Tag: Paul Statham (Page 1 of 3)

A Beginner’s Guide To PAUL STATHAM

14 August 2025 /

Paul Statham is undoubtedly the silent success story of the ‘Some Bizzare Album’.

The guitarist of B-MOVIE who also comprised Steve Hovington (vocals + bass), Rick Holliday (keyboards) and Graham Boffey (drums), their track ‘Moles’ was included alongside DEPECHE MODE, SOFT CELL, BLANCMANGE and THE THE on the iconic futurist showcase compiled by DJ Stevo Pearce that was released in early 1981.

Signing to Phonogram via Some Bizzare, despite an imperial trio of singles ‘Remembrance Day’, ‘Marilyn Dreams’ and ‘Nowhere Girl’, the quartet were unable to get their deserved mainstream chart breakthrough and as the band fragmented, the B-MOVIE story became just that. Although a belated album ‘Forever Running’ would emerge in 1985, the remaining founding duo of Hovington and Statham disbanded B-MOVIE not long after.

Photo by Peter Ashworth

In 1988, Statham found solace in Peter Murphy who had recently gone solo after 4 studio albums fronting goth trailblazers BAUHAUS. Becoming Murphy’s main songwriting partner over 4 successive albums, during the making of the 1995 album ‘Cascade’, Statham met producer Pascal Gabriel who proposed working together on a more dance oriented “ABBA meets THE KLF” type of project; starting out as NEURONIC and with the addition of dance and vocalist Lisa Lamb, they would become the electropop trio PEACH whose song ‘On My Own’ was featured during a key scene in the Gwyneth Paltrow movie ‘Sliding Doors’.

PEACH would become a springboard for Statham to find considerable success as a songwriter and producer, working with artists as diverse as Kylie Minogue, Rachel Stevens, Dot Allison, Dido, Sarah Nixey, Lisa Scott-Lee, Tina Arena, Shelly Poole, and Gabriella Cilmi as well THE SATURDAYS, BANANARAMA, RIGHT SAID FRED and SIMPLE MINDS.

Photo by Adrian Green

In parallel to his songwriting and production career, the original line-up of B-MOVIE reformed in 2004 while in 2009, Statham started his dark country project THE DARK FLOWERS. There has also been a series of solo experimental electronic albums in parallel to launching his own label Loki Records.

Despite releasing two new albums ‘The Age of Illusion’ (2013) and ‘Climate of Fear’ (2016) since their reformation, talk always returned to B-MOVIE’s Some Bizzare period with demand for their imperial trilogy of singles to be made available in the digital era. Those three singles plus 7 previously unreleased recordings from between 1981-1982 were digitised and restored to create the debut “that never was”. Titled ‘Hidden Treasures’, it presented documentary evidence as to why back in the day, the major record labels were clamouring for B-MOVIE’s signature.

Thanks to the positive reception for ‘Hidden Treasures’, another compilation album is planned focussing on ‘The Age of Illusion’, ‘Climate of Fear’ and latter era of B-MOVIE which Statham says will feature “more of the time and songs when I co-wrote a lot more with Steve and produced the tracks”.

After the recent B-MOVIE show in London, Paul Statham sat down to offer some insightful commentary on 20 career highlights selected by ELECTRICITYCLUB.CO.UK from his long and varied music career.

B-MOVIE Moles (1981)

“We were always amazed at how fast Rick could play solos!” said Statham of B-MOVIE’s ‘Some Bizzare Album’ breakthrough, “Recorded at Studio Playground Wragby, we felt like a proper band in this 8 track studios with a live room. The fact we travelled there from Mansfield unified us. In Andy Dransfield, we had a sympathetic producer/engineer who more to the point would buy us a round of drinks in the village pub. All good bands bond in the pub!”

Originally from the ‘Some Bizzare Album’ (V/A), now available on the B-MOVIE expanded CD + digital album ‘Hidden Treasures’ via Wanderlust Records

https://www.b-movie.org/

B-MOVIE A Letter from Afar (1984)

“Terrible press shot in a fake desert setting that became the back cover” remembered Statham of the standalone single ‘A Letter from Afar’ which was based around his sequencer programming on a Roland JX3P and a ghostly SIMPLE MINDS-type pad on the intro; “During the London recording, producer Jellybean Benitez invited me to New York to finish adding parts. We worked out of Sigma Studios, I got an insight into how professional musicians can add to the song”.

Available on the B-MOVIE album ‘The Platinum Collection’ via Warner Music

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

PETER MURPHY Roll Call – Reprise (1989)

“I loved writing music for Peter” said Statham of his partnership with the BAUHAUS front man, “He is highly individualistic, it was always great waiting to hear how he shaped tracks I’d give to him”. Sometimes just a few chords and sometimes fully formed backing tracks”. The guitars on the verse chord progression of ‘Roll Call – Reprise’ paid homage to Iggy Pop while there was a sombre synth brass close; “Peter later said the ‘With Your Red Shirt’ lyric was about me going out clubbing!”

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

https://www.petermurphy.info/

NEURONIC Heaven (1995)

“Things went south a little with Peter’s management on ‘Cascade’” recalled Statham, “so Pascal Gabriel offered me a way out to start a Europop band with him, big bright and bold and he would go play it to Daniel Miller at Mute and get us a deal… hard to believe but that was exactly what happened. Daniel gave us a deal on the spot, with just 2 backing tracks and no singer”. The vocals on ‘Heaven’ came from session singer Anna Ross, now touring with DURAN DURAN.

‘Heaven’ was originally released as a NEURONIC single via Interpop / Mute Records, currently unavailable

http://melophobia.com/

PEACH On My Own (1996)

“NEURONIC quickly morphed into PEACH with the addition of the lovely Lisa Lamb… Lisa Cougar would be a better fit, she would laugh at that, believe me! We changed direction, producing electronic symphonies and kitchen sink dramas that led to the first single ‘On My Own’ going into the film ‘Sliding Doors’ and giving us a bona fide US Billboard hit single peaking at #11 on the pop airplay charts” Statham said but “We promptly split up after supporting ERASURE.”

Available on the PEACH album ‘Audiopeach’ via Mute Records

https://www.inspiracy.com/peach/

DOT ALLISON Close Your Eyes (1999)

“I bought the ONE DOVE album that Dot Allison sang on and she looked so elegantly cool on the cover… I wondered how on earth do I meet singers like that to work with!” pondered Statham, “Then here she was! Mike Sault, our respective publisher set up a co-write with Pascal and me. I really found a niche here, writing tracks with strings, synths and electric guitars with Pascal providing big beats! Dot is a great writer, anything with the word ‘Satellite’ in is always a good lyric!”

