CREEP SHOW are back and their second album ‘Yawning Abyss’ is possibly more accomplished than their acclaimed debut ‘Mr Dynamite’.
An electronic supergroup comprising of John Grant, Stephen Mallinder, Ben “Benge” Edwards and Phil Winter, ‘Yawning Abyss’ was produced in Cornwall at Benge’s MemeTune studio.
John Grant is a successful singer / songwriter in his own right while Stephen Mallinder first found fame as a founder member of industrial dance pioneers CABARET VOLTAIRE before joining Benge and Phil Winter in WRANGLER.
While ‘Yawning Abyss’ began as a bunch of sonic experiments using mostly Roland and Moog synths before being taken to Iceland for Grant and Mallinder to record their vocals, what particularly comes across in this sophomore CREEP SHOW adventure is its sense of fun and camaraderie, despite the tensions and menace captured within the resultant music.
With Stephen Mallinder slightly distracted by TikToker Rachel and her amusing posts about being disturbed by hearing CABARET VOLTAIRE’s ‘Soul Vine (70 Billion People)’ on a “cursed” mispressing of the Taylor Swift album ‘Speak Now (Taylor’s Version)’, he took time out from his Twitter account and sat alongside John Grant to have a quick chat with ELECTRICITYCLUB.CO.UK about the making of ‘Yawning Abyss’…
How do you look back on the making of ‘Mr Dynamite’ and its reception with your relative fan bases?
John Grant: I just remember that we had a lot of fun in the studio and didn’t really have a specific vision for the record. It was just friends seeing what they could come up with and we all had pretty hectic schedules at the time, so it wasn’t terribly easy to get together.
Stephen Mallinder: I think on reflection it was such a joy because we had no intention other than exploring all the ways the four of us connected artistically and refusing to have anything but a good time doing that. I’m glad people liked it but with respect, we did what we thought was right for us and figured that’s what people would want.
You all met up in Cornwall to lay down the musical bones of ‘Yawning Abyss’, was all the material created from scratch or were there ideas that you didn’t use in your own various guises and productions which were brought in?
John Grant: It was all from scratch.
Stephen Mallinder: It was all us from the very first note…
With this being your second album together, were there any new methods or roles in the creative dynamic that were consciously altered since ‘Mr Dynamite’? Were things even more relaxed this time round as sophomores?
John Grant: I would say we all pretty much played the same roles. Things were even more relaxed this time around. I even fell asleep a few times. While I was singing ‘Yahtzee!’ for example.
Stephen Mallinder: It was a big soup each of us adding ingredients until it tasted perfect. Yes, I had to shake the man awake in ‘Yahtzee!’
Which was everyone’s favourite synths or devices that they used on the album?
John Grant: Maybe the Serge or Mod Cam modular.
Stephen Mallinder: The modular to play hi-hats… old school wrangling…
The lyrics were written and recorded in Iceland, what did that vibe provide that wasn’t possible in Cornwall?
John Grant: I don’t think Iceland made anything possible that wasn’t possible in Cornwall. Except maybe working with engineer Kurt Uenala who has a deep knowledge of Ableton which is what we worked in during the session in Iceland. So he always has a trick or two up his sleeve.
Stephen Mallinder: Iceland was a result of needing to make the most of our available time but it did give things a twist and as John said, Kurt was great to work with and, for me, time in one of the most stunning places on earth.
‘The Bellows’ opens the album and features an array of vocal treatments and Middle Eastern resonances to set the scene?
John Grant: I’m pretty sure this is not a question.
‘Moneyback’ features an alternating avant-rap on crypto currency, how was that inspired?
John Grant: We’re always thinking about the myriad ways the money system sucks as one confronts that all day every day.
Stephen Mallinder: It was a nice way to bounce our voices together and the track pushed it into to the pacey electro vibe.
How did ‘Yahtzee!’ come into being, it’s quite bonkers!?
John Grant: It’s a meditation on the state of things in the US. Pretty much wrote itself. It’s just what came into my head for that music in that moment.
Stephen Mallinder: Pure energy from John and pulls no punches. A response from the gut to the times we live in.
It’s interesting how varied the tracks are with the trancier house influences on ‘Wise and the darker funkier territory of ‘Matinee’ as well?
John Grant: This is also not a question…
Stephen Mallinder: Variety is the spice … we ain’t one trick ponies, nor could ever be.
