Tag: Tears For Fears (Page 3 of 5)

TEARS FOR FEARS + ALISON MOYET Live in London

7 February 2019 /

Whoever came up with the idea of putting TEARS FOR FEARS and Alison Moyet together on a concert bill was a total genius!

They each have scored six Top 10 UK singles and two No1 UK albums while also winning various BRIT Awards, all this without including Moyet’s stint in YAZOO with Vince Clarke which netted a further three Top 5 UK singles and a further No1 album! Unsurprisingly at London’s O2 Arena, people started taking their seats early for Alison Moyet and her 11 song opening set.

Over the last six years, she has seen something of an artistic renaissance with her two most recent albums ‘the minutes’ and ‘Other’ showcasing a return to electronica, thanks to a new fruitful partnership with Guy Sigsworth.

Beginning with ‘I Germinate’ from ’Other’, there was a format change from that tour in 2017 with the inclusion of Paul Jones on electronic percussion alongside regular Moyet multi-instrumentalist Sean McGhee. As some of the audience pondered whether she would play any YAZOO material, Ms Moyet introduced a song that she wrote when she was just 16. With its iconic burst of synth, the crowd roared their approval for a the wonderfully melancholic ‘Nobody’s Diary’.

‘Beautiful Gun’, Moyet’s gusty attack on the NRA showed her old classmates in Basildon a thing or two about authentic blues while on ‘All Cried Out’, McGhee was particularly superb in his falsetto harmonisation with his boss’ deeper gutsy growl. Following on, ‘The Rarest Birds’ celebrated Moyet’s recent rejuvenation thanks to a relocation to Brighton while there was a surprise with a rendition of ‘The Sharpest Corner (Hollow)’ from 2007’s ‘The Turn’.

As the crowd held their breath for more YAZOO, Moyet delivered with ‘Situation’ as the first pockets of the audience cautiously stood up before a practically Vince Clarke faithful ‘Only You’ initiated the first massed singalong of the evening. The spectre of her former YAZOO bandmate continued to loom during a superb synthed-up arrangement of the saucy ‘Love Resurrection’, while the distinctive meaty tones of ‘Don’t Go’ put a now nearly full O2 on their feet with our heroine even pulling a few dance moves herself.

Of course, the crowd were there for TEARS FOR FEARS, but there was a time 10 months ago when all that was thrown into doubt due to “unforeseen health concerns” which postponed the original May 2018 tour. More recently, Roland Orzabal undertook rehearsals with the band alone while Curt Smith made cryptic comments on social media about possibly not being on board and all not being well! Certainly their split back in 1990 was fractious.

However, the pair got back together in 2004 for the ‘Everybody Loves A Happy Ending’ album which attracted mixed responses from fans and critics alike, but re-established TEARS FOR FEARS in their classic duo guise. The pair certainly didn’t mess about with the start of their biggest ever UK show, launching straight into ‘Everybody Wants To Rule The World’ following a taped intro of Lorde’s cover version. One of the most perfect driving songs, Smith and Orzabal seemed to be in good spirits although any onstage chemistry between them was notably absent.

From ‘Everybody Loves A Happy Ending’, ‘Secret World’ featuring a section of Paul McCartney’s ‘Let ‘Em In’ went down well, the song getting better over the years like a fine wine. Continuing THE BEATLES themed vibe, the rousing ‘Sowing the Seeds Of Love’ also did the job.

Meanwhile the classic ‘Pale Shelter’ recalled the emotional angst that was part of TEARS FOR FEARS’ original appeal with drummer Jamie Wollam remaining largely faithful to the original, but providing the necessary dynamic bite for the occasion by substituting the programmed synthetic claps towards the end with snare rolls. This approach didn’t work all night however, with Wollam having a bit of a Christian Eigner moment during ‘Memories Fade’ which did not suit the solemn electronic goth at all, but at least it was mercifully short!

‘Break It Down Again’ from the solo Orzabal incarnation of TEARS FOR FEARS got an airing but suffered from the quality of material around it. ‘Change’ got the squeaky audience vocal treatment but as mighty as ever, ‘Mad World’ had everyone mesmerised, although Orzabal eschewed his iconic jerky dance from the video which was often ridiculed but captured the song’s percussive intensity.

A huge surprise came with a stripped down piano version of ‘Suffer The Children’ sweetly sung by backing singer Carina Round; covered in more recent times by MARSHEAUX, the song certainly suits a female voice although Orzabal joined in for the closing title refrain. Carina Round also did a wonderful job replicating Oleta Adam’s part in ‘Woman In Chains’ while Smith took the lead again on ‘Advice For the Young at Heart’.

