Tag: The Radiophonic Workshop (Page 1 of 2)

PETER HOWELL Interview

Electronic pioneer Peter Howell is best known for his period in the BBC as a member of THE RADIOPHONIC WORKSHOP.

His most iconic piece of music is the 1980 version of the ‘Doctor Who Theme’, originally made famous by Delia Derbyshire with her electronic realisation in 1963 of a composition by Ron Grainer. Howell joined in 1974, having already recorded a number of psychedelic folk albums with John Ferdinando under various guises.

Using and abusing technology to create new sounds, for television, as well as music for ‘Doctor Who’ and other BBC programmes, Howell released the acclaimed album ‘Through A Glass Darkly’ in 1978. After The Workshop disbanded in 1998, Howell moved into academia, working as a lecturer at the National Film & Television School. Meanwhile in 2012, he published ‘Your Music on Film’, a handbook for film composers.

In 2009, Howell reunited with his former colleagues Paddy Kingsland, Roger Limb and Dick Mills under the baton of The Workshop’s archivist Mark Ayers for a special concert at The Roundhouse in London. It was the first time that THE RADIOPHONIC WORKSHOP had ever played live as a unit and interest from a whole new generation of fans was such that in 2014, they embarked on a UK tour which also included festivals such as Glastonbury, WOMAD and both Bestivals. More recently, this band of musical veterans have also performed at prestigious venues like The Science Museum, The National Portrait Gallery and The British Library.

‘Radiophonic Times’ is the new autobiography of Peter Howell, published by Obverse Books who also presented the world with ‘An Electric Storm, Delia, Daphne & The Radiophonic Workshop’ in 2014. With the ethos of The Workshop is still going strong since its formation in 1958, he kindly spoke to ELECTRICITYCLUB.CO.UK about his ‘Radiophonic Times’…

What inspired you to write a book?

People had suggested someone from The Workshop ought to write a book, but I never thought I would be the person despite the fact I had written stuff previously. I was writing before I was composing, way back when I was 12!

But it was mainly because of the band stuff that came along and I thought it would be neat to do a book that was like a parallel thread of modern stuff to do with the band and historical stuff, bouncing the two off one another. It was a bit different so I gave it a try. I had to look for a publisher and Obverse have been great because I needed somebody I could talk to as I was a bit green to all this. It’s been good, I’ve enjoyed it.

Have you had formal training as a musician, what were your main instruments? There’s a photo of you with a lute!

Haha! My training is minimal, I’ve just got a fascination with all sorts of musical instruments. When I was back in Hove with my parents, I used to travel to Hayllars Music Shop in Brighton every month and they’d have something in the window that wasn’t very expensive that would make another noise.

So I’d accumulated all these different bits like a mandolin, lute, glockenspiel , all that stuff that makes noises. I got interested in doing it from the ground up, not from any training at all. John Ferdinando and I teamed up to do the ‘Alice Through The Looking Glass’ album and that used all these instruments I’d gathered.

As a part of the 60s psychedelic folk scene, how aware were you of the emerging electronic music movement. Did you ever go to clubs like UFO at the time?

No, I think this gave me a qualification to be in THE RADIOPHONIC WORKSHOP that I didn’t take any notice of anything else! I was completely oblivious to anything! *laughs*

I was just interested in making sounds and recording them. It never occurred to me I was part of anything of any genre, it’s only been after the event that John and I surprisingly discovered that we’d been labelled as “psychedelic folk”.

How did you become interested in using tape manipulation and electro acoustic sound design in music?

I was interested in producing artistic material from very clumsy machines, and they were clumsy in those days. I’ve still got my Revox down in the studio and it’s a very clunky device *laughs*

That’s what I was fascinated with… the other day, a book that I had very early on that I’m very sorry to have lost, you’d be very shocked at how old fashioned it looked, a sound recording manual produced by people like Abbey Road Studios and the like. All the machines in it looked as if they were from the Second World War with big Bakelite knobs on everything, men in very baggy trousers with turn-ups! *laughs*

It was like a bible to me, I used to look at it all the time. I was interested in the idea of producing an artistic audio something out of the most unlikely things. On ‘The Walrus & The Carpenter’ from the ‘Alice Through The Looking Glass’ album, we actually used an old telephone and wired that up to record through the mouthpiece.

In those circumstances, you experiment with stuff and it’s the result of the experiment that inspires you to write the music, it’s not the other way. The more academic way of doing music is to acquire a skill and then look for a way to use it, whereas this was round the other way, acquiring a sound to see what can do with the sound to write the music. I regard it as “inside out” composing rather than “outside in”.

So all this interested to you applying for a job as a studio manager at the BBC?

Yes, that’s right. In the interview for that, I was chatting about what I was doing with my Revox and all the stuff, I think that got me the job.

How did you come to join THE RADIOPHONIC WORKSHOP?

There was a senior studio manager who was at the mixing desk, I was the junior studio manager playing tapes and LPs. I got given tapes to play with blue leader on them… at Broadcasting House, the leader was yellow for the cues and red for the end. These tapes that had blue leader on them, the sounds were amazing! So I asked about these tapes with the blue leader on them and I was told “that’s THE RADIOPHONIC WORKSHOP”.

By coincidence, I was doing some amateur dramatics at the BBC who had their own theatre group and while we were at The Cockpit Theatre in Paddington, somebody mentioned that they had a load of synthesizers upstairs. In those days, there was basically only one marketed synthesizer which was the EMS VCS3 and they had three of them that these days would set you back about £10,000! *laughs*

So me and this other guy played around on these synths and we did some music for the show. When somebody at the BBC heard these, they suggested that I should be in THE RADIOPHONIC WORKSHOP. In the end, I applied for an attachment for three months and that’s how it started.

What did you think when you saw the huge EMS Synthi 100 Delaware there?

I thought “maybe I should start with the small one first”! *laughs*

It was enormous, it was the size of a Welsh dresser so I graduated to it later on. It didn’t fulfil its early promise for me I think you could say.

It was a very big device, it had a gigantic number of controls on it, some things that it did, nothing else did at all and it had a 256 note sequencer which was pretty unheard of at the time. It had this wonderful matrix switching panel which was really groundbreaking.

