’ was a fine accessible opener recalling NEW ORDER that showcased the sequencer and drum machine driven pop ethos of the album.
‘I Love Me’ referenced ASSOCIATES and resembled a less frantic and more electronic ‘Club Country’, a track which Mike Hedges helmed. Given the Mute connection too, elements of DEPECHE MODE’s DAF influences that had been heard on ‘Construction Time Again’ ironically also crept in… the sorcerer was grabbing back from the apprentice. Meanwhile the quirky ‘Charlie Cat’ actually saw Lennox take the entire lead vocal and unsurprisingly, it sounded like something by EURYTHMICS as around this time, David A Stewart was using similar Oberheim equipment.
The second half of ‘Night Full Of Tension’ was glorious; ‘Queen King’ played with androgyny and sexuality over hypnotic sequences and synthetic brass stabs, while on the brilliant ‘Love In Mind’, its machine groove sat comfortably next to the similarly constructed ‘Big Brother’ by Winston Tong and ‘Big Blue World’ by Paul Haig as fine examples of the sophisticated electronic pop that was emerging during this period.
But the album’s highlight was probably ‘Darling Don’t Leave Me’, a passionate but fun duet with Lennox that was also a wonderfully wiggly synthpop pleasure. Closing with ‘Wind In Hair’, this was the closest ‘Night Full Of Tension’ got to DAF, its bassline resembling ‘Der Mussolini’ although this realisation was far lighter, with the synthetic choir and string drones pushing it closer to KRAFTWERK.
DAF reconvened in 1985 for ‘1st Step To Heaven’, their only album in English, but the pair parted ways again. Since then, Görl and Delgado-Lopez have more than occasionally reunited for DAF shows, while the recent release of the ‘Das Ist DAF’ boxed set on Grönland Records has cemented the duo’s status as the “Grandfathers of Techno”.
Meanwhile, the intervening years have seen Görl pursue that very Techno direction with albums like ‘Watch The Great Copy Cat’, ‘Sexdrops’, ‘Final Metal Pralinées’ and ‘Dark Tool Symphony’. So like Winston Tong’s wonderful ’Theoretically Chinese’ excursion, ‘Night Full Of Tension’ was a one-off experiment.
But Görl’s intriguing and cool escapist journey into synthpop crossed over into an audience that may have found DAF a bit too threatening, and that was not necessarily a bad thing. ‘Night Full Of Tension’ is a very good but forgotten body of work that deserves as much recognition as DAF’s Virgin-era albums.
‘Night Full Of Tension’ is still available via Mute Records as a digital album featuring the extended version of ‘Mit Dir’ as a bonus track
Vinyl still holds a special affection with the emotional attachment given to a piece of music captured on bit of plastic almost unparralled.
So here are 30 synth friendly obscure alternatives from the era when vinyl was king, which for whatever reason, have been lost in the mists of time.
These are great but obscure singles and album tracks from places as far flung as Australia, Japan and Canada that were overlooked at their time of release in the UK, but which all deserve critical reappraisal.
Although best known for his pseudo-punk hit ‘Ça Plane Pour Moi’, the Belgian BILLY IDOL recorded this superb electronic Eurodisco single with vocoders galore that would have done GIORGIO MORODER, CERRONE and SPACE proud. A bit hit in Greece, ‘Tout Petit La Planète’ featured a template that would be later borrowed by many Italo disco records, PET SHOP BOYS and KELLY OSBOURNE. Incidentally, fellow Belgians TELEX released their own robotic cover version of ‘Ça Plane Pour Moi’ shortly after.
Available on the album ‘Greatest Hits’ via Horvergnugen Records
Pre-OMD, the synth duo on The Wirral was DALEK I LOVE YOU. However, by the time their debut album ‘Compass/Kum’pas’ was released, OMD were already having hits and keyboards man Dave Hughes left to join their live band. Shortening their name, ‘Destiny’ was their most accessible song with a precise KRAFTWERK percussive appeal, while Alan Gill’s vocals were eccentrically nasal. Hughes left OMD to form GODOT featuring vocalist Kevin Hartley who later then joined the fully named DALEK I LOVE YOU!
