Tag: Paul Statham (Page 1 of 2)

RUSTY EGAN: The Blitzed Interview

‘Blitzed’ is the new Sky Arts documentary about the colourful London club night attended by aspirational young people driven to escape, express and create.

It was the start of the Thatcher era and before it was infiltrated by leg warmers, deely boppers, fluffy dice, yuppies and soddin’ Pat Sharp, the clientele of The Blitz were planting the seeds that were to shape the eighth decade of the 20th Century.

With the late Steve Strange acting as its Pied Piper, these personalities who emerged from a movement that got labelled The Blitz Kids, The Cult With No Name and The New Romantics were to have a big impact on popular culture. They included  costume designers Fiona Dealey and Michele Clapton, journalists Robert Elms and Dylan Jones as well as royal hat maker Stephen Jones. They tell their stories of that flamboyant period alongside the usual suspects of Rusty Egan, Boy George, Steve Dagger, Princess Julia, Gary Kemp, Marilyn, Andy Polaris, Chris Sullivan and Midge Ure.

While those not fully immersed in the history of The Blitz Club will delight in the 90 minutes of ‘Blitzed’, aficionados of New Romantic history will be disappointed to see many of the same old faces repeating variations on anecdotes told many times before. Meanwhile others will despair that music is not the main topic of discussion, although it would be fair to say that TV specials looking at key hit songs by VISAGE, ULTRAVOX, SPANDAU BALLET and CULTURE CLUB have been a plenty on Channel 5 lately…

However, some new faces do appear and Darla Jane Gilroy’s recollections of being chosen to be an extra in David Bowie’s ‘Ashes To Ashes’ video after he graced The Blitz are delightful.

The inclusion of Elly Jackson of LA ROUX though is questionable; obviously chosen as an example of a modern day Blitz Kid because of her “Flock of Tilda Swintons” hairdo and having a No1 with the synth-driven ‘Bulletproof’ in 2009, she comes across as blissfully unaware of the long term influence of The Blitz but then she did aspire to be a folk singer as a teenager!

Another frustrating aspect of ‘Blitzed’ that could have been better researched is when David Bowie is mentioned in his position as the Godfather of The Blitz; a fair proportion of the archive footage accompanying this section is from after the club closed including his spiky-haired ‘Glass Spider’ period in 1987 and in one clip, the ‘Earthling’ period of 1997!

Reliably entertaining in ‘Blitzed’, resident DJ Rusty Egan makes some memorable and amusing observations of the time. Acting as co-consultant and providing new music for the documentary, the recently released soundtrack album additionally features period pieces by his former protégés SHOCK and RONNY as well as inspired by tracks from artists such as WE ARE BRANDO and TINY MAGNETIC PETS who he would be playing at The Blitz Club if it was still around and hadn’t closed in Spring 1981. The interconnected collection concludes with a live version of David Bowie’s ‘Where Are We Now?’ by Boy George.

Edited down from an amusing conversation that went on for nearly 4 hours, Rusty Egan chatted about the making of the ‘Blitzed’ documentary and its accompanying soundtrack.

It looks like the ‘Blitzed’ documentary has gone down well with the general public?

Yeah, it’s been very well received by the GENERAL public. But within the community of actual Blitz Kids, I put together a list of 50 or so of the most important people that went to The Blitz like John Galliano who would have been 18-19 year old students and part of the hub… I shared it online and called it “The 50 Blitz Kids Who Were Too Cool To Be In A Documentary About The Blitz”! *roars of laughter*

The quip went down well with them because they were being labelled “too cool”, it’s got a funny juxtaposition; of course, a lot of them couldn’t be squeezed into 90 minutes anyway!

So I acknowledged them by doing a video for a track called ‘Catwalk’ which is part of the ‘Blitzed’ soundtrack… I told them I wouldn’t be in the documentary unless I did the music! It was my chance to right some wrongs, the sound I was trying to get on the accompanying OST album, whether I wrote it, produced it or got someone else to do it, was not a retro album or another compilation with ‘Ashes To Ashes’ or ‘The Model’ which it easily could have been, it’s a different thing!

‘Catwalk’ appears to have the same chord progression as ‘The Model’ by KRAFTWERK?

NO! It’s the same chord progression as ‘Turn To Dust’ which Boy George sent me which I stripped down and added my sequence. So it was that music which accompanied the video footage of KRAFTWERK. But with that chord progression of ‘The Model’, you could sing 50 or so reggae or dance tunes over that…

…yeah! ‘Ride On Time’ by BLACK BOX is one!!

Well there you go!! I could probably do a mash-up of ‘The Model’ with ‘Ride On Time’! The DJ Robin Skouteris did one mixing ‘Fade To Grey’ with ‘Magic Fly’ and HURTS ‘Wonderful Life’ and even dropped PET SHOP BOYS in! He could stick the song ‘New Romantics’ by Taylor Swift with Dolly Parton and Mark Ronson in a never ending mix, unbelievable what he can do with the technology of today!

It would be fair to say people who had been more aware of The Blitz and its history have said many of the same people who were in the BBC’s ‘A Fine Romance’ 2001 documentary were in ‘Blitzed’?

When the producers said they wanted my help and said they wanted the phone numbers of Midge Ure, Boy George etc, I thought “oh, same old sh*t!” – so there was a bit of bartering, I said I’d to it if I did the music and I got paid!

