Tag: The Human League (Page 1 of 14)

HEAVEN 17 Reproduction + Travelogue Live at The Roundhouse

Photo by Simon Helm

Having been mooted for several years and postponed twice, HEAVEN 17 finally delivered their 40th anniversary celebration of THE HUMAN LEAGUE albums ‘Reproduction’ and ‘Travelogue’.

“We’re not pretending we were reforming THE HUMAN LEAGUE, all the publicity states this is HEAVEN 17’s interpretation of those two albums” said Martyn Ware, “As you well know, I was the major writer on most of those tracks. I always felt they deserved a wider audience, hence why we’ve played a lot of those songs live with HEAVEN 17 anyway.” Although it was Fast Product that released the first version of ‘Being Boiled’ in June 1978,  Virgin Records, under the A&R directorship of Simon Draper, had the foresight to see the wider potential of THE HUMAN LEAGUE’s sound containing synthesizers and vocals only.

But how important are these two records in the development of pop music using synthesizers? Using the Roland System 100, Korg 700s, Roland Jupiter 4 and Korg 770, ‘Reproduction’ and ‘Travelogue’ are certainly up there with landmark British albums such as ‘Replicas’, ‘The Pleasure Principle’, ‘Metamatic’ and ‘Vienna’, while a case can definitely be made that they are on a par with international works such as ‘No1 In Heaven’ and ‘Die Mensch-Maschine’.

Former member of both THE HUMAN LEAGUE and HEAVEN 17 Ian Craig Marsh once imitated the deep voice of Seiko watches on an early demo and declared “THE HUMAN LEAGUE, one day all music will be made like this…” and it all turned out to be rather prophetic. Deputising tonight at The Roundhouse for the long absent Marsh, alongside Ware and HEAVEN 17 front man Glenn Gregory, was keyboardist Flo Sabeva, while acting as Director Of Visuals in place of Adrian Wright was Assorted iMaGes design director Malcolm Garrett.

Using a four screen ‘Reproduction’ of the album’s inner bag as the stage set, synths-wise, Ware had his Roland trusty V-Synth GT at his disposal alongside a vintage Roland System 100, mini-Korg 700s and a Jupiter 4 on loan from Irish synth artist CIRCUIT3. Meanwhile, Sabeva kept the tech up-to-date with her Fantom 6 and System 8 arsenal from Roland.

The aggressive synth-punk of ‘Almost Medieval’, naturally opened proceedings while the harrowing ‘Circus Of Death’ following, both displaying a thoughtful ‘Reproduction’ of the percussive System 100 dynamics. A rallying call to rebel against conformity, ‘The Path Of Least Resistance’ was as relevant as ever while fun came on ‘Blind Youth’, summing up another sad observation that could be applied today, especially with its known anti-Covid vaccine elements.

The Schaffel nursery rhyme of ‘Empire State Human still came over as the mighty hit it never was, illustrated by world monuments and the achievements of the US and Soviet space programmes. Using the System 100 for its lonely sequence, ‘Morale’ segued seamlessly into the ring modulated tick-tock of ‘You’ve Lost That Loving Feeling’ with Gregory and Ware doing their familiar Righton Brothers duet, to convey the eerie soundtrack’s desolate emptiness.

As the fierce acceleration of ‘Zero As A Limit’ climaxed the ‘Reproduction’ section of the show, the ‘Travelogue’ part was introduced by the harsh screeching frequencies of ‘The Black Hit Of Space’ as it all went up another gear with this still entertainingly humorous Sci-Fi story about an infinite chart topper. Meanwhile, the minimal synth rendition of Mick Ronson’s ‘Only After Dark’ prompted an audience chantalong while the under-rated ‘Life Kills’ proved to be something of an electronic pop evergreen

But it was all hush for the poignant prog synth of ‘Dreams Of Leaving’; with a narrative about the traumatic escape of refugees who then try to settle into a new home, the alignment of sad, happy, fast, slow with its uplifting pipe-pitched climax was proof that 40 years on, emotional responses can still come from the machines of Roland and her sisters.

For the instrumentals ‘Toyota City’ and Jeff Wayne’s ‘Gordon’s Gin’, Gregory took his place on a Sequential Prophet 6 but as backing singers Rachel Meadows Hayley and Hayley Williams joined in and danced to the vicious backbone of ‘Crow & A Baby’, it wasn’t difficult to imagine this number as a prototype of ‘The Sound Of The Crowd’; squinting from the balcony, it could even have looked like “Phil, Joanne and Susan” were on stage!

An epic synth reimagination of PARLIAMENT and FUNKADELIC, the reworked ‘Being Boiled 2.0’ with Phil Oakey’s surreal lyrics about the extermination of silk worms never sounded so glorious and further memories of the mature audience were triggered by the incongruous but effective use of slides featuring characters from Gerry Anderson’s iconic Supermarionation shows ‘Fireball XL5’, ‘Stingray’, ‘Thunderbirds’, ‘Joe 90’ and ‘Captain Scarlet’.

A dystopian song about the mechanisation of radio stations which inadvertently predicted the Spotify playlist, ‘WXJL Tonight’ closed the ‘Travelogue’ section with Gregory adding the tones of Neil Diamond to his delivery.

But the evening was not over yet as tracks from the companion ‘Holiday 80’ EP were aired. The stupendous ‘Marianne’ with its three part vocal counterpoint and multiple harmonies over its crashing rhythmic barrage was worth the ticket price along while Iggy Pop and David Bowie’s ‘Nightclubbing’ somehow got an even more sinister funereal treatment.

But then things went disco as ‘I Don’t Depend On You’, the 1979 that was released prior to ‘Reproduction’ under the alias of THE MEN took its place in the set but importantly, highlighting how THE HUMAN LEAGUE might have mutated into how HEAVEN 17 eventually sounded even if there hadn’t been a split.

Ever the raconteur, Gregory jokingly threatened a performance of ‘Dare’ but settled on stories about the formation of THE HUMAN LEAGUE and HEAVEN 17.

But an unexpected HEAVEN 17 encore reminded the sold-out crowd that we don’t need Fascists, especially that nasty little race traitor Ugly Patel and her scruffy bumbling posh boy mate! But ultimately, all anyone in life really desires is ‘Temptation’ with dimes in that hot slot!

Prior to these shows, THE HUMAN LEAGUE faithful inevitably questioned the validating of HEAVEN 17 performing these albums without Phil Oakey, but is ‘Fade To Grey’ any less valid sung by its co-writer Midge Ure than it is by the late VISAGE front man Steve Strange? By using many of the original synth sounds, this celebration of these two seminal albums was both authentic and appealing.

Sometimes celebrations can actually be more entertaining than modern day incarnations of an original act, as proven with DEPECHE MODE and their various tribute bands showing more spirit to respect for their legacy. At the end of the day, the stars of this evening were the songs themselves, a collection of pioneering electronic adventures that have been forgotten by the mainstream who largely think THE HUMAN LEAGUE appeared by magic with ‘Don’t You Want Me?’.