Defeat was almost snatched from victory with the inclusion of the dreadfully self-indulgent ‘Badman’s Song’ which prompted much of the audience to sit down, but everything got back on track with the anthemic ‘Head Over Heels’ before the band left the stage to the frantic rock of ‘Broken’.

As the lights went down to tease an encore, the audience began to chant the chorus of ‘Shout’, a moment which Smith decided to capture on his phone as he returned. And with blood red visuals and shots of confetti, a brilliant performance of the lead track from ‘Songs From The Big Chair’ complete with Drumulator and live rhythmic interplay concluded a professionally slick presentation where the songs were the stars.

But it must be said that things appeared tense between Orzabal and Smith. There was certainly none of those hand on shoulder moments that are commonly associated with band mates but then, TEARS FOR FEARS have never been that kind of band. That aside, it was fabulous that the pair were able to remind the wider public of their enduring catalogue and whatever the state of their personal relationship, the evening mostly delivered and entertained.

TEARS FOR FEARS rescheduled 2019 UK tour with special guest Alison Moyet continues:

Leeds First Direct Arena (9th February), Glasgow SSE Hydro (11th February), Birmingham Genting Arena (12th February), Nottingham Motorpoint Arena (13th February)

Other UK dates in 2019 include:

London Hampton Court Palace (18th – 19th June), Northwich Delamere Forest (21st June), Woodstock Blenheim Palace (22nd June)

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ALISON MOYET reunites with TEARS FOR FEARS at Munich Sommer Tollwood (12th July)

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Text and Photos by Chi Ming Lai
7th February 2019

DUBSTAR One

26 September 2018 /

DUBSTAR are back and after eighteen years since their last album ‘Make It Better’, ‘One’ is their first long playing offering as a duo. 

Now comprising of Sarah Blackwood and Chris Wilkie, with the guitarist now taking on the songwriting duties, the new numbers naturally have more of a six string slant although that wonderfully forlorn vocal presence is still very much there. Having sat on the bridge between Britpop and Synth Britannia under the auspices of PET SHOP BOYS and NEW ORDER producer Stephen Hague for their debut album ‘Disgraceful’, ‘One’ has been produced by Youth, whose credits include CROWDED HOUSE, THE CHARLATANS and THE VERVE.

Suitably melancholic, opening song ‘Love Comes Late’ sees Sarah Blackwood cynically pondering within a midlife narrative, at last finding love but being too old to truly appreciate it. With a live sounding drum feel and a superb synthetic bassline, this will please those who might have first discovered DUBSTAR via a ‘Shine’ compilation.

Psychedelic overtones linger all over ‘One’, especially on THE BEATLES-esque ‘Torched’ and ‘Please Stop Leaving Me Alone’ with its frenetic Hammond organ and Wilkie’s guitars… dare one even mention the ‘O’ word and the Gallagher brothers! With trumpet from Michael Rendall who also contributes keyboards throughout ‘One’, the classic brass infused pop of ‘I Hold Your Heart’ takes Blackwood on Northern Soul journey but in the truest geographical sense.

‘Waltz No9’, the introspective synth-less tune that launched DUBSTAR’s return is the album’s ‘Just A Girl She Said’, while also maintaining the aura of classic DUBSTAR is ‘You Were Never In Love’, coming over all dreamy and uplifting despite its downcast tone. The most electronic number on ‘One’ is the gorgeous ‘Locked Inside’, with elements of KRAFTWERK creeping in and even TEARS FOR FEARS as Blackwood tells of how “my hands are tied”; more of Roland and Curt’s spectre looms on the shuffling swing of the bittersweet ‘Why Don’t You Kiss Me?’

The lovely three-part vocal harmonic of ’Mantra’ punctuates another psychedelic flavoured number to close ‘One’, and it’s an brilliantly epic song that one could imagine John Lennon coming up with if he had collaborated with THE HOLLIES!

DUBSTAR’s appeal has always been their down-to-earth kitchen sink dramas and there are certainly no shortage of those on ‘One’.

With more of a guitar driven aesthetic, Blackwood and Wilkie have revitalised DUBSTAR and long standing fans who also loved ‘Goodbye’ and ‘Make It Better’ will not be disappointed at all with this long-awaited eagerly anticpated comeback album.

Is it asking too much to be given time? Not at all, the new DUBSTAR album has been well worth the wait.

