Since its inception, the Infest festival has gained an international reputation with acts such as APOPTYGMA BERZERK, COVENANT, FRONT 242, MARSHEAUX, MESH and VNV NATION appearing.
Over time, the theme of the event has moved from Goth/industrial crossover to alternative electronic with a greater emphasis on power noise, futurepop, synthpop and EBM. 2010 saw Infest return after a two year absence with cult German electro duo DE/VISION, industrial technicians ROTERSAND and darkwavers PROJECT PITCHFORK headlining the packed three day weekend. And within the newly refurbished University of Bradford Student Union, festival-goers from around the world gathered over a few shots of Jaegermeister to celebrate The Dark Side Of the Moog.
Following a DJ set by Bedsitland late on Friday night, the earlier part of Saturday was due to feature synthpop duos NORTHERN KIND and PARRALOX. Unfortunately PARRALOX’s Amii Jackson was taken ill and their slot was delayed until Sunday with hard electro trio AGONOIZE coming on earlier to take their place.
Opening Saturday’s proceedings, NORTHERN KIND impressed with a set consisting not only of old faves ‘Pleasurely That Machine’, ‘Millionaire’, ‘Dirty Youth’ and ‘On & On & On’ but also the live premiere of the new single ‘Dreams’.
Their cause was ably assisted by the fantastic PA system at Infest which kept the sound not only loud but clear. Adding to the warm reception, several of the audience were even dancing enthusiastically despite it only being 4pm and not long after their wake up call from the night before.
Luckily PARRALOX were able to do a slightly abridged set on the Sunday afternoon. Their appearance included ‘Be Careful What You Wish For’, ‘Hotter’ and ‘I Am Human’ before performing four songs from the forthcoming album Metropolis including new single ‘Supermagic’. It was all very well received considering most of the audience didn’t know the band. ‘Isn’t It Strange’ concluded their brief show.
While at Infest, NORTHERN KIND’s Matt Culpin and Sarah Heeley plus PARRALOX’s John Von Ahlen joined Rob Grillo, author of the forthcoming book ‘Is That The Twelve Inch Mix?’, Steve Adam from synth covers band PARTY FEARS THREE and Jer White of the blog Pansentient League to give their thoughts on the current electronic music scene to The Electricity Club.
How has Infest 2010 been for you?
MC: It’s a festival that we’ve wanted to play, really well organised… one of the best that we’ve played at. I thought we might be slightly out of the norm in terms of the bands that play this event but knowing that MARSHEAUX have played and PARRALOX were playing, gave us some comfort factor. There’s a lot of crossover with what we do and the darker scene in electronic music. The audience I thought was great, we had the first slot at 4pm which by definition is usually quite awkward for festivals because a lot of people aren’t necessarily into it at that point but we had a fairly big crowd. As best as we could have hope really and the new material that we played went down really well.
JVA: So many bands and amazing people! I met a few fans and had a great time chatting about mutual interests and music which is always the best part for us. You get to meet the people who really understand and love the music, and that’s really what it’s all about.
The evening was capped off with a blazing performance by ROTERSAND. The sound system and lighting was simply stunning. It was worth the wait… the venue was rocking. Thanks to the crew and promoter Mark Guy for simply being so professional and understanding. It’s not often you meet someone who can run such a large event, and keep a calm and level head.
RG: Everyone’s been talking about the scene in Britain and I think something like Infest is very important because certainly the kids I know, not one of them listens to this kind of music… it’s all R’n’B!! Nobody listens to what you call synthpop! Something like this is very important just to keep it all going!
SA: It’s not the first time I’ve been to Infest, one thing that strikes me as being incredibly important about this is the alternative/goth electronic music scene is fledgling in the UK which is a shame for a country that’s had such an important place in synth music history. To compare what happens here with now what happens in Europe, it’s important that these festivals continue to happen. So after a brief hiatus last year, it’s great to see Infest back, sold out and everyone having a great time… and bands being able to come and deliver this sort of music on a UK stage. Long may it continue.
