Tag: Tony Visconti (Page 1 of 2)


The KINGSTON UNIVERSITY STYLOPHONE ORCHESTRA is believed to be the only ensemble of its kind in the world.

From stylus to stardust, the KINGSTON UNIVERSITY STYLOPHONE ORCHESTRA was created by Dr Leah Kardos in early 2019 after producer Tony Visconti, whose studio is based at the University, introduced her to Dubreq, makers of the Stylophone who subsequently donated a collection of new and vintage instruments.

Directed and produced in the majority by Kardos, KUSO’s debut album ‘Stylophonika’ is a fine tribute to the instrument that also explores its strange future possibilities with love and affection, making the most of its component vibrato and glide for a unique collective noise.

Present and past members of the ensemble include Ershad Alamgir, Louis Bartell, Harry Green, Sydney Kaster, George Reid, Cian Ryan-Morgan, Arte Spyropoulou, Estelle Taylor-Noel, Isabella van Elferen, Zuzanna Wężyk, Jess Aslan, Mari Dangerfield, Jack Holland and Billy Wilson.

As well as the original Stylophone series, newer instruments from the Dubreq family like the Gen X-1, Gen R-8 and Beatbox, along with Korg Volca sample sequencers, Theremins, Omnichords, a Moog Grandmother and the human voice feature on ‘Stylophonika’.

Half the album pays homage to electronic music’s pioneers via delightful cover versions of David Bowie, Brian Eno, Wendy Carlos and Jean-Michel Jarre act as entry points while the other half comprises of the original material.

Leah Kardos spoke to ELECTRICITYCLUB.CO.UK about how the KINGSTON UNIVERSITY STYLOPHONE ORCHESTRA took shape and in challenging circumstances, recorded a highly enjoyable debut long player…

Can you remember the first time you heard a Stylophone? I love how some describe it as sounding like “a wasp being cut in half”!

It would have been on the Bowie song ‘Space Oddity’ for sure. I actually didn’t get to play one until I was in my 30s. But I remember being immediately enamoured with the little things. It’s a buzzy sound for sure, but also one that’s capable of stirring emotion.

The first Stylophones had the music notes assigned to each “key” but this was changed to the numbering system quite soon after. Have you any thoughts or views as to what is the better system for musical beginners?

Hmm… the note names are probably better for music educational purposes.

But the numbers are more immediately accessible for learning, or following along to a known tune quite quickly. As to what might be better for beginners, I guess the system that removes any barriers to access and engagement would be preferable. The instrument is already hugely accessible, being the first ‘pocket’ synth and all. To this day, if you search for synthesisers by price, Stylophones are still the cheapest / easiest around.

As a music academic, how do you feel about some people’s claim that knowledge of music notation and theory is unnecessary?

When it comes to notation, I think it depends on the music and the situation. In some situations notation is not needed – for example, if I was in a band that was improvising, or working in commonly understood structures and forms, or if I was working in electronica with my own sequencing systems, etc. Those of us in the orchestra need it, as we are performing set written arrangements that we perform live together. Knowledge of theory is often intuitively developed, I feel. Theory mostly just explains the reasons why and how certain musical devices work, and we can pick this knowledge up in many different ways – through creating, playing, listening / exposure… and of course by analysing and unpacking it.

How did you come to be introduced to the Stylophone as a modern entity and consider it as a future compositional tool?

It was really by chance. Manufacturer Dubreq got in touch with me, via Tony Visconti, and said they wanted to donate instruments to the university. My first thought when I saw them was: would an ensemble be possible? The limitations of the instruments, in particular, I found really enticing.

Was the orchestra initially for live performance solely? Tuning up must be fun? Is it like a school recorder class?

Tuning up is a necessary ceremony every time we meet, for sure! We use tuning apps on our phones to tune. And of course being analogue synths, the tuning does shift over time, and move about between settings. The upshot is that the group have really become adept at identifying resonance and when something is out of tune slightly.

And, yes, the group was initially about performing live – we only formed in 2019 and that year the goal was to become good enough to play in front of people. We were also developing our sound quite slowly… it was a process of discovery and learning what we could achieve sonically together. We learned a lot together that year! There are some vlogs from our very first few rehearsals on YouTube and we do sound very ropey, much like a school recorder class, yes!

How and when did the idea of recording an album become a realistic proposition, with all the challenges going on?

The album was a way for the group to stay active during lockdown. That’s how the idea started. We met in September 2020 over Zoom and talked about it. I asked the group if they were up for working remotely on such a thing and we all agreed it would be a good project for us to do during the Winter. It was something to keep us busy and distracted during a pretty depressing time.