‘One’ is released on 12th October 2018 by Northern Writes in CD, vinyl LP, cassette and digital formats, pre-order direct from https://dubstar.tmstor.es

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Text by Chi Ming Lai
26th September 2018

ROOSEVELT Young Romance

15 September 2018 /

‘Young Romance’ is the follow-up to ROOSEVELT’s first opus and it promises new levels of modern aesthetic euphoria based on the use of vintage synths and a step away from the dance directions previously enjoyed.

The work of Marius Lauber, this time around he wants it more synthpoppy with lighter, sunnier textures. Perhaps taking it from his brand new home studio in Cologne to the sunny skies of LA, and having it mixed by none other than Chris Coady finishes off the cycle ROOSEVELT embarked upon with his newest project.

Like any evolving artist, Lauber channels his confidence and re-lives past events in order to become clean: “I ended up processing a lot of emotions that I felt during my youth” he says, “faded relationships that haunted me for years, being on the road for what seemed like forever and the constant search of a place to call home.”

Having indeed toured North America for most of last year, the artist “covers the trials and tribulations of falling in love, finding ‘home’, going on tour and losing touch” all of which push him towards the great unknown.

‘Take Me Back’ which opens the album, only shares the title with the eponymous track heralding ERASURE’s glorious ‘I Say, I Say, I Say’. It’s more MORRISSEY meets TEARS FOR FEARS, in a light, enchanting way with its nostalgic elements weaved in effortlessly.

Sun filled nostalgia shines through the perfect chill out single ‘Under The Sun’. Eloquently produced, this track marries the melancholic voice approach with summer disco beats. In the style of the über popular DISCIPLES, this hits the spot beautifully before being transported into the world of ‘Yr Love’. With personal lyrics, simplified vocals and summer melody, we are served another little musical gem, this time polished to perfection, while still being an uncomplicated club anthem.

‘Illusions’ while having been finished last, is certainly not an afterthought. ROOSEVELT is playing with his new toys here, in the form of eBay bought vintage guitar pedals, psychedelic sounds and filter sweeps. He does the same on ‘Lucia’ and ‘Losing Touch’. “Losing Touch is about being on tour and losing perspective” he explains. “I spent an entire day recording guitar feedback through 5 different amps and the whole process was really therapeutic.”

The more subdued ‘Pangea’ shares its rhythmic footprint with the ballad-like ‘Better Days’, full of sentimental hooks and wistful, dreamy catches. Full pop on blues, with cleverly entwined guitar and nostalgic elements, this is like watching clouds roll by while resting on a canopy of leaves, dreaming away.

‘Shadows’ and ‘Last To Know’ continue the feeling of weightlessness, while ‘Forgive’ shows off ROOSEVELT’s international influences. This collaboration with WASHED OUT works wonders. “I saw Ernest followed me on Instagram and I was so happy to find out he was a fan. He has always been a massive influence and this track was written around the vocal stems he sent back within days – a real collaborative effort.”

The closing ‘Getaway’ is synthylicious and inspired, the perfect chill out tune after the San Antonio experience meets disco pop.

Considering that ‘Young Romance’ only took six months to finish, this follow up opus to ROOSEVELT’s debut is truly a hit.

With plenty of full bodied club tracks, produced with a mellow, near melancholic twist and some perfect chilled out Ibiza tunes, this album is a perfect end of summer treat.

‘Young Romance’ is released by Greco-Roman on 28th September 2018 in CD, vinyl LP and digital formats pre-order from https://iamroosevelt.bandcamp.com/album/young-romance

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Text by Monika Izabela Trigwell
Photo by David J East
15th September 2018

Listen: The Legacy of TEARS FOR FEARS

20 November 2017 /

Photo by Tim O’Sullivan

When Roland Orzabal and Curt Smith went into the studio to record ‘Suffer The Children’ as their debut single as TEARS FOR FEARS, it was producer David Lord who introduced them to synthesizers plus crucially, keyboard player and later, collaborator Ian Stanley.

The Bath pair had been members of NEON which featured future TEARS FOR FEARS drummer Manny Elias as well as Pete Byrne and Rob Fisher who later found success in America as NAKED EYES. Orzabal and Smith then achieved moderate success in Spain with the smartly suited Mod band GRADUATE via a hit single ‘Elvis Should Play Ska’, co-produced by Tony Hatch.