JW: I’ve loved it so far and I thought NORTHERN KIND were fantastic. For an opening act, I thought it went down really well. The Goths seemed to be into it, the style of music that they play isn’t quite what you might expect for this kind of festival but I think it fitted in really well. Infest reminds me a bit of the Edinburgh Dark City Festivals that used to run up north. I’m looking forward to seeing some of the other bands as well.
Is electronic pop finally getting the recognition it deserves and losing its lazy 80s tag? Do you think the BBC4 ‘Synth Britannia’ documentary helped, giving it a cultural importance considering how it’s been mocked in the past?
RG: I think the ‘Synth Britannia’ thing was a fantastic show, it was very well researched but it was preaching to the converted. Certainly the people I’ve spoken to thought if it had been on BBC1 during prime time, it may have been received even better. We’ve got to be careful that we preach to a new audience, rather than people who already know about it. As good as it was, it’s not opened any new doors.
JW: Yeah, it was on BBC4 which is a great channel but it’s a niche market and I’m sure for people who are into that style of music, it was quite an event. But for everyone else, it would kind of pass them by. Perhaps shows like ‘Ashes to Ashes’ are more important in bringing back that synthpop sound into people’s consciousness. That’s quite a big mainstream show on BBC1, I think that’s more important than ‘Synth Britannia’.
MC: I think the thing that annoys me is when you get this term ’80s’!! Because it’s such a wide decade… you start off with the remnants of punk, then futurists, New Romantics then right through to the end of the 80s with House music. The 80s is such a bad label to put on a particular genre. For me, the format was YAZOO; I felt that Vince and Alison hadn’t really achieved all that they could have. So for me, that was the template I wanted to recreate so it’s a very small, almost pin prick of the 80s in terms of what we want to do. It annoys me that people think of NORTHERN KIND as an 80s band! But what is that??? Is it WHAM! Or FRANKIE GOES TO HOLLYWOOD? It’s such a wide thing!!
RG: You’re a 2010 band aren’t you?
JW: It’s like calling OASIS a 60s band really isn’t it?
MC: When we heard LA ROUX for the first time, we almost kicked ourselves because if this was out three or four years ago, we probably wouldn’t have even started NORTHERN KIND! The reason why we did it was because we wanted to create music that just wasn’t there! But we were probably the wrong age of people wanting to do it… you’ve now got children of original synthpop fans doing the music which should have happened ten years ago and that’s what’s cool. So if we’re sparking off something that makes people hark back to the era, that’s brilliant from my point of view.
SA: One thing that did strike me about the programme, I don’t think it’s going to win any converts but what it did do is give the musicality of it credibility. I think Andy McCluskey brought up the issue that for a long time, people thought the early 80s synthpop was just a question of pressing a button on a sequencer or computer!
Maybe that is true to a degree of some of the records in the late 80s, but I know myself from trying to recraft some of the sounds from these records, it’s really difficult! The people that made these fantastic piece of art, which is what they are, really had to struggle with brutally unsophisticated technology. And the one thing that I think the programme did put across was the fact that these records did not happen by accident, these were musicians that made these records, it was art that was being generated.
Whether that’s going to convince the kids is a different matter altogether. But the thing that seems to be happening for me is there’s a new credibility about it to this part of the 80s for want of a better word… there’s a tacky side like WHAM! and shuttlecocks down the shorts and all that sort of nonsense that went on, there’s no getting away from that!
MC: I still put shuttlecocks down my shorts *laughs*
I think the title of that documentary summed it up. Electronic pop music, as we all like it, originated in the UK. It was sparked off in Germany by KRAFTWERK and France by JEAN MICHEL JARRE but what we now term as synthpop started in the UK.
JW: It’s the pop part of synthpop that the UK pioneered.
