Tag: The Normal (Page 1 of 2)

LISTENING TO THE MUSIC THE MACHINES MAKE Interview

‘Listening To The Music The Machines Make’ is a new book that tells the story of the Synth Britannia generation, an unlikely melange of outsiders, pioneers and mavericks who took advantage of affordable music technology to conquer the pop charts in the UK, Europe and even America.

Written and assembled by Richard Evans, his high profile roles have included the establishment of the This Is Not Retro née Remember The Eighties website and working with ERASURE on their internet and social media presence.

He has conducted years of extensive research to document the synthpop revolution that began from a British standpoint in 1978 with THE NORMAL and THE HUMAN LEAGUE before TUBEWAY ARMY took this futuristic new sound to No1 with ‘Are Friends Electric?’.

Using the subtitle ‘Inventing Electronic Pop 1978 – 1983’, while the book primarily sources period archive material, additional input comes from Neil Arthur, Dave Ball, Andy Bell, Rusty Egan, John Foxx, Gareth Jones, Daniel Miller and Martyn Ware. Meanwhile, Vince Clarke contributes the foreword while a third verse lyric from the ULTRAVOX song ‘Just For A Moment’ provides the book’s fitting appellation.

A conversation between two kindred spirits, Richard Evans and ELECTRICITYCLUB.CO.UK spent an afternoon talking by the window as the light fades about electronic pop’s musical impact and enduring cultural influence, despite the massed resistance to it back in the day.

For this book, you’ve focussed on 1978 to 1983, some might say it should be 1977 to 1984?

I knew roughly what I wanted to cover and my lofty ambition for the book was to create a document of all the most important records, artists and events that created this shift in pop music. Until this specific generation of people started messing around with keyboards without any musical knowledge, adopting that punk rock attitude with this new instrument, it wasn’t until that point that I felt that this story really started.

I looked at all the records I wanted to talk about and at the beginning, there’s relatively few. But the important ones for me were THE NORMAL ‘TVOD’ / ‘Warm Leatherette’ and THE HUMAN LEAGUE ‘Being Boiled’. In fact, ‘Being Boiled’ was my key one and an early version of the book had the subtitle ‘From Being Boiled To Blue Monday’; I thought that sounded quite snappy and explained what the book covered. But then Daniel Miller said to me “You do know ‘TVOD’ / ‘Warm Leatherette’ came out before ‘Being Boiled’?” *laughs*

So the book had to be specific and start around 1978. Then at the other end, it was because of ‘Blue Monday’. By the time late 1983 comes around, the electronic pop that I have been writing about over this 5-6 year period starts to become indistinguishable from everything else in the charts. All the pop stuff, all the soul stuff, all the American stuff that was coming in, it all had the same sequencer and drum machine sounds, the same production techniques… you could almost not quite work out what was electronic and what wasn’t electronic anymore and ‘Blue Monday’ worked well as a track that was pointing forwards to everything that came next.

By starting at 1978, you are specifically highlighting the start of that British wave because before that, it’s international with bands like KRAFTWERK and SPACE as well as Giorgio Moroder and Jean-Michel Jarre…

That’s absolutely right. There is a brief section at the beginning within the context of the whole book that joins together some of the dots, things that people were taking in their early electronic experiments. Things that Vince Clarke was listening to like SPARKS, things that OMD were listening to like Brian Eno, things that THE HUMAN LEAGUE were listening to like Giorgio Moroder.

Although punk was a driving force for this, the actual punk music wasn’t that interesting to any of them because it felt like music they already knew, whereas they felt these new sounds were something that were unknown to them at that point. The tapestry of their influences  was so broad that they would bring in elements of progressive rock, Jean-Michel Jarre and even ELP, putting that in with disco, the German stuff and even the quirky little novelty records like ‘Popcorn’, to create this whole new melting pot.

I’m old enough to have lived through this era, what about you?

This was the first music that felt like it was mine. I grew up in a household where there wasn’t any music, my parents weren’t fans of pop music at all. In a way, that was really important because any music that I found was mine, it wasn’t handed down to me or curated for me. I am the oldest of my siblings so I didn’t have anyone playing stuff in their room that I could hear. Sometimes I would find stuff that was terrible because you make those mistakes.

I started senior school in 1979 so it was really at that point where I became aware of music and its possibilities. But earlier than that in 1977, I was brought up in Chelmsford in Essex and I can remember being in town on a Saturday, seeing the punks hanging around in the shopping centre and I thought they looked brilliant. It was so exciting, they were like scary but otherworldly and I thought they were amazing. When I started senior school, some of those punks were in my school, they were actually kids… in my perception, they weren’t that and were completely ‘other’! I realised I was not so distant from these things *laughs*

You’ve mentioned ‘Being Boiled’, ‘TVOD’ and ‘Warm Leatherette’, but which was your epiphanal moment were you realised you were an electronic pop fan? For me although I had bought ‘The Pleasure Principle’ by Gary Numan as my first album, it wasn’t until I heard OMD ‘Messages’ that I considered electronic music to be my thing…

I don’t know if I have an actual moment to be honest… I realised quite late that I’ve never particularly characterised myself as an electronic music fan, certainly not in the 80s. Looking back, I can see that the things I was listening to and responding to, always had a really strong electronic core. Even if they were rock things like ’Owner Of A Lonely Heart’ by YES which was produced by Trevor Horn, I was obsessed. I was listening to things like ‘The Message’ and that sort of hip-hop stuff… it wasn’t quite electronic music but it had element of precision running through it. Everything I was liking had this common electronic genesis.

One thing that your book does unashamedly focus on which I am pleased about, is that it focusses on the “pop” in electronic pop… other books about electronic music in the past have been a bit “too cool for school”

Absolutely, that’s completely true. I find it really strange because only quite recently has it been ok to be into “pop music”. Like you say, there’s a stigma towards it, that it’s not “proper music”, that you are not a proper music fan if you listen to it, but a victim of some sort of a commercial heist! *laughs*

I think that electronic pop in this period is so crucial in the development of music, and it was just time for someone to tell the story. I’d been working on the book for a few years and the whole time I thought “someone is going to do this, someone is going to do this before me!” *laughs*

With this book, you opted to reference archive material rather than talk to the stars of the period in the present day?

My idea for the book was to tell the stories of all the bands and releases of that synthpop generation who took music in a whole new direction. Because of what I do in my working life, I am very fortunate in that I have access to a lot of people who were the original protagonists in this story. So I thought I could get in touch with them and job done. I also have a shelf full of music autobiographies and I’m sure you have too! *laughs*

There are loads out there but it was while reading those that made me realise that those stories didn’t always quite marry up. There are two reasons for it; one is this period started 45 years ago, you’re not going to remember these details. Two, these stories have been told so many times that they lose their resonance and the facts just change a little bit to make everything look better or to fit with someone else’s narrative.

Ah yes, legend now accepted as truth like Wolfgang Flür saying OMD came backstage to meet KRAFTWERK in 1975 when they didn’t actually exist at the time…

It’s really easy to say in 2022 that DEPECHE MODE were always going to be a huge band, but in 1981 when there was none of the weight of that knowledge. They were a brand new thing being judged entirely on their first forays into electronic music, it’s a very different way of looking at the music and the people who made it. I realised it wasn’t going to be particularly useful to go to the original people and say “tell me that story again” because they’ve told it that many times that they probably aren’t really feeling it and it gets reshaped over the tellings.

So what I decided to do was go back to the music press of the day. I went to The British Library which is a fantastic resource, it’s one of my favourite places. I looked at all the NME, Sounds, Melody Maker, Record Mirror, Smash Hits, The Face, New Sounds New Styles from 1978 to 1983, everything I could lay my hands on that was music or popular culture related.

I went through all these things, page after page after page and every time I saw something that I attained to this story like a news item, review or interview, I took a photo of it on my phone. I ended up with thousands of photos and it was like a box of jigsaw pieces. Each of these photos was part of a story. Then the writing bit came in stringing these things all together and turning them into this story from all those different perspectives layered on top of each other. Hopefully, that would give it a rounder and more accurate picture because they were the opinions of the time and what the people who made the music were saying about it, without the weight of history that they carry today.

What this book captures and reminds people of, is the viciousness and hostility towards electronic pop from the music press during the period, which perhaps contradicts the rose-tinted view that some fans have of the time now…

It’s really quite strange to read through these original accounts of what was happening, but it’s not so strange in retrospect. At that point in time, punk had just happened and had been quite profitable for the music industry and press, the whole black and white aesthetic fitted very well with the way they presented their material.

There was also this new generation of journalists like Nick Kent and Julie Burchill who were quite vicious with this punk rock attitude which was probably quite exciting at the time. Punk was a very short-lived thing, so they found themselves having to move in different directions and I think there was a resentment that it happened from the media. I think there was a snobbishness which we’ve already touched on that this really wasn’t “proper music” because it was machines, these bands hadn’t paid their dues, they hadn’t picked up the guitar, they hadn’t done the toilet circuit playing to 3 people and a dog, being spat on and having their van stolen, all that kind of thing that supposedly makes you a worthy musician.

So none of these things had quite happened with these electronic pop bands and the music press didn’t know what to make of it. So they could choose to either embrace it as the next big thing, or they could reject it, and many rejected it roundly so…

Can I tell you some irony about Nick Kent’s then-stance? His son is PERTURBATOR, the synthwave star!! But in amongst all this journalistic antagonism, there was one bright light and that was Beverley Glick who wrote as Betty Page in Sounds, a female journalist championing the likes of DEPECHE MODE, SOFT CELL, DURAN DURAN, SPANDAU BALLET, VISAGE and JAPAN in a male-dominated profession…

She absolutely was and she was the voice that was the breath of fresh air throughout all of this. She was young and she interested in “the new”. In the same way the older journalists were looking for something to call their own, so was she; but her frame of reference was markedly different from theirs. She found it in what they were rejecting and it probably didn’t do her many favours within the profession to be this person until the tipping point happened. The success started to happen with people going “oh, all the Betty Page bands ARE the new wave, they ARE the new pop royalty…”

I hope it was a nice moment for her. In 1982 I think, she changed papers and went to the short-lived Noise magazine and then Record Mirror… hopefully, that was in recognition of her being a leading light in this particular movement.

You’re right to say she was probably among the first journalists to talk to DEPECHE MODE, certainly one of the first to talk to SPANDAU BALLET, to SOFT CELL and JAPAN… she was very vocal and very reasoned. Also reading her, I liked her… I’ve never met her or anything but I liked her style, she wrote a lot like a fan so she wasn’t out there grinding her axe in attempts to look clever, lofty and intellectual. She was reporting the way she was responding to the things she was exposed to and that felt much more interesting and real to me.

The SPANDAU BALLET versus DURAN DURAN thing has been well documented, but what about SOFT CELL versus DEPECHE MODE?  They were both on the ‘Some Bizzare Album’ but in 1981, SOFT CELL were rated higher than DEPECHE MODE, any thoughts?

The ‘Some Bizzare Album’ was incredibly prescient and also not quite, because in the increasingly chaotic and strange world of Stevo who was behind it, he was very opinionated but also very passionate. He was playing these sorts of records before anyone else, he was pre-Rusty Egan in terms of the electronic records on the decks. He was interested enough to start his Electronic Party nights at the Clarendon in Hammersmith, putting on people like FAD GADGET.