Chris Payne did a piano and violin version of ‘Fade To Grey’. I thought I should put bass and drums onto that and extend it, cos you know I love an extended, and then for people like you, there’s a three and a half minute version there! *laughs*

Now, there was Chris Payne, Rusty Egan and Oscar Egan, there was no Midge Ure or Billy Currie, just us three making a version of ‘Fade To Grey’ at 105 BPM. I think it’s a good beautiful piece of music with wonderful arpeggios from Chris, low voice by me and my ex, the French speaking Belgian girl Brigitte. I am still in contact with her so I asked her to reprise it, we did as good as we could without Midge or Billy in our remake of ‘Fade To Grey’.

It’s all in my home studio, not in Abbey Road! Everybody says they’ve liked what we’ve done, that’s it! It’s not like I’ve added a rapper! I didn’t add a dance beat, I just made it clearer and louder with a middle break. It’s not like I had Abbey Road, the mixing desk of Conny Plank, Alan Parsons producing, Michael Rother on guitar and made a pile of sh*t! If I did that, you’d be right to have a go! It’s a labour of love!

Some more seasoned enthusiasts did not really find out anything new from watching ‘Blitzed’, it could have benefitted from the perspective of say, actress Eve Ferret who actually performed at The Blitz and Jacqueline Bucknell who brought David Bowie down that night…

I gave the producers a list of everyone, you know me, I’m very inclusive… Marilyn actually didn’t want to do it, I had to phone him up and told him “it’s better to be in it than not in it”… I do agree with you, but you’re discussing something I had no control over.

Overall, were you happy with how ‘Blitzed’ turned out?

NO, I LOOK FAT!

Yeah, a white shell suit is not a good look on you even if it’s Ralph Lauren!! *laughs*

They told me everyone wears black, please wear white!!!!

But yes, I’m pleased with the documentary because when was the last time fashion was intertwined with music? You don’t look at THE KILLERS and go “what are they wearing?”, they’re just a band from Las Vegas! You don’t look at NEW ORDER and go “what is Barney wearing?”, they’re not a fashionable band.

SPANDAU BALLET were very ambitious and eventually successful, but you helped them out?

Steve Strange fancied Martin Kemp so wanted to put SPANDAU BALLET on at The Blitz. But he asked me to take a look and advise them what to do, so I did!

Gary Kemp could sit there in his mansion and talk about how he knew if he jumped on that stage, he could take the scene… but he didn’t know Richard James Burgess, he didn’t know how to make a dance record, he didn’t know what a synthesizer was, he was just a young kid.

That SPANDAU BALLET comeback song ‘Once More’ in 2009, it was so bloomin’ middle of the road, it needed its own government safety film!! *laughs*

Ouch! They wanted to be pop stars, as did DURAN DURAN and DEPECHE MODE, they wanted to make pop music.

‘Blitzed’ is not a music documentary but were you surprised ‘Vienna’ only got mentioned for 15 seconds and ‘Fade To Grey’ for about 30?

I actually didn’t want them to play ‘Vienna’, I didn’t want them to play ‘Ashes To Ashes’, cos I didn’t want them playing the same songs… having that clip of Bowie doing ‘Heroes’ on ‘Top Of The Pops’ probably cost them £20,000! The labels have a chart of what songs are worth and they run it like a business, and because they go on the premise that they generally can only sell a song once, the price can be very high!

So what’s your favourite moment on ‘Blitzed’ that isn’t you?

I loved Boy George in it… y’know he could have died several times over the decades, but I saw a happy Boy George who had a whiter smile than me, happy to tell people he was a thief because he had no money and lived in a squat… thing is, Steve Strange was also a thief but lied about it! They had nothing and wanted to be wearing the latest clothes! They wanted to go clubbing every night and that cost a fortune!

Whereas although I went to borstal like in the film ‘Scum’ and I learned to survive with billiard balls in a sock to protect myself, I was always nice and said “come and stay round my house” and they would rob me sadly! Looking back at those people from 40 years ago, they are many who never made it, I could list a load of people. Y’know, it’s lovely to be an old man with my bus pass and to get my jab, having people I knew when I was 20 like Eve Ferret contacting me on a daily basis.

A lot of people don’t like me, they like Steve Strange and feel I shouldn’t be taking any of the glory on ‘Blitzed’. Even a friend of mine who I got DEPECHE MODE tickets for on the last tour wrote “it’s not all about you Rusty”… but I didn’t make the documentary, I’m just a bloke in it! I’VE GOT NO CONTROL OVER NOTHING!

Your new song ‘When We Were Young’ features prominently in ‘Blitzed’, it’s quite obviously influenced by Gina X’s ‘No GDM’ but I just wanted to say that its co-writer Zeus B Held has heard it and says he’s not going to sue you! *laughs*

Well, if he did, he wouldn’t be suing me, he’d be suing Paul Statham of B-MOVIE who came up with the music! He sent me the bassline and synthline, I put in a straight four LinnDrum beat and made it bigger. But ‘No GDM’ was a song I heard in Düsseldorf and brought in to play at The Blitz and it inspired so many people in the UK like FASHION and DEAD OR ALIVE because it was produced by Zeus B Held, ‘Nice Mover’ was another one from the album that I played.

So yes, I agree 100% that there’s a link! But the end result with the lyrics about “Tonight’s the night, we danced to Iggy, Ferry and Bolan, hey, we found love when we were young” became perfect for ‘Blitzed’.

‘When We Were Young’ manages to be retro-referencing but modern, and that’s quite a tricky thing to achieve…

You know that’s what I was trying to do, cos you kept moaning “Rusty, can you stop trying to be modern?!?” *laughs*

It’s my sound but we are in 2021 and I don’t want to be on at Rewind or Let’s Rock between Limahl and Kim Wilde! I’ll be hopefully doing Rusty Egan Presents VISAGE 1980-2021 at W-Festival in Belgium this August, performing the first two albums with Zaine Griff, Chris Payne and Dave Brookes before OMD headline on the Saturday night.