MC: You might talk about punk, you might talk about rock’n’roll but the thing that we don’t do is stick our hands up and say we actually invented synthpop! And that’s what’s great, we found something that a lot of people now are devotional about.
JVA: A lot of music goes through a sub-culture, then it breaks through and becomes commercial, and then you find the commercial acts latching onto that sound. It’s also due in part maybe to the people who are making it like Matt and myself of a certain age who grew up with it and we’ve had a chance to recreate that music. It’s cyclic and come backs back to fashion and art, when I grew up it was the 60s and 70s. The 80s is now seen as a vintage era.
There are now more new classic sounding synthpop bands than there has been for many years? Why do you think this is?
MC: I’ve been waiting for the cycle to come back round where synthpop’s cool again. In the 90s when I was at the peak of my ability in terms of creativity, there wasn’t a demand for it! You had to either be really industrial if you were electronic like NITZER EBB or you had to be dancey! That was the only avenue that you had for electronic music. If I’d tried to come out with something like we do now, it would have just been completely dismissed! And I’ve been waiting for the timing to be right and the early 80s in terms of the synthpop sound to be appreciated again. We’re living proof that you can do it again as an independent band, and be successful from it.
RG: Matt hit it on the nail when he talked about cycles. Everything comes in cycles. Synthpop might not be popular in five years, but in ten years, it might come back again. It’s the same in any genre of music. With punk or anything, there’s a cycle and at the moment, we’re on a crest of a wave because people are listening to it again.
JW: There seems to be a twenty year gap for when music comes back again. You talk about punk which was late 70s and roughly twenty years later, there were all these American college bands that were essentially doing punk music again! And I think it’s the same with synthpop… maybe that’s because the people that were kids of that time have now matured, they’ve reached the age where they’ve got a bit of money to invest in record labels, promotion and they want to relive their youth… a mid-life crisis thing? I don’t know but I think that’s partly why synthpop’s kind of come back at this time.
SA: We seem to be in this X-Factor/Pop Idol culture where kids these days who are interested in a career in music are encouraged to queue around TV studios and sing in front of Simon Cowell. I remember back in the day when albums like ‘Dare’ for example, encouraged me to badger my parents to get me a Casio VL Tone for Christmas and it all started from there! I’m hoping what’s going to happen is people are going to recognise with electronic music, you can get into it at an entry level of cost and it’s possible to make good, world class sounding records. And I’m hoping what’s going to happen is kids that are being exposed to that sort of music are thinking that’s a better way to persue their dream rather than X-Factor!
RG: There’s people who are also listening to older synthpop more than ever as well. You’ve got labels like Cherry Red and Edsel who are releasing old synthpop albums. PROPAGANDA’s ‘A Secret Wish’ is back out again, FRANKIE GOES TO HOLLYWOOD is too! Fantastic! There’s a lot of people re-buying it but there are a lot of new people investing in that music as well.
JW: But is that just pandering to the market? Our generation? People that want to remember their youth and replace their vinyl? Or is it younger people that are buying it? I don’t really think so!
RG: There’s not that many younger people but it’s there and younger kids can seek it out.
MC: We get a lot of people emailing us who have bought our music from iTunes but crave the CD and they always say “can we buy this?”... our first album’s not been available on CD for a couple of years.
When people actually bother to email you hoping they’re actually going to get a response, it’s worth something. And what they’re asking for is a proper CD, something physical with a piece of artwork in their hand. Something credible, something made by somebody and I think for me, the people that are craving this music are people who have got disposable income, can afford to buy the music and appreciate it.
Don’t get me wrong, we have to cater for the people who will want to buy CDs but some will also want that disposable download album that they can just buy from iTunes and not really care about it. We are in that transition period where we’re appealing to people who are clinging on to the CD format or the 12 inch format and the artwork that goes with it, and also those people who hear something, want it immediately and can download it.