So he came up with this idea to do the ‘Some Bizzare Album’ and reached out to 12 bands; his hit rate was so great, he had DEPECHE MODE, SOFT CELL and BLANCMANGE on there, the three of them alone were enough to shape the new generation.

I think SOFT CELL had more of an edge, their image was a lot more together, they looked meaner and a little bit more credible I suppose. Because they had a more credible background and came from art school, in that journalistic way that you have to pay your dues, you have to go through a cycle of things before you’re allowed to call yourself an artist, I think SOFT CELL had more of that. They had more of a concept, they were more artistic and harder edged. DEPECHE MODE came along and were err, just quite sweet…

Yeah, well, they’d just come from Christian camp… apart from Dave! *laughs*

That’s right, their Boys’ Brigade uniforms were probably still hanging in their wardrobes when they were off to do ‘Top Of The Pops’! So they had come from a very different place, they were a little bit younger, they didn’t have that art school background, they’d met at school and messed around in bands. Vince Clarke decides he wants to put this band together who would be a bit like THE CURE, and when Vince starts to put together the bones of what becomes DEPECHE MODE, it seems he’s incapable of writing songs like THE CURE; his aesthetic and musical vibe is entirely pop so he churned out what people termed “bubblegum”.

This term “bubblegum” is in almost every review of DEPECHE MODE’s early works, especially the ‘Speak & Spell’ album. Because of that, they appealed because they were SO pop, but because they were SO pop, they weren’t in the same credibility bracket as someone like SOFT CELL.

Talking of “synthesizer image”, was that important to you as in the equipment that was used and the way it looked on ‘Top Of The Pops’, like when John Foxx appeared with four Yamaha CS80s for ‘No-One Driving’ or ULTRAVOX doing ‘The Thin Wall’ with two Minimoogs, an ARP Odyssey, an Oberheim OBX and much more or Gary Numan’s first TV performances? This was a thing for a while although there would be a backlash later on, like when OMD appeared with a double bass, sax and xylophone for ‘Souvenir’!

I think it was, but in a different way to you. I’m much less technology focussed, I don’t play music, I’ve never picked up a synthesizer, I don’t know my Korg from my Moog from my Wasp. I could never do Vintage Synth Trumps for example *laughs*

Having said that, the aesthetic was really important to me because it felt so different and new. It surprised me in the preparation for this book when looking at the line-ups for ‘Top Of The Pops’ around this period and seeing how unbelievably straight and staid and dull so many of the bands that were coming through from the 70s still were… glam rock aside, they were almost imageless…

Like RACEY and THE DOOLEYS? *laughs*

Yes! Lots of terrible clothes, bad beards and long hair, it all seemed very soft and safe! Now when the electronic bands started coming through, they came with this aesthetic with the keyboards and it looked fantastic. But they also had this new look, they were smarter, had these interesting haircuts and they looked so different. For me, the thing that was most marked about their performances was the sound itself. It was something that I’d never heard before, those noises were SO new and SO modern!

One of the best things about this era was how these weird avant pop songs could enter the charts, they were classic songs but presented in a strange way with these sounds and boundaries were pushed… as much as I embrace this period of music, I always felt when it all crossed over into the mainstream in 1981, I don’t think it was on the cards and kind of a fluke…

I don’t think it was on the cards either… I think everyone was surprised and backfooted by it, particularly the major labels who struggled to keep up with it, in exactly the same what they had struggled to keep up with punk! They came to the party too late and signed all the wrong bands and were saddled with this legacy that they had an obligation to support what was going on, and that’s the point when everything started to become much less interesting.

In terms of the avant pop, I think it was to do with perspective. I think being of the generation that we are of, I think because we were coming of age at that time, it felt we were like a new generation and new things were happening at the time, not just in music but also politically and technologically with computers. So all of these things were happening at once and suddenly the future felt possible and then this music happened at kind of the same time and it felt like the perfect soundtrack to this possible future.

So, I’m going to throw a controversial question at you, in the context of 1978-1983, which is the most important record label out of Virgin and Mute? *laughs due to pause*

… I think creatively, it’s Mute but commercially it’s Virgin.

When I get into this discussion with anyone, I always say Virgin because although they were more established and successful commercially later in this period, they did actually take chances with acts like THE HUMAN LEAGUE, JAPAN and SIMPLE MINDS…

They were both incredibly important and I wouldn’t know who to back in a fight! *laughs*

This is why I wanted to talk about this in the context of 1978-1983 because thanks to some of the business choices that Richard Branson has made over the years which have upset people, the Virgin name has been tarnished as far as their contribution to music is concerned. Meanwhile history has seen Daniel Miller come out smelling of roses. An interesting thing about Virgin in 1980 was that they were close to bankruptcy.

I have heard that and was aware that Virgin did have all sorts of money problems at that time.

One of the things that irked Branson in particular was how OMD were the biggest selling act in the Virgin group in 1980 via the Dinsdisc subsidiary. This had embarrassed him so ultimately he was keen to see Dindisc fall apart so that he could get OMD for the parent company…

Yes, this situation impacted on the bands that we are talking about, there were pressures on people to be more commercial when one of the reasons that they were attracted to Virgin in the first place was so that they could be less commercial should they choose to be.

But then, those pressures were happening within the bands themselves, THE HUMAN LEAGUE are a great example of this. They went in to be wilfully uncommercial and yet they always had that commercial edge, they stated their intent to be a combination of disco and KRAFTWERK. Although they loved being the conceptualists and the renegades with their Machiavellian feeling that they were infiltrating the music industry from the inside, they were starting to feel dissatisfied that their efforts so far hadn’t really crossed over in the way they felt that they deserved to.

So the two things in tandem, the bands wanting to make more of a mark and wanting the recognition that came with that, plus Virgin’s financial situation which meant they needed bands to step up and start making more commercial records, was actually a very powerful moment in shaping some of the most important records in Virgin’s catalogue I would say.

In this 1978-1983 period which you cover in the book, is there a favourite year and if so, why?

Good question! I don’t specifically, it hadn’t occurred to me until you asked, but I think from a writing point of view, the earlier years were the most interesting to me because in 1978, I was 10 so I wasn’t really aware of these things. Lots of these records, I didn’t really hear until later and some much later… one or two of them, and I’m not confessing which ones, I didn’t even listen to until I started writing the book.

So from my point of view as a fan of this music, then 1978 would probably be the most interesting year because it provided me new material to listen to that I hadn’t heard before.

The book talks about a lot of acts who are basically canon now and many of them are still performing in some form or another. But is there an underrated act for you from this period?

For me, I would say YELLO; they were making really challenging and innovative records, they were visually interesting, they had all the bases covered. They gave great press but for whatever reason, it took quite a long time for them to break through into the mainstream and even then, it was only because their music was used in other contexts like films. They were a band who I had underappreciated previously, but have got to know much better through the course of writing the book. They should have been much bigger than they were.

Your book cuts off at 1983 and that’s for the context reasons rather than stopping liking music. But Simon Reynolds said in ‘Synth Britannia’ that it was Howard Jones that made him feel that electronic pop was now no longer special and part into the mainstream… was there a moment when this music changed for you?

I don’t think I have a moment for that, my musical church is quite broad and I’ve never been very over-intellectual about my music tastes, it’s like “I do or I don’t”. Howard Jones came in with a different take on the form and actually, I loved Howard Jones so from my point of view, my love of electronic pop did continue. It blurs and like we talked about earlier, lots more things were interesting in different directions and also taking some of this electronic sensibility into it. They may well have been more interesting to me at the time. However, I was perfectly prepared to accept Howard Jones and the later electronic acts.

After 1984 and then into the new decade, a lot of people were trying to kill off electronic pop, especially around Britpop but was there a point later, and this might tie in with Remember The Eighties, when you thought “this stuff has value and people are liking it again”, that there might actually be a legacy?

You are kind of right that the start of Remember The Eighties came from that.

The site was born of a conversation I had with an 80s artist; in my working life, I build fan bases and work for bands, I’ve done this for quite a long time. This artist came to me and said “I’m thinking of doing some new material but I don’t know if I have an audience anymore. If I do have an audience, I don’t know how to reach them”… the reason I’m saying “an 80s artist” is I felt that this particular person didn’t really have an audience anymore, and to find that audience if it was there at all, would be very time consuming for very limited return.

But I started thinking “wouldn’t it be great if there was one place that people could go, people like me who remember the 80s (*laughs*) fondly and could find out what all these people are doing today?”. The strange thing was I was never really interested in it being retro, it was always about today’s news from those bands, I thought “that’s a good idea”. I was learning to build websites at the time and it was early days in all that. I had some time so I just decided to do that, put up some stories and waited to see what happened.

It became something quite successful and partly that was because the whole 80s rediscovery hadn’t happened. Like you said, the 80s came with a bad rep at that point in time and imploded quite messily with lots of non-credible aspects emerging and dominating it. It had eaten itself almost. But the timing just happened to be right and all of a sudden, there were PR companies coming to me saying “Thank goodness you’re there!” because they had nowhere to go with these artists they were representing. So they were asking if I would like to interview then and I was like “Yeah! Great!” *laughs*

That was how the website started so yes, I guess that was the moment for me in 2001-2002. It suddenly felt like these bands had a new cache. I’d invested so much of my myself and spent so much of my money in my teens in their music, that it wasn’t such a big jump to continuing that support of them 10-15-20 years later. The investment was already done, it was more like picking up the story.

For me, it was like 1998, DURAN DURAN had the ‘Greatest’ CD out and were touring, OMD had a new singles compilation and CULTURE CLUB had reformed for shows with THE HUMAN LEAGUE and ABC supporting… but I think it took a long time for something to develop. I don’t think it was until DURAN DURAN reformed the classic line-up with the three Taylors in 2004 and then the OMD classic line-up reunion in 2007 that things got properly kick started… I think it took a while because of the age of the audience, people had mortgages and kids in primary school!

You’re right, it was like a stage of life, you need time to reconnect with the person you used to be.

Your book captures a period, I don’t know if you listen to much modern day pop, but do you think there is an electronic pop legacy today, whether direct or indirect from this 1978-1983 era? The act I’m going to highlight is THE WEEKND…

I definitely do think there is a legacy. I’m not great on contemporary electronic music, the things I hear about, I tend to hear about from ELECTRICITYCLUB.CO.UK and that’s fantastic. I use Spotify a lot and the suggestions function is quite powerful as well. From a sonic musical point of view, I can totally see these bands are referencing things that happened during the period I have written about in the book.

Everything seems to go on cycles but at the moment, in the last year or so, it feels like there’s been a return to a starkness, a certain simplicity of sound. I’m not denigrating it because I think it’s a very effective way of presenting sound. It feels there’s been a period where everything and the kitchen sink has gone into electronic music and its gradually being pared away to a point where the instruments and sounds are getting a bit of space to breathe. It feels like the same sort of sounds that I started responding to on ‘Top Of The Pops’ when we first saw DEPECHE MODE and SOFT CELL.