The project of German musician Andreas Dorau, ‘Fred Vom Jupiter’ was a quirky curio released as a single in the UK by Mute, created during a project week at the Otto-Hahn-Gesamtschule in Hamburg. The then 16 year-old Dorau composed the music while fellow students Natalia Munoz Valderrama, Nicole Kahl and Birgit Mensur provided the lyrics about a “very attractive and also very muscular” Kosmonaut; the vocals came from a quintet of teen and pre-teen school girls during a far more innocent time in history!
FOX were Kenny Young and kooky Australian singer Susan Traynor aka Noosha Fox. They had numerous hits like ‘S-S-S-Single Bed’ but disbanded in 1977. The pair reunited for ‘Electro People’, written as the theme music for ‘The Kenny Everett Show’ which came over like a quirky Middle Eastern flavoured synthpop take on ALTERED IMAGES in a tribute to Synth Britannia; altogether now: “Ultra-Human-Depeche Mode-Tubeway-Kraftwerk-Soft-Manoeuvres-Gary-Orchestal-Army-Duran-League”!
The success of the band JAPAN gave a number of opportunities for Japanese musicians to show off their talents. One was Masami Tsuchiya of IPPU DO whose eccentric wailing guitar style coupled with German electronic influences caught the attention of David Sylvian who invited him to join JAPAN for their final tour. ‘Time Of The Season’ is a brilliant pentatonic take on the old ZOMBIES hit with mad warbling vocals and frantic percussion to produce a startlingly original cover version.
Comprising of Claude Arto and Edwige Belmore, the pair emerged from the Parisian club scene with their arty nouveau music. On ‘Disco Rough’, pulsing synthseizers and almost spoken staccato vocals were punctuated by unusual stabs of sax. Their only album ‘Les Visiteurs Du Soir’ fused filmic strings and brass sections with electronic backing and baroque melodies. Sadly both Arto and Belmore have passed away, but have left their mark via Gallic tinged duos STEREO TOTAL and MISS KITTIN & THE HACKER.
JAH WOBBLE, JAKI LIEBEZEIT & HOLGER CZUKAY How Much Are They? (1981)
Although dominated by PUBLIC IMAGE LIMITED refugee Wobble’s full-on bass, his icy synth flourishes alongside Czukay’s chattering beatbox and Dictaphone were essentials to the wonderful machine dub of ‘How Much Are They?’ while Liebezeit added some abstract avant garde trumpet. Originally featuring on the ‘Trench Warfare’ EP, the music was dedicated to JOY DIVISION’s Ian Curtis and a fitting instrumental celebration of his enigmatic aura, as well as the sadly recently departed Liebezeit and Czukay.
E.M.A.K. stands for Elektronische Musik Aus Köln and was a technology based sound project by Kurt Mill and Matthias Becker using a similar visual aesthetic on their artwork to NEU! Using strict motorik rhythm programming and incessant pulsing sequences, ‘Filmmusik’ was a fine example of the instrumental blueprint of Michael Rother and Klaus Dinger synthesized for the new decade. This template was later borrowed by SIMPLE MINDS on ‘Androgyny’ and ORBITAL on ‘Pants’.
A member of the group METRO, Peter Godwin was well placed for success as a regular visitor to The Blitz Club and mate of MIDGE URE who produced his debut solo single ‘Torch Songs For The Heroine’. ‘Images Of Heaven’ was a big potential hit single with chunky synths and dominant Simmons drums from ULTRAVOX’s Warren Cann. Despite not reaching the charts, Godwin had his bank balance enhanced in 1983 when DAVID BOWIE covered his song ‘Criminal World’ on the ‘Let’s Dance’ album.
Despite Australian Top 5 success as lead singer of JIMMY & THE BOYS, IGNATIUS JONES went solo and released ‘Like A Ghost’. Sounding like GARY NUMAN lost in the Outback, the song was written by Steve Kilbey of THE CHURCH whose ‘Walking Under The Milky Way’ later appeared on the ‘Donnie Darko’ soundtrack. He also recorded a cover of Jules Shear’s ‘Whispering Your Name’ which was a hit for Alison Moyet in 1994. Latterly, Jones directed the closing ceremony of the 2000 Sydney Olympics.