It’s is so difficult to write anything completely original! If I spoke to Ralf Hütter, he would say that to do KRAFTWERK, he had to put his blinkers on, turn everything off, turn off American Forces radio, turn off the TV with its schlager music, go into the lab at Kling Klang, be German and go into himself as to who he is!

So what was unique about the era captured in ‘Blitzed’ and why could it not really happen today?

As you know, I still go to night clubs and I went to one called The Box in Soho which I’ve been to about 20 times. It’s been going for about 7 or 8 years and is described as the “Studio 54 of today” and “The Blitz Club of today”. There are creative people in their 20s there who love Lee Bowery and Boy George, the sort of people who support LGBTQ+, would watch the Channel 4 drama series ‘It’s A Sin’ and love the music of the 80s or similar. They are creative types who can’t make a living from what they do, but might be influencers…

I met with the owners of ‘The Box’, the club started in New York and it was attended by the richest people in the city, the dot com millionaires, the “in with the in-crowd” types! They were putting on people miming to Lady Gaga songs and freak shows of people putting knitting needles through their nipples as entertainment. So it was loads of rich people throwing away money that flew in their letter box while they were asleep on their friends or so-called models on Instagram, all while the DJ is playing Kanye West!

But it sounds like a nightmare! That doesn’t interest me! So I suggested them putting on original artists and musicians, but they said they didn’t want to do it as they were making loads of money with people coming in six nights a week! Everything was about money!

The thing is, The Blitz was real, we were all broke, we were all thieves or on the dole, we were no-ones! The Box looks like The Blitz, but it’s not!


ELECTRICITYCLUB.CO.UK gives its warmest thanks to Rusty Egan

‘Blitzed’ is available on demand via Sky

The ‘Blitzed’ soundtrack album is released by Future Music and available now via digital outlets

Rusty Egan, Zaine Griff, Chris Payne and Dave Brooks perform the music of VISAGE 1980 x 2021 at W-Festival in Belgium on Saturday 28th August 2021 – tickets are available from https://w-festival.com/en/

https://www.facebook.com/rustyegan/

https://twitter.com/DJRustyEgan

https://www.instagram.com/rustyegan/

https://www.mixcloud.com/rustyegan/

https://open.spotify.com/album/3BXZJhaZG3Qf87umwTLM5d


Text and Interview by Chi Ming Lai
22nd March 2021

AFTER THE RAIN Black Is The Colour EP

Despite B-MOVIE having released their debut EP ‘Take Three’ back in 1980, their guitarist and multi-instrumentalist Paul Statham is now possibly busier than ever musically.

As well as releasing B-MOVIE new material in the shape of the excellent three song ‘Repetition’ EP featuring the superb ‘Stalingrad’, his experimental solo ambient work and the avant Americana adventure of THE DARK FLOWERS, Paul Statham has now unveiled his DJ Shadow-inspired sample-based electronica soundscape project AFTER THE RAIN.

Statham’s career has included the electropop trio PEACH who had a US Top20 hit with ‘On My Own’ in 1997, as well as collaborations with people as diverse as Peter Murphy, Jim Kerr, Billy Mackenzie, Dido, Dot Alison, Sarah Nixey, Kylie Minogue and Rachel Stevens.

Now while AFTER THE RAIN does feature vocals, the tracks are not in the conventional song vein which saw Statham become one of the quieter success stories of ‘Some Bizarre Album’.

With Moby as a ubiquitous reference point, lead track ‘Gospel Train’ uses an emotive four line sample of ‘The Gospel Train’ sung by Belleville A Cappella Choir taken from a collection entitled ‘Southern Journey Vol. 1: Voices from the American South’. Offset against a propulsive electronic framework, the two contrasting elements hauntingly and successfully combine to recall the work of not just the one-time Richard Melville Hall, but also that of Alan Wilder in RECOIL.

Also cut within a gospel backdrop, the strangely vibey ‘Black Is The Colour’ uses phrases from the traditional standard of the same name made famous by Nina Simone, vocalised for AFTER THE RAIN by London soul jazz artist Billie Black. Punctuated by atmospheric and big beat sections, it offers a rather cerebral listening experience.

Beginning with acoustic six string, ‘Waterfront’ is less synthetic, its country roots flavour providing a nod towards THE DARK FLOWERS. Given an alien outlook by vocodered phrases borrowed from the similarly titled John Lee Hooker number, the brooding combination is unusual if nothing else, coming over like some of the Brian Eno song based album ‘Another Day On Earth’ from 2005.

Constructing new music around decades old archive material can be a thorny subject, but in his introductory offer for AFTER THE RAIN, Statham does it well and respectfully. Mysterious, yet hopeful and familiar at the same time, he adds yet another string to his talented bow.


‘Black Is The Colour’ is released as a download EP by Loki Records, available direct from https://aftertherain1.bandcamp.com/releases

https://www.facebook.com/aftertherain.london/

https://www.lokirecords.com/


Text by Chi Ming Lai
26th January 2019

B-MOVIE Repetition EP

It’s been a productive year for some of the best acts that emerged from 1981’s ‘Some Bizzare Album’ like SOFT CELL, BLANCMANGE and THE THE.

Also joining in the party are Mansfield’s B-MOVIE with the ‘Repetition’ EP, the quartet’s first new body of work since the ‘Climate Of Fear’ album in 2016.

Steve Hovington (vocals + bass), Paul Statham (guitar + additional keyboards), Rick Holliday (keyboards) and Graham Boffey (drums) open the EP with the title song, a haunting new wave number recalling NEW ORDER but which is also classic B-MOVIE.