But like many at the time, they were tiring of the band format and recording as a duo, a demo featuring ‘Suffer The Children’ and ‘Pale Shelter’ secured an initial two single deal with Mercury Records who also had THE TEARDROP EXPLODES on their roster.

Arty and angsty, Orzabal and Smith had become fascinated by Arthur Janov’s Primal Therapy and had named themselves after his theories which resolved to overcome childhood traumas through re-experiencing specific incidents and fully expressing the resulting pain during therapy.

While not a commercial success, ‘Suffer The Children’ with its OMD-like chorus and closing child vocal refrain was well received, so hopes were pinned on ‘Pale Shelter’, produced by Mike Howlett whose studio touch had brought OMD into the charts.

However, the duo were unhappy with the New Zealander’s more technological approach, preferring a looser feel and found an ally in Chris Hughes, producer of ADAM & THE ANTS who also doubled as one of the former Stuart Goddard’s drummers under the stage name of Merrick.

A&R man David Bates believed in his signings and TEARS FOR FEARS were given one more chance with the resultant ‘Mad World’ hitting paydirt. Lyrically fraught with a wonderful percussive tension, ‘Mad World’ magnificently combined synthesizers, preset rhythms and conventional instruments.

It set the scene for the debut album ‘The Hurting’ but when it was released in Spring 1983, it disappointed some who had followed the band from the beginning. Not only were all four singles to date included but so were two of the B-sides.

Meanwhile, two of the album’s key songs ‘Memories Fade’ and ‘Start Of The Breakdown’ sounded weak compared to the more powerful Linn Drum driven assisted arrangements previewed on an excellent BBC Radio 1 session for Kid Jensen in late 1982 which exuded far more tension; these finally secured a release in the deluxe boxed set edition of ‘The Hurting’ in 2013.

This wasn’t to be the first time that the Achilles heel of too much studio pondering would hit TEARS FOR FEARS, but one interesting consequence was that the treated ethnic percussion added to the extended end section of ‘Memories Fade’ was sampled by Midge Ure and used on ‘Do They Know It’s Christmas?’ by BAND AID.

With the help of hits like ‘Change’ and a re-recorded ‘Pale Shelter’, ‘The Hurting’ was a big success and put them next to the exciting talent that was emerging from the UK like DEPECHE MODE, TALK TALK, A FLOCK OF SEAGULLS, BLANCMANGE and CHINA CRISIS. But they stole defeat from the jaws of victory with a ponderous interim single ‘The Way You Are’ towards the end of 1983. By their own admission, they had been listening to too much JAPAN and were stuck on Planet Sylvian… it was time for a rethink.

At this point, Smith was the accepted face and lead singer of TEARS FOR FEARS but that would steadily alter on their second album ‘Songs From The Big Chair’. ‘Mothers Talk’ was a reasonable comeback featuring Orzabal’s lead vocal but the duo were still not happy. Their perceived failing made them more determined; With East / West tensions at a high following the Soviet Union’s invasion of Afghanistan plus the tit-for-tat boycotts of The Olympics Games, The Cold War and the Reagan / Thatcher love-in was to inspire two of TEARS FOR FEARS biggest hits.

‘Shout’ was a battlecry against the proliferation of nuclear weapons. Using sequencers and drum machines as the backbone, the process was aided by more prominent and rockier guitar towards the climax, along with a gutsy lead vocal from Orzabal and thundering drums from Chris Hughes. The song took an age to record and mix but produced a single of epic proportions at over six minutes.

On the other hand, ‘Everybody Wants To Rule The World (originally titled ‘Everybody Wants To Go To War’) was more straightforward as a conscious attempt at an American drive-time hit with its fabulous topline, chorus and middle eight. Both songs became US No1s.

Another US Top 10 came with ‘Head Over Heels’, part of an album segue with ‘Broken’, a track that had been a more mechanically recorded B-side but now given a blistering treatment on the conceptual second side of ‘Songs From The Big Chair’, which was closed with the lengthy but brilliant art piece ‘Listen’. The combination of synthpop, FM rock and prog ensured 5 million sales in the US and a further 2 million in the rest of the world.

They indeed ruled the world but as with many successful acts of the period, TEARS FOR FEARS got lost in the own bubble. Orzabal began to question the band’s authenticity and this was heightened when he saw Oleta Adams singing in a bar while on a break during the American leg of the ‘Big Chair’ tour.