Available on the DOT ALLISON album ‘Afterglow’ via Heavenly Records

https://dotallison.com/

DIDO Here With Me (1999)

Inspired by Brian Eno’s ‘Apollo’ album, this was a life changer for Statham: “Dido was an occasional backing vocalist in her brother Rollo’s band FAITHLESS. The Dot Allison single had laid the groundwork and ‘Here With Me’ was a sophisticated cousin to ‘Close Your Eyes’. Dido has a beautiful voice, fully formed, everything she sang sounded cool!. It became the opening theme to the US TV series ‘Roswell’. Having a big hit like this was without a doubt a very nice feeling.”

Available on the DIDO album ‘No Angel’ via Arista / BMG

https://didomusic.com/

KYLIE MINOGUE Your Love (2001)

“Writing with Kylie was undoubtably a high point” said Statham, “Back then, it wasn’t file sharing and a day with the artist, we had a full week of writing together. Just sitting with her and writing lyrics was a little ‘pinch yourself’ moment, especially when she dropped me at the pub in front of friends! She is extremely hardworking and yet unfailingly polite. In hindsight we should have gone more electronic, especially as we had an early listen to ‘Can’t Get You Out Of My Head’.”

Available on the KYLIE MINOGUE album ‘Fever’ via EMI Music

https://www.kylie.com/

RACHEL STEVENS I Will Be There (2005)

“It seems that writing with very attractive women became almost normal!” Statham said on the call to provide a song for the now-solo SCLUB7 starlet’s second album, “But I never met Rachel Stevens. The track was predominantly written with Pascal and Hannah Robinson, a great writer too. I love the electro pulse and the dry drum sound in this track, her vocal delivery has a sort of strange indifference that suits the sombre lyric about a dead friend.”

Available on the RACHEL STEVENS album ‘Come & Get It’ via Polydor Records

https://rachelstevens.com/

SARAH NIXEY When I’m Here With You (2007)

“Sarah Nixey was a joy to work with, she was indie-influenced and great fun too” said Statham of the former vocalist of BLACK BOX RECORDER who liked to project a stern persona, “There was no real remit here, we wrote 3 songs together over a period and I found her lyrics to be intelligent and offbeat at the same time. My original version wasn’t as programmed as the final mix and had a more organic leaning which I feel better suited the song”.

Available on the SARAH NIXEY album ‘Sing, Memory’ via ServiceAV

https://www.sarahnixey.com/

THE SATURDAYS Why Me, Why Now (2008)

Statham was invited to work with THE SATURDAYS on their debut album: “Having only a small, converted bedroom as a studio was a challenge with all 5 girls and my friend / co-writer Hannah Robinson, a challenge I was happy to accept! They were enthusiastic and hardworking, Una and Vanessa were great singers too. The song had a Motown feel with a great melodic arc through leading to a strong chorus, it was mixed with a more electronic feel to the demo.”

Available on THE SATURDAYS album ‘Chasing Lights’ via Polydor Records

https://www.thesaturdays.co.uk/

B-MOVIE Dark Lines (2013)

Having reformed in 2004, a new B-MOVIE long player emerged in 2013: “A favourite of mine from an overlooked album, written by Steve and produced by myself, it has a dark quality that goes against the more uptempo feel of the album. Here, working predominantly in a sparsely produced electronic vein, we got it right. I played most of the keyboards as well on this album as Rick had begun to get disillusioned… the opposite to the title and Rick liked to swim upstream!”

Available on the B-MOVIE album ‘The Age Of Illusion’ via Wanderlust Records

https://twitter.com/bmovieuk

THE DARK FLOWERS Radioland featuring JIM KERR (2013)

Conceived whilst Statham was reading Sam Shepard’s ‘Motel Chronicles’ and listening to an instrumental album ‘The Hired Hand’ by Bruce Langhorne featuring old instruments left out to weather in the same US deserts, he said of THE DARK FLOWERS: “It involved me mixing Eno sequences electronics with piano / banjo and found sound. Jim nailed this perfectly, a slightly Bowie vocal for the dark tale of a man who inhabits an imaginary ‘Radioland’.”

Available on THE DARK FLOWERS album ‘Radioland’ via Lojinx

https://www.facebook.com/theflowersdark

SIMPLE MINDS Kill Or Cure (2014)

“As huge SIMPLE MINDS fans, Steve Hovington and I saw them numerous times” said Statham, “my younger self would find it hard to believe Jim would become a good friend and I would write tracks with him! Based around the bassline that echoes Gina X ‘No GDM’, I tried to evoke the early feel of SIMPLE MINDS. An instrumental demo was passed on to Jim in a chain link of 4 different friends of friends and he called me straight away on hearing it and was in my studio a week later!”

Available on SIMPLE MINDS album ‘Big Music’ via Demon Music Group

https://www.simpleminds.com/

PAUL STATHAM Asylum (2017)

Statham’s more experimental work came after meeting art curator Victor De Circasia in their daughters’ school playground: “I became involved in the world of painters and sculptors, where I would be commissioned to write music to accompany an exhibition or as part of the installation” he said, “‘Asylum’ was music that was based initially from these interactions acting as an almost palimpsest that I overlaid and sculpted, so the original idea was covered multiple times”.

Available on PAUL STATHAM album ‘Asylum’ via Loki Records

https://www.paulstatham.com/

B-MOVIE Stalingrad (2018)

“A real gem and one that we should go back to!” said Statham of the best B-MOVIE song of their reunion era, “this was also a very creative time and we released a lot of one-off songs that were great to produce and write and that went down well with fans and live too. I put it in the same feel as ‘A Letter From Afar’ in that it is sequencer-driven, lyrics musing on the folly of war with a slight Eastern feel in some of the melodic instrumental passages.”

Available on B-MOVIE EP ‘Repetition’ via Loki Records

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

AFTER THE RAIN Gospel Train (2019)

“To be updated!” confirmed Statham on AFTER THE RAIN, “I wanted to release my own project that had some vocal element and at that time not wanting to use my own voice, this went down the route of Moby’s ‘Play’ album, using old vocals lifted from Blues and Gospel. It was never fully released on streaming platforms, but I remain committed in 2025 to releasing these tracks, mixed properly and continuing in an 80s electro feel with my own vocals and guests.”