But the problem with the Delaware was however hard you tried, you could never really get it to make full sounds, it was a bit thin. The very front of ‘The Astronauts’ LP track is the Delaware, there’s a sequence of notes that I knew it could do well. There’s another track called ‘Secret War’ which has sounds made on the Delaware and as long as you knew what it was going to give you and not try anything else, it was absolutely wonderful. I didn’t find it was something you could use for a whole piece.

The VCS3 and AKS were loved by musicians but maybe EMS never made another synth as good as those again because the Polysynthi was horrible, it never made a decent sound no matter what knob you turned and Vince Clarke said it was “the worst sounding synth ever made”

I think it was a mixture of a lot of things and I think it had a lot to do with the filter. When you look at subsequent synths, the quality of the filter was very important, especially one that could have a bit of drive in it for some “oomph”. Things like the Moog were known for their filters and that was probably the shortcoming of that machinery. But EMS really were groundbreaking at the time and if it did nothing else, it introduced us to the fact that here was a machine that was making sounds that you had never heard before, you genuinely hadn’t, that was the excitement of it. Now that’s impossible to say these days.

There was also the possibility of not being able to get “that sound” again!

Haha! You’re dead right there! It’s all very well for everybody to love the old days and get all nostalgic, but there’s one thing I’m not nostalgic about and that’s machinery forgetting what it was doing yesterday! These days, the ideas of memories and coming back to something to carry on working is wonderful, everybody takes it for granted. I was so paranoid at not being able to get back to the same sound again, I would either work through the night in order not to walk away from it or alternatively, make a cassette recording of me dictating all the settings so that I could come back to them, that’s where we were at! *laughs*

So I can be forgiven for being a big exponent of laptop based stuff and I’ve got some really favourite high level software that I use, this is all nirvana to what it was! *laughs*

There was this mysterious dial marked Option4??

Haha! Yes, that was on the Delware! There were no wires attached to it, it was simply so that the facial panel could look more symmetrical! *laughs*

But we did use it because there comes a point in “your tweaking of the tweaks” as it were, some people have what I call ‘finishitis’ who, through lack of experience, can’t finish… they don’t know when something has been completed, so they assume there is always something else you can do to it.

So that’s a habit that you’ve got to get of very fast if you’ve got deadlines. Some of the BBC producers loved coming across to Maida Vale because it was a trip out from Broadcasting House or Television Centre and they could put their feet up and get into doing stuff. But there comes a point when you feel like saying to them, “why don’t we give it a bit of Option4 to finish it off?”, you know! *laughs*

You were often considered to be The Workshop member who had a pop sensibility as there was a move from the more music concrete approach to straightforward synthesis. Were you still encouraged to be experimental?

Well, Paddy Kingsland definitely when I arrived at the Workshop was the person who was associated with pop and rock. His output really put electronic tune making on the map I think.

He was able to use synthesizers is such a pure and direct way that his style revolved around being tuneful as well as being electronic. If I did go in that direction, it was inspired by his work really.

As far as I was concerned and it still applies to this day, I am equally experimental and melodic. Some of the latest music on my website has got that sort of trend. You will find there is experimental stuff at the front of a track and it then crystallises into more thematic stuff.

I think it’s a perfectly reasonable question to ask how much was dictated by what the directors want, we were a service department, weren’t just toodling around and being paid for it. We needed to supply programmes with what they wanted, so you are guided by what the programme needs.

‘The Astronauts’ needed a big theme for the early space race, so that was an example of where you could be experimental in a lot of soundtracking satellites talking with one another and thematic stuff which is more melodic. All the way through, I’ve tended to try and ride both horses at once

Your work on ‘The Astronauts’ in 1978 was very Wendy Carlos meets Vangelis, did they inspire you?

I think panic was inspiring me! *laughs*

In the book, it refers to how ‘The Astronauts’ came about. I was unwisely persuaded to run a session with live musicians because there was a lot of money backing it and probably the first and last time it was available for music. It was a European-wide venture and there was money coming in from everywhere, so it was decided to spend it on musicians. It was passable, it wasn’t awful but there was nothing special about what we did.

By the time I got back to the studio upstairs, I hated every split second of it frankly. I wanted to add some synth lines and the deadline was the next day. So I started fiddling around on the ARP Odyssey and I came across a random control voltage effecting a filter at the same time as an automatic repeated note. So it was going “dah-dah-dah-dah-dah” but every time it sounds, the filter is in a different position.

I added some tape echo to it and discovered that if your tape echo was slower than you would normally expect, you could get the echo to occur after the following note. So “note1” sounds, but the echo doesn’t occur until after “note2”. So if “note1” and “note2” are “da-dah”, then it goes “da-dah-da…”. So if you progress that through to a series of runs, you get semi-quavers appearing in between the runs in an interesting galloping sort of effect. That was the basis of the track, it was genuinely experimental as far as I was concerned. I didn’t know really what was going to happen. Once I got that bassline, that was it. So using this inside-out system, once you get a sound that is strong enough, everything else follows. It’s like a blossoming flower.

Do you think that music was influential on acts like TANGERINE DREAM because they started to sound like what you did on ‘The Astronauts’ when they went off to do all that soundtrack work?

I occasionally heard stuff that I thought might have had associations, but we didn’t imagine we were connected to the outside world *laughs*

We were like inhabitants in a computer game really, existing in our bubble and we never met the public who heard our music on these programmes, we only ever met the directors of the programmes who came to us. So it was a hermit-like existence. You read a lot of people have been inspired by The Workshop but it was quite surprising to us as we were just doing our thing *laughs*

Is it true there was a rivalry between you and Paddy Kingsland at The Workshop?

Oh the rivalry was NOT on Paddy’s side at all, but it was slightly on my side! It wasn’t his fault, but I did feel I was regarded as a slightly less good Paddy Kingsland. I had ability on keyboards, it wasn’t massive and I had talent, but it was evenly spread across guitars and keyboards *laughs*

I didn’t think my keyboard side was represented enough in people’s opinion of what I could do at the BBC, so that was one of the reasons why I decided to do the ‘Through A Glass Darkly’ album, the whole of the first side of which relies quite heavily on keyboard work, not just synths but a Steinway, I went the whole hog *laughs*

If there was rivalry there, it was entirely my fault but I felt I needed to up my game a bit!.

Yes, there’s nothing like a bit of creative tension…

…absolutely!

What are the challenges of writing incidental music compared to a theme? Did you compose to moving images, have a brief or story board?