How did you choose the four cover versions, as each is iconic in its own way?

Some of those tracks were already in our live rotation. ‘An Ending (Ascent)’ was actually the first arrangement we ever worked on and rehearsed, so that had to go in. Similarly we had played ‘Space Oddity’ and ‘Blade Runner (End Titles)’ live so those arrangements were ready to go. We discussed the theme for the album and all settled on this idea of ‘classic’ electronica, since we are an orchestra after all. We asked: “What do orchestras do?”, they play standard repertoire. “So what would be standard rep for a synth orchestra?”. That led us to shortlisting Wendy Carlos and Jarre. We also mooted some John Carpenter and Tangerine Dream, but there wasn’t enough room for everything the group wanted to do.

What was it like to work with Tony Visconti on ‘Space Oddity’?

That was a ‘pinch me’ moment; for me at least, since I’m such a Bowie fan. The session was also around the time of the 50th anniversary of the song itself, so that made it feel extra special. He’s quite magical in the studio; anything is possible when he’s around. He also recorded us as a true ensemble, playing together through the Stylophone speakers at the same time (not multitracked or separated out).

We felt like a genuine little orchestra that day. We even recorded some parts for his upcoming album… We became the first (only?) session Stylo orchestra in the world. This was also the first time we sang together in choir mode – which of course opened up a lot of possibilities for us moving forward. It was such a great and inspiring day for us.

On ‘Music For The Funeral Of Queen Mary’ from ‘A Clockwork Orange’, you have the Stylophones sitting with Moogs and they sound wonderfully unsettling?

The combination is fun, I think. We’ve never had Moogs in the orchestra when we’re playing live. But George Reid was a member of the orchestra for the Tony session, and through the remote recording process he came back to us with some amazing Moog takes that we absolutely had to use. He did a brilliant job of treading the line between respectful homage and fresh creativity.

When did you think original compositions would work well within the context of the album? Had this always been part of the concept?

As we were working over the winter of 2020/21, I left space in our schedule for new music. I opened it up to the group – basically saying “If you want to write something for us, I’ll arrange it! Let me know…”; Zuzanna Wężyk responded with ‘Akoustiki’, but no-one else did; students are busy and people had their priorities. So I felt a Harold Budd tribute was appropriate, and I had a Stylophone piece of my own ‘Brundle Beat’ ready to go, so we went with that. I wasn’t sure about including it because a version of it was out on my own 2020 album ‘Bird Rib’, but Gavin at the label Spun Out Of Control was keen on the orchestra version, so it went in at the last minute.

I’m glad we have some original material on the record as it shows the creative and expressive potential of the group. We can face the future as well as looking backwards to the past!

‘Olancha Goodbye’ pays tribute to the late Harold Budd?

Yeah, it’s inspired by his interlude ‘Olancha Farewell’ (from his 1986 album ‘Lovely Thunder’). I interpolated the theme and built it in a different direction. The gentleness of Budd’s music was something I wanted to try and explore within the brittle Stylophone sounds – could we blend voices with synth tones and create something just as ethereal? That’s where I started with that.

In Visconti Studio we have some beautiful reverbs available, so it was nice to extend and stretch the sound that way. Cian Ryan-Morgan, the Orchestra member who also mixed the project, suggested we re-amplify the sound through the resonant soundboards of the studio’s grand pianos… so we blasted it through them, while one of us held the sustain pedals down. The sound kind of balloons and shimmers through it. Again, it felt fitting for a Budd tribute, since so much of his music is focused on atmospheric piano tones.

What sort of challenges did the Stylophones present in being recorded within a studio environment?

Aside from tuning issues, not many. It was easier to manage with the studio recorded audio than it was to deal with the variously remotely recorded bits and pieces that I was getting from the group. There was lots of Google Drive file swapping going on, and some people were recording with their phones, others with posh set ups. In the end I adopted a ‘more is more’ attitude and threw everything together, often using every version of people’s multiple takes. The results I think are pretty epic; I was so pleased.

Why do you think the charm of the Stylophone still endures?

I think it’s because the instrument survives intact and virtually unchanged since 1968. It sounds retro-futuristic, crude and sweet. There’s something quite vulnerable and a little naïve about the sound. Above all, it’s an instantly recognisable voice, and in the hands of creative musicians can be beautiful and evocative and iconic.

Do you have a particular favourite Stylophone model, whether vintage or modern?