Paul Statham told ELECTRICITYCLUB.CO.UK: “I was thinking of how NEW ORDER in the early days would have approached it with the sequencers and post-punk guitars”

In what could be described as a lyrical follow-up to ‘Remembrance Day’, one of B-MOVIE’s best known songs which has become all the more poignant again with Remembrance 100, Hovington sombrely reflects on how “we make the same mistakes again… it’s so strange, our history repeats itself… over and again… and again”

The ‘Repetition’ video utilises a stark performance by the band cut into archive Second World War footage from the Eastern Front. Continuing the theme of that period, the chilling aesthetics of ‘Stalingrad’ sees B-MOVIE present one of the most electronic pop offerings of their career.

Complete with an infectious synth melody, an eerie mezzo-soprano and using the crucial Second World War battle as a metaphor for a doomed relationship, it is one of their best songs since their 21st Century reformation. Appropriately, the final song on the EP is ‘Something Cold’, a brooding building piece with gothic grandeur, a looming bassline and even some bottleneck guitar!

“’Stalingrad’ has been played live and goes down really well” confirmed Statham, “There is a new cohesive sound with the three new tracks. ‘Somewhere Cold’ also has a real post-punk power to it.”

B-MOVIE are without doubt back in their stride and Statham is very pleased how they are recording some of the best work of their career: “I really enjoyed producing these three tracks although it’s a lot of hard work as we tend to record all over the place, then I have to gather everything together in bits and pieces and collage it into the sound. Steve’s sounding better than ever as is Rick and Graham”


The ‘Repetition’ EP is released by Loki Records, available as a CD and download direct from https://b-movie1.bandcamp.com/releases

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

https://www.facebook.com/B.MovieMusic/

https://twitter.com/bmovieuk

https://www.instagram.com/b_movieband/


Text by Chi Ming Lai
19th November 2018, updated 30th April 2019

The Electronic Legacy of AMBIENT

Ambient electronic music is a much misunderstood genre.

One is not talking about JEAN-MICHEL JARRE or VANGELIS who are far too comparatively lively to be truly considered ambient. And it is not ‘chill out’ that’s being talked about either, which seems to lump in any form of dance music that is under 112 beats per minute.

Modern ambient probably came to prominence with BRIAN ENO. While lying in a hospital room after a car accident in 1975, a friend visited him and put on a LP of harp music. However the volume had been set at an extremely low level and one of the stereo channels had failed. Unable to move to adjust this, Eno had a new way of listening to music forced onto him.

In recalling this story for the sleeve notes of his ‘Discreet Music’ album, Eno said the music now became “part of the ambience of the environment just as the colour of the light and the sound of rain were parts of the ambience.”

Eno may not have been the inventor of ambient, but he was almost certainly was its midwife. With its lengthy gradual processes and unpredictable changes, ambient can be listened to and yet ignored. Going against the Western tradition of music where vocals, melody and rhythm are essential components, ambient music is designed to accommodate many levels of listening without enforcing one in particular.

One of the other beauties of ambient music is that the pieces are often so progressive that it becomes quite difficult to remember individual sections.

Therefore on repeated plays, the music can still sound fresh and rewarding. It was an approach that fascinated many and while they may not have released whole works, artists such as DAVID BOWIE, THE HUMAN LEAGUE, OMD, BLANCMANGE and RADIOHEAD recorded ambient pieces for album tracks or B-sides.

Comments about ambient music being “boring” are missing the point, because at points of the day where the state of near sleep looms, music with no vocals, no rhythms and not too much energetic melody is perfect.

Restricted to one album per moniker or collaborative partnership, here are the twenty long players presented in chronological and then alphabetical order which form The Electronic Legacy of Ambient. Acting as a straightforward introduction to the genre, it refers to many artists whose comparatively mainstream works may already be familiar.


KLAUS SCHULZE Timewind (1974)

A one-time member of TANGERINE DREAM and ASH RA TEMPLE, ‘Timewind’ was Schulze’s first solo album to use a sequencer, evolving as a longer variation on his former band’s ‘Phaedra’. Referencing 19th century composer Richard Wagner, Schulze transposed and manipulated the sequences in real time, providing shimmering and kaleidoscopic washes of electronic sound using equipment such as the EMS Synthi A, ARP 2600, ARP Odyssey, Elka string machine and Farfisa organ.

‘Timewind’ is available via Mig Music

https://www.klaus-schulze.com


TANGERINE DREAM Phaedra (1974)

‘Phaedra’ was the breakthrough record for TANGERINE DREAM which saw them using sequencers for the first time. Featuring the classic line-up of Edgar Froese, Peter Baumann and Chris Franke, the hypnotic noodles of EMS VCS3s and Moogs dominated proceedings while Mellotrons sounding like orchestras trapped inside a transistor radio. Organic lines and flute added to trancey impressionism to produce a fine meditative electronic soundtrack.

‘Phaedra’ is available via Virgin Records

http://www.tangerinedream.org/


CLUSTER Sowiesoso (1976)

The late Dieter Moebius and Hans-Joachim Roedelius were CLUSTER. Having released their first long player together in 1969, their fourth album ‘Sowiesoso’ was CLUSTER’s first fully realised exploration into ambient electronics. With gentle melodic phrasing and unimposing rhythmical patterns, the title track was a wonderfully hypnotic adventure that welcomed the listener into the soothing world of the longer player’s remaining aural delights.