JW: I think there’s still a bit of a disconnect this. There’s more synthpop bands around now than there has been for decades and that’s fantastic but there are only one or two big acts, you’ve got LA ROUX and LITTLE BOOTS, maybe a bit of KYLIE sometimes but for them it’s more of a one-off. It doesn’t appear to attract that much of an audience in the general synthpop base.
JVA: People like CHRISTINA AGUILERA will latch onto a cool sound that’s not at core of who they are, they grab a fashion and run with it!
So you had doubts about her collaborations with LADYTRON?
JVA: I’m sure it’s not just the artist, artists at that level have very little say on what goes on with the music and I can see people on the A&R people on the record label forcing them to work with somebody cool and they think OK.
JW: How many of the LADYTRON tracks ended up on her album?
JVA: None on the main album! Just as bonus tracks!
MC: You had the whole GOLDFRAPP phenomenon a few years ago where everybody was sounding like GOLDFRAPP! This was the cool thing to be like! All of a sudden it went from 4/4 to 3/4 overnight, everybody had got this sound. I knew it from GOLDFRAPP but the kids who that were appreciating it thought it was all RACHEL STEVENS!! *laughs*
JVA: I thinking another thing to consider is the demise of the major record label… they controlled what music we heard. Before I branched out into PARRALOX, I was working in a commercial studio and the number of times we had “oh we’ve got an artist, can you make them sound like <insert name of current hit artist>?”.
So when it comes to driving fashions and coming up with new sounds, the major labels are hopeless and have no clue. I think the resurgence of electronic music has come due to the ability of independent musicians who can create, produce and distribute the music on the internet which has allowed this electronic pop sound to flourish. The music is back now in our control so we don’t have to rely on a major record label. PARRALOX wouldn’t have got past the A&R before, we now have a chance to have our music heard.
MC: When YAZOO came back with their ‘Reconnected’ tour, Daniel Miller of Mute Records told me that he’d heard NORTHERN KIND and we’d been put in front of his nose three or four times! He said twenty years ago he’d have signed us, but now he couldn’t guarantee a band like us a career anymore. But he said it’s bands like NORTHERN KIND that have been responsible for the resurgence in things that have brought YAZOO back together. There was a demand for that nostalgic 80s! And that’s brilliant!
SA: It’s important that is happening because the malaise that John’s just spoken about with A&R and the way record companies up until now were controlling what we hear, that still exists across the media. The major broadcasting networks, one which is taxpayer funded and should be impartial, are effectively still a shop front for the major labels. ITV are pushing THE SATURDAYS and JEDWARD into your face and that’s what casual consumers of music are still being exposed to.
RG: We’ve got a much bigger variety though, I don’t know any kids who listen to Radio 1… they listen to music on the internet.
MC: Me and John couldn’t have sold records outside of our hometowns without the internet!
In hindsight, how did you see 2009’s female led electro movement with LA ROUX and LITTLE BOOTS?
JW: 2009 was the best year for synthpop since 1981. It was fantastic and it wasn’t all female fronted! I did a blog feature where I listed my Top 20 synthpop albums of the year and I had to narrow it down to 20. If you had told me a year or two earlier that there would be at least 20 albums, I wouldn’t have believed it. Major acts like LA ROUX and LITTLE BOOTS helped to bring up some of these other names.
RG: LA ROUX has worked with HEAVEN 17 and LITTLE BOOTS with Phil Oakey of THE HUMAN LEAGUE and GARY NUMAN, it’s not a coincidence.
MC: They’re going to latch onto their influences aren’t they?
JW: People like THE HUMAN LEAGUE would always reference back to DAVID BOWIE.
JVA: It’s all about having good songs and the cloak that we’re wearing at the moment is electronic music which thrills me to bits. So now we can give that to the public as there’s a demand for it. We can sell it to people of an older age, now the challenge is to get the younger generation exposed to it ands let them discovers the joys of electronic music.