You basically look at rough cuts of the film, story boards are no good at all and scripts aren’t much good either! When I was doing ‘Doctor Who’, one of the most disappointing things looking back is the ludicrous number of trees they cut down to make these redundant scripts that they’d send everybody, great fat ones! The pink one was the shooting script, the yellow one was the editing script, every single episode, there was another one!

And I didn’t look at any of them! What’s the point? The important thing is what’s the picture I am actually writing to. Until I got the rough cut, I didn’t waste the time of actually doing any work on it. Because I respond to the film itself, I didn’t want to fire all my ammunition too early. You need to keep your powder dry I think is the expression *laughs*

What do you remember about reworking the ‘Doctor Who Theme’? Was there a weight of responsibility?

It was tampering with an institution and I did it with a lot of trepidation. I agreed with Brian Hodgson and ‘Doctor Who’ producer John Nathan-Turner beforehand that if I and others didn’t think it was going well, we would actually shelve it and nobody would know it was even being done. So we had to be quite secretive about it. I remember when I had the bassline and one or two bits, I went to Paddy as he was doing some trials of incidental music for John Nathan-Turner and asked him “ought I to continue with this or not?”; he thought it was alright *laughs*

It gradually evolved and took me six weeks overall. I tried lots of different bits of gear in The Workshop. One of my concerns was people could meet in the pub afterwards and say “oh, I know what he was playing for that! It’s a so-and-so and it’s the third preset along”, I hated the thought of that happening. I still hate the thought of that happening to this day! *laughs*

So I went out of way to find unexpected uses of bits of gear. The CS-80 was only ever used for the bassline, nothing else. The ARP did the “oooh-wee-ooooo”, the Roland Jupiter did the middle eight with a tremolo sound because it’s got a good arpeggiator on it and so it went on, every part really was from a different place.

Some of it was quite a lot of work. For instance, towards the end of the opening theme, there is a sound that is like a Catherine Wheel, a “swoo-swooosh-schwhhh”, that was a whole session on its own. It was done with different multitrack tape using match flares and all sorts of things old style, cutting the tape up, feeding it back through echo, looping it, all the rest of it. I’d master it onto a ¼ inch stereo tape and play that onto the main multitracks. So there were bits that were like sub-contracted out to a different session and then brought back in again.

There was a lot of work involved in trying to get an organic sound environment. I was pleased that I sort of got that because it’s something that Delia Derbyshire had with her version. You’ve got to admire her with what was at her disposal, she really did invent a whole sound world for that piece. I was very keen to try and do the same thing.

One of the most difficult sounds to emulate would have been the attack of the bassline?

That’s right, if you listen to the bass on mine, it has exactly the same “gulp” sound in front of each phrase that Delia had, and I make no excuses about being inspired by what she did, because that was such a lovely effect, almost like the bass was tripping over itself. It’s not four square predictable, it’s got that “lurch” feel to it that I really liked. I did that by reverse reverb which is taking the bassline that was played accurately along the way, turning it upside down and playing it into reverb, re-recording that and turning it upside down before setting it back a tiny bit, so that you have lead-up sounds to the bass notes. That way, you’ve got this feeling of tripping over.

You’re doing all this tape manipulation stuff, but then comes the Fairlight which makes it all much easier?

Moments like that are quite pivotal. If I had been somebody who utterly loathed the idea of digital, that would have been the end of my career frankly. The way things were going, they were heading in that direction. Oh I loved it, several of us loved it too much and then Kate Bush comes along with her ‘Never For Ever’ album and I felt like never touching it again. All the Fairlight stuff was so wonderful and fabulous on that album, so that brought me up a bit short!

I realised you can’t expect to survive on one bit of gear, it’s that same as going back to the Delaware. When this wonderful new thing arrives, you think “oh my God, this is the end of life as we know it”, but it isn’t and it did add lots of very interesting things. But you have to be proportionate I think.

You demonstrated the Fairlight to school children on TV in 1982 and with its “smaller box than you’d expect for a computer”, it all’s very ‘Look Around You’… what do you remember about doing that?

It’s very twee! Whenever you do television, you realise how utterly false the whole thing is, however live it might be! Everybody is so aware of getting it right and doing it like you did it in rehearsal and all the rest, it was not my greatest hour! *laughs*

Of course that clip got spoofed with you inventing drum ‘n’ bass… *laughs*

Yes, it was nothing more than we all deserved! *laughs*

What makes it funnier now is the indifferent girl at the end obviously comes over not very keen on drum ‘n’ bass…

I didn’t find out who did it, but I became aware of it through a student, at the film school I taught at, sent me the link. But then the day after, he sent me an email apologising for sending it to me thinking I’d be terribly upset. But I told him I’d never laughed so much in my life! It was hilarious! *laughs*

Were there any instruments in The Workshop that you never got on with?

I had an arms-length relationship with the Delaware but I got on with it, but I never really went for the PPG or the Oberheim. With the PPG, you felt you were already using the Fairlight and it’s doing it better. Meanwhile similarly with the Oberheim, people were saying they were very beefy sounds and they sort of were, but I don’t think it warranted the effort for me.

But when we came onto stuff like the rack-mounted gear, something like the Yamaha TX816 which was eight DX7s in a rack was fantastic. You could do the most amazing things, sometimes playing all eight at once, some slightly detuned, all sorts of things. A lot of the Yamaha and Roland gear was generally speaking, pretty up there. I didn’t go for Akai samplers when virtually the rest of the planet was going for them, I liked the Roland library and their samplers with the standalone monitors so you had a little bit more information about what was happening, you weren’t looking through a little window all the time, it was things like that.

We were very idiosyncratic, you could find somebody in The Workshop who liked something you disliked so it really didn’t matter as each of us had our own projects, we were actually hardly collaborating at all.

How did you get on with FM synthesis programming on things like the DX7 and TX816?

John Chowning, the guy that invented FM synthesis actually game to see us. I liked it a lot but as with everything else, I liked “playing the whole room” so I didn’t like relying too heavily on one thing for total solutions, because I actually think it leads to sound a bit vanilla for me.

You use the DX7 live as your keyboard controller, what’s that triggering?

My keyboard is controlling laptop based synths that are local to me and occasionally via MIDI lines, synths that are with the others. And the same goes in reverse, it sounds ludicrously complicated but we’ve got it down now to a reasonably workable solution.