‘Sowiesoso’ is available via Bureau B

http://www.roedelius.com/


ASHRA New Age Of Earth (1977)

ASH RA TEMPLE’s Manuel Göttsching was looking to visit synthesized climes and explored more progressive voxless territory armed with an Eko Rhythm Computer, ARP Odyssey and what was to become his signature keyboard sound, a Farfisa Synthorchestra. An exponent of the more transient solo guitar style of PINK FLOYD’s David Gilmour, this template was particularly evident on New Age Of Earth’, a beautiful treasure trove of an album.

‘New Age Of Earth’ is available via Virgin Records

http://www.ashra.com/


STEVE HILLAGE Rainbow Dome Musick (1979)

One-time member of GONG, solo artist and an in-house producer at Virgin Records, Steve Hillage had a love of German experimental music and ventured into ambient with long standing partner Miquette Giraudy. Recorded for the Rainbow Dome at the Festival for Mind-Body-Spirit at Olympia, these two lengthy Moog and ARP assisted tracks each had a beautifully spacey quality to induce total relaxation with a colourful sound spectrum.

‘Rainbow Dome Musick’ is available via Virgin Records

https://twitter.com/stevehillage


HAROLD BUDD & BRIAN ENO The Plateaux Of Mirror (1980)

Mostly piano-oriented, its backdrop of shimmering synthesizer and tape loops of voices was conceived in a sound-world that Eno had created via his various instrument treatments. With Budd improvising live, Eno would occasionally add something but his producer tact was to step back if nothing extra was needed. ‘The Plateaux Of Mirror’ was a lovely work with resonating ivories of the acoustic and electric variety. A second collaboration came with ‘The Pearl’ in 1984.

‘The Plateaux Of Mirror’ is available via Virgin / EMI Records

https://www.haroldbudd.com


BRIAN ENO Apollo: Atmospheres and Soundtracks (1983)

Recorded as a soundtrack to a documentary film about the Apollo Missions to the moon, one of the inspirations was to react against the uptempo, manner of space travel presented by most TV programmes and news reels of the day with its fast cuts and speeded up images. Eno wanted to convey the feelings of space travel and weightlessness. Although based around Eno’s Yamaha DX7, the album was quite varied instrumentally, featuring his brother Roger and Daniel Lanois.

‘Apollo: Atmospheres and Soundtracks’ is available via Virgin / EMI Records

http://www.brian-eno.net


ROGER ENO Voices (1985)

The debut album from the younger Eno, ‘Voices’ captured a sustained mood of dreamy soundscapes and aural clusters with its beautiful piano template strongly reminiscent of Harold Budd’s work with brother Brian, who was also involved on this record via various electronic treatments although it was actually Daniel Lanois who produced.

‘Voices’ is available via Virgin / EMI Records

http://www.rogereno.com


DAVID SYLVIAN & HOLGER CZUKAY Plight & Premonition / Flux & Mutability (1988 – 1989)

By 1986, the former JAPAN front man wanted to get away from singing as reflected by the ‘Gone To Earth’ bonus album of instrumentals. Sylvian found a willing conspirator in CAN’s Holger Czukay who had developed several unconventional compositional techniques using devices such as short wave radios and Dictaphones. Through a series of improvisations, the duo came up with two companion long players that conveyed a sinister yet tranquil quality drifting along in complex spirals.

‘Plight & Premonition / Flux & Mutability’ is available via Grönland Records

http://www.davidsylvian.com/

http://www.czukay.de/


HAROLD BUDD The White Arcades (1992)

Unlike the comparatively optimistic air of his work with Eno, Harold Budd’s solo journeys often conveyed a more melancholic density, probably best represented by the haunting immersive atmospheres of ‘The White Arcades’. An elegiac combination of shimmering synthesizers and sporadic piano  provided an austere depth that was both ghostly and otherworldly, it was partly inspired by his admiration of COCTEAU TWINS whom he collaborated with on the 1986 4AD album ‘The Moon & The Melodies’.

‘The White Arcades’ is available via Opal Productions

https://www.facebook.com/music.of.harold.budd/


STEVE JANSEN & RICHARD BARBIERI Other Worlds In A Small Room (1996)

With ‘Other Worlds In A Small Room’, Steve Jansen and Richard Barbieri created an atmospheric collection of electronic instrumentals that they considered “Ambient in the traditional sense”. Alongside the three new pieces, there was an appendix of four suitably complimentary tracks from their 1984 album ‘Worlds In A Small Room’ had originally been commissioned by JVC to accompany a documentary about the Space Shuttle Challenger and its various missions.

‘Other Worlds In A Small Room’ is available via https://jansenbarbieri.bandcamp.com/releases

http://www.stevejansen.com/

http://www.kscopemusic.com/artists/richard-barbieri/


VINCENT CLARKE & MARTYN WARE Spectrum Pursuit Vehicle (2000)

‘Spectrum Pursuit Vehicle’ was composed by Vince Clarke and Martyn Ware as part of an Illustrious art installation at The Roundhouse in a circular, white clothed room where the colours referred to in the titles of the six lengthy pieces were “programmed to cross fade imperceptibly to create an infinite variation of hue”. Using binaural 3D mixing techniques, the sleeve notes recommended it was best heard using headphones while stating “This album is intended to promote profound relaxation”.

‘Spectrum Pursuit Vehicle’ is available via Mute Records

http://www.illustriouscompany.co.uk/


WILLIAM ORBIT Pieces In A Modern Style (2000)

Trance enthusiasts who loved Ferry Corsten’s blinding remix of Samuel Barber’s ‘Adagio For Strings’ will have been shocked if they had bought its virtually beatless parent long player. Orbit’s concept of adapting classical works was that he wanted to make a chill-out album that had some good tunes. In that respect, a collection featuring lovely electronic versions of Beethoven’s ‘Triple Concerto’ and John Cage’s ‘In A Landscape’ could not really miss.