Originally released as a single by WEA Records, currently unavailable
Featuring Ross Middleton and Gary Barnacle with production by Martin Rushent, ‘Love Cascade’ is the missing link between PETE SHELLEY and THE HUMAN LEAGUE. The vocals are virtually unintelligible as the clattering LinnDrum, pulsing synths, squawky guitar and sax merge together for a cool dancefloor friendly tune that’s full of the decadent spirit of the times. LEISURE PROCESS released three more singles on Epic Records before splitting.
12 inch version available on the album ‘Retro: Active Vol 5’ (V/A) via Hi-Bias Records Canada
The project of David Hewson, POEME ELECTRONIQUE was very much a family affair, as it also involved brother Les Hewson plus cousins Julie Ruler and Sharon Abbott. The spacey synthpop coupled to a vocal template crossing GRACE JONES and ABBA caught the ear of John Peel. Returning in 2007, the material they recorded back in the day was finally issued, while members of the combo also appeared as part of Anglo-German collective TWINS NATALIA who released an album ‘The Destiny Room’ in 2014.
SANDII &THE SUNSETZ Living On The Front Line (1982)
Another Japanese act who got a leg up from David Sylvian was the beautifully voluptuous Sandii O’Neale and her band of men THE SUNSETZ whose first album together ‘Heat Scale’ was produced by Haruomi Hosono of YELLOW MAGIC ORCHESTRA. Opening for JAPAN on their final tour in 1982, this dreamily percussive ditty featured Sylvian’s lyrics and vocals; when he harmonised with Sandii’s KATE BUSH-like tones, it was the ultimate marriage of West and East, both wonderfully cultured and coutured!
Available on the album ‘Immigrants’ via Alfa Records Japan
Like a cross between their Merseyside neighbours OMD and CHINA CRISIS, BOX OF TOYS were mix of synths and woodwinds with a prominent percussive attack. The majestic vocals have almost an English choir boy quality and dominate the track. A strange romantic warmth comes across with images of meadows, forests and blue skies. Its moody follow up ‘Precious In The Pearl’ almost 34 years on now sounds like the prototype version of MIRRORS!
Originally released as a single by Inevitable Records, currently unavailable
WhenTHE WILD SWANS split, two thirds formed the basis of THE LOTUS EATERS while its singer Paul Simpson teamed up with ECHO & THE BUNNYMEN producer Ian Broudie. Combining heavily strummed acoustic guitars with strong synthesizer melodies and melancholic vocals, ‘My Boyish Days’ had a very traditional feel despite the incumbent technology. But the duo split before their debut album was completed. Simpson reformed THE WILD SWANS while Broudie eventually became THE LIGHTNING SEEDS.
The success of ABC and HEAVEN 17 heralded a new age of technologically enhanced blue-eyed soul. One band with aspirations in that field were ENDGAMES. The Glawegian combo had European support slots with HOWARD JONES, DEPECHE MODE and EURYTHMICS in their time. ‘Love Cares’ was like a funky CHINA CRISIS walking into the recording sessions of ‘The Lexicon Of Love’. By pure coincidence, singer David Rudden had a passing resemblance to CHINA CRISIS’ Gary Daly!
Originally released as a single on Virgin Records, currently unavailable
Fans of DEPECHE MODE’s post Vince Clarke pop period may remember a skinny lad in a pink suit who was their support act through 1983 to 1984. ‘It’s So High’ was a catchy tune 6/8 time featuring a strong synth bassline, big band brass and backing vocals by Eddi Reader. Alas, Fretton was dropped by Chrysalis after two more singles despite getting a Smash Hits front cover. He became a classical music promoter, but sadly took his own life in 2013 following the tragic passing of his partner Sussie Ahlburg.
Originally released as a single by Chrysalis Records, currently unavailable
Led by the vivacious Adele Nozdar, INDIANS IN MOSCOW were a kind of TRANSVISION VAMP with synths. ‘Miranda’ was a macabre tale about a psychotic girl murdering her criminally minded father. A crisp production came from Nigel Gray who worked with THE POLICE and SIOUXSIE & THE BANSHEES. An irritating-to-the-point-of-catchy synth portamento combined with Adele’s ghoulish scream provided a unique if polarising take on electronic pop.