SA: My difficulty with this was when LITTLE BOOTS was nominated as BBC Sound of 2009. Straight away I wondered “what’s really going on here?”, I had some scepticism about what was really behind this as soon as the internet clips started appearing of her name checking KRAFTWERK. I knew from experience that girls of that age and as pretty as her are NOT into synths!!! It’s a great shame but that sort of thing just DOESN’T happen I can tell you! *everyone laughs*
SH: There’s something about LITTLE BOOTS that never seemed authentic and I think that’s an interesting point. As much as you want to believe it, you just can’t tell. She’s brilliant, I’m not detracting from how good she is.
SA: I asked someone earlier the question whether LITTLE BOOTS was really into KRAFTWERK and synths before she was signed and they said yes… fair enough but as somebody who didn’t know anything about it but works in the marketing world, I go “there’s a lot of spin going on there” when I see a video of her.
SA: I couldn’t help thinking when I see LITTLE BOOTS playing a little keyboard in her bedroom dressed in something skimpy, I’m thinking “That’s aimed at me, a forty-something male synth fan”!
MC: That’s a dream I have every night!! *laughs*
SA: I couldn’t help thinking somebody somewhere is saying to her “this will be a great thing for you to do to sell records”
SH: It’s like somebody said “I know what we’ve not had, let’s take a bit of that and put it in with something new and let’s create something post-modern!”
RG: Hasn’t that always been the case? Look at FRANKIE GOES TO HOLLYWOOD, they were effectively created.
It’s funny but I saw LITTLE BOOTS as a development of Susanne and Joanne from THE HUMAN LEAGUE only Victoria’s actually playing the synths and involved in the whole creative process. When I first heard ‘Meddle’, I thought “this girl’s into GARY NUMAN!”, you can’t really fake that…
SA: I’d have been more inclined to buy it if she hadn’t won the BBC Sound of 2009 because the minute something like that happens, it’s puts you on the back foot but maybe that’s because I’m an old cynic. But to be fair, there were other bands that didn’t have that label who have made a success story of it.
JW: I think there was a lot of pressure put on LITTLE BOOTS. Listening to her album, maybe a third of it does have that original spark and the rest of it, you can tell it’s just been ruined!
MC: If you look at the bands that the BBC championed at the start of this year, one of them was DELPHIC, one of them was MIRRORS, another was HURTS. Now all of those bands are synth orientated. Everyone went out and bought the DELPHIC album but to be honest, where are they now?
JW: They were championed by Radio 1 and BBC 6Music
MC: I could hear the JOY DIVISION and NEW ORDER influences but beyond that, there’s no substance!
JVA: A lot of what it comes down to is your integrity. It’s easy for us all to be making the same sort of music so hopefully we can keep the creative process going and not go into cliché. We champion electronic music because we sincerely love it. But when you see artist like CHRISTINA AGUILERA and her album artwork for ‘Bionic’, you think “shame on you, you’re just taking a fad and running with it! Next year you’ll be a heavy metal chick!”
MC: I think the testament to that is when you listen to GOLDFRAPP. When I first heard them, they were coming out of the trip-hop era and they were a little bit like MASSIVE ATTACK with a bit of JOHN BARRY thrown in and had an edge. The next thing they did was like a T-REX pastiche, but with synths. And all they’ve done since is basically just go back to an era that’s been maybe been forgotten and recreated it with synths!
JW: I did like their ‘ABBA’ album though!
SA: I couldn’t help thinking when that album ‘Head First’ came out and I said this to people, it’s an OLIVIA NEWTON-JOHN style of 80s which I personally really like! There’s not much from the 80s I don’t like! But I think in six months time, everybody will be doing music in this style and already it’s happened, KYLIE’s most recent single is kind of like that!
OMD and THE HUMAN LEAGUE are both releasing new albums, ‘History Of Modern’ and Credo respectively, after extended absences. So who is going to come out on top in this ‘Battle of Synth Britannia’?