‘Pieces In A Modern Style’ is available via WEA Records

http://www.williamorbit.com


ALVA NOTO & RYUICHI SAKAMOTO ‎Vrioon (2002)

Alva Noto is a German experimental artist based in Berlin and ‘Vrioon’ was his first collaborative adventure with YELLOW MAGIC ORCHESTRA trailblazer Ryuichi Sakamoto. A beautiful union of piano, synth shimmers and subtle glitch electronics proved to be an unexpectedly soothing and  meditative experience that was gloriously minimal over six starkly constructed mood pieces.

‘Vrioon’ is available via Raster-Noton ‎

http://www.alvanoto.com/

http://www.sitesakamoto.com/


MOBY Hotel: Ambient (2005)

Originally released as part of the 2CD version of ‘Hotel’ in 2005, Moby couldn’t find his copy and decided on an expanded re-release. Inspired by the nature of hotels, where humans spend often significant portions of their lives but have all traces of their tenancy removed for the next guests, the ambient companion progressively got quieter and quieter. The emotive ‘Homeward Angel’ and the solemn presence of ‘The Come Down’ were worth the purchase price alone.

‘Hotel: Ambient’ is available via Mute Records

http://moby.com


ROBIN GUTHRIE & HAROLD BUDD After the Night Falls / Before The Day Breaks (2007)

Robin Guthrie and Harold Budd first collaborated on ‘The Moon & The Melodies’ album along with the other COCTEAU TWINS. ‘After the Night Falls’ and ‘Before the Day Breaks’ were beautiful experiments in duality but it would be unfair to separate these Siamese twins. Serene, relaxing, abstract and distant, Guthrie’s textural guitar and Budd’s signature piano were swathed in drifting synths and treatments that complimented each album’s self-explanatory titles.

‘After The Night Falls’ and ‘Before The Day Breaks’ are available via Darla Records

http://www.robinguthrie.com


JOHN FOXX & HAROLD BUDD Nighthawks / Translucence / Drift Music (2003 – 2011)

A sumptuous trilogy featuring two artists who had both worked with Brian Eno. ‘Nighthawks’ was John Foxx and Harold Budd’s most recent collaboration with the late minimalist composer Ruben Garcia and a soothing tranquil nocturnal work with tinkling ivories melting into the subtle layered soundscape with its Edward Hopper inspired title. Meanwhile, the earlier ‘Translucence’ from 2003 was a close relative and classic Budd, partnered with the more subdued overtures of ‘Drift Music’.

‘Nighthawks’ and ‘Translucence / Drift Music’ are available via Metamatic Records

https://www.facebook.com/johnfoxxmetamatic/


JOHN FOXX London Overgrown (2015)

‘London Overgrown’ was John Foxx’s first wholly solo ambient release since the ‘Cathedral Oceans’ trilogy. With the visual narrative of a derelict London where vines and shrubbery are allowed to grow unhindered throughout the city, the conceptual opus was a glorious ethereal synthesizer soundtrack, smothered in a haze of aural sculptures and blurred soundscapes. With ‘The Beautiful Ghost’, as with William Orbit’s take on ‘Opus 132’ from ‘Pieces In A Modern Style’, this was Beethoven reimagined for the 23rd Century.

‘London Overgrown’ is available via Metamatic Records

http://www.metamatic.com


STEVE JANSEN The Extinct Suite (2017)

“I like the effects of calm and dissonance and subtle change” said Steve Jansen; not a remix album as such, the more ambient and orchestral elements of ‘Tender Extinction’ were segued and reinterpreted with new sections to create a suite of instrumentals presented as one beautiful hour long structured ambient record. A gentle blend of electronic and acoustic instrumentation including piano and woodwinds, ‘The Extinct Suite’ exuded a wonderful quality equal to Eno or Budd.

‘The Extinct Suite’ is available via https://stevejansen.bandcamp.com/album/the-extinct-suite-2

http://www.stevejansen.com/


PAUL STATHAM Asylum (2017)

B-MOVIE guitarist and pop tunesmith Paul Statham began his experimental music account with ‘Ephemeral’ and ‘Installation Music 1’. ‘Asylum’ was a more ambitious proposition and featured in an audio visual installation created with painter Jonathan McCree in South London’s Asylum Chapel. The eight compositions together exuded a cinematic, ethereal quality with some darker auras and an eerie sound worthy of the ambient pioneers Statham was influenced by, especially on the gorgeous closer ‘Ascend’.

‘Asylum’ is available via https://paulstatham.bandcamp.com/album/asylum

http://paulstathammusic.com


Text by Chi Ming Lai
22nd August 2018

PAUL STATHAM Interview

What do DEPECHE MODE, SOFT CELL, BLANCMANGE and THE THE have in common?

They all appeared on the ‘Some Bizzare Album’ which acted as a springboard for their fame and fortune.

But the silent success story of the ‘Some Bizzare Album’ has to be Paul Statham; while his band B-MOVIE with Steve Hovington, Rick Holliday and Graham Boffey were unable to achieve a foothold in the mainstream like The Big Four, the guitarist later found considerable success as a songwriter and producer.

Working with personalities as varied as Peter Murphy, Jim Kerr, Billy Mackenzie, Dido, Dot Allison, Sarah Nixey, Kylie Minogue, Lisa Scott-Lee, Tina Arena and Rachel Stevens, Statham’s credits also include groups such as THE SATURDAYS and RIGHT SAID FRED.

Statham was also a member of cult electropop trio PEACH with Pascal Gabriel and Lisa Lamb, whose song ‘On My Own’ from their only album ‘Audiopeach’ featured during a key scene in the Gwyneth Paltrow movie ‘Sliding Doors’.