‘Bungalow’ is possibly the most conventional song on the album, it’s like electronic Bond theme?
John Grant: That sounds about right.
Stephen Mallinder: I think it’s the most beautiful and evocative track on the album – the perfect marrying of one of today’s greatest voices with lush, creeping electronics. An honour to do.
Do you each have a favourite track from ‘Yawning Abyss’? Would you like to do a third CREEP SHOW record?
John Grant: I love the melancholy of ‘The Bellows’ and how haunting the vocoded vox are. We definitely want to do another record.
Stephen Mallinder: I’m with John on ‘The Bellows’ but also think the title track captures what we achieved with the album.
There are a number of live dates coming up this summer, what will be the set up for that and what’s next after?
Stephen Mallinder: Come along and see… who knows what’s on the next page?
ELECTRICITYCLUB.CO.UK gives its grateful thanks to John Grant and Stephen Mallinder
A supergroup comprising of John Grant, Stephen Mallinder, Ben “Benge” Edwards and Phil Winter, CREEP SHOW released their acclaimed debut album ‘Mr Dynamite’ in 2018.
The histories of the individuals involved have been more than well documented and since then, John Grant has released two solo albums ‘Love Is Magic’ and ‘Boy From Michigan’ while Stephen Mallinder had two of his own ‘Um Dada’ and ‘Tick Tick Tick…’.
Busy boy Benge co-produced all of those bar ‘Boy From Michigan’ while he has also been working with Neil Arthur in BLANCMANGE and FADER, as well as John Foxx. Not to be left out, Phil Winter has been back with his experimental folk band TUNNG for two albums.
All this without forgetting the regular Mallinder / Benge / Winter project WRANGLER who released their third album ‘A Situation’ in 2020. However, there was always this sense that the Bella synth union which was CREEP SHOW had more to offer…
Produced in Cornwall at Benge’s MemeTune complex as a bunch of sonic experiments using vintage synths before the tracks were taken to Iceland for Grant and Mallinder to record their vocals, the new album’s title ‘Yawning Abyss’ was inspired by “a cosmic event horizon” that Mallinder observed from his attic window while standing on a chair!
Opening proceedings with a punchy backing track, ‘The Bellows’ is like a blippy PET SHOP BOYS with layers of treated and vocodered vocals before being countered by enticing Middle Eastern resonances in the synth solo. A commentary on crypto currency, ‘Moneyback’ offers avant rap alternating between Grant and Mallinder which echoes the former’s ‘Voodoo’ while the accompanying vorsprung durch technik is rather engrossing.
The futuristic-flavoured ‘Yawning Abyss’ title track takes the pace down to a grooving midtempo with slight voice filtering on Grant’s delivery. ‘Matinee’ sees Mallinder get growly and as the track builds in size and tempo to a darker art-funk, it enters a close encounter of a different kind and becomes particularly ominous in the middle eight.
Moving into trancier house, ‘Wise’ is mysterious and minimal, bolstered by a barrage of synthetic noise. There comes another eccentric twisted rap on ‘Yahtzee!’ and despite the inherent weirdness, there are hooks within the squelchy sonics and frantic machine rhythms. ‘Bungalow’ though is conventional in comparison and perhaps comparable to a John Grant solo ballad; dressed with ivory flashes, harp runs and a synthetically sourced choir, with echoes of John Barry, this is akin to electronic Bond theme.
With schizophrenic voices penetrating from all sides indicative of the band name, ‘Steak Diane’ is an abstract experiment featuring bass guitar and reggae inflections to head into the final straight. To conclude, ‘The Bellows Reprise’ offers a shorter drum-less instrumental take on the album opener that adds the dramatic ‘Blade Runner’ sweeps of Vangelis.
Despite the tensions and menace captured within the music, the fun and camaraderie that was quite obviously had by the quartet in making ‘Yawning Abyss’ comes across, making ‘Mr Dynamite’ seem guarded in retrospect. Even the group photos for this album are more relaxed with everyone comfortable with the sophomore dynamic that now ensues. Straightforward in its approach with no egos or pretensions, ‘Yawning Abyss’ is an excellent experimental joyride.