I really like the current ‘all analogue’ version of the instrument. The sound is warmer and rounder than the previous model. Of the vintage units I really adore the 350s – the range and timbral possibilities can’t be beat. It’s definitely the best sounding Stylophone that ever existed… in my humble opinion, anyway.

Will there be a second album? Are there any conceptual ideas you would like to try?

We had no idea how the debut would be received – whether our record would be laughed at or ignored or whatever.

Just in terms of the experience from our end, I know that everyone involved really enjoyed the process of making the record, from planning the track list, checking mixes to getting our photos taken and excitedly discussing ideas about the cover art. I’m sure we will all be keen on doing it again sometime soon. As for a theme, we’d need to discuss it! I’d never want to decide anything without the whole group’s input.

What is next for you? You have book about David Bowie coming out?

Yes, my Bowie book ‘Blackstar Theory’ is coming out around the same time as the ‘Stylophonika’ vinyl, both things I was working on during the lockdown months. It’s all about Bowie’s last works from 2013-2016 – a topic I’ve been obsessed with ever since Bowie passed away in 2016. Other than that, I have a music project with saxophonist Lara James that is all about feminine psychogeography, using field recordings from public places that have been historically unsafe for women. Then, I’m hoping (pandemic willing) that the Stylophone Orchestra can get out and do some gigs in the Spring.

ELECTRICITYCLUB.CO.UK gives its sincerest thanks to Leah Kardos

Special thanks to Gavin Stoker at Spun Out Of Control

‘Stylophonika’ is released by Spun Out Of Control on 28th January 2022 as a limited edition Protein Pills Purple or Pink & Blue Cosmic Swirl vinyl LP, pre-order from https://spunoutofcontrol.bandcamp.com/album/





Text and Interview by Chi Ming Lai
30th December 2021


The Dubreq Stylophone created by Brian Jarvis was for many people, their first direct experience of an electronic music instrument.

Operated with a stylus in contact with a metal keyboard that was etched as part of a printed circuit board, musical notes were created via different-value resistors connected to a voltage-controlled oscillator when the circuit was closed. Entering production in 1968, the Stylophone was seen as a novelty instrument until Marc Bolan introduced the pocket sized device to David Bowie who subsequently used its otherworldly qualities on his breakthrough hit ‘Space Oddity’ in 1969.

Over the years, tracks using the distinctive tones of the Stylophone have included ‘Style’ by ORBITAL which was constructed out of samples rather than played live and BELLE & SEBASTIAN’s ‘Mayfly’ with its buzzy solo. From stylus to stardust, the KINGSTON UNIVERSITY STYLOPHONE ORCHESTRA was created by Dr Leah Kardos in early 2019 after legendary producer Tony Visconti introduced her to Dubreq who donated a collection of new and vintage Stylophones to Visconti Studio’s instrument archive based at the University.

The idea of a performing ensemble using these unique instruments took shape in Kardos’ head. After a notice was posted up, a number of curious students showed up for the first rehearsal. Despite the Stylophone’s known limitations, its restrictions were to inspire creativity and ingenuity with a unique collective noise.

The worldwide pandemic meant regular rehearsals were impossible so a collaborative recording project which could be worked on remotely was conceived using not just the original Stylophone series but Dubreq’s newer instruments from the same family like the Gen X-1, Gen R-8 and Beatbox, along with Korg Volca sample sequencers, Theremins, Omnichords, a Moog Grandmother and the human voice. When Kinston University opened up again in March 2021, the orchestra returned to Visconti Studio finishing their long playing debut.

Entitled ‘Stylophonika’, half the album pays homage to electronic music’s pioneers and while those delightful cover versions act as entry points, the original material that was composed specifically for ‘Stylophonika’ also excels. Takes on Jean-Michel Jarre’s ‘Oxygene (Part 4)’ and the Tony Visconti-produced ‘Space Oddity’ featuring some commendably authentic vocal phrasing from Ershad Alamgir and Jack Holland are very enjoyable.

But ‘Blade Runner (End Titles)’ sounds glorious with the Stylophone ensemble playing the main melody and it could be argued that their grainier timbres add an even greater dystopian quality to the iconic Vangelis theme. The same goes for the rework of Wendy Carlos’ ‘Music For The Funeral Of Queen Mary’ from ‘A Clockwork Orange’ with assorted variants of Stylophone penetrating the backdrop of Moogs.

As the album’s closing piece de resistance, the piercing Stylophone tones sound magnificent (complete with just about audible “keyboard taps”) in the affecting sonic cathedral that is Brian Eno’s ‘An Ending (Ascent)’.