Although THE WEEKND isn’t strictly an electronic pop artist and more of a one man compilation album who dips in an out of styles like Ed Sheeran (whose own synthpop track ‘Overpass Graffiti’ incidentally is very good even though it rips off ‘The Boys Of Summer’), there was this song THE WEEKEND did called ‘Less Than Zero’ which is exactly what you’ve just described. We mentioned underrated bands and I would say this track sounds like NEW MUSIK…

That’s a great choice actually…

NEW MUSIK have been popping up on these Cherry Red boxed set collections and its obvious now with the passage of time that they were pretty good! They were dismissed as a novelty act back in the day because they had silly voices in the songs, but there’s a crucial connection with that track by THE WEEKND in that there’s gently strummed guitar alongside all the pretty synth stuff. NEW MUSIK’s leader Tony Mansfield went on to produce most of A-HA’s debut album ‘Hunting High & Low’… although A-HA are outside of the scope of your book, they can be seen as the bridge between your book and modern electronic pop like THE WEEKND’s ‘Blinding Lights’…

That’s true, I think A-HA are a really important band and yes, they are not in the scope of the book but if they could have been, I would have been delighted to include them because their canon is quite ambitious and wide-ranging.

Is there another book of this type to cover the later period on the cards at all?

No, I don’t have another book project at the moment. I only actually finished writing this book in July. Naively, I thought you just hand your book in and six months later they hand you a copy. But the process of going through all the edits, the photos, getting the artwork and style right, it’s been quite intense. It’s been quite a challenge to balance it with what I’m doing workwise.

Are there any ideas for a future book?

There are a couple of people who I have come to recognise that they played much bigger roles in this story and in some other stories as well than they are given credit for. But it’s going to take a bit more research in those directions to find out whether there’s a book’s worth of material.

Is an ERASURE book an ambition?

Obviously I work with ERASURE and individually or together, they are probably approached by publishers 2 or 3 times a year with offers to write or be involved in books. At this point, neither Vince nor Andy feel it’s the right time for them to be telling their story. I think they feel so much of what they have to say is already available and they don’t necessarily want to talk about the things that aren’t, because they are the personal things. So at this point, there is not a specific plan. If at any point, there is an official ERASURE book, then I hope I would be involved in some way.


ELECTRICITYCLUB.CO.UK gives its warmest thanks to Richard Evans

Special thanks to Debra Geddes at Great Northern PR

‘Listening To The Music The Machines Make’ is published by Ominbus Press, available from the usual bookshops and online retailers, except North America where the book will be on sale from 26th January 2023

https://inventingelectronicpop.com/

https://www.facebook.com/inventingelectronicpop

https://www.instagram.com/inventingelectronicpop/


Text and Interview by Chi Ming Lai
3rd December 2022

MUSIC FOR NEW ROMANTICS

The phenomenon of the New Romantics can be said to have begun in Autumn 1978 with the foundation of a “Bowie Night” by Steve Strange and Rusty Egan at Billy’s nightclub in London’s Soho.

The youth movement that emerged aimed to find something new and colourful to escape the oncoming drabness in The Winter Of Discontent. Like Edwardian dandies meeting the Weimar Cabaret with extras from ‘Barbarella’ in between, they did a strange swaying arms dance, so as to not mess up their theatrical bouffanted hair. But after a disagreement with the owners of Billy’s, the pair moved their venture to The Blitz Club in Holborn.

Despite names such as Futurists, The Blitz Kids and The Movement With No Name, it was the term “New Romantics” coined by producer Richard James Burgess that became the widely used press description for this flamboyant group of outsiders. It was to eventually stick on anything from synthpop, art rock and peacock punk to Latin grooves, jazz funk and cod reggae provided the artist wore make-up, zoot suits, frilly blouses, smocks, headbands or kilts. Parallel club scenes developed at The Rum Runner in Birmingham, Crocs in Rayleigh near Southend and The Warehouse in Leeds from which DURAN DURAN, DEPECHE MODE and SOFT CELL respectively emerged.

To celebrate this era in popular culture, Cherry Red Records release an eclectic boxed set entitled ‘Music For New Romantics’. But while it contains some fantastic music, the tracklisting is a confused affair, having been originally conceived around comings and goings of The Blitz Club. It was here that Steve Strange acted as doorman and fashion policeman, while Rusty Egan was its resident DJ providing the soundtrack for a scene which became the catalyst for several bands including SPANDAU BALLET, CULTURE CLUB and VISAGE as well as assorted fashion designers, visual artists and writers.

Everything was centred around fashion-obsessed and some would say self-obsessed individuals; while the story about turning away Mick Jagger is well documented, one of the ironies of Steve Strange’s gatekeeping antics was that he refused entry to Chris Payne, then a member of Gary Numan’s band in 1979; Strange was to have his biggest hit with a song that Payne co-wrote entitled ‘Fade To Grey’ while another refused entry that evening was Ced Sharpley who played the drums on it!

Contrary to legend, the playlists of the various New Romantic establishments did not comprise exclusively of electronic music as those types of tracks were comparatively scarce at the time. So international synthworks from the likes of KRAFTWERK, YELLOW MAGIC ORCHESTRA, SPARKS, SPACE and TELEX sat alongside soundtracks, punk, disco and relatable glam rock tunes by David Bowie, Brian Eno and Bryan Ferry.

Rusty Egan declined to be involved in the collection after initial discussions led to conceptual differences. In the absence of The Blitz Club’s resident DJ who is now planning his own curated collection, one of the regulars Chris Sullivan, who himself ran a similar but less electronically focussed night at Le Kilt in Soho, steps in to provide commentary while the set was put together by the team behind Cherry Red’s ‘Musik Music Musique’ synthpop series and ‘Electrical Language’ boxed set.

‘Music For New Romantics’ comes with three loosely themed discs with CD1 focussing on glam, art rock and early electronic disco while CD2 covers Synth Britannia and new wave. CD3 though is a hotch-potch of soul, funk and electro with SISTER SLEDGE and LIPPS INC being rather incongruous inclusions; with their hit songs being readily available on any ‘Night Fever’ type compilation, there were many more suitable alternatives that could have been considered.

But it is CD2 that most will revel in and the tracklist has no fault as a listening experience. Standards such as the eponymous song by VISAGE, SIMPLE MINDS ‘Changeling’, OMD’s ‘Electricity’, ‘Moskow Diskow’ from TELEX, THE NORMAL’s ‘Warm Leatherette’, JAPAN’s Giorgio Moroder produced ‘Life In Tokyo’, ‘Bostich’ by YELLO, ‘Being Boiled’ from THE HUMAN LEAGUE and THROBBING GRISTLE’s ‘Hot On The Heels Of Love’ are present and correct. But it was SPANDAU BALLET’s ‘To Cut A Long Story Short’ and LANDSCAPE’s ‘Einstein A-Go-Go’ that were to confirm that the New Romantics were able to hit the charts in their own right after Steve Strange’s cameo in Bowie’s ‘Ashes To Ashes’ video.

CD1 features scene heroes such as Iggy Pop, Lou Reed and Mick Ronson, but heroines come in the avant cabaret glamour of Nina Hagen with ‘TV-Glotzer’ and Grace Jones’ reinterpretation of Édith Piaf’s ‘La Vie En Rose’. The most welcome track on this disc though is RAH BAND’s ‘The Crunch’ which all but invented the sexy electro-Schaffel of GOLDFRAPP, while one obscure jewel is ‘The Ultimate Warlord’ by THE WARLORD. And when today’s synthwave fanboys go on and on ad nauseam about how influential the ‘Drive’ soundtrack is, then just throw ‘Chase’ by Giorgio Moroder from ‘Midnight Express’ at them!

Despite being a mess of styles, the highlights of CD3 are Marianne Faithfull’s terrorism commentary ‘Broken English’ and Gina X with the Quentin Crisp tribute ‘No GDM’ which both fit into the avant cabaret category. Although ‘M Factor’, the B-side of M’s ‘Pop Muzik’ was regularly played at The Blitz Club, ‘Everything’s Gone Green’ by NEW ORDER sticks out like a sore thumb… Peter Hook would likely scoff at being considered a New Romantic!

The move towards funk in the New Pop of late 1981 is reflected in ABC with ‘Tears Are Not Enough’ (full marks for using the CORRECT Steve Brown produced single version), HEAVEN 17’s ‘We Don’t Need This Fascist Groove Thang’ (in a rare radio version with the lyric “fascist god” changed to “cowboy god”) and TOM TOM CLUB’s ‘Genius Of Love’. But those who consider New Romantics to be discerning studious types into synth and new wave will find the likes of Coati Mundi and Don Armando extremely alienating; after all, it was THE HUMAN LEAGUE’s Phil Oakey who said to Smash Hits around this time “I hate all trends like all this Ze Stuff”! 

When the New Romantic magazine ‘New Sounds, New Styles’ launched as a monthly publication in Summer 1981 after a promising launch edition, its content was confused with one angry punter later exclaiming via letter: You’re meant to be a Futurist mag so leave all this Latin and jazz funk sh*t out of it!” – with the embarrassing novelty party act MODERN ROMANCE also being lumped in with the New Romantics, it was obvious the rot had now set in. Tellingly within a year, ‘New Sounds, New Styles’ folded…

From 1982, ‘Club Country’ by ASSOCIATES which notably highlighted the observations of  Billy MacKenzie on what he saw as the posey vapid nature of The Blitz Club is a fitting inclusion. Meanwhile as the ‘Music For New Romantics’ essay writer, Chris Sullivan gets to include his own style over substance combo BLUE RONDO À LA TURK with ‘Klactoveesedstein’, a single that came in with a blank at No50 that same year!

Of course, Sullivan went on to establish Le Beat Route and The Wag Club because he loved salsa and was less than enthused about synthpop, highlighting that despite the New Romantics seeming to be a united voice of expression, like any movement, it had its factions. Not featuring in the set, it was another scene regular Marilyn who said on the recent ‘Blitzed’ Sky Arts documentary that “I hated the music, all that electronic crap” while Steve Strange imposed a ban on Gary Numan being played at The Blitz Club, thus prompting Mr Webb’s lines “These New Romantics are oh so boring” in the 1981’s ‘Moral’ and “I like romantics but I don’t like Steven” in 1982’s ‘War Songs’.

A range of key New Romantic godfathers are missing from Bowie to Eno although MOTT THE HOOPLE’s hit take on ‘All The Young Dudes’ makes up for the former while ROXY MUSIC’s ‘Do The Stand’ effectively covers off the latter. KRAFTWERK, YELLOW MAGIC ORCHESTRA and SPARKS are also absent and of the lesser known cult figures, Wolfgang Riechmann undoubtedly deserved inclusion, while New Romantic staples such as ‘Hiroshima Mon Amour’, ‘RERB’ and ‘Magic Fly’ are more preferable to the likes of ‘Funky Town’ or ‘Ai No Corrida’.

Although only a single disc, 2006’s ‘Only After Dark’ compiled by Nick Rhodes and John Taylor of DURAN DURAN based around the music played at The Rum Runner, managed to feature Bowie and Eno as well as YELLOW MAGIC ORCHESTRA and KRAFTWERK so did more with less. While ‘Music For New Romantics’ is flawed and will cause some head scratching, this set is a reminder of those more innocent aspirational times and a scene that DID actually play its part in changing the world.

The Blitz Club’s tenure was short and after vacating it, Steve Strange and Rusty Egan started Club For Heroes and then in 1982 came The Camden Palace; it was the UK’s first modern superclub; music and clubbing were never the same again, and it was not for the better. However, the New Romantics had made their mark.