Exeter Phoenix (15 June), Brighton ACCA (16 June), Jodrell Bank Blue Dot Festival (21 July), Hebden Bridge Trades Club (22 July), Latitude Festival (23 July), London Village Underground (25 July)
In a career that started in 1978 with the first releases by CABARET VOLTAIRE, Stephen Mallinder has worn many hats with other outfits such as ACID HORSE, SASSI & LOCO, WRANGLER and CREEP SHOW featuring John Grant.
Widely acknowledged as an experimental electronic music pioneer, despite fronting CABARET VOLTAIRE through their imperial phase and a number of iconic tracks such as ‘Nag Nag Nag’, ‘Yashar’, ‘Sensoria’ and ‘Just Fascination’, his releases as a solo artist have been scarce.
Indeed, Stephen Mallinder’s surrealist second album ‘Um Dada’ was only released in 2019.
But it rekindled interest in his first solo record ‘Pow Wow’ from 1982. Ice Machine, a new sub-label of the Canadian electro imprint Suction Records is reissuing an expanded deluxe edition of that debut.
This new version of ‘Pow Wow’ now includes the trippy dub excursion of ‘Temperature Drop’ and the more motorik ‘Cool Down’ from the 12 inch single that came out on Fetish Records in 1981 prior to the album, as well as a recreation of the original iconic Neville Brody designed artwork, painstakingly recreated using scans of the original.
Reflecting on more than four decades in the music business, Stephen Mallinder spoke about his solo work, his CABARET VOLTAIRE years and much more.
‘Pow Wow’ was recorded simultaneously as doing CABARET VOLTAIRE, what was motivating you do work on solo material. Had it been intended that maybe some of these tracks would morph into Cabs tracks?
I tend to be quite reactive, and I like a challenge, so it was driven initially by being asked to do a release with Fetish rather than a burning desire to have a solo career. We were really busy with lots of Cabs things but I was running around doing other stuff, and had friends all over. There was a direct connection with Rod who set up Fetish, and Neville (Brody) who was a good friend, as were 23 SKIDOO, who came up to Western Works to record ‘Last Words’. Fetish had become synonymous with Neville, the label’s identity was in part shaped by his designs and detailed ‘look’. So there was collective component, people who I was associated with it so it seemed natural that I’d be happy to record for them.
Musically it was a chance to do things on my own, it was an experiment to play everything myself. We had a studio, Western Works, I had the opportunity and so used the downtime during the night to try things out. They were never intended to be embryonic Cabs tracks because we had a different way of working. We were very collaborative and the tracks were made with us all together – it was never a case of individuals writing a piece and the others adding their names – we worked as a group from initiation to completion.
What would have been your equipment set up at this time at Western Works?
It was still centred on tape recording as the key process. Although we had synths and a sequencer, these were still cobbled together, with bits of homemade gear and cheap instruments; it still had a futuristic junk shop vibe.
We had built up to using 8 track but didn’t move to 16 track until later when Richard and I did the Some Bizarre / Virgin deal.
We ended to put what money we had into outboard gear so we built up the rack of effects: compressors, noise gates, reverb, delays and processors. I think the MXR Harmoniser and Lexicon delay/multi effects get used a bit on the album. We also invested in drum machines and pedals. Multitracking, overdubbing and processing were the main means of working.
‘Pow Wow’ had a very rhythmic template and coincided with CABARET VOLTAIRE’s growing interest in the dancefloor?
To be honest it was always there, Richard and myself were old soul boys and were originally friends from the hanging out in record shops and blagging into nightclubs, illegally, when were 14-15 years old. But it’s fair to say that there was a growing interest in what was emerging from clubs, and importantly that through dance music, the 12inch single was becoming more accepted as a format which meant we could mess with that extended medium.
If you then throw in our interest in dub, a nod to the repetition of disco, and looser forms of funk and African music, there was a pattern emerging. We were starting to corral all these different elements before electro had even popped its head up so we were well placed. ‘Pow Wow’ was the early part of this curve – ‘Cool Down’ was done as a 12inch single, prior to, and independently from, the album.
How do you think ‘Pow Wow’ helped you in your future musical endeavours?
I’m not sure, perhaps it demonstrated I was capable of playing all the parts and taking on every role whenever I felt I needed to. It did contrast with the Cabs where there was a happy interaction between everyone and we knew it was a consequence of 2 or 3 individuals combining, complimenting and contrasting with each other to achieve a result. I guess it made me aware of different ways of working creatively.