Those who want to see THE HUMAN LEAGUE performing the ‘Dare’ album can do so at the end of 2021.

But for those who preferred to recall the excitement prevalent at the start of the Synth Britannia era, tonight at The Roundhouse was the place to be… the way it was in the past, a long long time ago!


‘Reproduction’ + ‘Travelogue’ were released by Virgin Records and are still available in the usual formats

https://www.heaven17.com/

https://www.facebook.com/heaven17official/

https://twitter.com/heaven17bef

https://www.instagram.com/heaven17official/


Text by Chi Ming Lai
Photos by Richard Price except where credited
6th September 2020

THE ELECTRONIC LEGACY OF 1981

Was 1981 the most important year in synth as far becoming ubiquitous in the mainstream and hitting the top of the charts internationally?

Yes, ‘Autobahn’ and ‘Oxygène’ came before, while the Giorgio Moroder produced ‘I Feel Love’ by Donna Summer is acknowledged as being the track that changed pop music forever and still sounds like the future even in the 21st Century. French electronic disco like ‘Magic Fly’ and ‘Supernature’ also made its impact.

Meanwhile closer to home, a post-punk revolution was already permeating in the UK with the advent of affordable synthesizers from Japan being adopted by the likes of THE NORMAL, THROBBING GRISTLE, CABARET VOLTAIRE and THE HUMAN LEAGUE. But it was Gary Numan who took the sound of British synth to No1 with ‘Are Friends Electric?’ and ‘Cars’ in 1979. It signalled a change in the musical landscape as the synth was considered a worthy mode of youthful expression rather than as a novelty, using one finger instead of three chords.

Despite first albums from John Foxx and OMD, 1980 was a transitional time when the synth was still the exception rather than the rule. But things were changing and there had also been the release of the first Midge Ure-fronted ULTRAVOX album ‘Vienna’ and the eponymous debut long player by VISAGE just as The Blitz Club and the New Romantic movement were making headlines. With the acclaim for the ‘Some Bizarre Album’ in early 1981 which launched the careers of DEPECHE MODE, SOFT CELL, BLANCMANGE, THE THE and B-MOVIE, a wider electronic breakthrough was now almost inevitable.

VISAGE’s ‘Fade To Grey’ went on to be a West German No1 in Spring 1981 and this exciting period culminated in THE HUMAN LEAGUE taking ‘Don’t You Want Me?’ to the top spot in the US six months year after becoming the 1981 UK Christmas No1. It would be fair to say that after this, the purer sound of synth was never quite the same again.

For many listeners, 1981 was a formative year and had so many significant new releases that it was difficult to stretch the limited pocket money to fund album purchases. ELECTRICITYCLUB.CO.UK even took to selling bootleg C90 cassettes on the school playground, promising a value-for-money “two albums for one” deal to support this disgusting habit!

Looking back to four decades ago when there were also albums from DEVO, EURYTHMICS, FAD GADGET, LOGIC SYSTEM, SPANDAU BALLET, SPARKS and TANGERINE DREAM, here are twenty albums which ELECTRICITYCLUB.CO.UK sees as contributing to the electronic legacy of 1981. Listed in alphabetical order with the restriction of one album per artist moniker, this is the way it was in the past, a long long time ago…


DAF Alles Ist Gut

Under a haze of “sex, drugs and sequencer”, the late Gabi Delgado and Robert Görl released an acclaimed album trilogy produced by Conny Plank. The first ‘Alles Ist Gut’ featured their fierce breakthrough track ‘Der Mussolini’ which flirted with right wing imagery in its sardonic reflections on ideology. Causing controversy and confusing observers, DAF attracted a following which Delgado hated. Despite his parents escaping from the Franco regime in Spain, he was always unapologetic about the provocation within his lyrics.

‘Alles Ist Gut’ is still available via Grönland Records

http://www.robert-goerl.de/


DEPECHE MODE Speak & Spell

Having conceived the idea of a teenage synthpop group called SILICON TEENS, this dream of Daniel Miller became flesh and blood when he came across a young quartet from Basildon called DEPECHE MODE. Signing on a handshake 50/50 deal to his Mute Records, the group became a chart success. Despite other great songs like ‘Puppets’ and ‘Tora! Tora! Tora!’, the group fragmented on the release of their 1981 debut album ‘Speak & Spell’. The remaining trio of Andy Fletcher, Dave Gahan and Martin Gore recruited Alan Wilder, while Vince Clarke formed YAZOO with Alison Moyet.

‘Speak & Spell’ is still available via Mute Records

http://www.depechemode.com/


DRAMATIS For Future Reference

Following the ‘retirement’ of Gary Numan with his spectacular farewell shows at Wembley Arena in April 1981, four of his erstwhile backing band became DRAMATIS. RRussell Bell, Denis Haines, Chris Payne and Ced Sharpley had been instrumental in the success of Numan’s powerful live presentation and their only album showcased the band’s virtuoso abilities. While the use of four different lead vocalists (including Numan himself on the superb ‘Love Needs No Disguise’) confused the continuity of the album, musically, there was much to enjoy.

Originally released by Rocket Records, currently unavailable

http://www.numanme.co.uk/numanme/Dramatis.htm


DURAN DURAN Duran Duran

It would be fair to say that the classic line-up of Simon Le Bon, Nick Rhodes, John Taylor, Roger Taylor and Andy Taylor took the arty poise of JAPAN and toned down their androgynous outré to make it more accessible But the enduring appeal of DURAN DURAN is great timeless pop songs and that was apparent on the self-titled debut album which at times sounded like an electronic band with a heavy metal guitarist bolted on, especially on ‘Careless Memories’ and ‘Friends Of Mine’. But most will just remember the two hits ‘Planet Earth’ and ‘Girls on Film’.

‘Duran Duran’ is still available via EMI Records

http://www.duranduran.com/


JOHN FOXX The Garden

Thawing considerably following the release of the acclaimed ‘Metamatic’, John Foxx admitted he had been “reading too much JG Ballard”. Exploring beautiful Italian gardens and taking on a more foppish appearance, his new mood was reflected in his music. ‘The Garden’ album featured acoustic guitar and piano as showcased in the Linn Drum driven single ‘Europe After The Rain’. With choral experiments like ‘Pater Noster’, a return to art rock on ‘Walk Away’ and the more pastoral climes of the lengthy title track, Foxx had now achieved his system of romance.

‘The Garden’ is still available via Edsel Records

http://www.metamatic.com/


HEAVEN 17 Penthouse & Pavement

Fronted by the cool persona of vocalist Glenn Gregory, HEAVEN 17’s debut ‘Penthouse & Pavement’ was a landmark achievement, combining electronics with pop hooks and disco sounds while adding witty social and political commentary, taking in yuppie aspiration and mutually assured destruction. The first ‘Pavement’ side was a showcase of hybrid funk driven embellished by the guitar and bass of John Wilson. The second ‘Penthouse’ side was like an extension of THE HUMAN LEAGUE’s ‘Travelogue’, Martyn Ware and Ian Craig Marsh’s swansong with the band.