An elitist movement that was exclusive at its core despite the protestations of some, one amusing modern day legacy of the New Romantics and the Blitz generation in particular is how some try to ride on the scene’s trenchcoat tails, despite the fact that even if they had been old enough to visit licenced premises back in 1980, they almost certainly would have not been allowed in, thanks to the door policy of the man born Stephen John Harrington.

Taylor Swift did a song in 2014 called ‘New Romantics’ and when you google “New Romantics” these days, it’s what often springs up at the top of the searches… but that’s another story 😉


‘Music For New Romantics’ is released by Cherry Red as a 3CD Clamshell Box Set on 25th November 2022

https://www.cherryred.co.uk/product/music-for-new-romantics-3cd-clamshell-box-set/


Text by Chi Ming Lai
5th November 2022

25 CLASSIC SYNTH B-SIDES

It really is the other side of love. B-sides have been a wondrous platform of adventure for the music fan, a hidden treasure trove of experimentation that was often a secret society that positioned the listener into being part of a mysterious taste elite.

So here are ELECTRICITYCLUB.CO.UK’s favourite 25 Classic Synth B-sides… but how was this list defined?

These artefacts are flipsides of vinyl or bonus tracks on CD singles; basically songs that were not featured on the original issue of a full length album, or subsequently included on a new one. However, bonus tracks on later reissues are permitted. With 25 Synth Instrumentals Of The Classic Era being covered in a separate listing, wordless wonders are also omitted. The listing runs up until the start of the 21st Century.

However, there is a limitation of one song per artist moniker in this chronological retrospective, so rare indulgers of the B-side such as HEAVEN 17, JAPAN and SIMPLE MINDS get equal billing with prolific exponents like PET SHOP BOYS, DEPECHE MODE, OMD and ULTRAVOX. That may seem unfair but then life can be unfair…


THE NORMAL TVOD (1978)

Was ‘TVOD’ actually the A-side of this seminal and only release by THE NORMAL which launched Mute Records? But as ‘Warm Leatherette’ is listed at the top of the back sleeve and has moved into legend having been covered by GRACE JONES, LAIBACH and CHICKS ON SPEED, ‘TVOD’ qualifies for this list. With its hypnotic bassline and warbling synth hook, JG Ballard makes his influence heard as Daniel Miller monotones about a dystopian future where television is the new narcotic…

Available on the single ‘Warm Leatherette’ via Mute Records

www.mute.co.uk


TUBEWAY ARMY We Are So Fragile (1979)

In the days when the B-side mattered as much as the A-side, more intuitive purchasers found another gem on the flip of ‘Are Friends Electric?’ with this pounding system of romance. Being the antithesis of the discordant diabolis in musica of the main act, ‘We Are So Fragile’ fused Minimoogs with guitars and a four-to-the-floor beat as the vulnerability of Gary Numan connected with the chilling Cold War dystopia of the times in a musical winter of discontent.

Originally the B-side of ‘Are Friends Electric?’; now available on the album ‘Replicas’ via Beggars Banquet Records

www.numan.co.uk


JOHN FOXX 20th Century (1980)

Commissioned as the theme to Janet Street-Porter’s early youth vehicle ‘20th Century Box’ which gave platforms to two then unknown bands SPANDAU BALLET and DEPECHE MODE, the combination of Foxx’s starkly dominant Compurhythm and ARP Odyssey dystopia were harsh but strangely danceable. However, ’20th Century’ signalled the wind down of the mechanical phase of John Foxx before thawing out and turning more conventional to less distinctive effect on ‘The Garden’.

Originally the B-side of ‘Burning Car’; now available on the deluxe album ‘Metamatic’ via Esdel Records

www.metamatic.com/


SIMPLE MINDS New Warm Skin (1980)

Like a number of bands of the period, SIMPLE MINDS went off doing B-sides as they progressed, often lazily filling the flips with live tracks or instrumental versions of existing tracks. ‘New Warm Skin’ was the original B-side of ‘I Travel’ and saw the Glaswegians ape SPARKS for this claptrap filled electronic cacophony of sound. Not claustrophobic enough for ‘Empires & Dance’, this is a delightfully creepy synth laden rarity in the SIMPLE MIDS back catalogue.

Originally the B-side of ‘I Travel’; now available as a bonus track on the boxed set ‘X5’ via Virgin Records

www.simpleminds.com


DEPECHE MODE Ice Machine (1981)

With so many great B-sides in the long career of DEPECHE MODE, it might seem strange that their best B-side was actually their first. ‘Ice Machine’ is possibly Vince Clarke’s darkest five minutes, but it has also proved to be highly influential. ROYKSOPP and S.P.O.C.K have covered it while the song’s core arpeggio has been borrowed by LADYTRON and FEATHERS. It is not only one of DM’s best B-sides, it is among one of the best songs of the Synth Britannia era.

Available on the DEPECHE MODE boxed set ‘DMBX1’ via Mute Records

www.depechemode.com


HEAVEN 17 Are Everything (1981)

HEAVEN 17 were an act who rarely did B-sides and even this cover of a lesser known BUZZCOCKS single started life as a track for the BEF ‘Music Of Quality & Distinct Volume 1’ opus but was quickly shelved. Unusual in many respects as ‘Are Everything’ features the early HUMAN LEAGUE synth sound emblazoned with acoustic guitar from Dave Lockwood, Glenn Gregory snarls in post-punk fashion away from the new funk hybrid which was later appear on ‘Penthouse & Pavement’.

Originally the B-side of ‘I’m Your Money’; 12 inch version now available on the HEAVEN 17 album ‘Penthouse & Pavement’ via Virgin Records

www.heaven17.com


JAPAN European Son (1981)

Originally recorded as a demo for the 1979 Giorgio Moroder sessions that produced ‘Life In Tokyo’, this sequencer heavy number was rejected by the Italian disco maestro. Left dormant in the vaults of Ariola Hansa, after JAPAN left the label, ‘European Son’ was subsequently finished off by John Punter and tagged onto a 1981 reissue of ‘Life In Tokyo’. Retrospectively, it shows David Sylvian’s vocals in transition from the catty aggression of earlier albums. In 1982, it became an A-side remixed by Steve Nye.

Originally the B-side of 1981 reissue of ‘Life In Tokyo’; now available on the JAPAN album ‘The Very Best Of’ via Virgin Records

www.nightporter.co.uk/


ULTRAVOX Paths & Angles (1981)

A unique curio in the classic ULTRAVOX cannon as it does not feature Midge Ure. Chris Cross handled guitar duties and backing vocals while Warren Cann took the spoken lead. The powerful Linn driven track was provided the punch with the Minimoog bass while Billy Currie tastefully layered with his piano and violin interplay. ‘Paths & Angles’ was undoubtedly strong enough to have been an album track, but highly unlikely to have remained in this form if Ure had been involved.

Originally the B-side of ‘The Voice’; now available on the ULTRAVOX album ‘Rage In Eden’ via EMI Records

www.ultravox.org.uk


BLANCMANGE Running Thin (1982)

Originally recorded for a John Peel session but rescued for the B-side of ‘Living On The Ceiling’, ‘Running Thin’ featured a much starker, claustrophobic template than the subsequent ‘Happy Families’ album. Driven by a Roland drum machine, haunting blips and “elastic stretched too far” guitar, Neil Arthur’s resigned baritone matched the music backdrop. The track has since been revisited by BLANCMANGE for the upcoming 2CD ‘Happy Families Too’ 2CD set.

Originally the B-side of ‘Living On The Ceiling’; now available on the BLANCMANGE album ‘The Very Best Of’ via Music Club

www.blancmange.co.uk


THOMAS DOLBY One Of Our Submarines (1982)

Borrowing the main melody of ‘The Six Million Dollar Man’ theme and coupled with a sharp Tim Friese-Greene production, ‘One Of Our Submarines’ was actually based on the poignant story of TMDR’s uncle Stephen. He served in a submarine during World War Two but died while on manoeuvres as opposed to battle. His death became Dolby’s metaphor for the fall of the British Empire and his rebellion against the post-war Boys Own adventure illusion that his generation grew up in.

Originally the B-side of ‘She Blinded Me with Science’; now available on the THOMAS DOLBY album ‘The Golden Age Of Wireless’ via EMI Records

www.thomasdolby.com


THE HUMAN LEAGUE You Remind Me Of Gold (1982)

Outstripping the electro Tamla of the A-side, ‘You Remind Me Of Gold’ had the balance of weirdness, accessibility and the spectre of Jo Callis’ guitar synthesizer. Coupled with the precise but edgy production of Martin Rushent, this gave high hopes that the follow-up to the million selling ‘Dare’ would be a goody. Unfortunately, the band fell out with Rushent and the lukewarm ‘Hysteria’ was the result and it would take years for THE HUMAN LEAGUE to recover.

Originally the B-side of ‘Mirror Man’; now available on the HUMAN LEAGUE deluxe album ‘Dare / Fascination!’ via Virgin Records

www.thehumanleague.co.uk/


OMD Navigation (1982)

OMD often were at their best when indulging in their vertical take-off experiments. Covered in hiss and layered with a shrilling, almost out-of-tune Mellotron, ‘Navigation’ was an abstract collage with the punching snare drum crescendo leading to a weird droning beacon of strange noises taken from their pre-OMD tapes that conjured the image of foggy uncharted oceans. It is without doubt, one of Paul Humphreys and Andy McCluskey’s stand-out recordings.

Originally the B-side of ‘Maid Of Orleans’; now available on the OMD album ‘Navigation’ via Virgin Records

www.omd.uk.com


SOFT CELL It’s A Mug’s Game (1982)

Boy George once described SOFT CELL as music for teenagers who hate their parents. With ‘It’s A Mugs Game’, that ethos came to its head with this comical tirade of angry, adolescent angst! Marc Almond goes from crisis to crisis as he tries to annoy his dad by playing loud, all the records “he especially hates… ’Deep Purple In Rock, ‘Led Zeppelin II’”. But as Almond retorts: “even you hate those”! The closing rant of “I can’t wait until I’m twenty one and I can tell them all to sod off!” is classic!

Originally the B-side of ‘Where The Heart Is’; now available on the SOFT CELL album ‘The Very Best Of’ via Phonogram Records

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


TALK TALK ? (1982)

Perhaps unsurprisingly with Colin Thurston at the production helm, the cryptically titled ‘?’ did sound like a DURAN DURAN flipside with thundering Simmons drums, disco bass and a fabulous synth solo from original keyboardist Simon Brenner. Utilising a weird chorus effect which sounded like the song was recorded on using dirty tape heads, while not a particularly prolific B-side band, TALK TALK certainly delivered more extras than perhaps JAPAN ever did.

Originally the B-side of ‘Talk Talk’. Available on the TALK TALK album ‘Asides Besides’ via EMI Music

https://spiritoftalktalk.com/


VISAGE I’m Still Searching (1982)

One of the few vocal tracks to be a VISAGE B-side, ‘I’m Still Searching’ in hindsight sounds ahead of its time with its proto-PET SHOP BOYS vibe. Featuring just Steve Strange and Rusty Egan as the ULTRAVOX and MAGAZINE boys were all back in their day jobs, it hinted at a New York electronic disco direction which was expanded on with ‘Pleasure Boys’. But by the time of the third VISAGE album ‘Beat Boy’, rock was the name of the game with Strange’s voice left exposed and totally unsuited to its histrionics.