During the recording of the anticipated follow-up The Seeds Of Love, Smith found himself isolated during the recording sessions as Orzabal strived for perfection. Orzabal had co-written a number of songs with live keyboardist Nicky Holland, but the use of a Fairlight and endless session musicians being brought in like Pino Palladino, Manu Katché and even Phil Collins became a distraction in the search for a more organic touch; Ian Stanley left the recording and returned a year later only to find Orzabal still working on the same song!

Incorporating Adam’s soulful tones into the TEARS FOR FEARS line-up, ‘Woman In Chains’ was a fine musical statement on patriarchy, but was ironically used during a glamourous beach sequence on ‘Baywatch’. However, the lead single ‘Sowing The Seeds Of Love’ was more polarising, an anthemic rewriting of ‘I Am The Walrus’ which provoked either love or disdain.

Smith did the lead vocal on ‘Advice For The Young At Heart, a good tune that perhaps got lost in its understated backing that made it come over more like CHINA CRISIS, but following another world tour to pay off the alleged debt of over $1 million incurred in recording costs, Smith bowed out as their management went bankrupt .

Resilient and some might say, bloody minded, Orzabal (like Andy McCluskey did with OMD) continued the TEARS FOR FEARS brand as a solo venture, and while the venture yielded further UK hits like ‘Laid So Low’ and ‘Break It Down Again’ co-written by the late Alan Griffiths, fans generally did not regard it as TEARS FOR FEARS.

It was around this period that Orzabal recorded covers of ‘Ashes To Ashes’ and ‘Creep’, perhaps indicating he was going through some kind of musical existential crisis. And a 2000 solo album ‘Tomcats Screaming Outside’ all but confirmed even to Orzabal that it was not TEARS FOR FEARS without Smith. While Smith himself also ventured out solo and as MAYFIELD, time eventually healed the fall out as Orzabal lightened up and the two old friends began speaking to each other again.

The eventual 2004 comeback record ‘Everybody Loves A Happy Ending’ was a disappointment and not a success with the original release on Arista pulled by the band before its release after promos were sent out; an eventual sanctuary was found at Gut Records in the UK, but the experience ensured that in 2017, there has still yet to be a follow-up.

Despite this, TEARS FOR FEARS continued touring but the band’s legacy and reputation was unexpectedly elevated by the cult film ‘Donnie Darko’ released in 2001. A dark psychological drama starring a then-unknown Jake Gyllenhaal, the original cut began with ‘Head Over Heels’ in the opening sequences. Meanwhile a stripped down piano based cover of ‘Mad World’ arranged by Michael Andrews and sung by Gary Jules became the film’s focal point on the soundtrack. It affirmed Orzabal’s qualities as a great songwriter and since then, the work of TEARS FOR FEARS been deservedly re-evaluated and as a result, demand for them has a live act has escalated.

In the last few years, Orzabal and Smith toured with SPANDAU BALLET down under while they have also opened for THE KILLERS and HALL & OATES to steadily rebuild the profile of TEARS FOR FEARS; this long wait has been vindicated with a sell-out UK tour for 2018 and the promise of new material.

A new single ‘I Love You But I’m Lost’ shows the classic anthemic TEARS FOR FEARS sound is still present, loud and clear to make amends for the ‘Everybody Loves A Happy Ending’ disaster, while absorbing more recent influences like ARCADE FIRE. Meanwhile, the more sedate ‘Stay’ signals more organic intent despite an autotuned vocal from Smith.

The new compilation ‘Rule The World’ gathers most of the hits, but is missing some singles like ‘Suffer The Children’, ‘The Way You Are’ and ‘Laid So Low’ which however unrealised, were crucial in shaping TEARS FOR FEARS’ creative development.

With ‘The Hurting’ having been many listeners entry in synthpop and modern acts like MARSHEAUX covering ‘Suffer The Children’, while other bands such as SMASHING PUMPKINS and MGMT have cited the band as an influence, is it now the time for TEAR FOR FEARS to reclaim their position and rule the world again?

‘Rule The World: The Greatest Hits’ is released by Universal Records

TEARS FOR FEARS rescheduled 2019 UK and Ireland tour with special guest Alison Moyet includes:

Dublin 3Arena (31st January), Liverpool Echo Arena (2nd February), Cardiff Motorpoint Arena (3rd February), Brighton Centre (4th February), London O2 Arena (6th February), Bournemouth International Centre (7th February), Leeds First Direct Arena (9th February), Glasgow SSE Hydro (11th February), Birmingham Genting Arena (12th February), Nottingham Motorpoint Arena (13th February)

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Text by Chi Ming Lai
20th November 2017, updated 18th April 2018

MARSHEAUX Suffer The Children

23 August 2016 /

MARSHEAUX have recorded a cover of TEARS FOR FEARS ‘Suffer The Children’.