Composed by Zuzanna Wężyk and building into a multi-layered soundscape, ‘Akoustiki’ utilises some eerie cyclic choir phrasing and an angelic lead vocal by Arte Spyropoulou alongside bursts of vintage Stylophone set to a rhythmic mantra that is distinctly ritualistic.

However Leah Kardos’ own ‘Brundle Beat’ soothes with a dramatic swirling soundscape while the elegiac ‘Olancha Goodbye’ acts as her touching musical eulogy to the late Harold Budd with a hushed blend of Omnichord drone, glistening electronics, soothing choir and appropriately understated percussion. If Harold Budd was the master of “soft pedal”, then this is “soft stylus”, constructing its own dreamy pavilion.

Directed and produced by Leah Kardos to capture a Yesterday’s Tomorrow aesthetic via the Stylophone’s classic component vibrato and glide, ‘Stylophonika’ is a fine tribute to the instrument that also explores its strange future possibilities with love and affection. If you love the Stylophone, then you will adore this album.

‘Stylophonika’ is released by Spun Out Of Control on 28th January 2022 as a limited edition Protein Pills Purple or Pink & Blue Cosmic Swirl vinyl LP and download, pre-order available from https://spunoutofcontrol.bandcamp.com/album/stylophonika



Text by Chi Ming Lai
6th December 2021


Born in Auckland to Danish parents, Zaine Griff possesses a musical CV that is impressive, reading like a Who’s Who of popular music.

First a bassist and vocalist with Kiwi rock band THE HUMAN INSTINCT, he left in 1975 and moved to London where he had stints in BABY FACE and SCREEMER before going on to study mime under Lindsay Kemp alongside Kate Bush. As a result, he joined Kemp’s production of a play written by Jean Genet called ‘Flowers’.

In 1979, Zaine Griff launched his solo career with future film music composer Hans Zimmer and ULTRAVOX drummer Warren Cann among the members of his backing band for an appearance at the Reading Festival.

With his Aladdin Sane-inspired persona, he was soon signed by Automatic Records, a subsidiary of Warner Bros who brought in Tony Visconti to produce his debut solo album ‘Ashes & Diamonds’. It spawned the 1980 single ‘Tonight’ but it peaked at No54 in the UK Singles Chart, partly due to an already recorded appearance on ‘Top Of The Pops’ not being shown due to a Musicians Union strike.

It was during these recording sessions for ‘Ashes & Diamonds’ that David Bowie walked in to visit Visconti and was slightly taken aback by the resemblance between himself and Griff. Despite this, Bowie invited Griff be part of the band to record three new versions of his songs for an upcoming appearance on the 1979 Kenny Everett New Year Show.

One of them was ‘Space Oddity’ which later surfaced as the flipside to ‘Alabama Song’ while another was ‘Panic In Detroit’ that later appeared as a bonus track on the Ryko CD reissue of the ’Scary Monsters’ album; the re-recording of ‘Rebel Rebel’ has yet to see the light of day.

The second Zaine Griff album ‘Figvres’ was released in 1982 and saw Hans Zimmer stepping up to the producer role. It ultimately laid the groundwork for the German musician’s eventual career in Hollywood. Also featuring on the album were Kate Bush and Yukihiro Takahashi from YELLOW MAGIC ORCHESTRA. Around this time, Griff held an art exhibition of his drawings in London’s Ebury Galley, to which his friend and contemporary artist Mark Wardel also contributed.

Meanwhile in 1983, Griff collaborated on six songs for Hans Zimmer and Warren Cann’s ambitious HELDEN album ‘Spies’ which despite the independently released duet with Linda Allan titled ‘Holding On’ being issued as a single in advance, remains officially unreleased. After recording with Midge Ure and Gary Numan, Griff returned to New Zealand in 1984.

In 2011, Zaine Griff made a comeback with his third album ‘Child Who Wants The Moon’ and returned to the live stage. While he has continued releasing albums and touring regularly, his music was being discovered by a cool young audience, thanks to American rockers MGMT covering ‘Ashes & Diamonds’ during their concerts in 2018. Zaine Griff kindly spoke to ELECTRICITYCLUB.CO.UK from his home in New Zealand about his music career.

Your debut solo album ‘Ashes & Diamonds’ was produced by Tony Visconti, how did that come about?

Tony Visconti was brought in to produce my debut album ‘Ashes and Diamonds’ by my record company MD Nick Mobbs at Automatic Records which was part of Warner Bros. When Tony heard my demos, he wanted to work with me.

