Tag Archive: New Order


Welcome to the first proper post of 2017. Some people reading the blog last year may have noticed that I tried to review more music by women, in fact I was trying to strike a 50-50 balance between the music I reviewed that was by men and music that I reviewed that was by women. I managed to get that balance. This year and beyond I want to try and achieve that balance in my own music collection. I know that I may never reach a 50-50 split as there are just less women making music but I feel like I manage to balance these things in the rest of my life (films, T.V. podcasts etc.) While the music industry seems uninterested in pushing women to the forefront of music (other than pop music). I personally love and respect women both in general and in terms of artistic expression especially in music but feel that my music collection doesn’t necessarily reflect it enough. So I want to tackle this lack of balance in my own collection and hope we can all spread this positive message far and wide.

I’ve come across lots of talented artists/bands/producers but I’ve decided to ask for some recommendations as female bands/artists/producers struggle to gain the same amount of attention as their male peers. To help with the recommendations process I have created a list of music that I own by/or featuring women. I hope that this list gives you an idea of my taste and avoids people recommending artists or releases that I already own. I’ve also included a list of priority purchases so you know what I’ve got in mind to buy in the future. I’d buy them all but my benefit won’t allow for that and I will still buy some music by men as this is about striking a balance rather than cutting something out completely. .

I’ve set up a new Twitter account, @HerSonicFiction, where I’ll share what female artists I’m listening to now. Feel free to Tweet your recommendations at me or put them in the comments below. If we can all use #HerSonicFiction then we can introduce each other to some great female artists and encourage even more people to listen to and buy music by women.

Albums I already own

Kate Bush – “Hounds of Love”

Elza Soares – “Woman at the End of the World”

Thao & the Get Down Stay Down – “Man Alive”

Lindstrom & Christabelle – “Real Life is no Cool”

Solange – “A Seat at the Table” & “True”

Aretha Franklin – “The Very Best Of”, “Amazing Grace” & “Lady Soul”

The Staple Singers – “Be Altitude: Respect Yourself”

The Slits – “Cut”

Erase Errata – “At Crystal Palace”

M.I.A – “Arular” & “Kala”

Julia Holter – “Ekstasis”, “Tragedy” & “Loud City Song”

Deerhoof – “Offend Maggie” & “Breakup Song”

Stereolab – “Emperor Tomato Ketchup” & “Mars Audiac Quartet”

Colleen – “Captain of None”

Bjork – “Post” & “Medulla”

Erykah Badu – “New Amerykah Part One: 4th World War”

Neneh Cherry & The Thing – “The Cherry Thing”

Junglepussy – “Pregnant with Succcess”

Suzanne Ciani – “Lixiviation 1969-1985”

Kelis – “Tasty” & “Kaleidoscope”

Ikara Colt – “Chat and Business”

Janelle Monae – “The Archandroid” & “The Electric Lady”

New Order – “Technique”

Pixies – “Come On Pilgrim”, “Surfer Rosa” & “Doolittle”

Thee Satisfaction – “Awe Naturale”, Transitions”, “THEESatisfaction Loves Erykah Badu”, “Snow Motion” & “EarthEE”

Sleigh Bells – “Treats”

Patti Smith – “Horses”

Solex “Solex vs Hitmeister”

The Raincoats – “The Raincoats”, “Odyshape” & “The Kitchen Tapes”

Talking Heads – “Talking Heads ’77”, “More Songs About Buildings & Food”, “Fear of Music” & “Remain in Light”

Tom Tom Club – “Tom Tom Club”

Tamikrest – “Chatma”

Tune-Yards – “Nikki Nack” & “Who Kill”

Yeah Yeah Yeah’s – “Fever to Tell”, “Show Your Bones”, “Its Blitz” & “Mosquito”

Jamila Woods – “Heavn”

NoName – “Telefone”

female-pressure – Various Artists – “Music- Awareness & Solidarity w- Rojava Revolution”

Priority purchases:

more Kate Bush – suggestions very welcome

Lauryn Hill – “The Miseducation of Lauryn Hill”

Missy Elliott – “Miss E…So Addictive” & “Under Construction”

FKA Twigs – “LP1”

Kaitlyn Aurelia Smith – “EARS”

Dawn Richard – “Redemption”

Advertisements

This is a new quarterly column that will reassess the reputations of artists and address whether they are underrated or overrated. First under the microscope is Sheffield post-punk group Cabaret Voltaire.