Mark Ayres is the hub, he is responsible for the timeline, the video on it, click tracks that all come out to us via Ethernet connected personalised monitors, so each of us have control of sixteen tracks just for our monitoring. It historically goes back to our concert at The Roundhouse in 2009 when we relied on The Roundhouse to provide our foldback and never again, because it was so difficult.

We realised that our sort of material is so varied that you need to be far more specific about your foldback. If you are a rock band and basically using the same line-up for most numbers, you can virtually predict whatever your set-up will be ok when you play the next thing. Not for us, we’ve got so many different sorts of material that we needed a customised way of dealing with it. That describes it roughly.

You use an Akai wind controller on stage too, are you trained in wind instruments?

It goes back to Hayllars and buying lots of instruments. I learnt recorder, penny whistle and I learnt some clarinet and flute. The fingering on the wind controller is most like the flute because you can actually choose what fingering you have, I really enjoy it. I’ve also got a Launchpad Pro matrix that I use for more sound based stuff and I play guitar as well.

How have you needed to adapt the stage set-up for touring purposes and practicalities in live shows?

One thing that came out of The Roundhouse concert for me was ways not to do it. I really didn’t like the experience, one of the things that I thought was absolutely stupid to have done was to put the synth keyboards in the way of me and the audience. You’ll see now since when we went out on tour, I had the keyboards placed sideways so that I have an open view of the audience. When I play guitar or wind controller, I am towards the audience and for me, I’m playing to somebody. At The Roundhouse, I could have been in a study somewhere, I just felt totally disconnected. So that’s one thing that I’ve appreciated doing, that’s worked and Mark has done the same so we are backed onto one another.

THE RADIOPHONIC WORKSHOP have been performing as a live entity for some time now in the last few years. But being mature musicians, touring is not a natural thing to want to do for the first time? *laughs*

No! Cliff Jones, our manager kindly realised that we wouldn’t be sleeping in the van! *laughs*

So, the accommodation we’ve had has been quite good, it’s not the Hilton but they’re comfortable hotels. We have probably spent an inordinate amount of our earnings as a band to making sure we’re feather bedded *laughs*

Mark Ayers has mentioned that it could all be done on laptops but visually wouldn’t be very exciting for the audience?

One of the reasons I turned round and also that I’m playing different instruments was to help with the visuals. I’m not an enormous fan of the presentation style of KRAFTWERK these days, to me they look like a series of chartered accountants standing behins their laptops. So I didn’t really want that to be the way we came across.

Also, we’ve got a live drummer Kieron Pepper and that made an enormous difference right from the start… it also made it a bit more complicated but probably it ups the excitement value, certainly when we get round to doing our finale which is a very extended nine minute excursion which lands into the 1980 ‘Doctor Who Theme’ and I think that proves the value there. In fact, we have two drummers, Bob Earland who is an electronic wizard but also a drummer who was trained by Kieron so the two of them are occasionally drumming together.

There’s also the video projections?

We’ve got videos for everything bar one thing and we regard that as quite important as our audience from the word go were looking at their television so used to hearing our stuff with visuals. I think it would be quite difficult for them to suddenly have nothing but us playing on stage. So we’ve kept that in mind throughout., but it does make it a great deal harder to do, but it’s what the audience enjoy.

Mark has so many good suggestions in problem solving along the way which has been invaluable, his input has been phenomenal from the start. There have been a few ideas where I’ve been doggedly trying to get it to work and there comes a point when somebody else in the band says “why don’t we stop doing this because it’s not working?” *laughs*

For instance, using vocoder live if there’s too much coming off the drum kit, not to be recommended at all! *laughs*

You’ve influenced a whole variety of musicians, producers and DJs, who out of the more recent generation do you think best encapsulates the spirit of The Workshop?

There’s tons of stuff but I’m really bad at making mental notes of people, because part of the problem is I don’t get hooked on one person. I am full of admiration of what they are all able to do, I feel in the stuff I’m writing now, I’m just a member of their band to a certain extent.

Nobody is pretending that pioneers can carry on being so, they are the people treading the new ground and there’s fabulous stuff around. And it’s not just pure electronic stuff, it’s also production values and some things are quite extraordinary. It’s what keeps me going really, I’m fascinated by how people are achieving things. I love Tim Exile’s stuff, he’s somebody who uses technology live in a completely off-the-wall spontaneous manner, he’s helped Native Instruments develop a few plug-ins, one called Mouth which I use.

What have been your favourite pieces of work in your career?

When you ask composers what are their favourites, they may choose things they were up all night writing which means they are much more memorable.

For me, it’s often stuff people probably wouldn’t think twice about, I love what I did for a Channel 4 series called ‘Reality On the Rocks’ with Ken Campbell, the comedian trying to discover the details involved in quantum physics; in the 90s because of the producer choice internal marketing policy within the BBC, we were able to offer our services to other networks.

Obviously, I am delighted with the success of the 1980 ‘Doctor Who Theme’, because it’s been a calling card for me, I can’t possibly not mention that and it was very enjoyable to do.

‘The Astronauts’ too but we are going a long way back, there are things in the meantime that you are pleased with for different reasons. I did the title music for ‘Cardiff Singer Of The World’ for a couple of years and that was all done on glass rims, you get pleased with things for particular reasons.


ELECTRICITYCLUB.CO.UK gives its warmest thanks to Peter Howell

Additional thanks to Stuart Douglas at Obverse Books

‘Radiophonic Times’ by Peter Howell is published by Obverse Books, available now in paperback or electronic formats from https://obversebooks.co.uk/product/radiophonic-times/

https://www.peterhowell-media.co.uk/

https://twitter.com/peterhowelltalk

A ‘Radiophonic Times’ playlist compiling a variety of works throughout Peter Howell’s career can be heard at https://open.spotify.com/playlist/1lvTOEdEUGcucgGRc6zhFE


Text and Interview by Chi Ming Lai
12th April 2021

CHRIS CARTER Chemistry Lessons Volume One

Best known as a founding member of THROBBING GRISTLE, electronic pioneer Chris Carter releases his first solo album in 17 years.

Together with Cosey Fanni Tutti, Peter Christopherson and Genesis P-Orridge, THROBBING GRISTLE enthralled and irritated audiences with their confrontational performance art. Their tracks such as ‘Hot On Heels Of Love’ were played by Rusty Egan at The Blitz Club, while ‘Discipline’ was later reinterpreted by Marc Almond and an important inspiration for PROPAGANDA.