Available on AFTER THE RAIN EP ‘Black Is The Colour’ via Loki Records at https://aftertherain1.bandcamp.com/

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

THE DARK FLOWERS Dead & Lovely featuring THE ANCHORESS (2021)

From an interim Murder Ballad covers EP, the highlight was this Tom Waits song: “I asked long-time collaborator Catherine Anne Davies aka THE ANCHORESS to do this version” Statham said, ”Catherine always sings so well but I feel my production was not quite right on this. It’s way too happy and synthetic in places. The main problem is that it’s a very long song and the narrative arc is necessary to tell the tale, but I did almost edit it down!”

Available on THE DARK FLOWERS EP ‘Death & Desire’ via Loki Records at https://thedarkflowers.bandcamp.com/

https://theanchoress.co.uk/

PAUL STATHAM & DANIEL PENNIE Hadar (2024)

The songwriting module leader at Solent University, Statham became friends with experimental music module colleague Dan Pennie: “He is a fabulous guitarist with his own outfit NOISE IN YOUR EYE. I had conceived these tracks as a follow-up to ‘Asylum’ but once I sent one to Dan, and he added guitar loops to run through the track, it made sense for the album to go down this avenue, making it less predictable with some unexpected rhythm and textures from his guitar playing”

Available on PAUL STATHAM & DANIEL PENNIE album ‘Object No Distance, Distance No Object’ via Loki Records at https://paulstathamdanielpennie.bandcamp.com/

https://www.instagram.com/paulsta123/

SIMPLE MINDS Your Name In Lights (2024)

Coming back to the here and now, Statham was working with SIMPLE MINDS again: “My writing with Jim Kerr and Charlie Burchill for me is one of the highlights of my career in music. Jim has an iconic voice and Charlie is one the three inspirational guitarists to me, the others being John McGeoch and Robin Simon. Predominantly keyboard led with a KRAFTWERK-style pulse and a dark meditation on fame, that they chose it as a standalone single made my year”.

Available on the SIMPLE MINDS single ‘Your Name In Lights’ via BMG

https://www.facebook.com/simpleminds

Text by Chi Ming Lai with grateful thanks to Paul Statham
13th August 2025

ALL THE YOUNG DROIDS: Junkshop Synth Pop 1978-1985

7 July 2025 /

‘All The Young Droids: Junkshop Synth Pop 1978-1985’ is a new compilation that gathers obscure electronic pop from an era when both major and independent record labels were looking for the next Gary Numan.

With the man born Gary Webb taking this new waveform to the top of the UK singles chart in 1979 not just once but twice, the adoption of affordable synths became an entry point to those seeking fame and fortune. While OMD, DEPECHE MODE and THE HUMAN LEAGUE became chart fixtures, many others would not.

Compiled by Philip King whose day job is as a picture researcher at Uncut magazine, according to NME journalist Nick Kent back in the day, this was a period of “blokes with dodgy haircuts hunched over keyboard-operated machines stuffed with wires and do-it-yourself tone oscillators making sounds like a brood of geese passing gas in a wind tunnel”. But with the eventual backlash against synths and the rise of digital technology that could emulate real instrumentation, the inevitable end came “not with a blood-curdling bang but with a cheap, synthesized, emasculating whimper.”

As the recent well-received reissue of Life Is A Grand’ by Henry Badowski and the release of 1981 demo recordings of B-MOVIE as the ‘Hidden Treasures’ album have proved, there is present day enthusiasm from synth music fans for little known or previously unreleased tracks from the past. This more than highlights the state of modern synth which continues to deceive, with the quality of VSTs and their array of classic sounds masking a wider deficiency in basic songwriting.

Opening proceedings on ‘All The Young Droids’ are Belgian duo DESIGN with ‘Premonition’ from 1983. Mixed by Dan Lacksman of TELEX using a Yamaha CS-15, Roland Juno-6, Roland TR-808 and no sequencers, there is an appealing Walloon detachment with Gallic girly refrains while the sound quality cannot be faulted.

From the Socialist Republic of South Yorkshire, VISION had Paul Statham from B-MOVIE temporarily join in 1982 at the invitation of vocalist Russell Bonnell in time to appear on ‘Lucifer’s Friend’; while its morose vocal delivery was very much de rigueur of the times, it is rich in bright keyboard melodics. A bouncy machine pop number from 1981, Selwin Image’s ‘The Unknown’ is not short of catchy hooks either but limited to self-release at the time on cassette, it was destined never to be widely heard.

A collaboration between Peta Lily and Michael Process, ‘I Am A Time Bomb’ is a delightfully odd feminist synth pop tune that does sound like one of Pamela Stephenson’s pop skits on ‘Not The Nine O’Clock News’, so it’s shame there is no wide eyed big haired visual accompaniment to this. Meanwhile, if Spizz did ‘Where’s Captain Kirk?’ as a synth track, then Kiwi Alasdair Riddell’s ‘Do You Read Me?’ is what it might have sounded like; its rousing Moog Sonic Six solo is rather magnificent.

Released in 1978, ‘The Ultimate Warlord’ was a favourite on the dancefloor of at The Blitz and it shines with a spiritual quality despite the spacey vocal detachment. This was the time when Daniel Miller launched THE NORMAL and produced by him, ‘Science Fiction’ by Alan Burnham is one of the better known recordings thanks to its recurring inclusion on a number of cult synth compilations; as no-one has ever tracked Mr Burnham, was he actually the Mute Records supremo all along?

Written and produced by Andreas Dorau while he was still at school and featuring various class mates on vocals, the original German language ‘Fred Vom Jupiter’ is a cult jewel of the era that got a UK release on Mute Records in 1982; it however loses in something in its English translation but remains delightful just the same.

With rousing crossover potential, John Howard’s ‘I Tune Into You’ was a 1980 major label release on CBS produced by Nicky Graham who later was the studio brains behind BROS. Meanwhile in another Goss twins connection, management interest came from Tom Watkins who also steered PET SHOP BOYS during their imperial phase but the partnership was not to be.

The eccentric Richard Bone was another cult figure of the era and written to test his then-new TEAC 4-track Portastudio, ‘Alien Girl’ from 1982 was one of several excellent singles made by the Anglophile New Yorker and bizarrely, a No1 in the Hong Kong dance music charts.