It was during the recording of the ‘Ashes & Diamonds’ album that you were introduced to David Bowie and he had a proposal?

I was introduced to David Bowie by Tony at Good Earth studios. David had just returned from recording the Berlin trilogy and was wanting Tony to produce some tracks for a TV show. He had heard what I was doing and asked me if we could back him.

How did you run into Hans Zimmer and his batcave of synths?

Colin Thurston introduced me to Hans Zimmer when Colin brought Hans into Utopia studios to play keyboards on some demos I was recording there. Everything from that session onwards, Hans played on. As Hans said to me only last year: “I was your keyboard player”. In fact, he was much more than that. All the live work, studio work, Hans was with me, as I was with him during his HELDEN project.

You were frequenting The Blitz Club, what appealed to you about its atmosphere and how did you find the characters you met there?

I met Steve Strange at Legends night club. My manager Campbell Palmer owned Legends. I met so many amazing artists at Legends, we would dance and hangout till day break, often we would go to The Blitz Club or The Embassy. Everyone seemed to know each other and were supportive of each other. This is how I met Rusty Egan and Midge Ure, Boy George, Marilyn and so on.

Did it take much to persuade Rusty Egan to appear in your ‘Ashes & Diamonds’ video for the single?

I wanted at the time for Rusty to drum for me and Gary Tibbs to play bass. Well, they performed in the video of ‘Ashes & Diamonds’ and then they both were doing other projects. I tried!!

How do you feel about the American indie rock band MGMT covering ‘Ashes & Diamonds’ on their 2018 live tour?

Fantastic! I would love to meet them one day. It’s so cool when a younger generation plays your music in respect of the song and the composition. I was thrilled to say the least, I have followed them ever since.

Hans Zimmer had moved up to the producer role on ‘Figvres’ and it was to prove inspiring for his later soundtrack career?

I had to convince Nick Mobbs of Automatic Records to allow Hans Zimmer to produce my second album ‘Figvres’. So much so that Nick allowed Hans to co-produce and Nick would allow us to complete the album based on the first two weeks of recording. He loved what he heard and gave us his blessing to finish.

Up until then, Hans had only produced a single for THE DAMNED. ‘Figvres’ was his first album production. And indeed he is entitled to a full production credit for everything he put into ‘Figvres’ and of course Steve Rance, Hans’ engineer… what a team!

You had a good friendship with Warren Cann from ULTRAVOX who played on the ‘Figvres’ album too?

I heard ULTRAVOX on the John Peel show. I went out and brought ‘Systems Of Romance’ only because of the drummer. I had to meet this guy and work with him. I wanted Warren so much, I called Island Records, got his number, went to his flat and convinced him to play at the Reading Festival with me, and that’s how Hans and Warren met in rehearsal for Reading Festival.

The song ‘Flowers’ was dedicated to the late Lindsay Kemp and had Kate Bush singing backing vocals, what was it like working with her?

Working with Kate Bush was beautiful. She and I had studied under Lindsay Kemp, so it was easy for her to understand the ‘Flowers’ song and the emotion of the composition. ‘Flowers’ the show was a massive inspiration. Nothing comes near ‘Flowers’. So powerful, so dramatic and a huge inspiration to us both.

Hans Zimmer and Warren Cann formed HELDEN and you sang on the single ‘Holding On’, but the album on which you sang another five songs has never had an official release, do you consider it to be a lost classic?

I spent a whole year, most days and nights with Hans and Warren on the HELDEN project mainly at Snake Ranch Studios. I did a radio promotional tour with Hans. By then he was swept off his feet by film directors. Alas Hollywood.

What was the idea behind you recording a cover of ULTRAVOX’s ‘Passionate Reply’ with Midge Ure?

Chris O’Donnell suggested I do some recording with Midge. He played me ‘Passionate Reply’ on an acoustic, I had not heard it before and I just loved it. We recorded in his Chiswick studio. We recorded enough material for an album and the masters were stored at Rock City Studios with Gary Numan’s mum. I loved working with Midge. I had known Midge from when he was in SLIK. The band I was playing with at the time were the support to SLIK. I knew then just how good he was.

Looking back, we were so naive to it all. ULTRAVOX was managed by Chris O’Donnell and Chris Morrison, they were my production management company and production company to VISAGE. See how close knit we all were? And of course they managed THIN LIZZY.

There was that TV appearance performing ‘Passionate Reply’ on ‘The Freddie Starr Show’? What can you remember about that?

I was told I was to go to Manchester and do this show. All I wanted to do was not do it. Hated the whole tacky production. Still I stood up there alone and did it.