On ‘The Crackdown’, you were working with a young producer by the name Flood, what did you see in him that would fit into the CABARET VOLTAIRE aesthetic?
Haa, it’s kind of funny because I think Flood refers to those as his dark days so maybe you should ask him what he thought of working with us. I don’t think it was us personally as we had some great times making music with Flood.
He was great for us because until we went to record ‘The Crackdown’ in Trident, where Flood was the in-house engineer, we had never really spent time in a proper outside studio.
Flood was open, inquisitive, up for anything so great for us and we had a good chemistry. And he came back to co-produce ‘Micro-Phonies’ with us – he even came to Western Works to contribute to the recording process before we went to Sarm and mixed that album. I think his subsequent history shows how great he was, I hope he has some good memories of it all.
The ‘Crackdown’ title track is often highlighted, but ‘Just Fascination’ was an excellent if underrated single in its John Luongo remix?
Yes, John was our first foray into the specialist club remix. He was great, very amiable and my lasting memory is him working relentlessly to get the perfect kick drum sound – it took pretty much a whole day. But we should also acknowledge Peter Care’s video for that track, the first vid we did together.
How do you look back now on that Some Bizzare / Virgin Records trilogy of ‘The Crackdown’, ‘Micro-phonies’ and ‘The Covenant, The Sword & The Arm Of The Lord’?
With a sense of satisfaction. It was an interesting, and challenging time. We were trying to mould our sound, and whole approach, to a changing situation – technology, formats, media, audiences were all moving rapidly and we were in the middle of all that. We wanted to move forward but not to lose what we had achieved until then – being on the outside creating noise and disruption – but knowing we should embrace the changes. Those albums capture that tension both for us, and the times.
What opportunities did the move to Australia present that weren’t open to you in the UK at the time?
It was a bit of a shock because I had to survive, bring up my daughters, and continue with my creative work. I didn’t know a single person there. I learnt how to adapt but retain the core of yourself.
Although it felt like starting again, it was an opportunity to try things without feeling the weight of expectation on top of me all the time. I could try whatever I wanted without as much attention so I was able to write, start a record label, set up a production company, promote gigs and festivals, become a radio producer running arts and current affairs, DJ, have radio shows, complete my PhD. I did them all in a relatively short space of time which I think was only possible being away from the UK bubble.
How different was Australia to the UK when you moved there? Especially Western Australia which is in itself even more ‘remote’?
It was quite disconcerting at first as you become very aware of how small and distant you can feel when detached from your past, and that very familiar world.
But I was lucky in that I developed strong connections in Sydney and Melbourne so travelled a lot doing music and the label. I was also very lucky in that the radio show was a way of getting people in. That plus the gigs through the production company, meant every week I had someone from overseas coming in or staying with me.
So one week it might be COLDCUT, the next MR SCRUFF, KRUSH, GRANDMASTER FLASH, JURASSIC 5 or mates like MOLOKO, Jarvis Cocker or whoever passing through. I became like Our Man in Havana in Graham Green’s novel.
Also the Off World Sounds label was run by me and Pete Carroll, brother of Central Station’s Matt and Pat, and Shaun Ryder’s cousin, so barely a month would go by without half of Manchester coming to stay.
Was there any particular reason the ACID HORSE project with MINISTRY only produced one single? Was the plan for it to be an ongoing act in the vein of REVOLTING COCKS?
No it could only be a one off. In fact to this day we’ve never owned up to it really. We were in the studio in Chicago with Marshall Jefferson recording tracks for ‘Groovy, Laidback & Nasty’ and did some moonlighting with Al (Jorgensen) and Chris (Connelly) to do ACID HORSE. EMI had paid for the trip to record with Marshall so would have taken a dim view of us doing a bit on the side, hence we were credited under pseudonyms on the release.
You finally followed-up ‘Pow Wow’ after 37 years with ‘Um Dada’, while you had been recording and releasing albums as part of WRANGLER, what was the impetus to do another solo record after so long?
I just felt like taking control for a bit, and because we’d been so busy with WRANGLER, there was suddenly a bit of time to do it.
There was no particular plan, in fact I can’t really remember how it happened. I think I started making tracks at home because I had a bit of time, it followed from there.