Originally the B-side of ‘Night Train’; now available on the VISAGE album ‘The Anvil’ via Rubellan Remasters

www.visage.cc/


YAZOO Situation (1982)

A B-side that was later issued as an A-side in various markets, ‘Situation’ was one of only three writing collaborations between Alison Moyet and Vince Clarke. At barely 2 minutes in its original form, it made its point with its rousing blues based sequenced dance pop; it became a US club favourite remixed by Francois Kevorkian who was later to work with KRAFTWERK and DEPECHE MODE. Another version mixed by ERASURE producer Mark Saunders took the song into the UK Top20 in 1990.

Originally the B-side of ‘Only You’; now available on the album ‘The Collection’ via Music Club

www.yazooinfo.com/


CARE Sad Day For England (1983)

When Liverpool band THE WILD SWANS split, two thirds formed the basis of THE LOTUS EATERS while their singer Paul Simpson teamed up with ECHO & THE BUNNYMEN producer Kingbird aka Ian Broudie. Combining acoustic guitars and stark drum machine with strong synthesizer melodies and melancholic vocals, ‘Sad Day for England’ was a mournful recollection of young manhood. The duo split before their debut album was completed. Broudie eventually formed THE LIGHTNING SEEDS.

Originally the 12 inch B-side of ‘My Boyish Days’; now available on the CARE album ‘Diamonds & Emeralds’ via Camden Records/BMG Records

http://music-isms.blogspot.com/2007/12/care-singles-1983-1984.html


DURAN DURAN Secret Oktober (1983)

This atmospheric ballad from the ‘Seven & The Ragged Tiger’ sessions turned out to be one of the the most synth led recordings under the DURAN DURAN name. Featuring just Nick Rhodes and Simon Le Bon, it showcased the more esoteric influences of JAPAN who the pair were particularly fond of. A precursor to their painfully pretentious ARCADIA project, none of those songs ever reached the heights of ‘Secret Oktober’. It was dusted off for the 1998 Greatest Hits tour.

Originally the B-side of ‘Union Of the Snake’; now available on the DURAN DURAN boxed set ‘The Singles 81-85’ via EMI Records

www.duranduran.com


HOWARD JONES It Just Doesn’t Matter (1983)

B-sides are for quirky experimentation and Howard Jones certainly veered from the norm with this oddball slice of electro-ska. With the declaration that “If I haven’t got any friends, it just doesn’t matter” and “If I’ve been misunderstood, it just doesn’t matter”, the song was possibly written as a positive motivator to face the music whatever following the success of his debut single ‘New Song’. The critics may not have loved him but his fans did, with the ‘Human’s Lib’ album entering the UK chats at No1.

Originally the B-side of ‘What is Love?’; now available on the HOWARD JONES album ‘The Very Best Of’ via WEA

http://www.howardjones.com/


ALPHAVILLE The Nelson Highrise (1984)

Subtitled ‘Sector One: The Elevator’, ‘The Nelson Highrise’ was the B-side to ‘Sounds Like A Melody’ which wasn’t released as a single in the UK. After a dynamic instrumental build of over a minute and a half, the opening line “Time is fleeting, you can’t stop time” was deeply ominous while the backing was almost industrial with very sharp edges. The dystopian air might have been a surprise to some, but then ‘Big In Japan’ was inspired by the plight of heroin addicts in Berlin…

Originally the B-side of ‘Sounds Like A Melody’; now available on the ALPHAVILLE deluxe album ‘Forever Young’ via Warner Music

https://www.alphaville.info/


CHINA CRISIS It’s Never Too Late (1985)

Recorded during the ‘Working With Fire & Steel’ sessions produced by Mike Howlett, ‘It’s Never Too Late’ was a lost gem probably droppedby CHINA CRISIS from the album on account of it sounding like a more steadfast ‘Wishful Thinking’, featuring its familiar Emulator strings sound in the melody. Unreleased until 1985, even then it was tucked away on the limited edition 12 inch of ‘Black Man Ray’, making it one of the rarest of high quality B-sides from the era.

Originally the 12 inch limited edition B-side of ‘Black Man Ray’; now available on the CHINA CRISIS deluxe album ‘Flaunt The Imperfection’ via Caroline International

www.facebook.com/pages/China-Crisis/295592467251068


PET SHOP BOYS That’s My Impression (1986)

Possibly the song which indicated that PET SHOP BOYS were going to be around for a while and not just a flash in the pan, ‘That’s My Impression’ was menacing as opposed to melancholic, combining SOFT CELL with DIVINE. Neil Tennant’s final angry refrain of “I went looking for someone I couldn’t find – staring at faces by the Serpentine…” is pure Marc Almond, tense and embittered in a manner that turned out to be quite rare in PET SHOP BOYS later work.

Originally the B-side of ‘Love Comes Quickly’; now available on the PET SHOP BOYS album ‘Alternative’ via EMI Records

www.petshopboys.co.uk


NEW ORDER 1963 (1987)

Is this song about JFK? Is it a homo-erotic love story that ends in murder? Who knows? But ‘1963’ was an outstanding result of the sessions NEW ORDER had with PET SHOP BOYS producer Stephen Hague that also spawned ‘True Faith’. However, much to Hooky’s annoyance, his contributions on ‘1963’ were virtually written out. Bloody mindedness ensured ‘1963’ was tucked away as a B-side for 8 years before it was released as an A-side in a more Hooky audible rework by Arthur Baker.

Originally the B-side of ‘True Faith’; now availableon the NEW ORDER album ‘Substance’ via Warner Music

http://www.neworder.com/


CAMOUFLAGE Kling Klang (1989)

Bietigheim-Bissingen’s CAMOUFLAGE took over the mantle of delivering the heavier synthpop blueprint which DEPECHE MODE started during ‘Construction Time Again’ and ‘Some Great Reward’, but left behind with ‘Black Celebration’. ‘Kling Klang’ actually was a B-side to their single ‘One Fine Day’. This was not only a tribute to KRAFTWERK but in a rarity for the trio, it was also sung in German. But it was so rigidly authentic that at times, it inadvertently sounded like a Bill Bailey musical comedy skit.

Originally the B-side of ‘One Fine Day’, now available on the CAMOUFLAGE deluxe album ‘Methods Of Silence’ via Bureau B

http://www.camouflage-music.com/en/News


ERASURE Over The Rainbow (1991)

This bouncy tune with its lyrical celebration by Andy Bell of ABBA borrowed heavily from OMD. Vince Clarke went on record to say the record that influenced him most to start working with synthesizers was ‘Electricity’. So on ‘Over The Rainbow’, he borrowed its lead melody wholesale and added a few of the speaking clock samples that had adorned OMD’s ‘Dazzle Ships’. Listen carefully and listeners will also notice ULTRAVOX are affectionately pillaged too!

Originally the B-side of ‘Chorus’; now available in the boxed set ‘EBX4’ via Mute Records

www.erasureinfo.com


‘Everything B-Sides’, a playlist comprising of a number of flips from several eras can be listened to at https://open.spotify.com/playlist/44O9vvXs2sAJv24kdPQ9tC


Text by Chi Ming Lai
11th June 2020

A Beginner’s Guide To DANIEL MILLER

This history of Mute Records and its esteemed founder Daniel Miller is more than well documented.

The lavish book ‘Mute: A Visual Document From 1978 – Tomorrow’ published in 2017 captured the iconic label’s visual aesthetic. Already a fan of German kosmische scene, Daniel Miller began taking an interest in synthesizers for making pop music after hearing KRAFTWERK’s ‘Autobahn’.

The advent of affordable synthesizers from Japan manufactured by the likes of Korg and Roland made it possible for him to adopt punk’s DIY ethic by buying a Korg 700s for the price of a guitar. That enabled him to make music using just one finger, instead of having to learn three chords.

Conceiving a punk single with electronics, he wrote and recorded ‘Warm Leatherette’ b/w ‘TVOD’ for a one-off independent single release in 1978. Miller’s sense of experimentation within a structured albeit avant pop context led to kindred spirits sending him tapes, thanks to him including his mother’s address “16 Decoy Avenue London NW 11 England” on the back of the MUTE 001 sleeve.

Mute Records’ first signing was a former art student Frank Tovey who released the macabre ‘Back To Nature’ as FAD GADGET in 1979 as MUTE 002 with Miller co-producing. It began establishing a good reputation for experimental electronic pop music. As well as running the label and working in the studio with his own roster of acts, Miller also produced and remixed other artists, although this became less frequent as Mute Records achieved more and more success.

If Daniel Miller had a characteristic sound during the pioneering years of Synth Britannia, then it was his use of the ARP 2600 driven by an ARP 1601 analogue sequencer, particularly for unique rhythmic templates obtained from the percussive capabilities of this versatile American synth.

Always keen to keep up-to-date with the latest technology, Miller’s later acquisitions included a Synclavier, PPG Wave 2, Emulator, Roland System 100M and Roland MC4 Micro-Composer. Many years later, Miller even bought the customised vocoder used on ‘Autobahn’ from the late Florian Schneider even though it was not in fully working order.

While Miller’s production work with DEPECHE MODE over five albums naturally led American new wave acts like BOOK OF LOVE to seek his knowhow, indie band THE HOUSE OF LOVE were surprisingly curious enough to secure his services on their track ‘Safe’. Meanwhile, post-punk art rock combo WIRE saw him as a kindred spirit keen to explore new interesting ways of recording and worked with Miller in various guises.

While Daniel Miller stepped back from producing DEPECHE MODE in 1987 to concentrate on Mute Records, it was his mix with Phil Legg of the Flood produced ‘Enjoy The Silence’ that became the international hit single; Miller had felt the version that François Kevorkian had presented was too electronic. 

While work had been going well with the French-born DJ’s mixes for the ‘Violator’ album, Miller’s instincts told him ‘Enjoy The Silence’ needed to be brought back slightly with a more organic vision. The song had already been transformed in the studio from a funereal ballad to an electronic disco number with house influences!

Although Mute Records was bought by EMI in 2002, Miller reached an agreement in 2010 to establish a second independently run record label under the name Mute Artists while the Mute Records name and rights to the label’s archive recordings remained under the control of EMI’s present owners Universal. More recently, Daniel Miller has been happily DJ-ing around the world playing largely techno sets for Berghain in Berlin, Sónar in Barcelona and IMS in Ibiza among others.

Meanwhile he has also occasionally given talks at events such as MoogFest. Red Bull Music Academy, LEAF and the Electri_City_Conference.

With a vast and varied portfolio to investigate, ELECTRICITYCLUB.CO.UK looks back at the creative career of Daniel Miller in music via eighteen of his productions and remixes, with a restriction of one track per artist moniker, presented in yearly, then alphabetical order.


THE NORMAL Warm Leatherette (1978)

Daniel Miller’s sense of experimentation and vision of the synth being the ultimate punk instrument requiring the use of just one finger led to him making his first record. Lyrically inspired by JG Ballard’s ‘Crash’ with its story around car collision symphorophilia, the dystopian ‘Warm Leatherette’ was based around two noisy notes and a twitchy rhythmic backbone that was menacing yet enthralling at the same time. It turned out to be something of a game changer.