Although B-MOVIE reformed in 2004, Statham has continued his songwriting and production career in parallel.

More recently, there has also been his dark country project THE DARK FLOWERS, while he has also been releasing a series of ambient electronic albums, as well as establishing his own label Loki Records.

Paul Statham kindly took time out of his busy schedule to answer some questions about his career outside of B-MOVIE…

What has motivated you to start Loki Records in the current climate?

Well, exactly the words “current climate”! I did approach some leftfield labels, but the response time was tragic! Also as a long standing writer through Warner Chappell, there is always the thought that the song has to be commented on or is specifically ‘aimed’ at something , even going through an experimental label. So setting up my own label means I can go sit in the woods filming the moon all night, then decide that will be the video as it was for the track ‘Who Won’t Wait’! Of course who sees the video is then down to you endlessly trying to put links up!

After years of songwriting, how did this move towards more experimental music come about?

I have been involved in writing or creating pieces of instrumental music since 2002 through an art curator friend Victor De Circasia to run alongside writing more commercial music. My project THE DARK FLOWERS put a small element of experimental into traditional song using backdrops of wind or recorded atmosphere behind tracks, but my favourite album is Brian Eno’s ‘Another Green World’ and also I love reading about his compositional practice.

Your third ambient release is ‘Asylum’, how does this differ in concept from your first two releases of this type ‘Ephemeral’ and ‘Installation Music 1’ which were given away on Bandcamp?

I did plan to do it this way. The first two are unaltered pieces that were actually used in two installations, ‘Installation Music 1’ is very specific to a sculpture ‘Diving Woman’ by Sottish artist David Mach. ‘Asylum’ took some installation music from the Asylum Chapel in Peckham and simply used it as the starting point to create an album that was added to and experimented on over time.

What do you get out of this more experimental direction that you wouldn’t get from writing pop songs?

Total Freedom. A real journey from going out and exploring sounds in the outside world to developing artwork / films and setting out and letting the unfolding music direct where it heads to with no thought of who may like this. That’s why sometimes I’ll give them away for free!

Any thoughts about trying to compose hour long pieces like Brian Eno has done?

I already have a 28 minute piece that was used in an installation. It involved 28 pieces of thirty seconds long, starting with one then adding to it the next piece every 30 seconds to create a collage of found sound, then after 28 minutes it reverses. I will locate it and put it out for free on Bandcamp now you have reminded me! It was accompanied by painter Daisy Cook’s series of 28 small paintings of the Australian landscape but taken from the air. We made a film but I’ve since lost it!

The B-side to B-MOVIE’s ‘Marilyn Dreams’ was ‘Film Music Part 1’, what ever happened to Part 2 and is composing film music a direction you would like to head in?

That was written by Rick and I really like it! I think it was Rick, although Steve wrote most things back then! Film music is something I would love to do and would offer the music for free to any budding or low budget film in need!

After B-MOVIE first ended, you started to work with Peter Murphy in 1988 and continue to do so today, how would describe your creative dynamic?

Slow development! No, it’s completely different than my usual co-writing and has been long distance, with us rarely or actually ever sitting down in the same room and writing anything together. ‘Love Hysteria’ was me sitting in his attic with a four track and a few instruments, then leaving it with him. ‘Deep’ was similar but in a studio room, with Peter adding stuff once I’d put any sort of sketch down. After his move to Turkey, I would visit Ankara but again go into his studio room alone and sketch ideas, whilst he would then go in after me later at night and really shape them up. Since the internet, we simply share files. Some people find this dynamic difficult but after such a long time, I find it easy to send him anything I feel will intrigue.

In 1996, you formed PEACH who you described as “ABBA Meets THE KLF”? What inspired this?

Hahahaha! That was meeting Pascal Gabriel who produced the Murphy album ‘Cascade’. After the ‘Holy Smoke’ album, Peter dropped THE 100 MEN (band) and I went back to co-writing the whole album via sketches and lots of different styles, but with a more electronic feel. We all went to Spain to record, Peter, Pascal and myself and it was fairly high pressure.

On returning to London, I began to hang out with Pascal and he suggested that we form a very up dayglo electronic trio… very different to my Murphy work and at the time, it was something I definitely needed to do.

How did getting signed to Mute come about? It appeared to happen quite quickly…

We signed to Daniel Miller’s Mute label after playing him two demos in his office with no singer and Pascal sorting of humming vocal ideas. I really respect Daniel Miller and how he got what we were trying to do immediately and offered us a deal on the spot!

I will always be grateful to Pascal as he gave me studio keys and access to all these incredible synths and recording gear and simply let me learn my way around it, whilst we simply began recording with no agenda, other than kicking electropop tunes!

While your first single ‘On My Own’ wasn’t a UK Top 40 hit, it attracted positive responses?

It was a hit in the States and reached No 11 on the radio charts and also was a pop Top 40 hit. It was No 1 in Canada, Israel and bizarrely Singapore where Lisa Lamb and myself headed out to play the city’s 33rd birthday celebrations…v v odd!

How did you feel when ‘On My Own’ featured in the film ‘Sliding Doors’?

I remember being very excited, especially meeting Gwyneth Paltrow at the aftershow of the London premiere. Also seeing your name come up at the end of the film credits was worth it!

‘From This Moment On’ is a timeless pop tune?

I wrote the majority of that alone, picturing a sort of ABBA / ACE OF BASS crossover with a different rhythmic feel than the rest of the more uptempo songs.

I started with the sequencer and then went back and wrote this long intro as I may have discovered a jazz chord or two from some book! Lyrically, I just liked the sound of the words / sentiment without it being particularly about anything! I don’t normally write lyrics, perhaps you can see why!