Despite the quartet’s no compromise experimentation, Carter occasionally unleashed a more accessible side, as the obviously influenced ‘AB/7A’ from ‘DOA: The Third & Final Report of…’ from 1978 proved.

So when he and Cosey Fanni Tutti broke away from THROBBING GRISTLE, in 1983 they released ‘October (Love Song)’, a playful synthpop ditty which was subsequently covered in Greek by MARSHEAUX.

Over a generous helping of 25 tracks, ‘Chemistry Lessons Volume One’ captures Carter’s enthusiasm for the limitless possibilities of science, with more than a nod towards the work of THE RADIOPHONIC WORKSHOP. But this is also an accessible record with perhaps the unexpected influence of English folk music. As Carter put it himself: “some of tracks on the album hark back to an almost ingrained DNA we have for those kinds of melodies. They’re not dissimilar to nursery rhymes in some ways.”

It all begins with the glorious statement of ‘Blissters’, a potential theme tune with hypnotic sequences and sweeping synths, wonderful offset by some detuned counterpoints and haunting skewed vocals chopped up in Carter’s sonic laboratory.

‘Tangerines’ continues proceedings but in an almost disco euphoria fashion although it ends far too soon, while ‘Nineteen 7’ plays with pentatonic melodies over a sharp electro beat. ‘Cernubicua’ plays with the skew vocals again before on ‘Pillars of Wah’, the beautiful chorals are accompanied by dub rhythms and a wah-wahed sub-bass. The pulsating tension of ‘Modularity’ is self-explanatory while the short uptempo blend of deep squelch and modular bleep of ‘Durlin’ is cut from a similar cloth.

But it’s the beautiful spacey ambience of the suitably titled ‘Moon Two’ that provides yet another accessible asset to ‘Chemistry Lessons Volume One’, an approach that is reprised on the equally beautiful if darker ‘Tones Map’ and the rich interlude of ‘Dust & Spiders’

For those who might find some of the more accessible material in the album’s first half a bit too nice, the second half is undoubtedly darker with the unsettling dissonance of ‘Shidreke’ and the galloping rumble of ‘Uysring’ more than suitable for soundtracking moods of anxiety and discomfort; meanwhile ‘Lab Test’, ‘Noise Floor’ and ‘Post Industrial’ do what they say on the tin.

But ‘Rehndim’ springs a blissful surprise with a manipulated female voice that wouldn’t have been out of place on a single by THE BELOVED while things head back into the shade with the sci-fi gloom of ‘Roane’.

‘Time Curious Glows’ recalls early Virgin-era TANGERINE DREAM with a spy drama twist, while the more motorik ‘Ars Vetus’ will please those who enjoy the darker side of ORBITAL. A diverse and intriguing collection of electronic soundscapes, this record is definitely worth investigating even if Chris Carter’s previous work has never been your thing; there really is something for synth enthusiasts of all persuasions and for that reason alone, ‘Chemistry Lessons Volume One’ is for ELECTRICITYCLUB.CO.UK, the surprise album of 2018 so far.


‘Chemistry Lessons Volume One’ is released by Mute Artists as a double vinyl LP, CD and download

http://www.chriscarter.co.uk/

https://www.facebook.com/chriscarterCCCLV1/

https://twitter.com/chris_carter_


Text by Chi Ming Lai with thanks to Simon Helm
1st April 2018

Carry On Synthpop: How Drum ‘N’ Bass Is Made…

Founded in 1958 by Desmond Briscoe and Daphne Oram, THE RADIOPHONIC WORKSHOP at the BBC was set up to provide “special sound” for radio and TV programmes.

So to celebrate 60 years of THE RADIOPHONIC WORKSHOP in Autumn 2017, members of the pioneering collective held a panel discussion at The British Library prior to an impressive concert at the venue.

As well as using audio stems of the component parts to discuss how Delia Derbyshire constructed the original ‘Dr Who Theme’, Peter Howell (who was at the BBC between 1974–1997) mentioned how ‘The Music Arcade’, an old schools programme which he had made demonstrating the Fairlight CMI to children, had been re-edited by a prankster into a YouTube video entitled ‘How Drum ‘N’ Bass Is Made’.

With the combination of Howell’s well-spoken manner, the varied facial expressions of the children and ‘Lose Control’ by REDPILL painstakingly dropped in, the results are hilarious!

Peter Howell said at The British Library that “equipment can either be our servant or our partner”; he is best known for his 1980 reworking of the ‘Dr Who Theme’ using a Yamaha CS80, ARP Odyssey and vocoder, while he still uses a Yamaha DX7 as his master keyboard during THE RADIOPHONIC WORKSHOP’s various concerts around the world.

“Thank you Peter, that was fascinating…”


‘Doctor Who: The 50th Anniversary Collection’ is still available as a 4CD set or download via Silva Screen Records

https://www.peterhowell-media.co.uk/

http://www.theradiophonicworkshop.co.uk/

https://twitter.com/radiophonicwork


Text by Chi Ming Lai
28th December 2017

2017 End Of Year Review

Oscillate Mildly

The world found itself in a rather antagonistic and divisive state this year, as if none of the lessons from the 20th Century’s noted conflicts and stand-offs had been learnt.

Subtle political messages came with several releases; honorary Berliner Mark Reeder used the former divided city as symbolism to warn of the dangers of isolationism on his collaborative album ‘Mauerstadt’. Meanwhile noted Francophile Chris Payne issued the ELECTRONIC CIRCUS EP ‘Direct Lines’ with its poignant warning of nuclear apocalypse in its title song. The message was to unite and through music as one of the best platforms.

After a slow start to 2017, there was a bumper crop of new music from a number of established artists. NINE INCH NAILS and Gary Numan refound their mojo with their respective ‘Add Violence’ and ‘Savage (Songs From A Broken World)’ releases, with the latter recording his best body of work since his imperial heyday.

But the first quarter of the year was hamstrung by the anticipation for the 14th DEPECHE MODE long player ‘Spirit’, with other labels and artists aware that much of their potential audience’s hard earned disposable income was being directed towards the Basildon combo’s impending album and world tour.

Yet again, reaction levels seemed strangely muted as ‘Spirit’ was another creative disappointment, despite its angry politicised demeanour.