‘Penthouse & Pavement’ is still available via Virgin Records

http://www.heaven17.com/


THE HUMAN LEAGUE Dare

After Martyn Ware and Ian Craig Marsh left to form HEAVEN 17, vocalist Philip Oakey and Adrian Wright recruited Susanne Sulley, Joanne Catherall, Jo Callis and Ian Burden to record ‘Dare’ under the production helm of Martin Rushent. Like KRAFTWERK meeting ABBA, the dreamboat collection of worldwide hits like ‘Love Action’ and ‘Don’t You Want Me?’ had a marvellous supporting cast in ‘The Things That Dreams Are Made Of’, ‘I Am The Law’, ‘Seconds’ and ‘Darkness’. Only the Linn Drum rework of ‘The Sound Of The Crowd’ blotted the album’s near perfection.

‘Dare’ is still available via Virgin Records

http://www.thehumanleague.co.uk/


JAPAN Tin Drum

JAPAN took the influences of the Far East even further with the Chinese flavoured ‘Tin Drum’. A much more minimal album than its predecessor ‘Gentlemen Take Polaroids’, there was hardly any guitar while the synths used were restricted to an Oberheim OBX, Prophet 5 and occasionally the Roland System 700. David Sylvian’s lyrical themes of ‘Tin Drum’ flirted with Chinese Communism as Brian Eno had done on ‘Taking Tiger Mountain (By Strategy), a point highlighted by the pentatonic polyrhythmic single ‘Visions Of China’ and its less frantic sister song ‘Cantonese Boy’.

‘Tin Drum’ is still available via Virgin Records

http://www.nightporter.co.uk/


JEAN-MICHEL JARRE Magnetic Fields

With his synthesized symphonies, Jean-Michel Jarre helped popularise the sound of electronic music. ‘Magnetic Fields’ was his first long player to utilise the Fairlight CMI which allowed him to absorb some musique concrete ideas such as water splashing and hydraulic train doors into his compositions. Featuring the klanky Korg Rhythm KR55, it was a much more percussive album than ‘Oxygène’ and ‘Equinoxe’ had been, complementing the metallic textures that featured. However, ‘The Last Rumba’ confused some who considered the home organ closer incongruous.

‘Magnetic Fields’ is still available via Sony Music

http://jeanmicheljarre.com/


JON & VANGELIS The Friends Of Mr Cairo

Having scored an unexpected UK hit with the sonic beauty of ‘I Hear You Now’, Jon Anderson and Evangelos Odysseas Papathanassiou presented a second album in ‘The Friends Of Mr Cairo’. Featuring ‘State Of Independence’ which was to become a hit for Donna Summer, the album was laced with spiritual overtones over symphonic synths, cinematic piano and dialogue samples from films. However, the album is now best known for the single ‘I’ll Find My Way Home’ which had not been included on the original tracklisting.

‘The Friends Of Mr Cairo’ is still available via Polydor Records

https://www.jonanderson.com/

https://www.facebook.com/VangelisOfficial/


KRAFTWERK Computer World

‘Computer World’ could be considered one of the most prophetic albums of its time. KRAFTWERK forsaw the cultural impact of internet dating on ‘Computer Love’, but the title track highlighted the more sinister implications of surveillance by “Interpol and Deutsche Bank, FBI and Scotland Yard” with the consequences of its prophecy still very relevant discussion points today. But the dynamic rhythmic template of ‘Numbers’ was to have a major impact on Urban America as it was mutated into hip-hop, rap and techno.

‘Computer World’ is still available via EMI Records

http://www.kraftwerk.com/


LANDSCAPE From The Tea Rooms Of Mars To The Hell-holes Of Uranus

Jazz fusion combo LANDSCAPE were led by producer Richard James Burgess who co-designed the Simmons SDSV with Dave Simmons as the first standalone electronic drum kit, with circuitry based on the ARP 2600. Using a Lyricon, the first wind-controlled synth played by John Waters as its lead hook, ‘Einstein A-Go-Go’ was a fabulously cartoon-like tune about nuclear weapons falling into the hands of theocratic dictators and religious extremists! Meanwhile, ‘European Man’ predated EDM by having the phrase “electronic dance music” emblazoned on its single sleeve.

‘From The Tea Rooms Of Mars To The Hell-holes Of Uranus’ is still available via Cherry Red Records

https://twitter.com/Landscape_band


NEW ORDER Movement

Rising from the ashes of JOY DIVISION and reconvening in late 1980, Peter Hook, Bernard Sumner and Stephen Morris chose the name NEW ORDER as a symbol of their fresh start and after deciding against recruiting a new vocalist, Morris’ girlfriend and later wife, Gillian Gilbert was recruited. Despite Martin Hannett still producing, recording sessions were fraught although synths were taking greater prominence while Morris used a Doctor Rhythm DR55 drum machine on ‘Truth’ and ‘Doubts Even Here’. ‘Movement’ may not have been a great debut album, but it was an important one.

‘Movement’ is still available via Rhino

http://www.neworder.com/


GARY NUMAN Dance

Following his much-publicised retirement from live performance, the last thing Numanoids expected from their hero was an understated Brian Eno homage. At nearly an hour’s playing time, ‘Dance’ outstayed its welcome and despite the title, these were mostly downtempo pieces with ‘Slowcar To China’ and ‘Cry The Clock Said’ stretching to 10 minutes. Much was made of JAPAN’s Mick Karn playing fretless bass although he was only on five of the eleven tracks. It was the wrong album at the wrong time but in ‘A Subway Called You’ and ‘Crash’, there were some great moments.

‘Dance’ is still available via Beggars Banquet Records

https://garynuman.com/


OMD Architecture & Morality

”I think ‘Architecture & Morality’ was a complete album, it was just so whole” said Paul Humphreys in 2010. The big booming ambience of the album next to big blocks of Mellotron choir gave OMD their masterpiece, tinged more with the spectre of LA DÜSSELDORF rather than KRAFTWERK. Featuring two spirited songs about ‘Joan Of Arc’, these were to become another pair of UK Top 5 hits with the ‘Maid of Orleans’ variant also becoming 1982’s biggest selling single in West Germany.

‘Architecture & Morality’ is still available via Virgin Records

http://www.omd.uk.com/


SIMPLE MINDS Sons & Fascination / Sister Feelings Call

A generally overlooked ‘double’ opus, ‘Sons & Fascination / Sister Feelings Call’ exploited the KRAFTWERK, NEU! and LA DÜSSELDORF influences of SIMPLE MINDS to the full, under the production auspices of Steve Hillage. From the singles ‘The American’ and ‘Love Song’ to the mighty instrumental ‘Theme For Great Cities’ and the unsettling dentist drill menace of ‘70 Cities As Love Brings The Fall’, with basslines articulating alongside synths and guitars layered in effects that when harmonised together were almost as one, this was SIMPLE MINDS at close to their very best.