I was never conscious of not making solo stuff until it was pointed out it’d been years since I did something under my actual name. I feel ownership of all music that I’ve worked on from CABARET VOLTAIRE, SASSI & LOCO, WRANGLER etc, there’s but tons of releases so really it was just the name for me. I’ve always preferred hiding behind a branded name, but it was nice to think there could be a direct connection by using my own.
How would ‘Working (As You Are)’ have come together and would it have been something you could have done while doing ‘Pow Wow’?
No, technology changes things, and context too. Each are a result of their own specific time and place. Although the common elements of rhythm and simplicity are consistent. I’m the link and what feathers my duster remains pretty stable.
How have the continual changes in music technology influenced the way you work? How would a young Master Mallinder have reacted to the vast libraries of sounds available at the click of a mouse?
Like everyone it gives choices. I can work from home on my laptop, and I can also choose to go into a studio. I do enjoy that flexibility, and I like that each can have their own approach and sound, or grain. And at this moment working remotely but collaborating is a good thing to be able to do.
I think the bigger changes are in transmission – how we share that music and how we choose to present ourselves. As the tangible content – the product itself – has been transformed, almost lost, so has the exchange value and our relationship to creative work. It’s certainly not all good, but we have to work with it. For every annoyance that Spotify and YouTube have made music seem like a free product, Bandcamp, coupled with social media, have given us the opportunity to quickly upload and sell.
Music, like much creative output, has become a utility. A consumable, available at the end of a click.
How did you find the reception for ‘A Situation’, your third album with WRANGLER? Did you enjoy working in Benge’s new Cornwall studio complex and seeing what he had brought into that already vast synth armoury?
Well we’ve been working all along in the Cornwall space – we did the previous album ‘White Glue’ there, recording in the upstairs space before the studio was built, plus CREEP SHOW and I finished ‘Um Dada’ there.
You won’t be surprised to know Phil and I were the first ones in there… we pretty much followed the removal truck down.
But yes, Benge has done a great job – it has taken a few years but it’s brilliant, perfection I’d say. I feel very lucky to have the opportunity to work there but really it’s about the people and I love working with Benge and the guys. We can work anywhere though… Benge and I finished a Laura Marling mix in an Air B&B in Glasgow.
Yes, we released the WRANGLER album as lockdown happened. We were fortunate to do a couple of gigs before the shutters came down but not great timing… particularly for the videos Aki did, they are too amazing to be missed so I hope they get seen.
The current lockdown is highlighting something you have written about in the past, namely the place of live music in a digital world. With many artists at this time performing set on platforms like Zoom, do you see audiences perceptions of what is ”live” being changed forever?
Zoom is the work of the Devil… a mate just messaged me and said that!
We have to adapt so I see this as a response to a situation, but music was never meant to be experienced live though laptop speakers. I find the funniest thing is how celebrity culture functions in lockdown – the need for attention seems to drive much of it, not a burning creative desire.
Much music is rooted in the experience, and importantly a sense of shared experience. We need a feeling of connection. Live gigs on Zoom seem a bit shit, but everyone is trying to make things work so I don’t want to be moaning on the sidelines, it’ll be interesting to see what we choose to take from all this.
What’s next for you in terms of future projects whether musical or academic, lockdown depending?
Oh I seem to have lots of things on: mixes, collaborations, film projects under way. I’ve shot bits for two promo clips in my bedroom in last three weeks. I’ve written the follow-up to ‘Um Dada’ but need to get to studio to finish.
Sadly all the gigs been cancelled or postponed. I think much seems in preparation for the big return… although that may be a series of small returns right now. One footnote being “try running a Sound Arts course online!”; big respect to everyone out there doing their best to make things work in this different world.
ELECTRICITYCLUB.CO.UK gives its grateful thanks to Stephen Mallinder
Additional thanks to Steve Malins at Random Management
Developing on a childhood fascination with electronic sound, after finishing art school, Ben Edwards set up a music studio in London and began acquiring discarded vintage synthesizers on sale for next to nothing to equip it.
Under his nickname of Benge, he released his debut album ‘Electro-Orgoustic Music’ in 1995 on his own Expanding Label. But in 2011, he became best known for his role as Chief Mathematician and collaborative partner in JOHN FOXX & THE MATHS.
By this time, what had now become Benge’s MemeTune Studios was housing one of the largest collections of working vintage synthesizers in the world and was the location for several interviews filmed for the BBC documentary ‘Synth Britannia’.