Rumours abounded that the band cut the album’s scheduled recording sessions by 4 weeks. This inherent “that’ll do” attitude continued on the ‘Global Spirit’ jaunt when the band insulted their loyal audience by doing nothing more than plonking an arena show into a stadium for the summer outdoor leg.

Despite protestations from some Devotees of their dissatisfaction with this open-air presentation, they were content to be short-changed again as they excitedly flocked to the second set of European arena dates with the generally expressed excuse that “it will be so much better indoors”.

By this Autumn sojourn, only three songs from ‘Spirit’ were left in the set, thus indicating that the dire record had no longevity and was something of a lemon.

Suspicions were finally confirmed at the ‘Mute: A Visual Document’ Q&A featuring Daniel Miller and Anton Corbijn, when the esteemed photographer and visual director confessed he did not like the album which he did the artwork for… see, it’s not just ELECTRICITYCLUB.CO.UK 😉

Devotees are quick to say all criticism of DEPECHE MODE is unfair, but the band can’t help but make themselves easy targets time and time again. But why should the band care? The cash is coming, the cash is coming…

Luckily, veteran acts such as OMD and Alison Moyet saved the day.

The Wirral lads demonstrated what the word spirit actually meant on their opus ‘The Punishment Of Luxury’, while the former class mate of Messrs Gore and Fletcher demonstrated what a soulful, blues-influenced electronic record should sound like with ‘Other’.

As Tony Hadley departed SPANDAU BALLET and Midge Ure got all ‘Orchestrated’ in the wake of ULTRAVOX’s demise, the ‘Welcome To The Dancefloor’ album directed by Rusty Egan, to which they contributed, became a physical reality in 2017.

Now if DM plonked an arena show into the world’s stadiums, KRAFTWERK put a huge show into a theatre. The publicity stunt of 2012, when Tate Modern’s online ticket system broke down due to demand for their eight album live residency, did its job when the Kling Klang Quartett sold out an extensive UK tour for their 3D concert spectacular.

No less impressive, SOULWAX wowed audiences with their spectacular percussion heavy ‘From Deewee’ show and gave a big lesson to DEPECHE MODE as to how to actually use live drums correctly within an electronic context.

Mute Artists were busy with releases from ERASURE, LAIBACH and ADULT. but it was GOLDFRAPP’s ‘Silver Eye’ that stole the show from that stable. LCD SOUNDSYSTEM returned after seven years with their ‘American Dream’ and it was worth the wait, with the most consistent and electronic record that James Murphy’s ensemble has delivered in their career.

To say Neil Arthur was prolific in 2017 would be an understatement as he released albums with BLANCMANGE and FADER while Benge, a co-conspirator on both records, worked with I SPEAK MACHINE to produce ‘Zombies 1985’ which was one of the best electronic albums of the year; and that was without the JOHN FOXX & THE MATHS stage play soundtrack ‘The Machines’.

Despite JAPAN having disbanded in 1982, solo instrumental releases from Steve Jansen and Richard Barbieri were particularly well-received, while David Sylvian made a return of sorts, guesting on ‘Life Life’ for ‘async’, the first album from Ryuichi Sakamoto since recovering from his illness. On the more esoteric front, Brian Eno presented the thoughtful ambience of ‘Reflection’, while THE RADIOPHONIC WORKSHOP had ‘Burials In Several Earths’.

2017 was a year that saw acts who were part of the sine wave of Synth Britannia but unable to sustain or attain mainstream success like BLUE ZOO, B-MOVIE, FIAT LUX and WHITE DOOR welcomed back as heroes, with their talent belatedly recognised.

Germany had something of a renaissance as veterans Zeus B Held and ex-TANGERINE DREAM member Steve Schroyder came together in DREAM CONTROL as another TD offshoot QUAESCHNING & SCHNAUSS offered up some impressive ‘Synthwaves’, while there actually was a new TANGERINE DREAM album, their first without late founder member Edgar Froese.

Eberhard Kranemann and Harald Grosskopf offered up some KRAUTWERK as other veterans like RHEINGOLD, DER PLAN, BOYTRONIC and DJ HELL also returned. Comparatively younger, 2RAUMWOHNUNG and KATJA VON KASSEL both offered up enticing bilingual takes on classic electronic pop.

The Swedish synth community again delivered with DAILY PLANET, PAGE, REIN, VANBOT, ANNA ÖBERG, 047 and LIZETTE LIZETTE all delivering fine bodies of work, although KITE were missed, with their German tour cancelled and release of their ‘VII’ EP postponed due to vocalist Nicklas Stenemo’s illness; ELECTRICITYCLUB.CO.UK wishes him all the best in his recovery.

Across the Baltic Sea, Finnish producer Jori Hulkkonen released his 20th album ‘Don’t Believe In Happiness’ while nearby in Russia, a duo named VEiiLA showcased an unusual hybrid of techno, opera and synthpop and ROSEMARY LOVES A BLACKBERRY offered a ‘❤’.

One of the year’s discussion points was whether Synthwave was just synthpop dressed with sunglasses and neon signs but whatever, Stateside based Scots but Michael Oakley and FM-84 made a good impression with their retro-flavoured electronic tunes.

It wasn’t all about the expats and in a territory as big as North America, there came a number of up-and-coming home grown electronic artists with LOST IN STARS, PARALLELS, PATTERN LANGUAGE, SPACEPRODIGI, COMPUTER MAGIC and BATTLE TAPES all gaining traction. Meanwhile, Canada’s PURITY RING infuriated some of their fanbase by working with KATY PERRY on three tracks for her album ‘Witness’. AESTHETIC PERFECTION’s new singles only policy was paying dividends and the Electro Mix of ‘Rhythm + Control’, which featured the promising newcomer NYXX, was one of the best tracks of 2017. South American wasn’t left out either and representation came via Argentina’s COSAQUITOS EN GLOBO.

Female solo artists had strong presence in 2017 as FEVER RAY made an unexpected return, ZOLA JESUS produced her best work to date in ‘Okovi’ and Hannah Peel embarked on an ambitious synth / brass ‘Journey to Cassiopeia’. Meanwhile, SARAH P. asked ‘Who Am I’ and MARNIE found ‘Strange Words & Weird Wars’ as ANI GLASS and NINA both continued on their promising developmental path.

