Assemblage 23 played a well visted concert in Sweden on August 30th and we took the opportunity to meet up with the band back stage a couple of hours before they were due on stage. And without us asking it is clear that A23 enjoys playing in Sweden – “One of our favorite places and the girls are nice”…
Assemblage 23, aka Tom Shear, has always walked his own way on the electronic music scene, avoiding falling into the monotone EBM trap that characterize many of the bands of the same era. Being experiemental is perhaps a too strong a word, but Tom is definately more into brining in alternative sounds into his music paired with a stronger focus on the melodies. This does not mean at all that A23 does not flirt heavily with the EBM scene, one strong evidence of this is A23’s side project Surveillance, you can listen to the recently released remix album on Bandcamp.
According to Tom he always keep a hefty sized “ideas folder” on his computer, both containing material for upcoming A23 albums, but also a lot that does not fit. The ideas that had more of a Nitzer Ebb and Front 242 flavor actually ended up being the foundation for Surveillance Oceania album. An album and project that actually started out as a crowd funding project and did so nicely. We asked A23 on the interest of making more collaborations with other artists, but Tom made it clear to us that it would not be fun to collaborate with Tom: “I have very strong ideas and quite stubborn”.
Gothenburg, Sweden, is hosting the Electronic Summer festival featuring acts like Covenant, Aesthetic Perfection, as well as the popular UK act Client, that has been part of the electro/synth pop scene since 2002. We remember watching their very first live performance back then, although at the time there were three client’s on stage now they are apparently two (at least in this line up). Since the days when they were signed up with Andy Fletcher’s label there has been several clients passing by in the line up, with one remaining anchor client. Stereoklang caught up with Client for a quick chat right before they were due on stage.
Client put a lot of attention to their outfits on stage, like vintage female army outfits, and we discussed the importance of this.
“Client is and always have been future pop art band”, and they let us know that the music always come first, but that their style is of course a key ingredient and that they have now chosen a new look called black widows to provide a bit of a Sopranos and mystique on stage, and a spice of New York. “We dress as what feels relevant at the time, and we want to show authority”.
An interview with one of the most prolific designers to work on synthesizer design – Axel is responsible for the design aspect of many classic synthesizers both hardware and software.
Some synths on his credit list:
- Waldorf synths, including the MicroWave, Wave, Blofeld and others;
- the Alesis Andromeda Analog Synthesizer;
- the Hartmann Neuron;
- the Access Virus Polar;
- the Moog Little Phatty and Minimoog Voyager XL;
- Arturia’s Origin, Spark & MiniBrute;
- the StudioLogic Sledge;
- the Schmidt Analog Synthesizer
Als Daniel Miller 1978 Mute Records in London gründete, konnte er noch nicht ahnen, dass sein Label zu einem der einflussreichsten Indie-Labels der 80er und 90er Jahre werden sollte. Mit Bands wie Depeche Mode, Erasure, Nick Cave & The Bad Seeds, Moby, Goldfrapp, und vielen mehr schrieb das Label Musikgeschichte.
Im Gespräch mit dem Musikjournalisten und Autoren Markus Kavka unterhält sich Daniel Miller über Mute, sein Leben und die Zukunft der Musikindustrie.
Daniel Miller: Mute/Founder & Chairman, DJ, London
Moderation: Markus Kavka, Moderator, Autor, Journalist, Berlin
Billboard’s Kerri Mason got to chat with disco legend Giorgio Moroder about last years world-wide smash album from the robotic, helmet wearing French duo.
The track Giorgio by Moroder features on Random Access Memories. Its a collage of the results of a 2 and a half hour chat Moroder had with them that was edited down to a 9.30 pop edit!
“I spoke for about two and a half hours and they said, ‘That’s it,'” Moroder recalls. When he asked what they’d do with it, they answered, “We cannot tell you.”
John Foxx And The Maths have enlisted renowned Japanese film-maker Macoto Tezka to produce a couple of videos for tracks from their last two albums, this year’s Evidence and 2012’s The Shape Of Things, video details below:
Directed by Macoto Tezka in Tokyo, Japan 2013.
Taken from the album, ‘The Shape Of Things’.
Evidence discounted to £6.99 on the Official John Foxx Store: http://johnfoxx.tmstor.es/index.php?p…
Available on Amazon: http://www.amazon.co.uk/exec/obidos/A…
THE VIDEOS FOR ‘EVIDENCE’ AND ‘TALK’
November 7, 2013 Macoto Tezka
One day, I came across a very old, classic western-style building in a corner of Ginza-town in central Tokyo.