One person who was to have mainstream UK hit with ‘Hey Matthew’ in 1987 was Karel Fialka who had appeared on Virgin’s 1980 ‘Machines’ compilation with ‘The Eyes Have It’. From the year before, the self-released ‘Armband (The Mystery Song)’ remains a good example of garage synth based around a MicroMoog. Someone who had already tasted fame was THE GLITTER BAND bassist John Springate who in 1985 issued a slice of mad dystopian prog synth in ‘My Life’; comprising of three very different sections crammed into 4 and a half minutes, in places it sounds like DRAMATIS who were the original Numan band!

Playing to the robotic clichés of Futurism often associated with synth, THE MICROBES’ excellent ‘Computer’ is all staccato semi-spoken vocals to emulate John Foxx while THE GOO-Q’s messy ‘I’m A Computer’ utilises a vocoder that has been mixed far too loud! From 1982, ‘Famous Names’ by INCANDESCENT LUMINAIRE actually could have been autobiographical as DEPECHE MODE attended one of their gigs in their hometown of Stoke but while a good effort, it lacks the proficiency and clarity of the Basildon boys.

Using the Roland TB-303 Bass Line and TR-06 Drumatix combination, 1984’s ‘No Motion’ by DISCO VOLANTE is rhythmically tight but as with much of today’s electronic pop, it lacked a solid tune. However, it is a fascinating technical time piece before the 303 was used and abused in acid house. Dee Jay Bert and Eagle’s ‘I Am Your Master’ though is something of a novelty and what a Dutch Vincent Price impersonator doing a drone soundtrack for a Dracula movie would sound like.

And proving that those who work in the music press are just frustrated musicians, DREAM UNIT is revealed to be Graham ‘Mick’ Meikleham, now Production Editor at Uncut Magazine; while ‘Drop In The Ocean’ has some absorbing synth lines, he probably made the right career choice.

Other tracks such as Ian North’s ‘We’re Not Lonely’, the lo-fi synth instrumental ‘It’s Not What You Are But How’ by SOLE SISTER or the eponymous arty tone poem ‘Gerry & The Holograms’ are less immediate, but no less appealing if one prefers less melody. But the point of this collection is that the majority of these acts were writing and producing pop songs with wider ambitions, even if was to just become big fishes in their own esoteric ponds.

If you liked Cherry Red’s ‘Electrical Language – Independent British Synth Pop 78-84’ boxed set, Bob Stanley & Pete Wiggs’ ‘The Tears Of Technology’ or ASPRA’s ‘Play For Tomorrow Vol.1’ but wished there were fewer established acts, then ‘All The Young Droids: Junkshop Synth Pop 1978 -1985’ is for you. Painting a picture of beautiful failure, someone’s junk can easily be another’s treasure and there are plenty included here.

‘All The Young Droids: Junkshop Synth Pop 1978 -1985’ is released 11th July 2025 on as a transparent pink or black double vinyl LP and double CD by Night School / School Daze Records, available from https://night-school.bandcamp.com/album/all-the-young-droids-junkshop-synth-pop-1978-1985

https://nightschoolrecords.com

Text by Chi Ming Lai
7th July 2025

THE DARK FLOWERS Interview

11 June 2025 /

THE DARK FLOWERS is the dark country project led by Paul Statham.

Best known as a member of B-MOVIE and PEACH but also as a songwriter whose credits include Peter Murphy, Dot Allison, Dido, Kylie Minogue and Rachel Stevens, for THE DARK FLOWERS’ 2014 debut album ‘Radioland’, Statham brought together a group of guest vocalists that not only included his previous collaborators Murphy and Allison but also Jim Kerr from SIMPLE MINDS and Shelly Poole of ALISHA’S ATTIC.

The songs themselves were inspired by Sam Shepard’s ‘Motel Chronicles’, a collection of poems and memoirs depicting the first 40 years of the American playwright’s life. MOJO magazine described it as “a perfect album for a lonely winter night”. Then in 2021 came a standalone Murder Ballads covers EP in ‘Death & Desires’ from which Tom Waits ‘Dead & Lovely’ with vocals from The Anchoress was a highlight.

2025 sees the release of a second album from THE DARK FLOWERS called ‘Indian Summer’ which again is inspired by Sam Shepard, but via ‘Hawk Moon’, the companion volume to ‘Motel Chronicles’. Jim Kerr and Shelly Poole return while the three vocalists who premiered on ‘Death & Desires’, The Anchoress, David J and Gabriella Cilmi also participate.

In a break between shows with B-MOVIE, Paul Statham chatted to ELECTRICITYCLUB.CO.UK about THE DARK FLOWERS and the processes involved in realising the concept.

The music styles you have been involved in have included post-punk, new wave, synth, goth, dance and pop, so what inspired you to start a dark country project?

‘Paris Texas’, the film directed by Wim Wenders, has always been a favourite, with its wide-open landscapes and the strange people that can inhabit these tiny, isolated towns. The screenplay written by Sam Shepard led me in turn to his book ‘Motel Chronicles’, which is short story and prose about that same self-thing. I was reading it whilst listening to a movie soundtrack ‘The Hired Hand’ which was composed on old worn instruments that had been left out in the desert heat, so I had a starting point of combining these 2 sources of words and music.

I was listening to Bon Iver’s first album and thought that would give the project more form. But I realised it would be too ‘normal’ so by adding elements of Brian Eno’s album ‘Another Green World’ (one of my top 3 albums of all time!), it could add strange textures, found sound etc. The resulting album was a hybrid of all these things, a sort of dark folk / country-tinged electronica album!

The first album ‘Radioland’ had a long gestation period which started in 2009 and you called upon vocalists you had worked with before like Peter Murphy, Shelly Poole, Helicopter Girl and Dot Allison… how amenable were they to the idea and did anyone need more persuading than others?

Helicopter Girl required a little coaxing! But Dot Allison was working in a similar frame of mind and Shelly is one of my closest friends so the music I gave them had less experimental elements which I then added later, once the vocals were added. Peter Murphy was different, as we had worked together on many of his albums, but Peter’s lyrics are every personal and spiritual in nature so he sort of just played with words from Shepard’s prose but added these incredibly strange and beautiful wailing backing vocals.

In terms of the creative dynamics with your guest vocalists, are there set roles or does the collaborative process differ with each individual?