THE LOTUS EATERS You Don’t Need Someone New (1983)
‘You Don’t Need Someone New’ was neither a hit nor originally included on THE LOTUS EATERS’ debut album ‘Sense Of Sin’. More synth dominated than ‘The First Picture of You’, it was produced by Alan Tarney who went on to work his magic on A-HA’s ‘Take On Me’ and ‘The Sun Always Shines On TV’. With hints of CHINA CRISIS, this was wonderfully light and even came in a picture disc with a real flower pressed into it! But the band wanted a purer sound and dropped Tarney as producer.
The stunning Martha Ladly was more than just a pretty face; she was a musician, vocalist, artist and designer. Following her stints with MARTHA & THE MUFFINS, ASSOCIATES and doing paintings for Peter Saville’s NEW ORDER sleeve artwork, she teamed up with fellow Canadian Brett Wickens on this charming pop tune that echoed THE HUMAN LEAGUE’s ‘Open Your Heart’. Peter Hook provided his distinctive melodic six-string bass and dynamic production came from Steve Nye.
Originally released as a single by Island Records, currently unavailable
The classic RATIONAL YOUTH line-up of Tracy Howe, Bill Vorn and Kevin Komoda gained acclaim for their 1982 debut album ‘Cold War Night Life’, which became one of the biggest-selling Canadian independent albums at the time and secured a deal with Capitol Records. However, Vorn left to continute his university studies, but contributed synth programming to this typically overwrought warning about the dangers of drug running. By 1985’s ‘Heredity’ though, RATIONAL YOUTH was effectively a Howe solo project.
Originally released on the EP ‘Rational Youth’ by Capitol Records, re-recorded version available on the album ‘Heredity’ via Capitol Records
Pre-fame Ricky Gervais with his university pal Bill McRae came up with a pretentious name, donned New Romantic togs and delivered the kind of stereotypical synthpop that was being satirised by ‘Not The Nine O’Clock News’. While it’s not exactly the most original work of the period, it fared well in the tuneage department and became a cult favourite in The Philippines! Comedian Paul Merton later sarcastically remarked to Gervais on ‘Room 101’: “David Bowie’s nicked all your stuff!”
‘Blue Monday’ met EINSTÜRZE NEUBAUTEN in this electronic metal bashing extravaganza featuring vocals by Sinan Leong. Robotic sequencers and found objects were both equally prominent in the mix of ‘Metal Dance’. Much more musical than their German counterparts, this group of Aussies named after the radical Marxist group Sozialistisches Patientenkollektiv provided a danceable interpretation of musique concrete and collapsing new buildings. Stark and scary!
Nuneaton’s artful musical duo of Martyn Bates and Peter Becker described their music as “veering crazily from filmic ambiance to rock and pop, industrial funk to avant-folk styles”. Always more of a cult proposition, ‘Sunbursts In’ was EYELESS IN GAZA’s most commercial offering, sounding like a cross between prime TEARS FOR FEARS and OMD. A synthetic brass riff compliments a strong if nasally vocal, driven by a stuttering drum machine sound.
Leer was a reluctant electro pioneer who first came to prominence in 1978 with ‘Private Plane’. A song called ‘International’ was its B-side but this was a completely different composition altogether. ‘International’ appeared to be a pleasant song about jetsetting, but was actually a social commentary about the trafficking heroin across the continents, telling of “travelling across the world, selling it to boys and girls… a secret compartment holds the Chinese white”. He later formed ACT with Claudia Brücken.
The former BE BOP DELUXE guitarist took an early interest in synths and drum machines after going solo and while he always had the legacy of DAVID BOWIE hanging over him, he was a fine exponent of the E-Bow, a device which could sustain a guitar note infinitely. This allowed solos to merge in with electronics without standing out in a clichéd rockist manner. ‘Acceleration’ was his energetic flirtation with the dancefloor and benefited from this US remix by John Luongo who worked with BLANCMANGE.
TEARS FOR FEARS and A FLOCK OF SEAGULLS had demonstrated that a rock guitar oriented sound seasoned by modern electronics could do wonders across the Atlantic on MTV. Sheffield’s VITAMIN Z were one of the bands who showed some spark, ‘Circus Ring’ sounding like a cross between TEARS FOR FEARS and ICEHOUSE. A support slot with Midge Ure raised hopes of success but it was not to be. However, vocalist Geoff Barradale now manages ARCTIC MONKEYS!