Other female fronted acts like KITE BASE, SPECTRA PARIS, BLACK NAIL CABARET, AVEC SANS, EMT and THE GOLDEN FILTER again reinforced that electronic music was not solely about boys with their toys.

Respectively, Ireland and Scotland did their bit, with TINY MAGNETIC PETS and their aural mix of SAINT ETIENNE and KRAFTWERK successfully touring with OMD in support of their excellent second album ‘Deluxe/Debris’, while formed out of the ashes of ANALOG ANGEL, RAINLAND wowed audiences opening for ASSEMBLAGE 23.

A bit of smooth among the rough, CULT WITH NO NAME released a new album while other new(ish) acts making a positive impression this year included KNIGHT$, MOLINA, ANNEKA, SOFTWAVE, THE FRIXION and KALEIDA.

Despite getting a positive response, both iEUROPEAN and SOL FLARE parted ways while on the opposite side of the coin, Belgian passengers METROLAND celebrated five years in the business with the lavish ‘12×12’ boxed set

Overall in 2017, it was artists of a more mature disposition who held their heads high and delivered, as some newer acts went out of their way to test the patience of audiences by drowning them in sleep while coming over like TRAVIS on VSTs.

With dominance of media by the three major labels, recognition was tricky with new quality traditional synthpop not generally be championed by the mainstream press. With Spotify now 20% owned by those three majors, casual listeners to the Swedish streaming platform were literally told what to like, as with commercial radio playlists.

It is without doubt that streaming and downloading has created a far less knowledgeable music audience than in previous eras, so Rusty Egan’s recent online petition to request platforms to display songwriting and production credits was timely; credit where credit is due as they say…

While ELECTRICITYCLUB.CO.UK does not dismiss Spotify totally and sees it as another tool, it should not be considered the be all and end all, in the same way vinyl is not the saviour of the music industry and in physics terms, cannot handle the same dynamic range as CD.

Music is not as emotionally valued as it was before… that’s not being old and nostalgic, that is reality. It can still be enjoyed with or without a physical purchase, but for artists to be motivated to produce work that can connect and be treasured, that is another matter entirely.

However, many acts proved that with Bandcamp, the record company middle man can be eliminated. It is therefore up to the listener to be more astute, to make more effort and to make informed choices. And maybe that listener has to seek out reliable independent media for guidance.

However, as with the shake-up within the music industry over the last ten years, that can only be a good thing for the true synthpop enthusiast. And as it comes close to completing its 8th year on the web, ELECTRICITYCLUB.CO.UK maintains its position of not actually promoting new acts or supporting any scene, but merely to write about the music it likes and occasionally stuff it doesn’t… people can make their own mind up about whether to invest money or time in albums or gigs.

Yes, things ARE harder for the listener and the musician, but the effort is worthwhile 😉


ELECTRICITYCLUB.CO.UK Contributor Listings 2017

PAUL BODDY

Best Album: QUASCHENING & SCHNAUSS Synthwaves
Best Song: BATTLE TAPES No Good
Best Gig: SOULWAX at O2 Ritz Manchester
Best Video: SOULWAX Is it Always Binary?
Most Promising New Act: MARIE DAVIDSON


IAN FERGUSON

Best Album: OMD The Punishment of Luxury
Best Song: SPARKS Edith Piaf (Said it Better Than Me)
Best Gig: SPEAK & SPELL at Glastonbury
Best Video: ALISON MOYET Reassuring Pinches
Most Promising New Act: MICHAEL OAKLEY


SIMON HELM

Best Album: PAGE Det Är Ingen Vacker Värld Men Det Råkar Vara Så Det Ser Ut
Best Song: LAU NAU Poseidon
Best Gig: PAGE at Electronic Summer 2017
Best Video: PSYCHE Youth Of Tomorrow
Most Promising New Act: ANNA ÖBERG


CHI MING LAI

Best Album: I SPEAK MACHINE Zombies 1985
Best Song: AESTHETIC PERFECTION Rhythm + Control – Electro Version
Best Gig: OMD + TINY MAGNETIC PETS at Cambridge Corn Exchange
Best Video: I SPEAK MACHINE Shame
Most Promising New Act: MICHAEL OAKLEY


RCHARD PRICE

Best Album: FADER First Light
Best Song: OMD Isotype
Best Gig: MARC ALMOND at London Roundhouse
Best Video: GOLDFRAPP Anymore
Most Promising New Act: NINA


STEPHEN ROPER

Best Album:  OMD The Punishment of Luxury
Best Song: DUA LIPA Be The One
Best Gig: HANNAH PEEL at Norwich Arts Centre
Best Video: PIXX I Bow Down
Most Promising New Act: PIXX


MONIKA IZABELA TRIGWELL

Best Album: ZOLA JESUS Okovi
Best Song: GARY NUMAN My Name Is Ruin
Best Gig: ERASURE at London Roundhouse
Best Video: GARY NUMAN My Name Is Ruin
Most Promising New Act: ANNA ÖBERG


Text by Chi Ming Lai
14th December 2017

THE RADIOPHONIC WORKSHOP Live at The British Library

To celebrate 60 years of THE RADIOPHONIC WORKSHOP, the pioneering collective held a pair of events within the plush confines of The British Library.

The first comprised of a panel discussion chaired by Louise Gray of The Wire, while the second was a surround sound concert with striking visuals directed by Obsrvtry, a collaboration between THE RADIOPHONIC WORKSHOP, Michael Faulkner and Ben Sheppee.

Gathered for the panel discussion were Paddy Kingsland, Roger Limb, Peter Howell and archivist Mark Ayers with special guest Martyn Ware who performed on their new album ‘Burials In Several Earths’; original member Dr Dick Mills joined the chat later on after being held up in London’s Friday rush hour.

Founded in 1958 by Desmond Briscoe and Daphne Oram, THE RADIOPHONIC WORKSHOP at the BBC was set up to provide “special sound” for radio and TV programmes.

They were inspired by studios set up by Karlheinz Stockhausen in Cologne for pure electronic sound exploration and Pierre Henry in Paris which had a more of a musique concrète remit.

So if a programme required a door opening or a car crash, a sound effects library could be used, but as Mark Ayres put it: “if you wanted a sound effect for a nervous breakdown, where would you go for that?”. Considered to be distinct from the corporation’s musicians and initially working with virtually zero budget, THE RADIOPHONIC WORKSHOP tended to rescue obsolete equipment that had been dumped by other departments.