Available on THE NORMAL single ‘ Warm Leatherette’ / ‘TVOD’ via Mute Records

http://mute.com/category/the-normal


FAD GADGET Coitus Interruptus (1980)

Following the success of singles ‘Back To Nature’ and ‘Ricky’s Hand’, a FAD GADGET album was eagerly anticipated and it came with ‘Fireside Favourites’ which brought in a Korg Rhythm 55 drum machine, conventional instruments and various found objects alongside the synths. A four way production effort between Frank Tovey, Daniel Miller, Eric Radcliffe and John Fryer, the superb ‘Coitus Interruptus’ was a deeply cynical commentary on casual relationships.

Available on the album ‘Fireside Favourites’ via Mute Records

https://fadgadget.co.uk/


ALEX FERGUSSON Stay With Me Tonight (1980)

Larry Least was a production pseudonym inspired by the producer, Rak Records mogul and ‘New Faces’ judge Mickey Most. This infectious solo single by Alex Fergusson featured Daniel Miller’s distinctive electronic footprint and his involvement helped the ALTERNATIVE TV guitarist transform from post-punk to more synthesized song experiments. With Fergusson forming PSYCHIC TV with Genesis P-Orridge, it wasn’t until 1992 that a white label only self-titled solo album was released.

Available on the boxed set ‘Electrical Language: Independent British Synth Pop 78-84’ (V/A) via Cherry Red Records

https://www.scaruffi.com/vol4/atv.html


SILICON TEENS Memphis Tennessee (1980)

Following THE NORMAL, Daniel Miller decided to undertake a new project where rock ’n’ roll standards like ‘Just Like Eddie’ and ‘Memphis Tennessee’ were reinterpreted in a synthpop style, using a fictitious group called SILICON TEENS as a front. While Miller sang like he had a clothes peg attached to his nose and produced the recordings as Larry Least, several actors hired to appear in videos and do press interviews, although lead vocalist ‘Darryl’ was played by Frank Tovey.

Available on the SILICON TEENS album ‘Music For Parties’ via Mute Records

http://mute.com/release/music-for-parties


ALAN BURNHAM Science Fiction (1981)

For a one-off single on Cherry Red Records, the dystopian minimal synth of ‘Music To Save The World By’ from the little known and somewhat reclusive Alan Burnham was produced by Daniel Miller at Blackwing Studios. He also worked on its B-side ‘Science Fiction’ which was just as haunting as the main act. Perhaps more organic thanks to the use of live drums by Cam Findlay, it took a leaf out of the quirky cult Wirral duo DALEK I LOVE YOU and their song ‘The World’ in particular.

Available on the boxed set ‘Electrical Language: Independent British Synth Pop 78-84’ (V/A) via Cherry Red Records

http://mute.com/mute/daniel-miller


SOFT CELL Metro MRX (1981)

The original ‘Metro MRX’ came from the SOFT CELL debut EP ‘Mutant Moments’ released in October 1980, but the sub-two minute Daniel Miller take of ‘Metro MRX’ for ‘Flexipop’ magazine borrowed the same synthetic rhythm track as DEPECHE MODE’s ‘New Life’ to accompany Almond’s snarls of “he’s a mutant!”. Miller also produced ‘A Man Can Get Lost’, ‘Persuasion’ and perhaps most significantly, the proto-house of ‘Memorabilia’ at those same Stage One recording sessions.

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

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


DEPECHE MODE Nothing To Fear (1982)

While Eric Radcliffe was holed up working with Vince Clarke and Alison Moyet on the first YAZOO album at Blackwing Studios on the night shift, during the day Daniel Miller was working with DEPECHE MODE on their second. With punchy Simmons Drum modules and a catchy melodic theme, ‘Nothing To Fear’ was a glorious instrumental statement from an important long player that made the most of Miller’s programming expertise to ensure an optimistic future for Messrs Gahan, Gore and Fletcher.

Available on the DEPECHE MODE album ‘A Broken Frame’ via Mute Records

http://www.depechemode.com/


THOMAS DOLBY Radio Silence (1982)

When recording ‘Radio Silence’ for singular consumption, Thomas Morgan Dolby Robertson sought the assistance of Daniel Miller thanks to his track record with DEPECHE MODE. Bringing in his PPG Wave 2 and helping with the final mix, it was released as a single in early 1982 with an alternative rockier guitar driven version on the B-side which was favoured in the US. Both takes also featured the voice of Akiko Yano, who was married to Ryuichi Sakamoto at the time.

Available on the THOMAS DOLBY album ‘The Golden Age Of Wireless’ via EMI Records

https://www.thomasdolby.com/


DUET EMMO Or So It Seems (1982)

WIRE refugees, Bruce Gilbert and Graham Lewis had been working under the name DOME, so when a collaborative adventure with Miller was suggested, an anagram of that moniker and Mute resulted in DUET EMMO. Recorded at Blackwing Studios, ‘Or So It Seems’ was their debut offering, a slice of experimental pop shaped with grumbling synthesized bass, captivating electronics and textural harmonic guitar while Lewis’ haunting vocals provided the emotional centre, spooked by sombre bursts of brass.

Available on the DUET EMMO album ‘Or So It Seems’ via Mute Records

https://mutesong.com/writers/duet-emmo/


YAZOO Situation (1982)

Originally the B-side to ‘Only You’, ‘Situation’ was one of only three writing collaborations between Alison Moyet and Vince Clarke, as well as only being one of five YAZOO tracks that Daniel Miller co-produced with Eric Radcliffe. Clocking in at barely two minutes in its original form, it made its impact with some rousing blues based sequenced dance pop; it became a US club favourite when it was remixed by Francois Kevorkian who later worked with KRAFTWERK and DEPECHE MODE.

Available on the YAZOO boxed set ‘The Collection’ via Mute Records

https://twitter.com/yazooinfo


ROBERT GÖRL Mit Dir (1983)

Following DAF’s Virgin album trilogy produced by Conny Plank, the duo broke up in a haze of sex, drugs and sequencer. Drummer and synthesist Robert Görl signed to Mute as a solo artist and began his account with the standalone single ‘Mit Dir’. Dark, brooding and magnificent, the song was co-produced by Daniel Miller and went on to become a favourite among the cognoscenti, reinterpreted for Prada commercials and covered by DJ HELL with STEREO MCs.

Available on the ROBERT GÖRL album ‘Night Full Of Tension’ via Mute Records

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


HARD CORPS To Breathe (1985)

Polydor A&R man Malcolm Dunbar managed to gain Daniel Miller’s interest to help out on a HARD CORPS track that Martin Rushent had started. “It was an offer we could not refuse and ‘Respirer’ duly ended up being completed with Daniel producing” said the band’s Clive Pierce, “So now we had two of the best ‘electronic’ music producers in the UK both helping on our track”. Exquisitely Gallic, Polydor however released ‘Respirer’ in English as ‘To Breathe’ but it was not the hit that they were seeking.

Available as ‘Respirer’ on the HARD CORPS album ‘Metal & Flesh’ via Sub Culture Records

http://www.hardcorps.co.uk/


NITZER EBB Join In The Chant – Gold! (1987)

Chelmsford’s NITZER EBB were founded by school friends Douglas McCarthy, Bon Harris and Bon Harris. Originally produced by Pete Waterman associate Phil Harding, the ambiguous chants of “muscle and late, lies, lies, gold, gold” in ‘Join In The Chant’ encouraged exactly as the title suggested in the manner of a DAF body sculpture. Daniel Miller and Flood’s Gold! restructure took out the Balearic beats and pushed forward a more Teutonic industrial thrust complete with metallic tools to boot.

Available on the NITZER EBB album ‘Body Of Work’ via Mute Records

http://www.nitzer-ebb.com/


ERASURE Supernature – Daniel Miller & Phil Legg Remix (1990)

ERASURE were not shy about doing cover versions with ‘Gimme! Gimme! Gimme!’ and ‘River Deep Mountain High’ having already been reinterpreted by this point. Andy Bell and Vince Clarke’s take on Marc Cerrone’s electronic disco landmark saw Daniel Miller and Phil Legg present this tight electro-dance remix extended to over seven minutes. Miller and Legg got together again for DEPECHE MODE’s ‘Enjoy The Silence’ and it was their mix that became the ‘Violator’ album version and single release.

Available on the ERASURE deluxe album ‘Wild!’ via Mute Records

https://www.erasureinfo.com/


CHRIS & COSEY Synaesthesia – Daniel Miller Mix (1991)

After leaving industrial pioneers THROBBING GRISTLE, Chris Carter and Cosey Fanni Tutti became a popular cult duo with their experimental pop utilising electronics, sampling, rhythms and even cornet alongside Cosey’s distinctive nonchalant vocals. Superbly sinister but beautiful metallic synthpop, ‘Synaesthesia’ exuded hints of PET SHOP BOYS ‘Euroboy’ but a good year before it. Meanwhile Daniel Miller’s brilliant rework took on a different groove to the harder bleepy house laden original.

Available on the CHRIS & COSEY single ‘Synaesthesia’ via Conspiracy International

http://www.chrisandcosey.com/


SUNROOF Hero (1998)

SUNROOF was Daniel Miller’s occasional project with Gareth Jones who he first worked with on DEPECHE MODE’s ‘Construction Time Again’ album. Exploring their love of Kosmische, it was perhaps no surprise that they covered the symbolic NEU! track ‘Hero’. Given more of a pulsing electronic treatment, the alluringly detached vocals came from Alison Conway who has part of the Mute family having been part of AC MARIAS, a project which also featured Bruce Gilbert of WIRE and Barry Adamson of MAGAZINE.

Available on the album ‘A Homage to NEU!’ (V/A) via Cleopatra

http://www.garethjones.com/


POPPY & THE JEZEBELS Sign In, Dream On, Drop Out! – Richard X Meets Larry Least Mix (2012)

POPPY & THE JEZEBELS were a school band based in Birmingham signed to Mute Song. ‘Sign In, Dream On, Drop Out!’ was superbly playful girly synthpop with the ‘Isolation’ bassline borrowed from JOY DIVISION bouncing around in electronic form while sinister Maggie Thatcher voice samples echoed. Originally produced by Richard X, Larry Least came out of retirement when the girls persuaded Miller to remix the track using his trusty Korg 700s synth.

Available on the POPPY & THE JEZEBELS single ‘Sign In, Dream On, Drop Out!’ via Gunball Machine

https://mutesong.com/writers/poppy-and-the-jezebels/


WRANGLER Theme From Wrangler – Daniel Miller rework (2016)

The brief from WRANGLER to remixers of tracks from their album ‘LA Spark’ was simple: “We provide some basic stems from a track selected by you from our debut album ‘LA Spark’ and you add whatever sounds you like – the only rule being that you use just one analogue modular synthesiser system of your choice.” Sweetened by flanged string machine, Daniel Miller provided a gliding rumbling bassline over a metronomic kick on his rework of ‘Theme from Wrangler’.

Available on the WRANGLER album ‘Sparked: Modular Remix Project’ via MemeTune Records

https://www.facebook.com/mallinderbengewinter/


Text by Chi Ming Lai with thanks to Simon Helm and Volker Maass
Photos by Simon Helm
4th June 2020, updated 14th February 2021

25 SONGS OF THE BLITZ CLUB

Photo by Sheila Rock

The soundtrack of The Blitz Club was provided by its resident DJ Rusty Egan and its story is more than well documented.