‘Sons & Fascination / Sister Feelings Call’ is still available via Virgin Records

https://www.simpleminds.com/


SOFT CELL Non-Stop Erotic Cabaret

In their cover of Northern Soul favourite ‘Tainted Love’, SOFT CELL provided the first true Synth Britannia crossover record. Possibly one of the best albums of 1981, ‘Non-Stop Erotic Cabaret’ captured the edginess of minimal synth arrangements while married to an actual tune. At the time, art school boys Marc Almond and Dave Ball were rated higher than DEPECHE MODE. But with the  follow-up success of the Top5 singles ‘Bedsitter’ and ‘Say Hello Wave Goodbye’, the pair became reluctant popstars, chased around by both teenagers and paparazzi.

‘Non-Stop Erotic Cabaret’ is still available via Mercury Records

https://www.softcell.co.uk/


TELEX‎ Sex

‘Sex’ was Belgian trio TELEX’s third album and a collaboration with SPARKS that saw the Mael brothers contribute lyrics to all nine tracks. Experiments in swing on ‘Sigmund Freud’s Party’ displayed a sophisticated vintage musicality and ‘Haven’t We Met Somewhere Before?’ was the hit single that never was. Meanwhile, like KRAFTWERK meeting YELLOW MAGIC ORCHESTRA, ‘Brainwash’ was quite obviously the blueprint for LCD SOUNDSYSTEM’s ‘Get Innocuous!’. However, the tracklisting was considerably revamped for the UK release in 1982 as ‘Birds & Bees’.

‘Sex’ was released by Ariola, currently unavailable

https://www.facebook.com/TELEX-312492439327342


ULTRAVOX Rage In Eden

‘Rage in Eden’ began with the optimistic spark of ‘The Voice’ but it was something of a paranoia ridden affair having been created from the bottom up at Conny Plank’s remote countryside studio near Cologne. There was synthetic bass power on tracks like ‘The Thin Wall’, ‘We Stand Alone’ and ‘I Remember (Death In The Afternoon)’, but there was also the tape experimentation of the title track which used the chorus of ‘I Remember’ played backwards to give an eerie Arabic toned “noonretfa eht ni htaed… rebmemer i ho” vocal effect.

‘Rage In Eden’ is still available via EMI Records

http://www.ultravox.org.uk/


YELLOW MAGIC ORCHESTRA BGM

‘BGM’, the third full length album from YELLOW MAGIC ORCHESTRA was the first recording to feature the now iconic Roland TR-808 Rhythm Composer and was also made using a digital 3M 32-track machine. Following the technopop of the self-titled debut and ‘Solid State Survivor’ albums, ‘BGM’ included reworked pieces such as ‘Loom’ and ‘1000 Knives’. The best song ‘Camouflage’ was a curious beat laden blend of Eastern pentatonics and Western metallics from which the German synth band CAMOUFLAGE took their name.

‘BGM’ is still available via Sony Music

http://www.ymo.org/


Text by Chi Ming Lai
9th January 2021

25 BBC RADIO1 SESSION TRACKS

The origin of the BBC radio session came about due to restrictions imposed on the corporation by the Musicians Union and Phonographic Performance Limited with regards the airing of recorded music.

The thinking behind this was to create employment, as well as force people to buy records and not listen to them free of charge on the air. As a result, the BBC had to hire bands and orchestras to perform cover versions of recorded music to make up for the shortfall.

When the policy evolved with the advent of the more pop and rock oriented station Radio1, bands ventured into BBC’s Maida Vale studios to lay down between 3 to 5 tracks, with in-house personnel such as John Walters, Dale Griffin, Jeff Griffin, Chris Lycett, Mike Robinson, John Owen Williams and (not that) Tony Wilson helming the sessions.

The most celebrated of these BBC sessions were recorded for John Peel, but equally of merit and perhaps more of an indicator to potential breakthroughs into the mainstream were those produced for Richard Skinner and Kid Jensen.

Sessions were usually recorded and mixed in a single day, so had a rougher feel that lay somewhere between a live performance and a studio recording, sounding almost like a polished demo.

While acts would often use the opportunity to promote their latest single or album, others would premiere recently written compositions, try out different arrangements on established songs or perform cover versions. A number of these session recordings were even superior to their eventual officially released versions.

So ELECTRICITYCLUB.CO.UK presents its favourite 25 BBC Radio1 session tracks with other selection criteria including rare songs or tracks capturing the zeitgeist and signalling a change in the course of music. Presented in chronological and then alphabetical order within each year with a restriction of one track per artist moniker, here are some special moments from our beloved Auntie Beeb.


THE HUMAN LEAGUE Blind Youth (John Peel 1978)

In Summer 1978, THE HUMAN LEAGUE perhaps surprisingly recorded their only session for the BBC which included ‘Being Boiled’, ‘No Time’ (which became ‘The Word Before Last’), a cover of ‘You’ve Lost That Lovin’ Feeling’ and ‘Blind Youth’. The latter was the frantic percussive highlight of the four, a wonderfully shambolic slice of synth punk with bum bleeps and avant waves of white noise, all held together by the metallic rhythmic bed of a sequenced Roland System 100.

Not officially released

http://www.thehumanleague.co.uk/


TUBEWAY ARMY I Nearly Married A Human (John Peel 1979)

Although only comprising of three tracks, Gary Numan’s session as TUBEWAY ARMY for John Peel in early 1979 captured an artist in transition. From the comparatively punky ‘Me! I Disconnect From You’ to the dystopian synthpop of ‘Down In The Park’, the electronics were gaining more prominence to suit his increasingly unsettling lyrical themes. And on the mostly instrumental ‘I Nearly Married A Human’, the machines launched a coup d’etat and took over like an army of replicants with the murmurs of the title being the only sign of flesh and blood.

Available on the GARY NUMAN ‎// TUBEWAY ARMY album ‘Replicas – The First Recordings’ via Beggars Banquet

http://garynuman.com/


OMD Pretending To See The Future (John Peel 1980)

Several months after the release of their self-titled debut long player, OMD returned for their second of their four John Peel sessions with Paul Humphreys and Andy McCluskey accompanied by drummer Malcolm Holmes and keyboardist Dave Hughes. By now, their live sound had expanded and this change was captured on this session with the version of ‘Pretending To See The Future’ having more presence and a looser percussive edge compared with the underwhelming drum machine-led album version.