Hailing from Ontario, darkwavers PSYCHE comprised of brothers Darrin and Stephen Huss who were one of the main trailblazers for independent electronic music in North America. The magnificent sweeping blip drama of ‘The Saint Became A Lush’ was probably the pinnacle of their creative partnership with a suitably detached vocal performance from the older sibling. Stephen sadly passed away in 2015 but Darrin Huss, now based in Germany, continues as PSYCHE with Stefan Rabura.
An earlier single ‘Mouth Of An Angel’ had been produced by Martin Rushent, but TWO PEOPLE’s sound was more typical of a conventional duo dressed with synths like CHINA CRISIS. ‘Heaven’ sounded like THE LOTUS EATERS fused with THE TEARDROP EXPLODES. With punchy brass, aspirational lyrics and modern production by Chris Porter, this was a perfect pop song in anyone’s ears but failed to catch the imagination of the record buying public despite extensive radio airplay.
Originally released as a single by Polydor Records, currently unavailable
WHEN IN ROME were vocalists Clive Farrington and Andrew Mann with keyboardist Michael Floreale. The oddly styled trio’s nearbrush with fame came with ‘The Promise’, a glorious cross between ULTRAVOX and THE WALKER BROTHERS. It failed to gain a UK chart foothold, but was used in the closing scene and end credits of ‘Napoleon Dynamite’ in 2004. However, the renewed interest only heightened tensions between the estranged vocal and instrumental factions, with each laying claim to the name…
Available on the album ‘When In Rome’ via Virgin Records
Midway through 2017 sees a veritable hive of activity for Slovenia’s LAIBACH, this includes the release of ‘Liberation Day’ which documents the group’s controversial 2015 tour of North Korea; and almost simultaneously ‘Also Sprach Zarathustra’, the band’s version of music for the theatrical production of Friedrich Nietzsche’s ‘Thus Spoke Zarathustra’.
In many respects, LAIBACH are the ideal act to soundtrack this piece of work, both the band and Nietzsche are / were confrontational in their own ways.
‘Thus Spoke Zarathustra’ provoked outrage upon its release by pondering the concept that “God is dead” and introduced the terms ‘Übermensch’ (Superman) and ‘Untermensch’ (Inferior being)…
As well causing a media storm with their well publicised visit to North Korea, LAIBACH themselves (like their contemporaries RAMMSTEIN) have flirted with imagery, symbolism and themes which are designed to provoke and are often deliberately left open to misinterpretation.
Whereas 2014’s album ‘Spectre’ could be a considered a fairly commercial release when compared with much of LAIBACH’s back catalogue, this piece of work comes across as a far more experimental and challenging proposition. Five out of the twelve tracks are instrumental and although being fairly stripped back in nature, they still remain faithful to the band’s sound and aesthetic.
Opening piece ‘Vor Sonnen-Untergang’ (‘Before The Downfall’) starts with a subtle burst of filtered white noise before a soaring string-driven orchestral overture sets the tone for the piece, a small fanfare of synthesized melody finishes the track, hinting at some of the more electronic elements to come. ‘Ein Untergang’ is bleak and uncompromising, underpinned by a retro analogue bass drum, clanging metallic percussion and Milan Fras’ stentorian vocal.
The German spoken word elements touch upon the themes from the book relating to the concept that man is in transition between ‘Untermensch’ and ‘Übermensch’ and that “the human being is a goal, a bridge”. ‘Die Unschuld I’ sees the first real synergy of synthetic and orchestral elements on the album, again full of percussive layers, the piece would have sat quite happily on the soundtrack to the LAIBACH-scored movie ‘Iron Sky’.
As the album progresses, certain sounds reappear, sounds of knives being sharpened and struck act as percussive layers; ‘Von Gipfel Zu Gipfel’ starts minimalistically before eventually building towards an emotional piano and cello-driven climax and then dissolving into a wall of orchestral strings. ‘Das Gluck’ (‘Happiness’) is a stop/start track full of found sounds (panting, eating and breathing) and ominous synth bass pulsations, not exactly easy listening but again well-suited as a soundtrack piece.