This vibrant post-punk scene had a flamboyant clientele who were dubbed ‘Blitz Kids’, ‘The Cult With No Name’ and ‘New Romantics’. It became the catalyst for several bands including VISAGE, SPANDAU BALLET and CULTURE CLUB, as well as assorted fashion designers, visual artists and writers.

Rusty Egan told ELECTRICITYCLUB.CO.UK: “I just played as much as I could fit in, it was not all disco. It was a bar and opened after work. I’d arrive 8.30–9.00pm and played all my faves till it was packed, then I got them dancing and at the end, I slowed down”. The dancing style at The Blitz Club often involved the swaying of arms at a distance from the face like slow motion maraca shaking so as not to spoil any carefully hairsprayed styles. Meanwhile, feet movements were often impossible as the small dancefloor was often overcrowded!

With Steve Strange as doorman and fashion gatekeeper, the concept for what was initially a “Bowie Night” came together at Billy’s nightclub in Soho in Autumn 1978 in an effort to find something new and colourful to escape the oncoming drabness in the Winter Of Discontent. After a disagreement with the owners of Billy’s, the pair moved their venture to The Blitz Club.

Although Rusty Egan had been a soul boy and an active participant in punk through a stint rehearsing with THE CLASH and then as a member of THE RICH KIDS with Midge Ure, the two friends became fascinated with electronic dance music though the Giorgio Moroder produced ‘I Feel Love’ by Donna Summer and KRAFTWERK’s ‘Trans Europe Express’ album which had been a surprise favourite in New York discos and whose title track referenced David Bowie.

“There was a couple of years of punk which Midge Ure and myself weren’t too impressed with in terms of the clubs and the environment in Thatcherite Britain, it was horrible in Manchester, Birmingham and Liverpool!” recalled Egan, “So we were just trying basically to grasp the good in life, trying to be positive in a very negative time.”

Photo by Gabor Scott

Although Egan curated an eclectic playlist of available synth works supplemented with soundtracks and relatable art rock tunes, tracks were comparatively scarce in this new innovative electronic form.

So with studio time available following the split of THE RICH KIDS, Ure and Egan hit upon the idea of making their own electronic dance music for The Blitz Club, fronted by Steve Strange. Ure came up with the name VISAGE for the project and presented the demo to his then employers at EMI Records, but it was rejected!

Undeterred, the pair recruited Billy Currie from a then-in hiatus ULTRAVOX plus MAGAZINE’s Dave Formula, John McGeoch and Barry Adamson to record the first VISAGE album at the-then newly constructed Genetic Studios of Martin Rushent.

When Billy Currie toured with Gary Numan in 1979, he and fellow keyboardist Chris Payne composed what was to become ‘Fade To Grey’; it was included on the eventual ‘Visage’ album released by Polydor Records in 1980 and the rest is history, reaching No1 in West Germany!

VISAGE was the beauty of the synthesizer played with symphonic classical overtones fused to the electronic dance beat of Neu Europa and visually styled like a cross between the Edwardian dandies and Weimar Cabaret. Midge Ure remembered “it was a major part of my life and Steve was a major part of that period”.

The meeting of Ure and Currie in VISAGE led to the diminutive Glaswegian joining a relaunched ULTRAVOX who released the iconic ‘Vienna’ album in 1980. Co-produced by Conny Plank, the German always thought in terms of sound and on the title song, he imagined an old man at a piano in a desolate theatre who had been playing the same tune for forty years.

And when Billy Currie came to record his ivory parts, that was exactly the feel which Plank had engineered. It was to become a ‘Bohemian Rhapsody’ for the New Romantic movement when it was released as a single, stalling at No2 despite being one of the best selling singles of 1981, gracing the UK charts at the same time as ‘Fade To Grey’.

Having started as a “Bowie Night”, the man himself became fascinated by this emergent cult with no name that he had inspired. In 1980, Jacqueline Bucknell, an assistant from his label RCA who was also a Blitz Kid, had taken Bowie down to The Blitz Club to cast extras to appear in a video for his new single ‘Ashes To Ashes’; among the chosen ones was Steve Strange.

Utilising Roland guitar synths and an ARP string machine with a final burst of ARP Odyssey, David Bowie saw ‘Ashes To Ashes’ as an epitaph for his artistic past as he lyrically revisited the Major Tom character from ‘Space Oddity’ over a decade on.

With this, The Blitz Club had now become a mainstream phenomenon as the BBC’s ‘Nationwide’ programme sent an investigative team in, signalling a changing of the guard in popular culture with parallel scenes going on at The Rum Runner in Birmingham, The Warehouse in Leeds and Crocs in Rayleigh from which DURAN DURAN, SOFT CELL and DEPECHE MODE were to respectively gain their fledgling followings.

The perceived elitist exclusivity of The Blitz Club had partly become legend as a result of Steve Strange refusing entry to Mick Jagger for his sporting of blue jeans. Playing on this and adopting its electronic aesthetic to attract attention, five lads from Islington formed SPANDAU BALLET and initially only performed at special events which were by invitation only. Essentially becoming The Blitz Club’s house band, the quintet later scored worldwide success with a less radical sanitised pop soul sound.

Singer Tony Hadley said to ELECTRICITYCLUB.CO.UK: “Our first album The ‘Journeys To Glory’ will always be one of my favourite Spandau albums, we were just young excited lads trying to make our mark on the world. There’s a rawness and energy on that album that is impossible to recreate. I love synthpop and still one of my favourite songs is SPANDAU BALLET’s first release ‘ To Cut A Long Story Short’.”

Not all enjoyed their visits to The Blitz Club; Billy MacKenzie notably highlighted the vapid nature of the scene in ASSOCIATES’ second hit single ‘Club Country’. But buoyed by its success, Steve Strange and Rusty Egan eventually vacated The Blitz Club and took over The Music Machine in 1982 and relaunched it as The Camden Palace, making it one of the UK’s first modern superclubs.

But the spirit of The Blitz Club still lives on and recently, there came the surprise announcement that Zaine Griff was to join Rusty Egan and ‘Fade To Grey’ co-writer Chris Payne to perform the songs of VISAGE in an audio-visual presentation at a number of events across Europe including W-Festival in Belgium.

Using Dave Rimmer’s 2003 book ‘New Romantics: The Look’ as an initial reference point and calling on the memories of Rusty Egan himself to verify whether he had actually played these songs in his DJ sets, here are 25 Songs Of The Blitz Club selected by ELECTRICITYCLUB.CO.UK to celebrate the flamboyant legacy of that Blitz Spirit.


ROXY MUSIC Both Ends Burning (1975)

Following-up the hit single ‘Love In The Drug’, ‘Both Ends Burning’ was ROXY MUSIC’s second ‘Siren’ call. With Bryan Ferry’s stylised but anguished vocals, it was a track which laid down the sophisticated art pop trail that JAPAN and DURAN DURAN would later be pursuing. Featuring a prominent coating of ARP Solina string machine sweetened by hypnotic bass and squawky sax, ‘Both Ends Burning’ is probably the most under rated single in the Roxy canon.

Available on the ROXY MUSIC album ‘The Best Of’ via Virgin Records

https://www.roxymusic.co.uk/


BRIAN ENO Kings Lead Hat (1977)

With a title that was an anagram of TALKING HEADS, the New York art school combo were the inspiration for the frantic metallic romp of ‘Kings Lead Hat’ which became a favourite at The Blitz Club. Brian Eno aped David Byrne in his vocal delivery, while he was later to produce three of the band’s albums as he moved further away from art rock as a solo artist. The song was later covered by ULTRAVOX in their live sets during the early phase their Midge Ure-fronted incarnation.

Available on the BRIAN ENO album ‘Before & After Science’ via Virgin Records

https://brian-eno.net/


KRAFTWERK Showroom Dummies (1977)

KRAFTWERK reacted as they generally did to negative criticism by writing a song. A response to a review that said their motionless persona at live performances was like ‘Showroom Dummies’, the sparse eerie atmosphere was punctuated by a tight and rigid electronic drum sound that was completely new and alien, something Rusty Egan was looking to emulate. Incidentally, the count-in of “eins zwei drei vier” was a deadpan Germanic parody of THE RAMONES!

Available on the KRAFTWERK album ‘Trans Europe Express’ via EMI Music

http://www.kraftwerk.com/


IGGY POP Nightclubbing (1977)

An Iggy Pop collaboration with David Bowie, the Vampiric glam of ‘Nightclubbing’ was the former James Osterberg’s commentary on what it was like hanging out with him every night. Utilising a simple piano melody and a cold Schaffel rhythm via the mechanical precision of a Roland drum machine, legend has it that Iggy insisted on keeping it, saying “it kicks ass, it’s better than a drummer”. Alongside ‘Lust For Life’, ‘Nightclubbing’ also featured in the soundtrack of ‘Trainspotting’.

Available on the IGGY POP album ‘The Idiot’ via Virgin Records

https://iggypop.com/


ULTRAVOX! Hiroshima Mon Amour (1977)

Utilising Warren Cann’s modified Roland TR77 rhythm machine, this was John Foxx moving ULTRAVOX! into the moody ambience pioneered by CLUSTER, away from the art rock of the self-titled first album and the punky interim single ‘Young Savage’. ‘Hiroshima Mon Amour’ had initially been premiered as a far spikier uptempo number for the B-side of ‘ROckWrok’. Incidentally, the ‘CC’ credited on saxophone is not Chris Cross, but a member of the art collective GLORIA MUNDI.

Available on the ULTRAVOX! album ‘Ha! Ha! Ha!’ via Island Records

http://www.metamatic.com/


LA DÜSSELDORF Viva (1978)

LA DÜSSELDORF’s second long player ‘Viva’ was their most successful album and the title track was a regular staple at The Blitz Club. An oddball slice of cosmic space rock sung in French and German by Klaus Dinger, proceedings were aided by the dual motorik thud of Hans Lampe and Thomas Dinger. Performed with the same group of musicians, ‘E-Musik’ by Dinger’s previous band NEU! had also been a favourite at The Blitz Club, influencing the intro of the ULTRAVOX B-side ‘Face To Face’.

Available on the LA DÜSSELDORF boxed set ‘Triple Album Collection’ via WEA Records

https://www.dingerland.de/


GIORGIO MORODER Chase (1978)

Commissioned by Alan Parker for the graphic prison drama ‘Midnight Express’, the noted director wanted some electronic accompaniment to the crucial chase scene of the film in the style of ‘I Feel Love’. The bassline from Giorgio Moroder’s own 1976 cover of ‘Knights In White Satin’ was reappropriated. The fruit of their labours was this Oscar winning Hi-NRG romp bursting with VANGELIS-like keyboard melodies, driven by an intense slamming and syncopated by popping pulses.