Available on the OMD album ‘Peel Sessions 1979-1983’ via Virgin Records

https://www.omd.uk.com/


B-MOVIE Polar Opposites (John Peel 1981)

One of the bands alongside SOFT CELL, DEPECHE MODE and BLANCMANGE who got a profile boost from their inclusion on the ‘Some Bizzare Album’, although they were signed by Phonogram to take on DURAN DURAN, B-MOVIE had more of a psychedelic vibe as reflected by songs like ‘Welcome To The Shrink’ and ‘All Fall Down’ on their first John Peel session in March 1981. But the highlight was ‘Polar Opposites’ with its mighty ‘2001: A Space Odyssey’ synth line. It would have made a great single, but never properly was!

Available on the B-MOVIE ‎album ‘BBC Radio Sessions 1981-1984’ via Cherry Red Records

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


DEPECHE MODE Boys Say Go (Richard Skinner 1981)

Broadcast in Summer 1981, this session captured the original DEPECHE MODE line-up of Dave Gahan, Martin Gore, Andy Fletcher and Vince Clarke several months before the release of debut album ‘Speak & Spell’. Refining into a pop band but still retaining much of the synthetic rawness that linked them artistically to acts like FAD GADGET, the session was characterised by use of the Korg Rhythm KR55 drum machine with its charming klanky metallics. This version of ‘Boys Say Go’ possessed an aggression that was lost on the eventual album cut.

Available on the compilation ‎album ‘1 & Only – 25 Years of BBC Radio 1’ (V/A) via BBC Enterprises / Band Of Joy

http://www.depechemode.com/


DURAN DURAN Like An Angel (Peter Powell 1981)

Like THE HUMAN LEAGUE, DURAN DURAN only did the one BBC session for their biggest champion Peter Powell. Broadcast in June 1981 to coincide with the release of their self-titled debut, they recorded near-facsimile versions of ‘Girls On Film’, ‘Anyone Out There’ and ‘Night Boat’. But a surprise came with ‘Like An Angel’, a sprightly love song unreleased at the time which pointed away from the New Romantics to the more mainstream pop ambition of the ‘Rio’ opus that was to come just a year later.

Available on the DURAN DURAN boxed set ‘Duran Duran’ via EMI Records

http://www.duranduran.com


SOFT CELL Seedy Films (Richard Skinner 1981)

Contributing five songs to their first BBC session as ‘Tainted Love’ was rising up the UK chart, brilliant songs like ‘Bedsitter’, ‘Entertain Me’, ‘Chips On My Shoulder’ and ‘Youth’ demonstrated the potential of Marc Almond and Dave Ball, even in basic form. While ‘Seedy Films’ was faster paced and a bit “snap, crackle and pop” compared to the more sophisticated and laid-back clarinet-laden ‘Non-Stop Erotic Cabaret’ album version, it outlined why at the time, SOFT CELL were rated higher than DEPECHE MODE.

Available on the SOFT CELL boxed set ‘Keychains & Snowstorms’ via Universal Music

https://www.softcell.co.uk/


SPANDAU BALLET Mandolin (Studio B15 1981)

‘Studio B15’ was a short-lived Sunday afternoon magazine show presented by the late Adrian Love that often invited their guests to perform live. SPANDAU BALLET had just released their debut album ‘Journeys To Glory’ and as a band that didn’t tour and rarely played live, this was an opportunity to demonstrate their abilities. ‘Mandolin’ featured a prominent Yamaha CS10 synth line while this version featured Simmons drums and a much clearer vocal with a more pronounced diction from Tony Hadley compared to the oddly smothered album version.

Available on the SPANDAU BALLET deluxe album ‘Journeys to Glory’ via EMI Records

http://www.spandauballet.com/


BLANCMANGE Running Thin (John Peel 1982)

Aired in February 1982, BLANCMANGE were captured in their only John Peel session as a much darker proposition than was later perceived by their UK chart success. It included an early take on ‘Living On The Ceiling’ without its Indian embellishments but the session was notable for ‘I Would’ and ‘Running Thin’, two songs that would not make it onto the ‘Happily Families’ tracklisting. ‘Running Thin’ in particular saw Neil Arthur and Stephen Luscombe trapped in a stark state of gloomy resignation.

Available on the BLANCMANGE album ‘The Very Best Of’ via Demon Music

http://www.blancmange.co.uk/


CHINA CRISIS This Occupation (John Peel 1982)

Recorded nearly six months before the release of their debut album, CHINA CRISIS’ first John Peel session saw the duo exploring territory that sat between electronic and traditional pop. ‘Seven Sports For All’ and ‘Some People I Know To Lead Fantastic Lives’ ended up on the album while the more moody ‘Be Suspicious’ was already a B-side. But this version of ‘This Occupation’ was pure machine-propelled synthpop complete with sequencing and strong lead lines; later recordings that appeared on the B-sides of ‘Wishful Thinking’ were never as good.

Available on the CHINA CRISIS deluxe album ‘Difficult Shapes & Passive Rhythms’ via Caroline Records

https://www.facebook.com/chinacrisisofficial


EURYTHMICS I’ve Got An Angel (Kid Jensen 1982)

After their 1981 German-inspired debut ‘In The Garden’, Annie Lennox and David A Stewart explored the possibilities of the synthesizer and acquired a Movement Drum Computer to live up to their moniker. In a BBC session that also included ‘Love Is A Stranger’ which was soon to be issued as a single , ‘I’ve Got An Angel’ was an unusual hybrid of synths, electronic drums and wah-wah guitar, with flute by the front woman alongside her particularly intense and raw vocal. By comparison, the released version on the ‘Sweet Dreams (Are Made Of This)’ album was more restrained.

Not officially released

https://www.eurythmics.com/


NEW ORDER Too Late (John Peel 1982)

Not actually recorded at the BBC, NEW ORDER’s second self-produced John Peel session was a fascinating document of the Mancunian’s transitioning sound with the throbbing sequences of ‘586’ highlighting a future proto-dance direction. Meanwhile ‘Turn The Heater On’ was a cover of the Keith Hudson reggae song in tribute to Ian Curtis and ‘We All Stand’ had avant jazz overtones. But ‘Too Late’ was significant, sounding like it could have come off debut album ‘Movement’ with its lingering gothic doom but also remaining unreleased, discarded as if a relic from another era.

Available on the NEW ORDER boxed set ‘Power, Corruption & Lies’ via Rhino

http://www.neworder.com/


TEARS FOR FEARS Memories Fade (Kid Jensen 1982)

Featuring ‘The Prisoner’, ‘The Hurting’, ‘Start Of The Breakdown’ and ‘Memories Fade’, the arrangements for this BBC session aired after TEARS FOR FEARS’ success with ‘Mad World’ differed significantly from the versions on their debut album. Featuring Linn Drum programming and Banshees-like guitar instead of sax, this version of ‘Memories Fade’ was far superior, utilising a much more powerful mechanised rhythmic tension that reflected the fraught paranoia and resignation of Roland Orzabal’s lyrical angst.