TEARS FOR FEARS’ first single was written by Roland Orzabal reflecting the Bath duo’s interests in Arthur Janov’s Primal Scream therapy to deal with the traumas of childhood; a re-worked version appeared on their classic 1983 debut album ‘The Hurting’. The enticing reinterpretation is accompanied by a suitably moody black and white video filmed in Berlin; watch carefully for Sophie and Marianthi’s fleeting cameo appearance…

The mood of the innocent childlike vocal refrain in the bridge of the original is maintained throughout MARSHEAUX’s version. The contrast of a wispy female lead vocal paradoxically adds extra resonance to the weighty poetry of ‘Suffer The Children’.

MARSHEAUX chatted to ELECTRICITYCLUB.CO.UK about the genesis of ‘Suffer The Children’ while also discussing some of their favourite covers and ones which didn’t quite work out…

‘Suffer The Children’ is an interesting song for you to cover, what inspired this?

We were on our way back from our vacation last year and were listening to ‘The Hurting’ album in the car. We were thinking of covering DEPECHE MODE’s ‘Get The Balance Right’ but then suddenly the CD player played ‘Suffer The Children’ and we changed our minds. Whenever we listen to it, it always brings JOY DIVISION in our minds, sounding like what would have happened if they’d decided to play electronic music.

The lyrics of ‘Suffer The Children’ are quite heavy for a pop song. How did you find trying to relate to them?

True, the lyrics are heavy for a pop song. These emotions are coming both ways, from parent and child. You can take the place of both, as a kid and as a parent.


What did you consciously do to make this cover as different from the original as possible?

First of all the vocals are female. Immediately the song softens its dark edges and becomes more poppy. The production is modern and all the samples that we used are from synths and applications like Circle, Alchemy, Synthmaster and Massive.

The guitar solo has been recreated with a synth? How did you achieve this?

We have used a bass from the Korg MS-20 and put it through flanger, distortion and a Boss BC-1X bass compressor pedal.

Your version also reveals the song’s OMD inspired roots?

There is always an OMD inspiration in the full MARSHEAUX catalogue *laughs*

This is actually widely known. If you listen to the original TEARS FOR FEARS version though, you can sense the OMD similarities there too.

Where do you think TEARS FOR FEARS sit next to bands like DEPECHE MODE, OMD and ERASURE?

‘The Hurting’ is a masterpiece. It stands next to other great albums like THE HUMAN LEAGUE’s ‘Dare’, ABC’s ‘The Lexicon Of Love’, OMD’s ‘Architecture & Morality’ and YAZOO’s ‘Upstairs at Eric’s’. Every single track could have been a perfect single.

The strange thing with TEARS FOR FEARS is that each album by them represents musically and culturally, a different period for the band. Maybe it is because they had big gaps in between albums or maybe their concepts, motives and targets were different each time.

They became huge in the USA with ‘Songs From The Big Chair’, and maybe lost their street cutting sense and their artistic value (you know the whole Arthur Janov’s background with ‘primal therapy’ on ‘Suffer The Children’) but this doesn’t belittle the value of their songs.

Even the singles from their Beatles-ish album ‘Seeds Of Love’ are amazing. They surely can stand next to DEPECHE MODE, OMD and ERASURE. They are one of the great bands we have passionately loved and still do. Their lyrics are always incredible. “Memories fade… but the scars still linger”, it’s so wonderful

MARSHEAUX have some great covers. Which ones do you feel have been the most satisfying artistically for you?

THE LIGHTNING SEEDS ‘Pure’ is a favourite for both of us, as well as BILLY IDOL’s ‘Eyes Without A Face’ which was the most successful one. Imagine, this last one was supposed to be bonus track on ‘Breakthrough’ single but Out Of Line, our record company back then, didn’t like it and didn’t want to include it as a bonus in the single.

Choosing a cover can be difficult. Have there ever been any you attempted that didn’t work out?

Yes, there were actually two not very fruitful attempts. The first one was THE PRIMITIVES’ ‘Crash’ and the second was PETE SHELLEY’s ‘Homosapien’!

ELECTRICITYCLUB.CO.UK gives its warmest thanks to MARSHEAUX

‘Suffer The Children’ is released by Undo Records as a download single and available via the usual platforms

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Text and Interview by Chi Ming Lai
23rd August 2016, updated 16th February 2021

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