Amongst the equipment were modular systems from Moog, Serge, E-Mu, Formant and Buchla, the ARP 2500 and 2600, digital systems like the Synclavier and Fairlight CMI, drum machines including the Linn LM1, Roland TR808 and CR78 as well as classic polyphonic keyboards such as the Yamaha CS80, Polymoog, Oberheim 4-Voice, ARP Omni and the less celebrated EMS Polysynthi.
As a collaborator, John Foxx said Benge was “Really good – Intelligent, knowledgeable, technically blinding. He does remind me of Conny Plank. Same generosity and ability, same civilized manner – even looks similar.”
Benge left London and relocated MemeTune Studios to Cornwall in 2015, but with artists savouring this more remote setting near some of the most breathtaking coastal scenery in England, he is now busier than ever as his recent production portfolio has shown.
So by way of a Beginner’s Guide to Benge, here are eighteen examples of his work, subject to a limit of one track per artist moniker or combination, presented in yearly and then alphabetical order. As his own blog says “It’s full of stars”!
TENNIS Weakness Together (2001)
Benge’s instrumental duo with Douglas Benford, TENNIS released their second album ‘Europe On Horseback’ just as dub electronica seemed to be all the rage. Scratchy and weirdly hypnotic with hidden hooks at over eight and a half minutes, the metallic percussive notions of ‘Weakness Together’ with its metronomic rhythms and solemn Cold War synths came together for a great highlight.
Noted for his experimental solo albums, Benge’s most acclaimed was 2008’s ‘Twenty Systems’. It was an insightful soundtrack exploring how electronic sound architecture has evolved from using transistors to integrated circuits and from ladder filters to Fourier approximation. It was via this album that Benge came to the attention of John Foxx.
Available on the BENGE album ‘Twenty Systems’ via Expanding Records
Legend has it that Serafina Steer’s union with Benge occurred when her harp was stolen and he made synths available to fill in for the intended harp parts. One of the more electronic tracks ‘How To Haunt A House Party’ added drum machine and the spacey accompaniment complimented the songstress’ quirky brand of kitchen sink introspection.
JOHN FOXX & THE MATHS Watching A Building On Fire (2011)
Joining forces with Benge, John Foxx found the perfect creative foil to further his earlier analogue ambitions. The best track on their debut album ‘Interplay’ was a co-written duet with Mira Aroyo of LADYTRON entitled ‘Watching A Building On Fire’. With its chattering drum machine and accessible Trans- European melodies, it was an obvious spiritual successor to ‘Burning Car’.
Available on the JOHN FOXX & THE MATHS album ‘Interplay’ via Metamatic Records
The first band that the young Ben Edwards ever saw live was OMD, thanks to them opening for Gary Numan in 1979. He presented a suitably harsh remix to suit the harrowing lyrical tone of ‘Dresden’. But Andy McCluskey of OMD said: “‘Dresden’ is a whopping great, unsubtle metaphor… it’s not about the bombing of Dresden in the same way as ‘Enola Gay’ was about the aeroplane that dropped the atom bomb.”
The moniker of Elizabeth Bernholz, the second GAZELLE TWIN album ‘Unflesh’ had additional production and mixing by Benge. One of the highlights ‘Exorcise’ was an impressively aggressive cross between PINK FLOYD’s ‘One The Run’ and KRAFTWERK’s ‘Home Computer’ with its uneasy resonance allowing the Brighton-based songstress to extract her demons with some artistic violence.
Available on the GAZELLE TWIN album ‘Unflesh’ via Anti-Ghost Moon Ray
Hannah Peel later took over the studio space when Benge relocated. At the time her most overtly electronic song yet, she teamed up with Benge for a haunting modern day seasonal hymn. With a suitably poignant message, ‘Find Peace’ was a Christmas song longing for the cold but merry winters of yesteryear under the modern day spectre of global warming, armed conflict and political tension.
Available on the HANNAH PEEL single ‘Find Peace’ via My Own Pleasure
A trio featuring Benge, Stephen Mallinder and Phill Winter, the WRANGLER manifesto was to harness “lost technology to make new themes for the modern world”. ‘Lava Land’ saw Mallinder’s voice manipulations ranging from demonic gargoyle to stern drowning robot. The twisted mood was distinctly unsettling and dystopian, especially when the screeching steam powered Logan string machine kicked in.