You recorded ‘This Strange Obsession’ with Yukihiro Takahashi and Ronny, that’s quite an international combination?

I had worked with Ronny on one of my songs ‘It’s A Sin’ with Hans producing her and Yukihiro approached me to write for him. I asked Ronny to join us. That was amazing working with Yukihiro. The translation barrier was understood with music.

Although you never recorded together, there’s a photo of you with Steve Strange and Mick Karn, what was the occasion?

That photo of Mick, Steve and I was at my art exhibition at the Ebury Gallery Victoria.

Gary Numan invited you to duet with him on ‘The Secret’ from ‘Berserker’, it has a good chemistry, how did you find working in the studio with him?

Gary Numan called me asked me to work on ‘Berserker’ just out of the blue. He was great to work with, I remember him doing takes faster than what I was used to; if he liked that take, that was it. Midge was like that as well. They knew what they wanted.

You returned with your third album ‘Child Who Wants The Moon’ in 2011, what was behind what appeared to be a lengthy hiatus?

It was a lengthy hiatus because I was burnt out, exhausted, not well, I had to go. I was not in a great space. I decided to try and get well again and stop wanting the moon… you know wanting the impossible.

You’ve released the albums ‘The Visitor’ and ‘Mood Swings’ since then and have returned to performing live again. Was that aspect something you’d missed over the years?

My problem is I cannot stop composing. I recorded ‘The Visitor’ and ‘Mood Swings’ purely for composition fulfilment. In the liner notes of ‘Mood Swings’, you can see the album is dedicated to Steve Strange.

ELECTRICITYCLUB.CO.UK gives its warmest thanks to Zaine Griff

‘Ashes & Diamonds’ and ‘Figvres’ are still available via Mig Music on the usual digital platforms





Text and Interview by Chi Ming Lai
13th February 2020, updated 11th October 2022

MR NORMALL Interview

The Amazing Adventures Of Mr Normall have gained a loyal cult following within the post-punk and electronic music world.

With a handshake, big smile, good guy profile, the Finnish music fan’s charming photographs with members of SPARKS, JAPAN, ULTRAVOX, BLANCMANGE, HEAVEN 17, DEPECHE MODE, VISAGE and MARSHEAUX among many, have endeared visitors to his website chronicling his travels.

After appearances in a number of promo videos including Kim Wilde and BEF’s cover of ‘Every Time I See You I Go Wild’ , Mr Normall was more recently cast as the star of the silent art movie ‘Nuntius’.

The film with its live soundtrack by Jimi Tenor and Jori Hulkkonen has played to audiences around the world, with Mr Normall occasionally joining the musicians with on stage cameos at selected performances.

ELECTRICITYCLUB.CO.UK had the pleasure of catching up with Mr Normall for another chat about his continuing amazing adventures…

Since ELECTRICITYCLUB.CO.UK last spoke to you in Spring 2011, your fame spread far and wide in some unexpected places. Richard Barbieri wanted his photo taken with you, what was the story here?

Oh yes… that was a surprise and very positive one. We had been friends on Facebook for some time, but I had no idea that he knew who I was or that he had paid any attention to me. Then last December – all of a sudden – he tags me and comments “it’s my ambition to have a photo with you”.

Of course it was humour, but I was very pleased nevertheless. JAPAN is my No 1 favourite band and to be sort of acknowledged by one of them was very cool. Mr Barbieri had his wish come true three months later in Birmingham where I went to see him play live. Richard Barbieri is a first-class artist and a very nice person.

You were also recognised by someone in 2014?

I did speak with Jonathan Ross at the SPARKS aftershow at the Union Chapel in December 2013 but he didn’t recognise me, I would have been really surprised if he did. The subject of our chat was ULTRAVOX. He prefers the John Foxx version of the band.

Do you think this recognition all escalated after Jori Hulkkonen asked you to appear in the ‘Take Me To Your Leader’ video for PROCESSORY?

In Finland, a few people did comment about the music video when meeting me but I don’t remember it happening anywhere else. However, I’m certain that ‘Take Me To Your Leader’ video made Mr Normall better known, even if I haven’t got much feedback about it.

The music video was done and released in spring 2011. I was really hoping to see it on TV back then, but it was just about that time when music videos disappeared from TV altogether.

The idea on me appearing on Jori Hulkkonen’s music video started actually almost a year before at the night when ULTRAVOX was playing live in Jori’s home town of Turku. After the gig was over, I and several other people – including Warren Cann – went to the unofficial ULTRAVOX after party at the club called Dynamo. There I told Jori, that if he’s interested to feature me on a music video in the future, I’m game. Few months later Jori contacted me about the subject and the result was ‘Take Me To Your Leader’ music video.