Using and abusing technology to create new sounds, its members like the late Delia Derbyshire would be tasked with two hour programmes each week and had to work to deadlines, something which she often had trouble with and referred to as her “variable reluctance”.

Of course, working with early electronics was not straightforward. The tape machines of the day were very unreliable and Roger Limb talked of when THE RADIOPHONIC WORKSHOP started performing as a live act and using digital equipment, discovering “how surprisingly varied the tape machine output was”. He concluded that “what we like about analogue things is to do with the variance, stuff that you don’t immediately hear but is adding to the interest”.

Paddy Kingsland described how Delia Derbyshire and Brian Hodgson (who created the sound of the TARDIS by running a key along a bass string of a gutted piano before electronically treating it) were “into their happy accidents”. It was something that Roger Limb summarised as “something that’s actually wrong that suddenly becomes right”, like the BBC fire extinguisher that was found to be approximately in D# when struck!

The panel discussion also included a fascinating demonstration by Mark Ayres of Delia Derbyshire’s component parts for the theme of ‘Dr Who’. While the music was written by Ron Grainer, it was Derbyshire who orchestrated the arrangement, painstakingly recording short bursts of manually manipulated oscillator onto tape, cutting them up and splicing them together to form longer and more recognisably musical sections.

The bass was actually a plucked string, recorded and copied via tape loops onto another machine until a series of different pitches were made, with Ayres explained that “every one of those notes was a piece of tape cut together with a razor”. Roger Limb pointed out that the bassline which Derbyshire had constructed was even cleverer because “the attack only happens on the front of the phrase”.

The music had a profound impact when it was first aired in 1963 with Dr Dick Mills remembering people were intrigued and asking “WHAT THE HELL WAS THAT?” because they couldn’t work out the instrumentation or how it was realised.

As Martyn Ware put it, “it promised you were going to be visiting worlds that you couldn’t possibly comprehend” while Peter Howell added “You were genuinely hearing things you had never heard before”.

Adventurous manipulators of sound who came up with instruments like the Wobbulator, Peter Howell had the view that “the equipment can either be our servant or our partner”.

While discussing these two approaches, he casually mentioned how an old BBC schools film he had made demonstrating the Fairlight CMI to children had been re-edited into a hilarious spoof YouTube video entitled ‘How Drum ‘N’ Bass Is Made’.

With the panel discussion over, THE RADIOPHONIC WORKSHOP moved over to the Entrance Hall for their two-part live performance.

With hardware such as an Arturia Matrixbrute, Korg MS20, Roland JX3P and Yamaha DX7 clearly in view, along with various laptops and controllers, the first section comprised of more progressive and lengthy ambient experimental pieces.

The impressionistic colours of ‘Picasso’ began the evening before the band settled into performing selections from ‘Burial In Several Earths’. Inspired by Sir Francis Bacon’s incomplete novel ‘New Atlantis’, Daphne Oram used a section of it as an electronic avant-garde manifesto for the workshop.

Her spirit could be heard within these watery overtures recalling Virgin era TANGERINE DREAM while in between these lengthy improvised soundscapes, Martyn Ware joined the band on a Roland Jupiter 8 for a rendition of the comparatively bite size interlude ‘Not Come To Light’.

During the interval, DJ Tom Middleton treated attendees to the spacey sounds of JEAN-MICHEL JARRE, TOMITA and VANGELIS.

So it was fitting that when THE RADIOPHONIC WORKSHOP returned to the stage, it was with ‘The Astronauts’, a pacey tune reminiscent of Evangelos Odysseas Papathanassiou. ‘Ziwzih Ziwzih 00-00-00’ from ‘Out of the Unknown’ was the first of the more Sci-Fi related compositions, a theme which continued with some music from ‘Hitch-Hiker’s Guide To The Galaxy’.

Meanwhile ‘Magenta Court’ from ‘Through A Glass Darkly’ explored more proggy territory. The multi-instrumental capabilities of the ensemble were astounding with the main players moving between synths, guitars, wind controllers and taking turns to address the audience.

One thing that has been lost since the advent of 24 hour television in the UK since 1997 is Test Card F. So when the iconic image of Carole Hersee playing noughts and crosses with Bubbles the Clown was projected, it saw the band to wig out in a Floydian style with a sample of its accompanying music.

A rendition of ‘Vespucci’ from ‘Fourth Dimension’ also ventured into cosmic territory while ‘Vortex’ kept the Sci-Fi fans happy,

But it was the brilliant new composition ‘eShock’ that was the revelation of the evening. With Roger Limb taking to the microphone to warn the audience that they were in a “high risk area” and vulnerable to electronic shock, what proceeded was a vibrant electronic piece aided by a live rhythmic backbone from Kieron Pepper. With a cacophony of blips and beats that would make ORBITAL proud, an intense frenzy of psychedelic guitar and Theremin from Paddy Kingland was the icing on the cake.

Dr Dick Mills joined his colleagues on stage to announce the final number which was naturally ‘Doctor Who’; he even took time to joke and thank the crew for not only helping with the equipment, but also several of the band up The British Library’s many stairs.

Beginning with the familiar Delia Derbyshire take, there was a building improv before a Schaffel flavoured rock out with Kieron Pepper respectfully adding percussive power without swamping his colleagues.

Pepper has also played for THE PRODIGY and he is an example to sticksmen like Christian Eigner as to how to properly mix live drums into electronic music.

Despite THE RADIOPHONIC WORKSHOP members now pushing 70 years of age or more, they possessed more vigour than many acts half their age.

They didn’t start play live together in a concert setting until 2009 and having been cooped up in Room 13 all those years ago, they are now relishing playing to appreciative audiences.

Call it ‘Maida Vale Social Club’ or ‘Last of The Summer Synths’, this whole evening was a moment to savour with electronic music’s elder statesmen giving a lesson to youngsters with their laptops as to how it’s all done.


With thanks to Duncan Clark at 9PR

‘Burials In Several Earths’ is released by Room 13 Records as a 4 x 10” vinyl boxset, double CD and download

http://www.theradiophonicworkshop.co.uk/

https://www.facebook.com/theradiophonicworkshop/

https://twitter.com/radiophonicwork


Text and Photos by Chi Ming Lai
17th October 2017

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