‘Vor Sonnen Aufgang’ is by far the most melodic piece here, featuring the vocals of Mina Špiler, it is a truly beautiful and haunting track with its “here comes the sun” lyric providing a welcome glimmer of hope in an unrelentingly dark album. Throughout ‘Also Sprach Zarathustra’ there is a signature piece of audio which is not unlike the leitmotif that HANS ZIMMER created for The Joker in ‘The Dark Knight’, the sound is that of a continually rising (and sometimes falling) bowed string. Because the note is never resolved, it creates a sense of dread and foreboding and in the context of this soundtrack works extremely well. This is especially effective on the climatic final piece ‘Von Den Drei Verwandlungen’ which is arguably the musical equivalent of someone dragging their nails down a blackboard!
The main issue with LAIBACH’s ‘Also Sprach Zarathustra’ is whether it can hope to function as a stand-alone work. To fully appreciate it, ideally one would need to a) have an awareness of Nietzsche’s story to appreciate the underlying content and b) understand the German language to gain an insight into the lyrical message of the vocal pieces here.
These factors aside, this is an undeniably impressive sounding body of work and there could not be a more perfect match in the combination of story and artist involved. LAIBACH, like NINE INCH NAILS, are now in an enviable position in that they can comfortably straddle both the industrial rock arena and the flipside of more artistic endeavours such as film soundtracks. The ability to do this must be a fantastic boon for the band and ‘Also Sprach Zarathustra’ is a challenging but worthy addition to the bands’ 30 year plus back catalogue.
While best known as a solo artist signed to Mute, Essex songstress POLLY SCATTERGOOD recently won acclaim for her hauntingly spacey vocal in a new epic arrangement of ‘Video Killed The Radio Star’.
Subtitled ‘Dark Star’, it was recorded with one of the song’s co-writers Bruce Woolley. Never one for convention, for Record Store Day 2017, she not only released a physical edition ‘Video Killed The Radio Star’ exclusively in CD format, but it was also only available online.
Scattergood’s self-titled debut came out on Mute in 2009 on which revealed herself to be a promising talent unafraid to express emotion and vulnerability. One of the album’s highlights ‘Other Too Endless’ was remixed by Vince Clarke and showed how her music could work within a synthesized environment.
And it was on second album ‘Arrows’ in 2013 featuring the electro-COCTEAU TWINS twist of ‘Wanderlust’ that she was able to indulge in some of her more technological aspirations, while ‘Cocoon’ exposed her enticing vulnerability over an eerie soundscape.
But in 2015, Scattergood headed in the opposite direction in collaboration with Mute label mate James Chapman of MAPS; their ON DEAD WAVES project featured a more guitar oriented and retro-based aesthetic than any of their individual works. But in acknowledgement of their Mute roots, the pair recorded an Americana flavoured cover of YAZOO’s ‘Only You’.
With ‘Video Killed The Radio Star (Dark Star)’ riding high on the airwaves, POLLY SCATTERGOOD had a quick chat about her future plans…
How did your ‘Video Killed The Radio Star’ collaboration with Bruce Woolley come about?
Bruce contacted Mute a while ago asking if I would be interested in working with him on ‘Video Killed The Radio Star’. I am a fan of his work so we got together in his studio and played with some ideas.
You got to dress up like Barbarella in the video and handle a VCS3, where did that come from and have you had a go on a working one?
Bruce and I met for drinks in London and he pulled out all of these sketches of space scenes and other worldly beings that he had in his head and it just kind of flowed from there… we then discussed wires and electronics as we both love synths and couldn’t resist having the beautiful VCS3 in the video.
Bruce has some amazing instruments in his studio. My synth obsession began very early as my mum’s sister (Elizabeth Parker) worked at the Radiophonic Workshop for years. I watched her on some wild videos playing these incredible machines growing up, I always wanted to play them myself, but they aren’t the kind of thing you get your hands on easily!
When I signed to Mute, Daniel Miller showed me the Mute studio which had a pretty amazing collection of equipment which I was lucky enough to have access to. I think that’s partly why my first album took so many years to make, I had too many toys to play with!
You’re no stranger to cover versions with standards like ‘The Look Of Love’, ‘New York New York’, ‘Comfortably Numb’ and ‘Only You’ among the songs you have performed. Are there any others you’d like to try out?
Lots, but it’s a case of feeling inspired to add something new or different to a track, rather than regurgitating something for the sake of it.