RG: THE HUMAN LEAGUE are on Wall Of Sound, so that’s going to be a big boost for them. I think THE HUMAN LEAGUE will sell really well in a short space of time and the novelty will wear off amongst the general public, but I think OMD’s ‘History Of Modern’ will come out and be there for longer.
JW: I’m a big HUMAN LEAGUE fan so that’s the one I’ve been waiting for ten years or so! I think THE HUMAN LEAGUE were always a much more influential band than OMD in my opinion anyway. This Top 10 feature that I ran on my blog recently asking 20 or so synth bands and figures on the scene to name their 10 favourite songs… I think THE HUMAN LEAGUE came up five or six times and OMD, maybe once or twice…
… that would have been me!! *laughs*
JW: THE HUMAN LEAGUE’s legacy remains to this day. I think provided it does come out soon as this is the second golden age of synthpop, if they can get some good publicity around it and get some social media up and running which I think is important these days, I think it will do really well.
MC: Same with Jer really. I think what THE HUMAN LEAGUE will do is call upon all of their recent encounters with people like LITTLE BOOTS and GEORGE MICHAEL who sampled Love Action, and have an album that has lots of contemporary artists on it that will relate to all those people who are buying records now. As much I love OMD, Souvenir… one of the best tracks ever, I think THE HUMAN LEAGUE will win!
JVA: It’s a practical thing, it depends on the marketing and promotional budget. THE HUMAN LEAGUE are on Wall Of Sound and personally, they are my first band, full stop with DEPECHE MODE second. I hope THE HUMAN LEAGUE come out on top.
JW: But OMD are certainly streets ahead in terms of online presence and social marketing. THE HUMAN LEAGUE have nothing except a one page logo on the forthcoming official site!
JVA: It depends on what THE HUMAN LEAGUE are like with self-promotion, efficiency and production because they’re not the most productive band in terms of output but that’s secondary to a release… you need the marketing strategy. As a punter, I think more people have heard of THE HUMAN LEAGUE rather than OMD so on that simple fact alone, THE HUMAN LEAGUE will probably come out on top.
SA: It depends how you define success? Reading between the lines from interviews THE HUMAN LEAGUE have done in recent years, they have always measured success on having Top 10 singles, having hits, maybe having No 1s; very much following the traditional model. The single as an entity has disappeared.
If there is a single from the album, what would it have to do for it to be a success? To my mind, I would say in THE HUMAN LEAGUE’s case, for it to be a success is bringing out a new body of material where a number of songs rise to stand shoulder-to-shoulder with the rest of their canon so they can go out and do live gigs, and perpetuate that side of THE HUMAN LEAGUE with new material to extend the longevity of the band… that’s more valuable to them than sales.
JW: They’ve been touring pretty much annually for the past ten years which started with the promotion of Secrets, their last album in 2001. But since then , every tour has maybe featured one song from Secrets if you’re lucky and that’s it! For me, that’s a shame because as a fan, I want to hear hits but I want a bit of a mix as well.
SA: In terms of who’s going to win, what THE HUMAN LEAGUE have on their side is history and credibility, maybe more so than OMD. OMD are a very popular and revered band within our electro circles but with the general public, they struggle. With THE HUMAN LEAGUE however, and especially in the case of Phil Oakey, you have an elder statesman of the synth movement. When Phil Oakey gets introduced by a 25 year old DJ who’s presumably never heard a HUMAN LEAGUE record, there is a reverence. When you hear Phil Oakey’s voice on a record, it stamps authority in the same way as DAVID BOWIE. That voice sells and will continue to do so.
JVA: The other thing we need to consider as well is I hope they don’t just rest on their laurels. It’s all good and well being the synthpop heroes that we all know that they are. But they need to release something that’s truly modern that sells to a new fanbase. They don’t need to sell to us because we’re going to buy the albums anyway! It needs to be cutting edge but commercially viable.