Available on the GIORGIO MORODER album ‘Midnight Express’ via Casablanca Records

https://www.giorgiomoroder.com/


THE NORMAL Warm Leatherette (1978)

Already a fan of German music and ‘Autobahn’ by KRAFTWERK in particular, Daniel Miller’s sense of experimentation and an adoption of punk’s DIY ethic led him to buying a Korg 700s synthesizer. Wanting to make a punk single with electronics, he wrote and recorded the stark JG Ballard influenced ‘Warm Leatherette’ as an independent single release on his own Mute Records. Meanwhile, The Blitz Kids came up with their own bizarre twisting and turning dance entering a human arch to accompany it…

Available on THE NORMAL single ‘Warm Leatherette’ via Mute Records

http://mute.com/category/the-normal


RIECHMANN Wunderbar (1978)

The late Wolfgang Riechmann is the forgotten man in the Düsseldorf axis having been in SPIRITS OF SOUND with Michael Rother and Wolfgang Flür; had his life not been tragically cut short, he certainly had the potential to become a revered and respected cult musical figure. The opening title track of his only album chimed like a Cold War spy drama before the beautifully almost oriental melodic piece imagined PINK FLOYD meeting CLUSTER over a delicate Schaffel beat.

Available on RIECHMANN album ‘Wunderbar’ via Bureau B

http://www.bureau-b.com/infotexte/Riechmann.Wunderbar.Bio.engl.pdf


VISAGE In The Year 2525 (1978 – released 1983)

ZAGER & EVANS’ pessimistic ditty was perfect fodder for the first VISAGE demo. Steered by Midge Ure using his freshly acquired Yamaha synths and punctuated by Rusty Egan’s incessant Roland drum machine and synthetic percussion, ‘In The Year 2525’ was perfectly resigned aural dystopia from its vocodered intro onwards. Steve Strange’s deadpan fronted the sombre tone perfectly but Ure’s vocal backing and counterpoints added that extra slice of musicality.

Available on the VISAGE album ‘The Face’ via Universal Records

http://www.visage.cc/


YELLOW MAGIC ORCHESTRA Firecracker (1978)

One of first Japanese bands to have a Top 20 hit single in the UK was YELLOW MAGIC ORCHESTRA in 1980. ‘Firecracker’ was a cover of a 1959 composition by Martin Denny but actually released as ‘Computer Game (Theme From The Invader)’. Recorded in 1978, the parent self-titled album was noted for its use of the then brand new Roland MC8 Micro-Composer to control the synthesizers. The result was a clean, exotic pop sound that was unusual, even in the synthpop heartland of Europe.

Available on the YELLOW MAGIC ORCHESTRA album ‘Yellow Magic Orchestra’ via Sony Music

http://www.ymo.org/


GINA X PERFORMANCE No GDM (1979)

Produced by Zeus B Held, ‘No GDM’ was written by androgynous art history student Gina Kikoine in honour of the “great dark man” Quentin Crisp and featured an array of ARP and Moog synths to signal the birth of a new European Underground. Unsurprisingly, the song gained heavy rotation at The Blitz Club. The nonchalant, detached vocal influence of GINA X PERFORMANCE went on to be heard in the music of LADYTRON, CLIENT and MISS KITTIN.

Available on the album ‘Nice Mover’ via LTM Recordings

http://www.ltmrecordings.com/gina_x.html


JAPAN Life In Tokyo (1979)

Working with Giorgio Moroder, David Sylvian submitted ‘European Son’ for the session in Los Angeles but it was rejected by the producer. Instead, the Italian offered several of his demos, of which, Sylvian picked the one he considered to be the worst so that he could stamp more of his own vision for the developing synthesized sound of JAPAN. Considered to be too avant-garde at its inception but ahead of its time, unbeknown to Moroder and Sylvian, they had just conceived DURAN DURAN!

Available on the JAPAN album ‘Assemblage’ via Sony BMG Records

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


THOMAS LEER & ROBERT RENTAL Day Breaks Night Heals (1979)

Originally released on THROBBING GRISTLE’s Industrial Records, ‘The Bridge’ album saw Scottish duo Thomas Leer and Robert Rental trading vocal and instrumental duties. With an air of FAD GADGET, ‘Day Breaks Night Heals’ showcased some of Leer’s pop sensibility that was later apparent in his Arista solo period and in ACT with Claudia Brücken, while Rental maintained a dark experimental presence in this slice of artful electronic blues. Robert Rental sadly passed away in 2000.

Available on the album ‘The Bridge’ via The Grey Area

http://mute.com/category/thomas-leer-and-robert-rental


SIMPLE MINDS Changeling (1979)

Manipulating their influences like SPARKS and MAGAZINE with a very European austere, Glasgow’s SIMPLE MINDS were “underground, pulsating through” thanks to the rhythmic interplay of Derek Forbes’ bass with Mick McNeil’s synths. Charlie Burchill was now thinking beyond the sound of a conventional electric guitar while the precision of under rated drummer Brian McGee locked the glue. That just left Jim Kerr to throw his bizarre shapes and pontificate over this dark avant disco.

Available on the SIMPLE MINDS album ‘Real To Real Cacophony’ via Virgin Records

http://www.simpleminds.org.uk/


SPARKS Beat The Clock (1979)

Having graced the UK Top 20 again with the tremendous ‘No1 Song In Heaven’, SPARKS continued their Giorgio Moroder produced rejuvenation and had an even bigger hit with ‘Beat The Clock’. Percussively augmented by Keith Forsey who was later to produce Billy Idol, Russell Mael’s flamboyant falsetto more than suited the electronic disco sound while the programmed backing meant that Ron Mael could stoically maintain his image of doing nothing.

Available on the SPARKS album ‘No1 In Heaven’ via Lil Beethoven Records

https://allsparks.com/


TELEX Moscow Diskow (1979)

Belgian trio TELEX comprised of Marc Moulin, Dan Lacksman and Michel Moers, with the intention of “making something really European, different from rock, without guitar”. Opening their debut album ‘Looking for Saint Tropez’ which also contained their funereal robotic cover of ‘Rock Around The Clock’, ‘Moscow Diskow’ took the Trans-Siberian Express to Moscow, adding a funkier groove compared with KRAFTWERK’s ‘Trans Europe Express’ excursion for what was to become a cult international club favourite.

Available on the TELEX album ‘‘Looking For San-Tropez’ via EMI Music

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


THROBBING GRISTLE Hot On The Heels Of Love (1979)

From their third album ’20 Jazz Funk Greats’, the uncompromising THROBBING GRISTLE led by the late Genesis P-Orridge were neither jazzy or funky! Gloriously sequenced by Chris Carter via a Roland System-100M modular, ‘Hot On The Heels Of Love’ was mutant dystopian disco lento with a hypnotic rhythm punctuated by a synthetic whip-crack for that S&M twist as Cosey Fanni Tutti’s whispered vocals competed with pentatonic melodies and electronic drill noises!

Available on the THROBBING GRISTLE album ’20 Jazz Funk Greats’ via Industrial / Mute Records

https://twitter.com/ThrobbingGrstle


ZAINE GRIFF Ashes & Diamonds (1980)

Zaine Griff had a Bowie-esque poise was tailor made for The Blitz Club and Tony Visconti saw enough in him to produce his debut solo album ‘Ashes & Diamonds’. Featuring Hans Zimmer on synths, the title song was sitting just outside the Top 40 and earned a performance on ‘Top Of The Pops’ but the episode was pulled thanks to a Musicians Union strike. Demonstrating the song’s longevity despite it not being a major hit, it was recently covered live by American alternative rockers MGMT.

Available on the ZAINE GRIFF album ‘Ashes & Diamonds / Figvres’ via MIG Music

https://www.zainegriff.com/


THE HUMAN LEAGUE Being Boiled (1980)

‘Being Boiled’ was the first song Philip Oakey wrote with Martyn Ware and Ian Craig Marsh for THE HUMAN LEAGUE, his bizarre lyrics being the result of a confusion between Buddhism and Hinduism while highlighting the plight of silk worms. Intended to reimagine FUNKADELIC’s funky overtones as synthetic horns, this brassier re-recorded version with fatter electronic beats was included on the ‘Holiday 80’ EP and the ‘Travelogue’ album, becoming a dance staple of The Blitz Club.

Available as a bonus track on THE HUMAN LEAGUE album ‘Travelogue’ via Virgin Records

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


SPACE Tender Force (1980)

Didier Marouani wrote the worldwide hit ‘Magic Fly’ but having left the band, Roland Romanelli and Jannick Top continued as SPACE. The rousing thrust of ‘Tender Force’ was, like ‘Magic Fly’, produced by Jean-Philippe Iliesco who later invited Rusty Egan to contribute a timbale heavy remix of this synth disco tune; he was later to begin an ill-fated business relationship with Iliesco who was named by Midge Ure in his ‘If I Was’ autobiography as responsible for putting a wedge between him and Egan in VISAGE…

Available on the SPACE album ‘The Best Of’ via Nang Records

http://www.space.tm.fr


YELLO Bostich (1980)

Although now known as a duo, eccentric Swiss pioneers YELLO actually began as a trio of Dieter Meier, Boris Blank and Carlos Peron. Later remixed and extended, the military drum tattoo at the start of ‘Bostich’ was deceiving as an electronic throb quickly set in. This was perfect avant garde disco for The Blitz Club with a quirky range of vocal pitches from Meier while the track also included a style of speedy European rap later that was repeated on their only major UK hit ‘The Race’ in 1988.

Available on the YELLO album ‘Essential’ via Mercury Records

https://www.yello.com/


LANDSCAPE Einstein A Go-Go (1981)

Electronic pop music was often seen as pretentious, LANDSCAPE had their tongues firmly in their cheeks as evidenced by ‘Einstein A Go-Go’. “The song is a cautionary tale about the apocalyptic possibilities of nuclear weapons falling into the hands of theocratic dictators and religious extremists.” said the band’s Richard Burgess, “We talked about the track conceptually before we wrote it and our objective was to make a very simple, cartoon-like track with a strong hook that would belie the meaning of the lyrics!”

Available on LANDSCAPE album ‘From The Tea-Rooms Of Mars…’ via Sony Music

https://twitter.com/Landscape_band


SHOCK R.E.R.B. (1981)

Written as a B-side instrumental for The Blitz Club’s resident dance troupe SHOCK to work a routine to, ‘R.E.R.B.’ was constructed by Rusty Egan and Richard Burgess, hence the title. Burgess had been doing the linking interludes with a Fairlight on the first VISAGE album and brought in a Roland System 700 modular driven by the Micro-composer while Egan triggered the brain of the synthesized drum system that Burgess had been working on with Dave Simmons for its punchy drum fills.

Available on the SHOCK single ‘R.E.R.B.’ via Blitz Club Records

https://twitter.com/DJRustyEgan


SOFT CELL Memorabilia (1981)

Produced by Daniel Miller, one of the first SOFT CELL recordings on signing to Phonogram was the seminal ‘Memorabilia’. While not a hit, it was critically acclaimed and become a favourite at The Blitz Club. Dave Ball’s deep Roland Synthe-Bass and klanky Korg Rhythm KR55 provided a distinctive danceable backbone to accompany Marc Almond’s souvenir collecting metaphors about sexual promiscuity. After this, SOFT CELL were signed by Rusty Egan to Metropolis Music for publishing.

Available on SOFT CELL album ‘Keychains & Snowstorms: The Singles’ via Universal Music

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


Approved by Rusty Egan, ELECTRICITYCLUB.CO.UK presents the ‘The Blitz Spirit’ playlist capturing the era and beyond at: https://open.spotify.com/playlist/0y4GXXotg4BFPZ6qMklwdx


Text by Chi Ming Lai with thanks to Rusty Egan
13th April 2020

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