The Vince Clarke remix of ‘Other Too Endless’ from your debut album will be appearing on a compilation out soon. What was the inspiration behind the song, both lyrically and musically?
Musically it was all about keeping the vibe quite linear and numb, but with these big swells and lot and lots of layers that build. The siren you hear was picked up on a mic as we recorded the vocal in the Mute studio on the Harrow Road. It was just all capturing a kind of bitter sweet bleakness and then processing it through the music. Lyrically, it’s a very long story… involving black zambuca…
The resultant remix from Vince Clarke was very different from your original. What were your thoughts when you first heard it? What did you particularly like about it?
Vince Clarke really went straight to the heart of this song with his remix. He kind of stripped away all the layers I had buried myself in and left my vocal naked in parts. When I write and work on producing these songs, I often leave these little secrets in them, especially in the production. Like clues to where they came from. Sometimes people hear them and sometimes they don’t, but what Vince did was brave. He took away the safety net of layers and added a starkness and a strength to the song which I would never have been able to achieve on my own.
It didn’t stop there because you did ‘Ghostgirl Lovesick’ with Vince Clarke too, what was the collaboration process for that?
I was living in a tiny studio flat in an attic opposite the Forum in Kentish Town at the time and recording all my ideas onto mini disk. These ridiculously beautiful books, created by Tonya Hurley, arrived on my door step and they really inspired the song. I worked on the track closely with both Tonya and Vince, then I recorded some ideas onto mini disk… wow that makes me feel so old but it wasn’t that long ago, right?!
I sent them over to Vince who then worked his magic. You can hear bits of the room of the recording but I kind of love that, it all just made it much more intimate.
Has a full collaborative with Vince Clarke ever been discussed? What do you think it would sound like?
It’s never been discussed, and I never know what anything will sound like until it’s finished so I couldn’t hazard a guess at how a collaboration would sound…but Vince is awesome, I’m a big fan of his work, and always open to interesting collaborations, so never say never!
You’ve always been quite open to the remix process with THE GOLDEN FILTER, ANALOG SUICIDE, FORT ROMEAU and MAPS being among those who have given reinterpretations of your work. Do you have any favourites?
I only release remixes I really love so they are all quite special to me in different ways and for different reasons. The Vince remixes will always be very close to my heart. I also love the ANALOG SUICIDE (Tara Busch) remix of ‘Bunny Club’. I released it on limited edition cassette tape I loved it so much. Also MAPS (my label mate and ON DEAD WAVES collaborator) has a way of making everything sound epic and dreamy!
So how do you look back on your most recent album project ON DEAD WAVES with James Chapman of MAPS?
ON DEAD WAVES is a real joy to be part of. It’s a project I feel incredibly proud of. James is an incredible musician and has a very calm studio vibe. Our creative process was pure and there was no outside pressure or interference.
We both share the same manager, he was very supportive of the whole process and keen that we stay focused and don’t worry about anything other than the music, so that’s what we did.
It was just me and James in the studio where we would work late and get up strangely early. We were doing what we love so the studio bubble is a good place to be in.
When Mute heard the album, they really took it in the spirit it was intended and spent a long time working with us on the artwork and creative side of things, making it really reflect the empty expansiveness of the sound. We had a lot of fun, played some amazing gigs, from the beautiful Roundhouse in Camden to supporting M83. So yeah, ON DEAD WAVES is a project which I have a lot of love for and continue to do so!
‘Blackbird’ allowed you and James to pursue your Nancy and Lee fantasies?
We didn’t talk about musical references when writing, we shared a lot of art and film references though.
It’s almost time for solo album number three. What direction are you heading in for that following the first two, quite varied offerings and ON DEAD WAVES?
Yeah the first two had many different influences and styles. I was experimenting and learning as I went along… I don’t make albums fast…
I have hundreds of songs on my hard drive, but none of them are ready to be put into an album yet. I’m working on a little EP idea with Jim Sclavunos at the moment. Don’t want to give too much away though as it’s very early days but it’s all exciting.
People are still discovering your work. For anyone reading here about you for the first time, which five tracks would you suggest they check out to understand you as an artist in your various guises and collaborations?