Available on the TEARS FOR FEARS boxed set ‘The Hurting’ via Mercury Records

https://tearsforfears.com/


YAZOO In My Room (Kid Jensen 1982)

Reshaped with a Fairlight and Linn Drum Computer, this version of ‘In My Room’ recorded in session for Kid Jensen was far superior to the irritating album version on ‘Upstairs At Eric’s’. Forming the basis for the live interpretation, it was now free of Vince Clarke’s “Our Father” tape loop monologue and allowed Alison Moyet space to express her emotive frustration to reveal a fantastic song free of distractions. Other songs in the session included beefed up takes on ‘Bring Your Love Down (Didn’t I)’, ‘Situation’ and ‘Too Pieces’.

Available on the YAZOO boxed set ‘Three Pieces’ via Mute Records

http://yazooinfo.com/


DEAD OR ALIVE Give It To Me (Kid Jensen 1983)

Co-written with Wayne Hussey, ‘Give It To Me’ was Pete Burns at his filthy lyrical best, declaring that “Apart from all your obvious attractions, I’ve got the bullets, you’ve got the gun, bang me into action, let’s make this obvious distraction, physically you are just what I wanted!”. Although this slice of  Middle Eastern favoured HI-NRG later surfaced as a bonus track on the 12 inch single of ‘I’d Do Anything’, it seems almost unbelievable now that this potential hit single was never developed further in the studio.

Available on the DEAD OR ALIVE boxed set ‘Sophisticated Boom Box MMXVI’ via Edsel Records

https://dead-or-alive-band.fandom.com/wiki/Dead_or_Alive


JOHN FOXX Hiroshima Mon Amour (Saturday Live 1983)

‘Saturday Live’ was a show that featured interviews and live sessions. Having ventured out touring for the first time since his ULTRAVOX days in support of his third solo album ‘The Golden Section’, John Foxx eschewed material from ‘Metamatic’ but perhaps more surprisingly, mined his former band’s catalogue. Backed by Robin Simon, Peter Oxdendale, David Levy and Barry Watts, Foxx performed an interesting arrangement of ‘Hiroshima Mon Amour’ sans rhythm machine but with guitars, ARP Odyssey and the ubiquitous thud of Simmons drums.

Available on the JOHN FOXX album ‘Metadelic’ via Edsel Records

http://www.metamatic.com/


HOWARD JONES Don’t Put These Curses On Me (Kid Jensen 1983)

Having triumphed opening for CHINA CRISIS in Spring 1983, Howard Jones impressed with his first BBC session featuring songs like ‘New Song’ and ‘Natural’ which would be included on his debut album ‘Human’s Lib’. The album title track also featured on the session with its original love triangle monologue intro. But ‘Don’t Put These Curses On Me’ would not be released until 2003, thanks to Jones considering the song unlucky following an equipment breakdown while attempting to perform it on the live Channel 4 TV show ‘Loose Talk’.

Available on the HOWARD JONES boxed set ‘Human’s Lib’ via Cherry Red Records

http://www.howardjones.com/


SIMPLE MINDS The Kick Inside Of Me (Kid Jensen 1983)

By the end of 1983, SIMPLE MINDS were leaning heavily towards more rockist climes with songs like ‘Waterfront’. But for a three song BBC session which also featured a reprise of ‘New Gold Dream’, there was the debut of ‘The Kick Inside Of Me’, a lively track with catchy synth riffs, an infectious bassline and minimal guitar. But come the released version for the Steve Lillywhite produced ‘Sparkle In The Rain’, it had totally been ruined with distorted guitar, overblown drums and yobbish shouting in a pointless attempt to emulate THE SEX PISTOLS!

Available on the SIMPLE MINDS boxed set ‘Sparkle In The Rain’ via Universal Music

https://www.simpleminds.com/


TALK TALK Why Is It So Hard? (Kid Jensen 1983)

This session captured TALK TALK after the departure of keyboardist Simon Brenner but before producer Tim Friese-Greene came on board as Mark Hollis’ writing partner. Showcasing at the time four brand new songs, only ‘Call In The Night Boy’ ended up on the next album ‘It’s My Life’ while ‘For What It’s Worth’ and ‘Again A Game Again’ became B-sides. But most interesting was ‘Why Is It So Hard?’ which was only released in Canada on the ‘It’s My Mix’ EP as an Extended Version and didn’t get a UK release until 1998 on the ‘Asides Bsides’ collection.

Not officially released

https://www.facebook.com/Talk-Talk-Mark-Hollis-12307963901/


VISAGE Questions (Kid Jensen 1983)

With only Steve Strange and Rusty Egan now remaining, VISAGE surprised all by recording a BBC session with new members Steve Barnacle and Andy Barnett, featuring previously unheard songs ‘Can You Hear Me?’, ‘Only The Good Die Young’, ‘The Promise’ and the funky standout ‘Questions’. With a more live feel, there was hope that VISAGE would be able to sustain some creative momentum despite the departure of Midge Ure, Billy Currie and Dave Formula but the eventual over-produced ‘Beat Boy’ album was rotten, marred by heavy metal guitar and hopelessly off-key singing!

Not officially released

http://www.therealvisage.com/


HARD CORPS Metal + Flesh (John Peel 1984)

Despite the patronage of Rusty Egan, Daniel Miller and Martin Rushent as well as a tour opening for DEPECHE MODE, the industrial pop of HARD CORPS did not breakthrough and by the time their only album ‘Metal + Flesh’ was released in 1990, all momentum had been lost. But the gothic tension and edgy energy of their music was perhaps best represented by their BBC sessions for John Peel and Richard Skinner, with ‘Metal + Flesh’ from the 1984 Peel session far outstripping the eventual album title track studio incarnation.

Available on the HARD CORPS album ‘Radio Sessions’ directly via https://hardcorps.bandcamp.com/album/radio-sessions

https://www.facebook.com/hard-CORPS-217860235015406


BRONSKI BEAT The Potato Fields (John Peel 1984)

For an Autumn session before the release of their debut album ‘The Age Of Consent’, BRONSKI BEAT took the unusual step of recording three solo tracks, with the only band offering being a take on ‘Why?’ B-side ‘Close To the Edge’. Larry Steinbachek presented a HI-NRG instrumental ‘Ultraclone’ while Jimmy Somerville offered the acapella ‘Puit D’amour’. But Steve Bronski contributed the most unusual track, a beautifully new age piece called ‘The Potato Fields’ which took its lead from the Japanese composer Kitaro, a version of which ended up as a bonus on the ‘I Feel Love’ 12 inch.

Not officially available

http://www.bronskibeat.co.uk/


FIAT LUX Breaking The Boundary (Kid Jensen 1984)

From Spring 1984 to coincide with the release of their new single ‘Blue Emotion’, FIAT LUX stepped into BBC Maida Vale for a session to demonstrate their diversity and musicality as more than just a synth act. As well as ‘Blue Emotion’, there was its Brechtean B-side ‘Sleepless Nightmare’ and an acoustic version of ‘Secrets’. But best of all was ‘Breaking The Boundary’, a glorious burst of uptempo North European melancholy that did not officially see the light of day until the shelved FIAT LUX album ‘Ark Of Embers was finally released by Cherry Red Records in 2019.