I must tell you this… after the ULTRAVOX gig in Turku when we arrived at the Dynamo club, I had a really good “Steve Strange moment”: The gig venue was quite far from city centre, so we took a big taxi to get the posse to the club. When we got to the Dynamo, I was walking in first and Warren Cann right behind me.

The DJ was playing ‘Fade To Grey’ by VISAGE and at that moment I felt just like that bit on the VISAGE music video tape where Steve Strange arrives a club in Paris and ‘Fade To Grey’ is playing in the background. That was THE way to enter to the club.

Of course after this, Jori and his musical partner Jimi Tenor asked you to appear in their film ‘Nuntius’, this had an interesting concept?

Jori Hulkkonen and Jimi Tenor had talked about making a film, but I suppose they didn’t have clear idea what it should be about. In July 2013 I met both of them at the Turku Modern festival and said that I would like to be in their film if they were interested.

The big idea was to make a silent film that would be shown only with live soundtrack by Tenor and Hulkkonen themselves. The film and its music would never be released in any format or be ever available online. Live performances only.

First days of filming ‘Nuntius’ were in May 2014. We started the car journey from Central Finland where I live and drove next to the Russian border in South-East Finland. The destination was an amazing place called Parikkalan Patsaspuisto (Parikkala sculpture park). We stopped to film where ever the scenery looked right. As far as I know, there wasn’t any actual plot ready when we started.

The only rough plot in the beginning was that “I’m being sent from one place to another to get something from there” and the genre is going to be Sci-Fi, perhaps something à la Tarkovsky.

What was filming like for you?

Those first two days of filming in May 2014 were the most fun and memorable for me. Maybe because it was a new situation and the realisation that this is really happening. Also the car journey itself with Jimi, Jori and Marjaana was fun.

There was three more filming days in 2014 and they were mainly done in an art studio in Helsinki. The studio is very high inside and it has a round platform which moves up and down, and also rotates. The studio was made in 1950s and it was made for the sculptor Kalervo Kallio, who was a son of Finland’s President Kyösti Kallio. The studio is the setting for the “other place” where Mr Normall is being sent somewhere else to get something. I would have never spent time at this special place if it wasn’t for ‘Nuntius’.

In May 2015, there were two days of filming in Helsinki for the second version of ‘Nuntius’. Those shoots were done at several locations. The latest shoots were just recently in July 2017 when we filmed around Estonia over three days.

It was much like the first shoots three years earlier because also this time we drove around the country and stopped where scenery was suitable to be filmed. There are strange ex-military places in Estonia that have been deserted after the Russian Army left them when Estonia got independent. Those were exciting days and I definitely wouldn’t had ever visited those places without ongoing ‘Nuntius’ production.

I don’t know yet what will become of all the new shots; will it be the third version of ‘Nuntius’ with a lot of new stuff or will they became a whole new entity à la ‘Nuntius – Part 2’ or something like that?

You made a new friend named Louis while riding a motorcycle?

Louis the dog was only one year old, but he was already a real pro. There was one shot with Louis which could have ended badly… I was driving a sidecar motorcycle in a tunnel in Helsinki and Louis was sitting in the sidecar. It was a public road and there was other traffic too. The shot had to be done several times and if Louis had jumped out of the sidecar, he might have been hit by a car.

He had a collar and a leash was around my arm, but I’m not sure what would have happened if Louis wanted to jump out of very loud old motorcycle. Luckily he was very cool all the time and it seemed like he knew what we were doing.

I saw Louis again last year and he wouldn’t stop barking at me. I’m not sure what he meant by that.

‘Nuntius’ has taken you around the world with you making cameos while Jori and Jimi are performing. Which locations or events have you found most interesting? Any funny stories?

I have attended several ‘Nuntius’ shows in Finland and also few abroad. Berlin was special because that day was also Jimi Tenor’s 50th birthday, so that evening at the Lido was also his birthday party.

The Sonar Festival 2015 in Barcelona: ‘Nuntius’ was on Saturday afternoon and DURAN DURAN played at the festival the same night. There was my big chance to meet them but it didn’t happen. Barcelona in June is hot even late in the evening and I was wearing a heavy 3-piece suit. Not the best possible choice when everyone else had T-shirt and shorts.