The eventual ‘Audiopeach’ album was one of the last recordings that the late Billy Mackenzie contributed to. His ad libs on ‘Deep Down Together’ are so unmistakable, how did you know him and what was he like to work with?

Billy Mackenzie was a friend of Pascal’s and I was a HUGE fan of ASSOCIATES. It was shortly before he committed suicide and he arrived very down to earth and humble with a few cans of beer. He simply opened his mouth and that voice exploded. I loved it so much, I owned a DAT tape of him simply singing his vocal line unaccompanied, it was so pure with such a range. He also sang on ’Give Me Tomorrow’, replacing the high sampled opera vocal. I have read ‘The Glamour Chase’ biography twice now and recently have started listening to him a lot.

Photo by Joe Dilworth

By the time ‘Audiopeach’ came out in 1998, the momentum appeared to have stalled, what happened?

Basically we didn’t all get on. Lisa proved difficult at the time, while Pascal and her were complete ‘Polar Opposites’ in just about everything.

I think Lisa herself will admit she found it difficult and although we had success, our vision of what PEACH should sound like / appear like were pulling in two very different directions. I was sad as had left a long running collaboration with Murphy, found success with this pop / electronic vibe, signed to Mute and then walked away from it all.

PEACH supported ERASURE in London but did not play live much, could this have been a contributory factor?

I loved playing live, especially after some amazing live shows around the world with Peter Murphy, who was and is a great frontman and thrived on chaos. Pascal wasn’t so much a live musician and Lisa just got more outrageous, so it wasn’t really a live show at all, just playing a few chords over a backing track. We played three shows with ERASURE in London and before that, two in Hamburg. The German shows were a real success and very enjoyable, but somehow we’d lost enthusiasm by the time we played London!

PEACH appeared to help kickstart your next phase as a pop writer with artists like Kylie Minogue, Rachel Stevens and Lisa Scott-Lee?

Yes, that was only due to the fact I signed via PEACH to Warner Chappell and became great friends with my A&R man Mike Sault who began getting us co-writes with other artists and also, the great work that Sandy Dworniak at TMT Management did as Pascal’s and my manager.

Some might say your best known song is ‘Here With Me’ which you did with Dido, how do you look back on it?

It was so good as Dido had no expectations on her and I loved her voice; as a person and collaborator, she was great fun and wrote quickly and strongly in terms of her lyrics / melodies. We wrote quite a lot of songs and I remember vividly writing ‘I’m No Angel’ with her in about two hours!

So how would you approach a song for a singer, as opposed to artists like Dido, Sarah Nixey or Dot Allison who are more involved in the composition side? Is there a brief from the label?

Yep, sort of. It’s always strange as they give you a reference video by another artist, then the artist plays you something different and the management tell you they want something off the wall and different, so I just try and write the most interesting music I can and see where it goes. It’s so hard to get these things right and you end up with literally hundreds of very very good songs, but then so does everyone else who co-writes with them. It’s frustrating going back and seeing a huge iTunes library with lots of songs that you feel could be hits if the artist / A&R / manager had chosen to go with the song you co-wrote!!

You also worked with Jim Kerr on ‘Return Of the King’, a tribute to Billy Mackenzie for his LOST BOY solo project and subsequently, ‘Kill Or Cure’ for SIMPLE MINDS, what was that like?

Fantastic! I saw SIMPLE MINDS four times in one year when I was a teenager and was a HUGE fan of the first four albums. Not so much ‘New Gold Dream’ onwards, but ‘Reel To Real Cacophony’ and ‘Empires & Dance’.

So writing with Jim Kerr in my small bedroom sized home studio was one of those moments you think if I could have told my 18 year old self that, he wouldn’t have believed me! Also we share a lot of great music references in Bowie, Bolan, Roxy and certain literary styles / books. Jim is a very optimistic and supportive friend, he encouraged THE DARK FLOWERS and we have written a lot of material that may or may not see the light of day!

So what’s happening with THE DARK FLOWERS, which has featured Jim Kerr, Peter Murphy and Dot Allison amongst others?

I have all the music… it’s like herding cats trying to get a song or two from each person as they are all involved constantly in their own work. However I’m getting excited about the second album as its shaping up well… darker in tone than the first (deliberately) and featuring David J as well. Lloyd Cole was interested and started a track, but as of yet???!!!!

In all, are you quite happy with how you music career has turned out in its various guises?

I’m very happy… more so than ever. I re-signed to Warner Chappell in January and balance my week with running a course at BIMM in London once a week and heading up the songwriting workshops at Solent University (sixth year now) once a week too. This leaves me plenty of time to work on my own stuff and collaborate with long standing friends / artists

What’s next for you in whatever guise?

– THE DARK FLOWERS 2
– The continued release of experimental music via Loki Records
– AFTER THE RAIN (my new sample / DJ Shadow style project)
– New B-MOVIE album
– New Peter Murphy collaborations
– A new KRAFTWERK / vaporwave project with film composer Magnus Fiennes out in LA
– And continued co-writing via Warner Chappell’s, particularly with electro R‘n’B singer Billie Black.


ELECTRICITYCLUB.CO.UK gives its grateful thanks to Paul Statham

‘Asylum’ is released on CD by Loki Records, available from https://www.lokirecords.com/shop

http://paulstathammusic.com

https://www.facebook.com/paulstathammusic/

https://paulstatham.bandcamp.com/

http://www.inspiracy.com/peach/

https://www.lojinx.com/artists/the-dark-flowers

https://www.facebook.com/theflowersdark/


Text and Interview by Chi Ming Lai
22nd February 2018

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