Hmmm that’s hard I guess in order to go on the same journey I have, maybe listen in chronological order…
2014 saw ERASURE celebrate yet another success with ‘The Violet Flame’, where according to Andy Bell, he and Vince Clarke “definitely found (their) mojo again with this record”.
Following their thirtieth anniversary, the synthpop kings now return with the seventeenth studio album entitled ‘World Be Gone’. This time, self-produced by ERASURE and mixed by Matty Green, the long player sees Vince and Andy in a more pensive mood.
Joining their electronic colleagues PET SHOP BOYS and DEPECHE MODE who have both released politically charged opuses, the band reflects on the current political situation. However, ERASURE do it with an expression of faith in the future, as Bell explains: “I think there’s an under swell of opinion, and people are slowly waking up. I’m hoping that people will take the album in a positive way, that they’ll use it as optimistic rabble-rousing music.”
‘Love You To The Sky’ heralds the ten track outing. While it’s a pleasant sounding melody with Andy’s angelic voice and a rather captivating verse, the track struggles to lift to the heights which ERASURE are celebrated for. The beautifulness of the verses disperses with the repetitive chorus, making ‘Elevation’ from ‘The Violet Flame’ the winner in the battle of the first singles hands down. Still, judging by the efforts by their contemporaries, ‘Love You To The Sky’ is a charming and well-written song.
The slower paced ‘Still It’s Not Over’ searches the soul with gentle sounding musicality and simple melody, conveying a hopeful message of the continuation of everyday fights, against all odds, even though we were “left (us) to the sheer attack, and still it’s not over”.
Where the quintessential ERASURE sound comes to play, is on ‘Be Careful What You Wish For’. This excellently led tune sublimely meanders itself around a plethora of Andy Bell’s vocals. The dreamy lyrics are challenging and endearing, and the whole song is just beautifully executed.
Following on, there ushers the album’s title track, which is equally peaceful and gracefully powerful. Reminiscent of the vintage ballads by Clarke, ‘World Be Gone’ ties together with the band’s history in a seamless manner.
‘A Bitter Parting’ tells the story of a failed relationship over African inspired choirs a la ‘The Kodo Song’ by KID KASIO, elegantly penetrated by marvellous synth and added nostalgia in the lyrical content.
‘Take Me Out Of Myself’ is a gentile plea for being treated with deserved consideration, like a demure version of Otis Redding’s ‘Respect’, while ‘Sweet Summer Loving’ introduces a change in tempo with a mid-paced love song.
‘Oh What A World’ superbly escorts a twist in ERASURE’s notion; different sounds, different feels to the vocals and altogether a rather big departure from what we have come to know and love the duo for, but this is where Vince Clarke proves, yet again, that he’s an unparalleled synth magician. It’s possibly the best piece from the Bell / Clarke stable in years.
‘Lousy Sum Of Nothing’ continues the delicate theme, leading to the closing ‘Just A Little Love’. Here is where the lovers of the dancier tracks get their money’s worth. It’s a rather unassuming, yet solid piece to wrap up this wonderfully gracious offering.
As set out, Bell and Clarke bring us more than hope. ‘World Be Gone’ will probably be as commercially successful as its predecessor, and unlikely to follow the fate of the very unloved and misunderstood ‘Tomorrow’s World’.
A few will wonder as to why the production wasn’t delegated out and some will criticise. But every now and then, an easy listening piece is needed to level out the vast material ERASURE have brought us over the years.
Is it their finest? It’s different, more grown-up and maturely executed; still, it will undoubtedly be one of the best things synthpop enthusiasts will hear this year.
‘World Be Gone’ is released by Mute Artists in a variety of formats including CD, vinyl LP, cassette and digital
ERASURE 2017 live dates include Glasgow O2 Academy (27th May), Manchester Albert Hall (28th May), London Roundhouse (29th May)
They also open for ROBBIE WILLIAMS in the UK and Europe throughout July and August, see press for details
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is available via Mute Artists in CD, vinyl and digital formats
in 2013 featuring the electro-COCTEAU TWINS twist of ‘Wanderlust’ that she was able to indulge in some of her more technological aspirations, while ‘Cocoon’ exposed her enticing vulnerability over an eerie soundscape.
is released as a download single by Gramophone Records
. This time, self-produced by ERASURE and mixed by Matty Green, the long player sees 
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