The most important ‘Nuntius’ performance for me has been the one in Düsseldorf in October 2016 where it was a part of the ELECTRI_CITY_CONFERENCE. ‘Nuntius’ was the last item of the two day conference – or rather a festival of electronic music – and right before it, the stage was occupied by John Foxx and co for their ‘Evidence Of Time Travel’ performance.

What made this particular ‘Nuntius’ showing so special was that there was several of my favourite artists in the audience, as well as friends whom I have seen at gigs before. Jori summed it up very well: “The audience wasn’t big but it was a good quality audience”.

I have been watching John Foxx on my TV screen hundreds of times and now he was watching me on the big screen. Surreal.

One more special memory… my first – and so far only – visit to Berlin was in March 2015. After arriving to the city and finding my hotel, I went out to have my first ever walk in Berlin. Kreuzberg was only few minutes away so I went that way. Soon I saw some gig posters on a wall – not THE wall – and among them was the special ‘Nuntius’ poster made for the evening’s show. My first time in this big city and when I step out of my hotel there’s a poster featuring a photo of me. It was a unique and strange moment for a visitor from the Finnish countryside.

You’ve made a number of other appearances in videos and photoshoots, are there anymore in the offing?

We are likely to do more shots for ‘Nuntius’ later this year but that’s all. It would be nice to feature in a music video again, especially by an artist that I like. It would be great to experience that again.

Peter Hook had an amusingly and typically Mancunian response when you introduced yourself to him in Düsseldorf?

What was it that he said? I think his kind reply was “there’s nothing normal about you” when I introduced myself. I disagree, of course 😉

Tony Visconti has just about seen it all, so what was your encounter with him like?

I did meet him briefly a few times when HOLY HOLY played live in London and Sheffield during September 2014. I was also at the ICA to listen to Tony Visconti and Woody Woodmansey talk about making the album ‘The Man Who Sold The World’. Both of them were very friendly and didn’t mind signing a few Bowie CD sleeves for me. Getting records signed is a good excuse to approach an artist and it gives you a moment to have a brief chat.

MIRRORS were your favourite new synth act but sadly they are no more. Is there anyone you’ve listened to who you would you rate today?

I suppose you mean new or relatively new acts? Hannah Peel makes good music with often unusual and interesting arrangements. One new band that I like is TINY MAGNETIC PETS. I’ve been listening to their new album on Spotify quite a lot.

Your portfolio has grown over the last few years, but is there anyone left you would still like to meet and be photographed with?

I have met quite a few artists but there are still many of my “official favourites” that I haven’t met yet. With some it’s already too late, but for those still in this dimension I would say David Sylvian and DURAN DURAN are the most important not-yet-met-artists.

Then there’s several others like one ex-member of KRAFTWERK whom everyone else seems to have met but not me. I’m not done yet with these ‘Close Encounters Of The Third Kind’.

ELECTRICITYCLUB.CO.UK gives its warmest thanks to Mr Normall



Text and Interview by Chi Ming Lai
Photos courtesy of Mr Normall
3rd October 2017

Carry On Synthpop: DAVID BOWIE, BRIAN ENO & TONY VISCONTI Record Warszawa

A hilarious animation satirising the Château d’Hérouville studio sessions for DAVID BOWIE’s legendary ‘Low’ album has been gaining traction on the internet.

bowie-low-animationProduced by The Brothers McLeod, the short film captures Bowie, Brian Eno and Tony Visconti recording the album’s lengthy doom laden instrumental ‘Warszawa’ using a witty script and authentic voice characterisations by comedian Adam Buxton, himself no stranger to sending up the music scene via ‘The Adam & Joe Show’.

At West Berlin’s Hansa Studios where the ‘Low’ sessions were being mixed in 1976, the guards in the watch towers in East Berlin could look into the windows of the building! Although named after the Polish capital, ‘Warszawa’ accurately captured the post-war tensions within the divided city without the need for overt lyricism. However, Buxton’s send-up reimagines what Bowie may have had in mind lyrically, insecure in the fact that Eno had totally composed and realised the track!

The animation also accurately highlights Tony Visconti’s often under appreciated role in co-producing ‘Low’ plus the subsequent ‘Berlin Trilogy’ albums ‘Heroes’ and ‘Lodger’; the frustrated New Yorker is seen to be ranting about “doing a lot of co-production, probably more than people think…”, a credit which has frequently been incorrectly attributed to Eno.

But what gives this animation the ultimate credible edge is Buxton’s spot-on Bowie impersonation and his affectionate references to fan trivia.

‘Warszawa’ is available on the album ‘Low’ via EMI Records






Text by Chi Ming Lai
1st November 2014

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