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.
On September 23rd lucky competition winners were able to attend an exclusive Q&A with Gary Numan at The Hospital Club. The Quietus’ Simon Price was on hand to host the event.
Gary Numan’s new album Splinter (Songs From A Broken Mind) is out now. Buy from the following places…
Oliver Chesler talks with Paul Schreiber of Synthesis Technology, creator of the MOTM line of large format synth modules and a line of Eurorack modules. Schreiber has been designing and building modules for years and has been a key figure in the renaissance of modular synthesizers.
Following the announcement of EB and Depeche Mode’s team-up for their European tour, Max Dax met the DM’s vocalist last November in Paris for an exclusive interview.
Read the whole interview in text here:
Here’s a new interview with Karl Bartos where he discusses everything from vintage machines to his latest album:
Never meet your heroes, or so the old maxim goes, but FM is delighted to report that our recent encounter with bona fide Electronic music legend Karl Bartos put paid to the notion that meeting one’s heroes is inevitably doomed to end in disappointment. In the flesh, Bartos is a charming, erudite man with a philosophical take on Electronic music that reflects itself in the pristine synthesized contours of the music contained on his latest LP, Off The Record.
From his time as a member of seminal German Electro Pop purveyors Kraftwerk, through his consequent Electrik Music project and collaborations with Bernard Sumner and Johnny Marr on their Electronic albums, Bartos has been a key figure in the synthesised music story. Off The Record, released in March, saw Bartos revisit his ‘secret acoustic diary’ of musical sketches and ideas built up during his Kraftwerk days and fashion them into an album that manages to simultaneously sound contemporary and timeless. With trademark vocoded vocals to the fore and his keen ear for a digital melody line still intact, we met with Bartos for a whistle-stop tour of the gear he employs to such stellar effect in his ergonomic Hamburg nerve centre.
How did you set about the Herculean task of trawling through your digital media archive to begin creating Off The Record?
“Well, I’m over it now but it was a hell of a job! There were tons of cassettes, 1/4″ tapes and various other stuff. I moved my archive when we went from Düsseldorf to Hamburg and there was boxes and boxes of it and various rooms full of it along with old synthesizers. I always avoided going through the archive to put things in order until Gunther from Bureau B [Bartos’ German record label] said, ‘Karl, do you have any old recordings?’ I refused initially but finally gave in… I’d always wanted to do it, and knew I had to, but it took me several weeks and the sound quality was rotten with many tapes broken. Eventually, I managed to get most of it into the computer. I saw that everything was dated 1977, 1978, etc, and I thought, ‘That’s a diary. An acoustic diary.’ So I made it a concept. You do that kind of thing but usually just inside your brain – you refer to the things you’ve done before. It’s the way we organise our brains. I also had to write about the concept and where the songs came from.”
Were you quite meticulous about correctly marking or naming ideas back in the days when you were building your archive?
“You do what you do. I’d come up with a name, ‘Neon Piano’ or whatever, and I’d sometimes write the date. Sometimes not. Most cassettes had a name or a date on them. I also found a lot of stuff on Zip and Jaz drives but even some of those were damaged or didn’t work. Between all the different media I pretty much managed to retrieve everything eventually, though.”
Were there a lot of nice surprises?
“It was all such a surprise and funny to hear a song I’d done without a trace of emotion sitting beside something like Computer World [Kraftwerk, 1981]. It made me feel a little sentimental at times. Once I had them in order, it was easy for me to collate and collage them.”
Your first computer set-up was the IBM XT running Voyetra Plus sequencing software. That must have felt like going supersonic after using tape?
“It was a real revelation. We were recording Electric Café [Kraftwerk, 1986] at Kling Klang [the band’s private studio originally located in Düsseldorf, Germany], then we took it over to Right Track Studio in New York where François Kevorkian and Fred Maher introduced me to the Voyetra Plus software he had running on a laptop.