Not officially available

http://www.fiat-lux.co.uk/


ERASURE Who Needs Love Like That? (Bruno Brookes 1985)

With ERASURE, Vince Clarke had found himself back to square one after YAZOO and THE ASSEMBLY. Recruiting Andy Bell as the flamboyant front man capable of falsetto and creating the vocal tones of Alison Moyet, ‘Who Needs Love Like That?’ did sound like a YAZOO outtake and in this BBC session recording, was busier and more percussive than the already released single version. While ERASURE were not an instant success, the song did eventually chart on its remixed re-release in 1992.

Available on the ERASURE deluxe album ‘Wonderland’ via Mute Records

https://www.erasureinfo.com/


PET SHOP BOYS A Powerful Friend (John Peel 2002)

John Peel was not a fan of PET SHOP BOYS or much synthpop for that matter, so it was a surprise when Neil Tennant and Chris Love did a session for him using the back to basics approach that they had adopted for the ‘Release’ tour with guitars, bass and percussion in the line-up. But the bonus for fans was that two of the songs recorded ‘If Looks Could Kill’ and ‘A Powerful Friend’, which had been written in 1983 and shelved, were specially revived for the occasion. Both numbers were particularly energetic with the latter even featuring very loud rock guitars!

Available on the PET SHOP BOYS deluxe album ‘Release: Further Listening 2001 – 2004’ via EMI Records

https://www.petshopboys.co.uk/


Text by Chi Ming Lai
2nd January 2021

THE SHOCK OF THE FUTURE – LE CHOC DU FUTUR

1978: Un nouveau son arrive…

Dedicated to the female pioneers of electronic music Clara Rockmore, Wendy Carlos, Daphne Oram, Delia Derbyshire, Éliane Radigue, Laurie Spiegel, Suzanne Ciani, Johanna Beyer, Bebe Baron, Pauline Oliveros, Else Marie Pade and Beatriz Mercedes Ferreyra, ‘The Shock Of The Future’ or ‘Le Choc Du Futur’ is a wonderful independent French film celebrating the synthesizer.

Set in Paris 1978, ‘Le Choc Du Futur’ depicts a day in the life of a young fictional female synth musician Ana Klimova, following her fortunes as she struggles with creative blocks, networking, recognition and self-doubt, while also documenting the random happenings which spark her creativity.

A Bohemian elfin-like figure in the vein of Francoise Hardy or Jane Birkin, Ana Klimova is charmingly played by Alma Jodorowsky whose own family dynasty in cinema spans three generations. Her character uses electronics to make what she considers to be the music of the future, as she attempts to make herself heard in an ambivalent and lecherous male-dominated industry with its systemic patriarchy.

‘Le Choc Du Futur’ is the first film and screenplay by Marc Collin of NOUVELLE VAGUE, a musical project that has released five albums of new wave and synth covers rearranged in a continental longue bossa nova style; songs like ‘Just Can’t Get Enough’, ‘Don’t Go’, ‘Fade To Grey’, ‘A Forest’, ‘Say Hello Wave Goodbye’ and ‘Blue Monday’ have been amongst those getting the treatment. During that time, Collin has been notable for discovering female singing talent.

One of them has been Clara Luciani who sang on NOUVELLE VAGUE’s reinterpretation of ALTERED IMAGES’ ‘I Could Be Happy’ and she plays the role of the singer who is the voice of the film’s central tune ‘Future Shock’, composed by Collin himself.

In order to keep costs to a minimum, Collin directed ‘Le Choc Du Futur’ primarily as a chamber drama. Most of the scenes take place in a city apartment which is also the home studio of a famous musician Michel Manitovski who Ana appears to be housesitting for, with the benefit that she can use his collection of expensive synthesizers.

As two of France’s major electronic exponents of the period, the music of Jean-Michel Jarre and Cerrone feature prominently at the start of the film as historical context, with Ana innocently dancing along in just her T-shirt to ‘Supernature’ before chilling to ‘Oxygene 1’ as inspiration while getting down to work.

Working as a home masseuse to make ends meet, Ana however is focussed on making electronic music like a female Jean-Michel Jarre, much to the dismay of her manager Jean-Mi who has advanced her 1000 Francs to produce music for an advertising commission that he has got her.

As far as the acting is concerned in terms of playing synths and operating modulars or sequencers, Alma Jodorowsky is way more convincing than say Andy Fletcher of DEPECHE MODE. With her expressions and eye movements, she is compelling to watch as the viewer witnesses the start-stop-start nature of electronic composition. In these scenes, it is synth porn galore, with a Yamaha CS-80, ARP 2600, ARP 1601 sequencer and Moog modular units from the IIIP and Model 10 series figuring in the gear set-up.

But it’s when Ana finds one of the modules develops a glitch and calls an engineering boffin named Herve to help, that her Eureka moment happens. He has with him a Roland CR-78 Compurhythm and when it is demonstrated to her how it can sync with her ARP Sequencer, she can foresee her own future in electronic pop! Ana pleads with Herve to let her borrow the machine and he relents, despite his request for a kiss not being satisfied.

Jean-Mi is less convinced though and when Ana enthusiastically declares her vision of “dancing with atoms”, “moving with electronic circuits” and “a dance for oscillators”, her manager sceptically snorts “I know what a stupid beatbox is for. You think it’s going to replace a live drummer? The sound? The energy? You believe there won’t be studios anymore? Musicians? There’s just gonna be this poor guy alone doing music in his home?” – well, yes!

As Jean-Mi demands the return of his advance, Ana enters an existential crisis but her fortunes change with the arrival of a session singer played by Clara Luciani who turns up for the advertisement session that our heroine has forgotten about.

Together they collaborate on some chic disco synthpop that comes over rather like CHROMATICS meeting a deeper MARSHEAUX under the influence of Galouises smoke. While stoned, they talk about using the name CHAPI CHAPO, after a cartoon they are watching! The pair decide to premiere their track ‘Future Shock’ at a party that Ana is throwing, to which Dominic Giroux, a producer from the prestigious real-life label Barclay Records has been invited.

The party goes down a storm with its hip eclectic playlist, as does ‘Future Shock’ which has all of Ana’s friends and associates dancing and applauding. But as Giroux prepares to depart, Ana nervously asks the producer for feedback, although he seemingly becomes more interested in another lady present.

Despite being told “there’s something there”, Giroux shatters Ana by dismissing her potential, stating “I’m afraid there is no market for such music in France”. In despair, her friend Paul takes Ana for a walk to assure her that her work is valid and to maintain her artistic integrity while “what matters in life is not how many times you fall, it’s how many times you get back up”.