Available on the WRANGLER album ‘LA Spark’ via by Memetune Recordings
GHOST HARMONIC comprisedof John Foxx and Benge alongside violinist Diana Yukawa. ‘Codex’ evolved over the space of a couple of years. The result was a startling dynamic between Yukawa’s heavily treated violin and the looming electronics. Closing the album, the title track was a string and synth opus of soothing bliss.
Available on the GHOST HARMONIC ‘Codex’ via Metamatic Records
JOHN FOXX & THE MATHS featuring GARY NUMAN Talk (2016)
‘Talk’ has been used by John Foxx to explore different approaches from a singular idea with other kindred spirits such as Tara Busch and Matthew Dear. ‘Talk (Are You Listening To Me?)’ finally saw Gary Numan working on a track with his long-time hero. His take naturally screamed alienation, thanks to Benge’s use of a Polymoog and his effective application of its swooping ribbon controller.
While BLANCMANGE’s ‘Unfurnished Rooms’ was the first time Benge and Neil Arthur worked together, their FADER duo project saw the former instigating the music as opposed to working on already written songs. Working on their parts separately, ‘3D Carpets’ captured an independent post-punk intensity, like JOY DIVISION or THE CURE but realised with electronics rather than guitars.
Available on the ‘First Light’ via Blanc Check Records
“Benge and I had always wanted to write together” said Tara Busch of how he became involved in the soundtrack of I SPEAK MACHINE’s short film about greed and self-obsession in Thatcher’s Britain as a businessman drives home, oblivious to a zombie apocalypse going on around him. The brilliant ‘Shame’ was a wonderful hybrid of THROBBING GRISTLE, THE HUMAN LEAGUE and GOLDFRAPP.
LONE TAXIDERMIST is the vehicle of Cumbrian lass Natalie Sharp, a performance artist who believes “Your body is a sensory device”. Benge acted as co-producer and released the album himself. The debut album’s opening song ‘Home’ made Sharp’s avant pop intentions clear with a catchy throbbing outline and a wonderfully wayward vocal style crossing Grace Jones with Ari Up.
Available on the LONE TAXIDERMIST album ‘Trifle’ via MemeTune Recordings
Working with Benge again on what was effectively their third album together, Neil Arthur has undoubtedly found comfort in their partnership. ‘In Your Room’ was a great slice of vintage robopop, with a vocoder aesthetic and an assortment of manipulated sounds at a reasonably uptempo pace. “Lyrically it was about being content with something quite simple” added Arthur.
Available on the BLANCMANGE album ‘Wanderlust’ via Blanc Check Records
With John Grant joining forces with Stephen Mallinder, Benge and Phill Winter, CREEP SHOW was something of an electronic meeting of minds. On the resultant album ‘Safe & Sound’, the quartet explored a spacious KRAFTWERK vs Moroder hybrid using dark analogue electronics, gradually revealing some wonderfully warm melodic synth textures to accompany Grant’s passionate lead croon.
Available on the CREEP SHOW album ‘Mr Dynamite’ via Bella Union
It was only natural that Benge would step up to produce John Grant’s fourth solo album ‘Love Is Magic’ to more allow the Icelandic-domiciled American to fully embrace his love of electronic music. Making use of a vintage synth brass line, the mutant crooner disco of ‘He’s Got His Mother’s Hips’ was driven by a delicious synthetic groove while not forgetting to include an uplifting chorus.
Available on the JOHN GRANT album ‘Love Is Magic’ via Bella Union
When British nu-folk queen Laura Marling teamed up with Mike Lindsay, Benge’s one-time partner-in-crime, it called for something out-of-the-box and that came courtesy of Benge’s Moog Modulars. A hypnotic sequencer line provided the backbone to ‘Hand Hold Hero’ for a rather unusual slice of Sci-Fi Country ‘N’ Western that met ‘On the Run’ somewhere on the Virginia plains.
Available on the LUMP album ‘Lump’ via Dead Oceans
With the second OBLONG album ‘The Sea At Night’, the trio of Benge, Dave Nice and Sid Stronarch delivered a collection of rustic electro-acoustic organically farmed electronica! With mood and pace, ‘Echolocation’ was a classic synth instrumental with its crystalline textures and charming slightly off-key blips, aurally reflecting the remote moorland location in Cornwall where it was recorded.