Always the same; I chose a small portion of Shepard’s prose that I feel is evocative, either complex or simple, create a musical backing and then send both to the artist. Once I have the vocal returned I’m free to then deconstruct the track and rebuild it.

Did you record vocalists in the same room or did things often have to be remote out of practicality?

From all over the place! Jim Kerr mostly came to me though as we were working together on some of his own material.

Jim Kerr appeared on ‘Radioland’ and also features on the number of songs from ‘Indian Summer’, how did he become to be involved and how is he to work with?

I was introduced to Jim through a mutual friend, and we collaborated on a song ‘Return Of The King’ for his ‘Lost Boy’ solo album. We quickly realised we shared similar music / literary tastes, background and humour so it seemed natural to do more. He is a very intelligent guy, great with words and hugely expressive vocal range so on ‘Radioland’, it was a perfect fit. Since then, I have co-written ‘Kill Or Cure’ with him for SIMPLE MINDS album ‘Big Music’ and co-wrote the band’s last single ‘Your Name In Lights’ with him and Charlie Burchill with more tracks completed. He is always enthusiastic and a very generous person with his time and creativity.

What was the idea behind the 2021 interim EP ‘Death & Desire’ as none of the four songs are duplicated for ‘Indian Summer’?

It was getting too long between albums and Covid came along. I now work as well at Solent University and ICMP London, running songwriting modules so doing a cover version EP was just a stop gap really. I specifically enjoyed ‘Death Valley 69’ with David J from BAUHAUS and LOVE & ROCKETS.

David J sings ‘The Stars Stand In’ on the new album, is he a quite different personality from Peter Murphy?

Yes, very different! He was instantly enthused and has produced an eclectic body of work of his own in the more acoustic / troubadour vein. So, working from Shepard’s prose instantly appealed to him. He had also listened to ‘Radioland’ whilst driving across America’s heartland at night so understood the work well.

Peter Murphy is a one-off, a highly individual person, but also with a dark sense of humour and charisma on tap. We have known each other 40 years now and I was also in his backing band THE 100 MEN for 8 years so had performed on lots of US tours with him. We stopped working together for a long time after I left, but it was great to have co-written ‘Silver Shade’ together after a long time not working with him. His new album of the same name is brilliant.

The new album is much more electronic than its predecessor which was very acoustic, in what ways did you want the sound to be different for ‘Indian Summer’?

Yes, I feel you’re always improving the more you continue to work at something, so my skill set had improved in the 12 years between albums. As you get older, there’s fewer good things happen! But one thing is you start to want your work to reflect what you want to express and less about where does it fit in, you sort of return full circle to why you started making music in the first place. I love electronic music and have my own experimental label Loki Records which THE DARK FLOWERS album will come out on via the lovely people at Cargo Records.

What were your chosen tools for constructing the music for THE DARK FLOWERS and does it differ much from say, your more experimental solo instrumental work?

Yes, by a significant margin. THE DARK FLOWERS songs have a recognisable form, and space has to be made for the vocal, melody and lyrical narrative so the experimental edge sort of works in the margins. In my own releases I love basically fucking up sound and recombining elements. I’m a huge fan of synthesizers and sound modules / effects and create long experimental delay chains and send things back in on themselves. Various magazines have given my albums very good reviews so that’s really important to me!

There are several different vocalists on the ‘Indian Summer’ album including The Anchoress and Gabriella Cilmi, what had you heard from these two talents that made you feel they were suitable for THE DARK FLOWERS?

Well, I go way back with Catherine AD aka The Anchoress and obviously the SIMPLE MINDS connection as she became their keyboard player (after ‘Radioland’ album actually). She has a unique voice, is literary minded and loved the idea of translating prose to song lyric.

Gabriella, I had worked with previously and although best known for her big hit ‘Nothing Sweet About Me’, she is a seriously talented vocalist and her lyrics on her more folk / country related tracks pointed to a storyteller, which is perfect for THE DARK FLOWERS project.

Which are your favourite tracks on songs on ‘Indian Summer’, the ones that give you most satisfaction?

Hmmmmmm… I would say ‘Celebrate You’ featuring Shelly and ‘The Dominant Colour Is Rust’ with Jim.

Will THE DARK FLOWERS ever perform live in the future?

Not in the sense of a revue! With all the different vocalists and of course Jim Kerr and Peter Murphy are not UK residents and have genuinely successful and very busy commitments, so to have them commit to come on and sing 3 songs is a lot.

Saying that, I would love to do a very small show, with maybe vocalists, and they could sing any song from the album. That way, people would be coming to hear the album and not to see their favourite front man perform!

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

‘Indian Summer’ is released by Loki Records on 13th June 2025 as a vinyl LP and CD, available via Cargo at https://cargorecordsdirect.co.uk/products/the-dark-flowers-indian-summer

THE DARK FLOWERS other releases are available digitally from https://thedarkflowers.bandcamp.com/

https://www.paulstatham.com/news

https://www.facebook.com/theflowersdark

https://www.instagram.com/thedarkflowersmusic/

Text and Interview by Chi Ming Lai
11th June 2025

Lost Albums: B-MOVIE Hidden Treasures

24 May 2025 /

Photo by Peter Ashworth

“It’s nice to hear B-MOVIE are finally getting a chance to release their forgotten gems”: Matt Johnson

Comprising of Steve Hovington (vocals + bass), Paul Statham (guitar), Rick Holliday (keyboards), and Graham Boffey (drums), while B-MOVIE had already released 2 EPs on Lincolnshire independent label Dead Good in 1980, it was their inclusion on 1981’s ‘Some Bizzare Album’ compiled by Futurist DJ Stevo Pearce which put them on the wider map.

Their song ‘Moles’, alongside contributions from then-unknown bands such as DEPECHE MODE, SOFT CELL, BLANCMANGE and THE THE was one of the album’s highlights. Having previously included them in his ‘Futurist’ chart for music paper Sounds, Stevo continued his support and subsequently became manager of B-MOVIE while SOFT CELL and THE THE were also added to the expanding Some Bizzare roster.

B-MOVIE’s synth-laden new wave brought them to the attention of Phonogram Records who saw the band as their answer to DURAN DURAN and SPANDAU BALLET. While B-MOVIE could do pop as proven by their best known song ‘Nowhere Girl’, their pessimistic post-punk demeanour meant the quartet had more in common with JOY DIVISION, THE CURE and TALK TALK rather than the New Romantics. If they have a 21st Century equivalent, then the nearest comparison would probably be WHITE LIES.