RG: I love THE HUMAN LEAGUE anytime over OMD, but I just think with OMD, you’ve already got that drip-drip feed for the next album, you’re already getting tasters, downloads etc. With THE HUMAN LEAGUE, we’re still waiting! And the casual music listener is hearing OMD more, that’s what I’m worried about!
Your favourite songs of 2010 so far or your new acts to look out for?
JW: I saw MIRRORS recently, I thought they were really good, a fantastic band. I really like HYPERBUBBLE, the Texan synthpop duo, they’re a bit like FREEZEPOP who have a new album coming out soon as well. I need to mention FUTURE PERFECT, their album which came out this year was fantastic, they’re perhaps one of the best of the brand new synthpop bands this year.
MC: For me really, MIRRORS and HURTS, they’re the only ones I’m really looking forward to. I still really want to see MIRRORS live because people have been raving about them.
JVA: AU REVOIR SIMONE ‘Tell Me’ in its MIRRORS remix… oh my god, I’ve listened to that song non-stop! It’s f***ing genius! HURTS are great, but I’ve been so busy making my own music this year I really haven’t had much of a chance to hearing new stuff. I love MONOSTRIP on Wonderland Records in Sweden, they’re not strictly synthpop but they do some synthpop tracks that are just brilliant.
SA: The ones that have been already mentioned are the ones that I would go with but let’s not forget what some of the elder statesmen of the scene are doing. One name that springs to mind is JOHN FOXX who’s incredibly prolific banging out stuff. Earlier this year at The Roundhouse, he was doing new material as JOHN FOXX & THE MATHS which is still as fresh and vital as any youngster these days. He tends to keep things very low key, it’s almost like a little cottage industry and he seems quite happy with that. The Roundhouse show was a good platform for what he’s doing. Some of the people who have been at it the longest still have the most to offer.
RG: There’s a great Australian band called PARRALOX and NORTHERN KIND are quite good! *laughs*
MC: We do great PARRALOX covers as well!!
RG: 90% of the albums I bought this year were reissues from the 80s!! I bought loads in 2009 but my purchases of 2010 are going to come later in the year!
JW: I think there’s also a question of geography. Britain might have pioneered the synthpop sound but there’s not really that many good new synthpop bands coming out of Britain as opposed to places like Sweden in particular, Germany or maybe Australia. There’s loads of really good synthpop bands coming out of Scandinavia in the past few years and that’s really exciting.
One of the bands I’m really into is VILLA NAH from Finland…
JW: Yes, and FLUX from Finland are another great band.
So what you are all up to next?
RG: My book ‘Is That The Twelve Inch Mix?’ is out in a couple of months. It’s about growing up in the 80s, being a music geek and collector, the history of the twelve inch single and the remix. Martyn Ware of HEAVEN 17 has done the foreword, he’s a cracking guy! People like Peter Saville and Malcolm Garrett have let me use their artwork, every person I’ve asked for help bar one has been fantastic.
MC: With NORTHERN KIND, we’re going to finish our third album hopefully by the end of this year. We’re supporting RECOIL in Berlin on 26th November 2010; GARY NUMAN is there as well so that’s good!
SH: And we’re going to release our new single ‘Dreams’. MARSHEAUX and Mark Reeder are doing remixes.
JVA: ‘Supermagic’ has just been released and the new album Metropolis comes out in November. I’ve just done remixes for OBLIQUE, DAY BEHAVIOUR, MARSHEAUX, MONOSTRIP and MESH. And I’m doing a remix of ‘Dreams’ but Matt doesn’t know that yet!! *laughs*
SA: I’m going to be pushing PARTY FEARS THREE, my covers project and we’ve made a good start… there’s been some nice support slots and we’re getting good feedback on what we’re doing.
The Electricity Club gives its thanks to all who participated
Text and Interview by Chi Ming Lai
26th September 2010