Available on the OBLONG album ‘The Sea At Night’ via MemeTune Recordings
CREEP SHOW is an electronic meeting of minds between eclectic US singer / songwriter John Grant and the dark analogue electro of WRANGLER, the trio comprising Stephen Mallinder, Phil Winter and Benge.
Brought together for the Rough Trade 40th Anniversary celebrations in 2016, the first fruit of this collaboration is ‘Mr Dynamite’ – an album which was recorded in Cornwall following the move of Benge’s Memetune studio from its original Hoxton location. Opening with the title track, ‘Mr Dynamite’ sees Grant’s vocal cut-up, pitch-changed and split over different keys on a vintage AKAI sampler. This is then laid over a minimalist drum machine, bass pulse and a signature John Grant synth lead.
‘Modern Parenting’ sees a hybrid of funky bass synth and echoed sequenced synths with a typical quirky Grant vocal. The addition of female backing vocals give the overall impression of TALKING HEADS ditching their guitars and going fully electronic instead; the surreal chorus hook of “when your doggy jumps the fence and sets its sights on you” also adds to the playful, funky nature of the track.
‘Tokyo Metro’ is a KRAFTWERK-inspired 8-bit Chip-Tune style piece, the vocodered vocal very reminiscent of ‘Dentaku’, their Japanese version of ‘Pocket Calculator’.
‘Endangered Species’ is a chilled glitchy piece with a floaty string synth; the track also gives Grant a chance to go into his full-on crooner mode and take a squealing lead synth solo. The song ramps up a level with the unexpected addition of CULTURE CLUB’s original backing vocalists Mary Pearce, Maria Q and Zee Asher; having originally toured with Grant, they give the slightly creepy “You are the endangered species” hook a brilliantly quirky resonance. For those familiar with Grant’s work, the nearest comparison here would be his solo tracks ‘Voodoo Doll’ and ‘Black Belt’; the ones where he mixes vitriol and downright bitchiness…
On the final two lengthy tracks ‘Fall’ and ‘Safe & Sound’, the band go full-on KRAFTWERK and GIORGIO MORODER; the songs are given room to breathe and reveal themselves gradually with some wonderfully warmly melodic synth parts. On ‘Fall’, there are tiny slithers of voices which float over the instrumental backing and on ‘Safe & Sound’, Grant reins in the quirkiness to deliver a hazy vibrato-filled vocal.
‘Mr Dynamite’ is a really fresh and uncontrived sounding album, it’s not over-produced and comes across as a piece of work that all involved had a real blast making. It would have been interesting if the band had pursued the sound of the final track a little further though. There still remains a gaping hole in the market for retro synthesizer-based tracks featuring a real vocalist, not just someone that’s appears to have been drafted in as an afterthought (see: some underperforming UK-based synth acts).
The CREEP SHOW album really plays to the combined strengths of WRANGLER and John Grant; the latter’s vocals being the icing on the proverbial electronic cake and ensuring the listener will undoubtedly reacquaint themselves with ‘Mr Dynamite’ time and time again and again.
‘Mr Dynamite’ is released on 16th March 2018 by Bella Union
CREEP SHOW 2019 live dates:
Sheffield The Foundry (5th October), Liverpool Arts Club Loft (6th October), Bristol Trinity Centre (8th October), London Scala (9th October), Hove Old Market (10th October), Newcastle Boiler Shop (12th October), Glasgow Art School (14th October)
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was only released in 2019.
in Trident, where Flood was the in-house engineer, we had never really spent time in a proper outside studio.
with us – he even came to Western Works to contribute to the recording process before we went to Sarm and mixed that album. I think his subsequent history shows how great he was, I hope he has some good memories of it all.
is reissued by Ice Machine on 19th June 2020 in double baby blue vinyl LP, CD and digital formats, pre-order via 
is released by Bella Union as a CD, vinyl LP and download
via BiP_Hop Records
via Expanding Records
via Static Caravan
via Metamatic Records
via BMG
via Anti-Ghost Moon Ray
via My Own Pleasure
via by Memetune Recordings
via Metamatic Records
via Metamatic Records
via Blanc Check Records
via Lex Records
via MemeTune Recordings
via Blanc Check Records
via Bella Union
via Bella Union
via Dead Oceans
via MemeTune Recordings
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