Ever the shrewd operator, Stevo insisted on a 2-for-1 deal which included SOFT CELL for Phonogram to sign B-MOVIE. Marc Almond and Dave Ball got to No1 with their cover of ‘Tainted Love’ in 1981 to begin an outstanding run of a five Top3 singles into 1982, but B-MOVIE were unable to breakthrough into the UK Top40 despite releasing a trio of excellent singles in ‘Remembrance Day’, ‘Marilyn Dreams’ and ‘Nowhere Girl’.

Photo by Peter Ashworth

Stevo Pearce loved chaos but chaos ultimately destroys and the struggle for success, coupled with internal tensions led to Boffey and Holliday departing the band. Severing ties with Stevo, the album they had demoed lay dormant for over 40 years and legend had it that the tapes were under his bed. But the recordings made during this period had actually been stored in Universal Music’s huge vault. After years of enquiries and negotiations, B-MOVIE have acquired the rights back to these tapes and with their restoration, the 1982 debut LP that “never was” is now available under the fitting title of ‘Hidden Treasures’.

The fact that these recordings were shelved back in the day by record label and management politics is nothing short of criminal, but “better late than never” goes the saying and anyone who has ever been entranced by ‘Remembrance Day’, ‘Marilyn Dreams’ and ‘Nowhere Girl’ will LOVE this collection. And for those long standing fans who actually bought their records, the CD has the bonus of addition of B-sides, 12” versions and ‘Moles’ which featured some magnificent synth playing from Rick Holliday.

Those three Some Bizzare era singles need no introduction from the anti-war anthem ‘Remembrance Day’ to the anti-fame art rock of ‘Marilyn Dreams’ but one that should have been a single was ‘Polar Opposites’; although there is what is now widely accepted as the perfect take in the 1981 John Peel session version, this version on ‘Hidden Treasures’ is shorter, grittier and slightly faster in the vein of Leeds’ GANG OF FOUR. Meanwhile the jagged album opener ‘Citizen Kane’ captures that psychedelic Liverpool flavour of the times, coming over like a cross between THE TEARDROP EXPLODES and ECHO & THE BUNNYMEN.

Very different to the arrangement of the 1981 John Peel version, the intense Cold War angst of ‘All Fall Down’ with references to Ronald Reagan may capture another time, but its words are chillingly relevant again and an indicator as to why this compendium of recordings from 1981-1982 sound so on point in 2025.

‘Ice’ is feisty gem of song with a hand played synth bass battling with frantic rhythm guitars and a speedy drumming run from Graham Boffey that would have made Stephen Morris proud, while the bright synth melodies on ‘La Lune Lunatique’ mask the shadier lyrical overtones. Less post-punk and much more of a melodic electronically styled pop song, ‘Crowds’ is not that dissimilar from say OMD or A FLOCK OF SEAGULLS and points towards the more commercial sound that Phonogram had signed B-MOVIE for. But as a complete flip to that mood, the gloomy progressive drama of ‘Beginning To Fade’ makes an ominous ‘Hidden Treasures’ closer.

The CD bonus tracks include longer takes of ‘Remembrance Day’ and ‘Marilyn Dreams’ but it’s the mighty ‘Nowhere Girl’ with the extended Rick Holliday’s concert piano and synthbass intro breakdown that excels as a classic 12” version. Of the B-sides, the remix of ‘Institution Walls’ from the second of the Dead Good EPs and ‘Scare Some Life Into Me’ both capture the raw vocal anxiety in Steve Hovington’s paranoia. Meanwhile the icy drum machine laden ‘Film Music’ was Holliday’s instrumental excursion into the monochromatic Mittel Europa atmospheres of ‘The Third Man’ and ‘The Spy Who Came in from the Cold’.

While the fragmented B-MOVIE led by Hovington and Statham did release a debut album in the disappointing ‘Forever Running’ in 1985, it is the three singles from this ‘Hidden Treasures’ period that are held in the highest esteem, so much so that the American electro-rock band THE FAINT used ‘Remembrance Day’ as the basis for their own ‘Southern Belles in London Sing’ in 2004. At around the same time, B-MOVIE reformed with their original line-up and despite the departure of Holliday again in 2022, continue today.

‘Hidden Treasures’ provides the missing links to ‘Remembrance Day’, ‘Marilyn Dreams’ and ‘Nowhere Girl’, along with the context as to why for a period, B-MOVIE were judged to become the next big thing. It didn’t happen for them, but this lost album superbly restored by Roger Lyons puts them on an equal footing with many of the best post-punk synth-laden bands of the era.

Absence can make the heart grow fonder and this case highlights how despite the passing of 43 years, B-MOVIE’s music from this period really has stood the test of time.

‘Hidden Treasures’ is released as a blue vinyl LP, black vinyl LP, CD and download by Wanderlust Records on 30th May 2025, available from https://www.roughtrade.com/product/bmovie/hidden-treasures

B-MOVIE 2025 UK live dates:

Manchester Rebellion (30th May), London Dome (31st May) Brighton Prince Albert (1st June)

https://www.b-movie.org/

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

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

Text by Chi Ming Lai
24th May 2025

B-MOVIE: The Hidden Treasures Interview

22 April 2025 /

Photo by Peter Ashworth

Comprising of Steve Hovington (vocals + bass), Paul Statham (guitar), Rick Holliday (keyboards), and Graham Boffey (drums), Mansfield quartet B-MOVIE are most often associated with being part of the Some Bizzare stable managed by futurist DJ Stevo Pearce which also included SOFT CELL and THE THE. They had all appeared on the ‘Some Bizarre Album’ compiled by Stevo which also showcased DEPECHE MODE and BLANCMANGE.

Phonogram Records wanted to sign B-MOVIE so Stevo insisted on a 2-for-1 deal which included SOFT CELL. But their trio of singles from that heady period ‘Remembrance Day’, ‘Marilyn Dreams’ and ‘Nowhere Girl’ failed to breakthrough into the UK Top40 while SOFT CELL hit No1 with ‘Tainted Love’ in 1981 and began an outstanding run of a five Top3 singles into 1982. Ultimately Phonogram and Stevo lost interest in B-MOVIE and an album they were working on was shelved.