A building stood at the location well over 80 years. It’s one of a Tokyo’s relics of the past that survived war-fire and many earthquakes.
In the building, there are a couple of stairs around an old mechanical elevator. It used be an apartment but no one lives there anymore. Now galleries and antique stores occupy the building.
Walking through a narrow passage, I thought about the past and imagined how people lived here. Imagery of old silent films flashed into my imagination.
A few months later, I visited there again with my actor friends and a cinematographer. Because I couldn’t think of a better location for John Foxx And The Maths videos.
John’s music has a feeling of “déjà vu”. It’s always fresh but somehow nostalgic. Silhouette of a figure that walks through an old avenue; vague, indistinctive face . . That is the image created by his music. But some images of my own memories also came up.
Our cinematographer shot this film with a Canon camera. Before editing, it had sharply-defined shapes and vivid color, so I removed it all. Next, I adjusted the speed to express an eternal moment. Then I synchronized the music to the image and I found something was still missing.
By watching the film for many weeks I kept asking myself, ‘whats’ missing’? Then an idea came up to my mind to bring the film to perfection. The gaps of ‘scattered memories and missing time’ need to be added. So I decided to attach these ‘invisible moments’ to fill the gap. The film was finished by these invisible moments.
Ms. Cay in the video ‘Talk’ is a dancer and actress. She heads up a team of a worldwide performance unit called ‘Tokyo Dolores’.
This short song has uniqueness and a mystical sense of beauty; it brings me back the picture of surrealistic piece of art. Such dreams expressed in the film have a similar essence to a Japanese “tan-ka” poem.
Starring: Go Setoguchi, Megumi Oka (‘Evidence’), Cay (‘Talk’)
Director: Macoto Tezka
Director of Photography: Kenji Tsuji
Makeup: Ai Nobayashi
Stylist: Yushi Gender Takemoto
Macoto Tezka Profile
Born in Tokyo. Began his career as a film director when he was at high school.
Since his debut, he’s expressed himself visually through feature length films, experimental film, documentary and MTV.
As a family of famous Manga-artist Osamu Tezuka, he supports to produce posthumous Manga and Anime works.
In 1999, he directed feature film called ‘Hakuchi: the innocent- ‘. It was invited and shown at The Venice International Film Festival.
In 2012, Directed a documentary film ‘Ogatsu ~the revival of the Houin Kagura Dance’.
His best known works are “MODELS (1987)”, “NARAKURE (1997)”, “EXPERIMENTAL FILM(1999)” and “BLACK KISS(2005)”. Contributed a short film on JOHN FOXX’s DVD “DNA”.
The Quietus has a nice interview out with felix Kubin, read an excerpt here:
With his great new album Zemsta Plutona just released, the unique German sci-fi synth-pop explorer and sound artist speaks to David Stubbs about musical deconstruction, radio art, and reconnecting Germany with the culture of Eastern Europe
The music of Felix Kubin spans, in its scope, the years 1916 to 2016. He straddles pop, sound art and composition, regarding all of them of equal value. Active in music since his pre-teens, his music alludes to, and draws on, the spirit of Dada, expressionism, Weimar cabaret, post-war musique concrète, the unique radio art form of Hörspiel, Kraftwerk and the great wave of early 80s German groups who preceded the bland misnomer of Neue Deutsche Welle.
As well as the early 80s German artists he first heard on one of the multiple radio sets in the rooms in which he grew up, Kubin’s music is reminiscent of of a host of artists whose work has collapsed the walls between pop and the commercial, deconstruction and the avant garde – among them The Honeymoon Killers, Raymond Scott and Iannis Xenakis.
His latest album, Zemsta Plutona, finally released on his own Gagarin label, is as good as anything he has ever recorded since the “Tetchy Tapes” he first made when practically still a child on his newly acquired Korg MS-20 synth. It’s been well road-tested. “Usually, I tend to play tracks first live before I put them on record, where it’s possible to play them live,” he explains. “So, people know them from live concerts. Most of the tracks for this were ready for 2009, and were ready to be released on a French label, but that fell through – then I got an offer from a label in Los Angeles who wanted to put out an album but that took so long, two years – until finally, I said, this is ridiculous, I’ve been playing these tracks live for so long – I need to put this out.”
Geary Yelton, contributing editor to Keyboard and Electronic Musician magazines, interviews synth pop legend Gary Numan at Asheville’s Mountain Oasis Music Festival, October 2013.
Pittsburgh Modular Analog Circuitry Designer Michael Johnsen was kind enough to sit down on camera for a chat. Over the course of the interview, Michael talks about his background, learning electronics, playing music, and building custom instruments.