To this end, Paul uses his music industry contacts to arrange a visit to a recording session by Corine who complete with her trademark blonde curly mane, plays a character named and based on herself in a bit of timewarp dramatic licence. Here the real life pop starlet tells Ana that the producer from Barclay doesn’t know what he is talking about and gives her encouragement to persist. Loving Ana’s concept of electronic disco, the two swap contacts in anticipation that they might become future sisters in arms.

Nominated for ‘Best Feature Film’ at the Torino Film Festival 2019, ‘Le Choc Du Futur’ captures the beauty of the synthesizer, providing a seductive and uplifting 100 minutes that offers a snapshot of a developing popular culture, while also focussing on female empowerment and passion for music. Although the film’s storyline might be a bit too basic and niche for some, it is made with love and will be immensely appealing to synth enthusiasts for its observations on the creative process and the battles against the rockist real music fraternity.

Meanwhile the soundtrack presses all the right buttons. Most will be able relate to the scene when Ana’s seasoned New York mentor visits her for one of their regular new music listening sessions and plays THROBBING GRISTLE ‘United’, THE HUMAN LEAGUE ‘Dance Like A Star’ and the cosmic collage of AKSAK MABOUL ‘Saure Gurke’ to her for the first time. However, there will be amusement as Ana gives a muted response to ‘Frankie Teardrop’ by SUICIDE which she feels is “too rock”.

While ‘Le Choc Du Futur’ does not speculate as to how Ana Klimova’s musical career may have panned out, it her story is inspirational and although it is fictional, her electronic revolution inside her head did become real.


‘The Shock Of The Future (Le Choc Du Futur)’ is available in Europe via 606 Distribution as a PAL DVD in French Language with English Subtitles only from https://606distribution.co.uk/shock-of-the-future/

The North American NTSC DVD edition is released by Cleopatra Records, available via https://www.amazon.com/ or direct from https://cleorecs.com/store/shop/le-choc-du-futur-the-shock-of-the-future-dvd/

The soundtrack to ‘‘Le Choc Du Futur’ is released by Kwaidan Records via the usual digital platforms

https://www.facebook.com/TheShockOfTheFuture

https://open.spotify.com/album/5yavHHosSDSpKkqCe7SfMj


Text by Chi Ming Lai
21st November 2020

INTERNATIONAL TEACHERS OF POP Pop Gossip

After an excellent debut album featuring great songs such as ‘Age Of The Train’, ‘After Dark’ and ‘The Ballad Of Remedy Nilsson’, INTERNATIONAL TEACHERS OF POP bring more of their danceable synthy togetherness to the safety of your own home with some ‘Pop Gossip’.

Sheffield veterans Adrian Flanagan and Dean Honer of THE MOONLANDINGZ, along with vocalist Leonore Wheatley have added her primary school mate Katie Mason to take up the space vacated by THE HUMAN LEAGUE since Oakey, Catherall and Sulley opted for the lucrative if not artistically challenging nostalgia circuit.

Having co-produced THE HUMAN LEAGUE’s ‘Credo’, Dean Honer has steered the staff room to put into realisation the kind of album Oakey and Co should have been making in the first place.

In celebration of the local Ritzy, opening tune ‘Don’t Diss The Disco’ squiggles in the bass department and wonderfully recalls handbags piled on the dancefloor with a few more energetic hooks than can be found on the latest ERASURE album.

Taking in the serious subject of misogyny and #MeToo, ‘Gaslight’ utilises a prominent offbeat and a chorus out of THE HUMAN LEAGUE songbook. With a more ironic approach on a similar gist “cos you’re an arseh*le”, the bouncy dancehall of ‘I Stole Yer Plimoles’ featuring Jason Williamson of SLEAFORD MODS may not be for everyone, but its sardonic nature encapsulates the departed spirit of YOUNGER YOUNGER 28s, a Northern English band from before the turn of the century who also owed a small debt to THE HUMAN LEAGUE.

But the moodier synth excursions of ‘Flood The Club’ recall the early avant pop phase of THE HUMAN LEAGUE set to a more metronomic beat and there’s even a subtle air of Eastern Promise attempting to break through amongst the cleverly chopped-up and manipulated vocals.

Meanwhile, the laid back approach of ‘A Change’ isn’t far off being an R n B soul ballad in the vein of ROSE ROYCE (or for younger listeners BRANDY) and it adds a new string to the bow of INTERNATIONAL TEACHERS OF POP.

Recalling the topline phrasing of ‘I Feel Love’, Katie Mason makes her lead vocal debut on ‘Prince (The Final Wheelie)’, a wonderful electronic disco tribute to The Purple One rather than Harry although HRH and his missus are the subject of the album’s closer ‘The Tower’; that provides the brilliant uptempo album closer and amusingly imagines Queen Elizabeth II telling her Beefeaters to “Take them to The Tower, it’s a beautiful day, take them away!” like a future scene from series 6 of ‘The Crown’.

On ‘The Red Dots (Dirty Mind)’ , the verse of comes over like Joanne Catherall singing lead for THE HUMAN LEAGUE for the first time, while the sub-two minute ‘Beats Working For A Living (For Martin)’ is more experimental with pulses in portamento and glitchy voices all in unison.

If you got an ‘A’ grade in German O level, then you will know ‘Ein Weiterer Stein In Der Wand’ is PINK FLOYD’s ‘Another Brick In The Wall’ sung in Deutsch before even playing it. A bold statement on the state of the nation and Brexit, Adrian Flanagan said: “I hope that statement is ‘I hate PINK FLOYD but love KRAFTWERK’ and / or – ‘I hate you but love the EU’”.

Brilliantly sparkling and thumping in keeping with its title, ‘Femenenergy’ is a younger cousin of ‘After Dark’ but there’s nowt wrong with that! A tribute to Patrick Cowley and Sylvester James via a female empowerment take on ‘Menergy’, this is a fine example of INTERNATIONAL TEACHERS OF POP continuing the fine tradition of Northern English synth.

A natural progression, if you loved the ‘International Teachers Of Pop’ debut, you will love ‘Pop Gossip’. No complaints, no issues, this record is a reminder that the halcyon days everyone has missed over the last few months will return and in the interim, acts as an aural cuddle for the masses.


‘Pop Gossip’ is released via Desolate Spools in CD, vinyl LP and download formats

INTERNATIONAL TEACHERS OF POP’s 2021 UK tour includes:

Manchester Yes (12th February) Edinburgh Sneaky Pete’s (13th February), Glasgow Broadcast (14th February), Leeds Headrow House (15th February), Birmingham Hare & Hounds (16th February), London Moth Club (17th February), Bristol Rough Trade (18th February), Sheffield The Leadmill (19th February)

https://www.facebook.com/internationalteachersofpop/

https://twitter.com/teachersofpop

https://www.instagram.com/international_teachersofpop/


Text by Chi Ming Lai
28th August 2020

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