A fragmented B-MOVIE led by Hovington and Statham signed to Sire Records and released the album ‘Forever Running’ in 1985 but by then, the magic that had sparked major label interest had fizzled out. B-MOVIE quietly disbanded but in 2004, the original quartet reformed. Despite releasing two new albums ‘The Age of Illusion’ and ‘Climate of Fear’, talk always returned to their Some Bizzare period with demand for its imperial trilogy of singles to be made available in the digital era.

Now in 2025, those three singles, their B-sides and tracks recorded between 1981-1982 for an intended long player have been digitised and restored to create the debut “that never was”. Titled ‘Hidden Treasures’, as well as featuring seven previously unreleased recordings plus ‘Remembrance Day’, ‘Marilyn Dreams’ and ‘Nowhere Girl’  on vinyl, the CD version contains 12” versions, B-sides and ‘Moles’ from the ‘Some Bizarre Album’.

Paul Statham chatted to ELECTRICITYCLUB.CO.UK about the release of ‘Hidden Treasures’ and revisited this lost chapter of B-MOVIE…

How does it feel to get this excellent album that was recorded 43 years ago out finally? Were there a lot of hoops to jump through in the politics to get it to this point?

We had almost given up of ever getting the original 3 singles of ‘Remembrance Day’, ‘Marilyn Dreams’ and ‘Nowhere Girl’ on any streaming platform as the no one knew who owned them or if they still existed. It was thanks to the diligence of B-MOVIE manager and long-time fan Andy Woods, that he located them and got them returned to us.

It’s a little disconcerting listening back to how we were back then! We had lots of confidence that’s for sure! It’s of its time and we changed nothing and neither added or taken anything away, so it’s like a document or treasure we’ve found that was hidden away, hence the fitting title!

The ‘Hidden Treasures’ title definitely suits the circumstances that it is being released now, but did you have any working titles during its recording?

Normally it’s a song title that could work as an album title, ‘Beginning To Fade’ would have been appropriate!

Was there much tweaking needed on any of the ‘Hidden Treasures’ tracks or are they basically “sold as seen”?

Sold as seen. The initial master tapes were baked, transferred and we luckily had the stereo mixes of most tracks, I believe the song ‘Crowds’ was remixed though.

I’m assuming most of the ‘Hidden Treasures’ was produced by Mike Thorne, but did his commitments to SOFT CELL prompt getting Steve Brown in to produce ‘Nowhere Girl’? As someone who produced ABC’s first single and would later work with WHAM! and THE CULT, how did you choose him? How did his approaches differ from Mike in the studio?

No, Mike only produced ‘Remembrance Day’ and ‘Marilyn Dreams’, the rest were really demos for the band that Andy Dransfield recorded on 8 track at Studio Playground.

I worked again with Mike Thorne on the Peter Murphy album ‘Holy Smoke’ that Mike produced. That was a much longer and involved process as Peter and myself first spent 2 weeks at Mike’s New York studio then a month in England, so I know Mike’s process is very very meticulous, lots of tracking guitars / keyboards and really thinking it through.

The lovely Steve Brown was a funny, sweet man, who unfortunately passed away way too soon. He worked quickly and intuitively, making decisions on the fly and sticking with them. We only really had one day and a night to record Nowhere Girl after a 48-hour drive from Southern Spain where we had just finished our first European Tour. Very hectic, then straight out the studio at 5am to drive to play a Christmas Eve show at Retford Porterhouse! We had lots of energy back then!

As good as it was, ‘Marilyn Dreams’ was less immediate than ‘Remembrance Day’ or ‘Nowhere Girl’… so looking back, was it the best choice as the single between them? Can you remember what the thinking had been behind the decision?

Yes!! After ‘Remembrance Day’, London Records wanted Mike Thorne to produce ‘Nowhere Girl’ as the follow-up. We convinced him to do ‘Marilyn Dreams’ to the record companies’ horror. We were a little naïve but believed in the song. So, a Sliding Doors moment. On the one hand I’d have loved to have heard how Mike Thorne would have produced ‘Nowhere Girl’, but I sort of know. It would have been more electropop and following on from ‘Remembrance Day’ would have probably gone in the Top 40 and given us the hallowed Top Of The Pops… BUT, we would then never had had the magnificent ‘Nowhere Girl’ 12 inch that is surely the definitive version!

The jagged album opener ‘Citizen Kane’ comes over like a cross between THE TEARDROP EXPLODES and ECHO & THE BUNNYMEN, had that “psychedelic” Liverpool Eric’s scene been an influence on B-MOVIE?

It’s more the source of those 2 bands inspiration. We loved THE DOORS and PINK FLOYD as well as ECHO & THE BUNNYMEN, but our sound was also 4 people with diverse tastes and different levels of musicianship. We never followed a ‘plan’ to get to the top. We were considered very wilful individuals, and we played music for ourselves, often extending songs to 10 minutes long. A classic live performance would have been the Futurama Festival were we really jammed out but went down a storm!

‘Polar Opposites’ is included and it’s a great version although I think the John Peel session just edges it, which in your opinion is the definitive version? There have been several versions recorded, was it just a difficult one to nail down?

The John Peel session, 1000%!!

There are some strange guitar parts on this upcoming version that I wouldn’t have played, and it turns out it was Steve who went back in and played over the track. I’ve no idea why but it was 43 years ago!

‘Ice’ is feisty gem of song, can you remember how it come together and why did it not end up on any of the radio sessions you did at the time?

I think it came later, after the Peel Session and the Richard Skinner session. Again, it was us just playing in rehearsal over Steve’s bass line and lyric. We played it live and it always went down a storm

The arrangement of ‘All Fall Down’ is very different to the 1981 John Peel version?

Again, we played it however we felt it at the time. That was probably our downfall commercially as we had no manager invested in us who would ever come to rehearsals, or a bona fide game plan… Stevo was just involved with SOFT CELL, understandably so as they were No1 here and in America, but there was a window for us if we had focused more, partied less and perhaps listened to other people occasionally!

‘Crowds’ was less post-punk and perhaps more of a melodic electronically styled pop song and not dissimilar from say OMD or A FLOCK OF SEAGULLS, how was the band developing musically at this point?

The arrival of Mike Peden on bass was at the time a good idea. It turned out not to be so and signalled the end of the original line-up. We did on this occasion listen to people, just the wrong people with bad advice so we sacked Graham which to me was the biggest mistake we ever made by far! And this sort of fretless bass playing from Peden and a less driving sound that Steve has when he plays bass (he’s actually a top bass player as well as singer!), I’m not a fan of where we went around 1984 onwards

Based on what has been documented on the ‘Remembrance Days’, ‘Radio Days’ and ‘BBC Radio Sessions 1981-84’ CDs, the band were mightily prolific during this period, how would you describe the band’s attitude and drive at this point?

With Martin Smedley on bass and myself playing guitar and keyboards, we formed a B-MOVIE version 2.  Steve, Martin and I were re-energised as Mart was a great player and had a real energy. Although we went through other band members like bloody SPINAL TAP. Seymour Stein signed us to Sire. We met Bill Siddons, THE DOORS old manager, as well as Rod Stewart’s manager Arnold Stiefel who told us the Sire album was not up to scratch, he would re-negotiate a new deal (which he was entirely capable of doing)  but did we listen? Nope, we went with John Hartman who managed Ringo Starr cos he had a fridge full of beer and had pizzas delivered nightly as we crashed at his LA pad. Turned out it wasn’t even his house, Seymour went ballistic, yelling “that guy still thinks records are played at 78rpm!”…. yep, we failed to notice the gift horse, let alone its mouth.

Photo by Peter Ashworth

Is the track listing and running order of ‘Hidden Treasures’ what was intended back in the day or a retrospective selection?

Retrospective. Steve and Andy have been very involved in this, thankfully. I’ve been a little busy of late working with SIMPLE MINDS and a new DARK FLOWERS album plus lots of other things so it’s really down to their tenacity that this album is seeing the light of day

The CD contains bonus tracks in the 12 inch versions and B-sides from the period plus ‘Moles’ from the ‘Some Bizzare Album’, was there any thought to releasing these as part of a double vinyl package or is this something you might be keeping in reserve for Record Store Day?

Ha ha well you never know! There is another album coming out, focusing on the Covid Years! That’s all I’m saying!

How close did what is now ‘Hidden Treasures’ come to being released as the debut B-MOVIE album back in the day, or was it more or less shelved after ‘Nowhere Girl’ failed to get into the Top40?

Shelved. The music industry can be very unforgiving in a short space of time. Stevo wound everyone up but seeing as both SOFT CELL and THE THE had leverage, it was always going to be us who suffered the fall out of his many physical and mental fights with industry bosses. I don’t blame him, they deserved it, and he was a genuine innovator with real passion, but ultimately we paid the price.

As 1982 progressed, there were the inevitable tensions and the band fragmented after the ‘Hidden Treasures’ recordings, are you able to talk about what happened?

As said earlier, influences turned our heads in thinking that a new drummer would somehow aid the new ‘muso’ sound that Mike Peden’s professional session player style required while Rick met Cindy Ecstasy and had SIX SED RED in his mind. I was never involved in the early songwriting so my own position was marginalised, this situation changed after a reset and Steve and myself collaborated on the Sire album ‘Forever Running’ on a lot of the songs,

But then financial reality kicked in and after a revolving door of band members, it was down to Steve and myself to finally admit it had run out of steam. Steve formed ONE and I went to work with Peter Murphy as initially his keyboard player and second guitarist but co-wrote ‘All Night Long’ and ‘Indigo Eyes’ which helped the parent album ‘Love Hysteria’ reach No1 in the Alternative Rock charts prior to the success of follow-up album ‘Deep’.

Most of these songs are previously unreleased and didn’t feature on what eventually became the official B-MOVIE debut album ‘Forever Running’ in 1985… do you think in hindsight you should have carried these songs over to that or did you just want a clean state, for better or worse?

It was necessary to see the trio of Steve, Martin and myself as a new entity. We did a great Kid Jenson session with the 3 of us, I played guitar and keys, Mart played bass and saxophone and Steve sang brilliantly and for a time we felt re energised so again a radio session sounded much more brutal and punky than the eventual album which was watered down by the producer Stephen Stuart Short (again sadly passed away) and after that we all felt a little disillusioned

‘Hidden Treasures’ is equal to the debut albums by your contemporaries TALK TALK, BLANCMANGE and CHINA CRISIS; now this is imagining a “what if?” scenario but if ‘Nowhere Girl’ had been in the Top20 and the album had come out in Autumn 1982, what do think B-MOVIE’s career trajectory might have been?

That’s very kind of you, and yes I think we would have made a classic first album, it would have been spiky and experimental; but I still feel the band would have split after that album, just because we were growing as people and we needed to be able to express ourselves individually.

Do you have any particular favourite track or memory from ‘Hidden Treasures’?

Well, it was a very long time ago and I’ve made a lot of good memories post then. A lot of it I can’t really recall, we liked a drink and often would ferociously do that before recording. I loved the recording of ‘Remembrance Day’ at Scorpio Sound at the top of Tottenham Court Road with Mike Thorne. We spent a lot of time on the tracking of multiple guitar parts and we had Rick playing fantastic piano underneath the track. Also Steve and Graham laid down a fabulous beat and Mike supplied a producer sheen over everything which was extraordinary to what we had previously ever recorded. And I had my first McDonalds which is still there!!

B-MOVIE are playing shows to coincide with the release of ‘Hidden Treasures’, what can people expect, will you be performing the whole album plus the B-sides like ‘Institution Walls’ and ‘Scare Some Life Into Me’?

We have been playing those songs in the set anyway, way before this. We all have different tastes in the band, so we listen to each other when compiling a set list. I’m always pushing for new songs in the set and there will be a few, but overall we tend to look backwards and that is why the set is about 80% of the classic period, but we will be playing some surprise songs from ‘Hidden Treasures’ for sure!

Stevo was not a shy boy in really saying something about how much he hated “Fakkin’ BANANARAMA”, so I think it’s quite amusing that you and Rick ended up writing songs for them…

Ha, I had a ball with Keren and Sara. I think Rick had a song covered by them but I wrote 3 songs with them and those girls were mega fun, drank like mad with wicked senses of humour!

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

Additional thanks to Andy Woods at Astradyne Management

‘Hidden Treasures’ is released as a blue vinyl LP, black vinyl LP, CD and download by Wanderlust Records on 30th May 2025, pre-order available at https://www.roughtrade.com/product/bmovie/hidden-treasures#51527878476107 

B-MOVIE 2025 UK live dates:

Manchester Rebellion (30th May), London Dome (31st May) Brighton Prince Albert (1st June)

https://www.b-movie.org/

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

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

Text and Interview by Chi Ming Lai
22nd April 2025

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