The group were one of the original industrial bands that formed in the mid ‘70s and were a seminal post-punk band during the movement’s conception. However, when they attempted like many of their contemporaries to infiltrate the mainstream they struggled to gain a foot hold. In this article I will look at possible reasons why this happened, compare the band to their contemporaries and reassess their position in the late ‘70s and ‘80s musical landscape.

Taking their name from a Zurich nightclub that was central to the 1910s Dada art movement, Cabaret Voltaire had been an ever changing group of friends from 1973 who settled on a permanent line-up and become a serious operation in 1975. At this point the line-up featured Richard H. Kirk (clarinet and, later, guitar), Chris Watson (organ, homemade oscillator) and Stephen Mallinder (bass, vocals). The Dada movement was a big influence on the early material and attitude of Cabaret Voltaire (known affectionately as the Cabs). Their motto was ‘no sound shall go untreated’; everything was fed through a combination of oscillator, ring modulators, distortion, delays and anything else that could be acquired cheaply and this created a sound that was closer to the musique concrete experiments of Morton Subotnik than any of the rock and pop music being played by other bands at the time. Further to this the band adopted the mantra of ‘We are not musicians’, an idea that Watson and Kirk had heard in the records and lectures of their hero Brian Eno. A third important formative influence was that of William Burroughs and Bryan Gysin’s cut-up techniques which informed the group’s love of re-editing speeches by anyone from politicians to pornographers and the ever constant concepts of control (see song titles “Your Agent Man” and “Kneel to the Boss”) and paranoia that pervade their lyrics and sound.

In 1977 the band’s sound and confidence had developed enough for them to send a demo to Richard Boon at New Hormones. As he could not afford to release their material he gave them a support slot for the Buzzcocks at The Lyceum in London. By this point they also moved into a rehearsal and recording space called Western Works where the band installed a multi track tape machine and mixing desk which allowed Cabaret Voltaire to make and release high-quality music for the first time. The early Western Works recordings got them signed to Rough Trade and the band quickly released early singles ‘Nag Nag Nag’ and “Silent Command’ and established their combination of fuzz ridden itchy punk-funk guitar, organ stabs, sticky synth lines and tumbling electronic drums all fighting for attention with Mallinder’s processed vocals, which was described as: “like molten glass being blown into distended shapes.” They followed the success of the singles with debut album “The Mix-Up” which while not as vital as the band’s subsequent releases showed that they could last the distance on an album and demonstrated huge potential for the band to develop.

After their first trip to the US the trio returned to Western Works “fascinated by America but aware of its darker side”, as they sensed the tension just before Reagan’s  election and became entranced by televangelist Eugene Scott who the band sampled for the “Sluggin’ For Jesus” single. Their second album “The Voice of America” (1979) may have focused strongly on the US in its lyrics and sample choices but its sound combined Cabaret Voltaire’s trademark scathing sound with an explicit dub influence that had only previously been implied by the infrequent use of a dub delay. The dub music influence was now central to their drum machine rhythms and Mallinder’s impressive bass playing and deep tone. “The Voice of America” was the high point of this period of the Cabs, finding a balance between their diverse influences without compromise.

Their next album releases ‘Three Mantras’ (1980) and ‘Red Mecca’ (1981) looked at the parallels between fundamentalist Islam and born-again Christianity in America. The albums took very different approaches to these subjects. “Three Mantras” featured two side long tracks. The first song, “Western Mantra”, blends Neu!’s motorik rhythms, Mallinder’s subtle bass variations with Kirk’s Arabic sounding guitar squalls and piercing keyboards from Watson to mesmerizing, propulsive effect. “Eastern Mantra”, the second side, loops a vocal sample over a drone and Arabic and Israeli pop music flashes in and out of the mix, later Kirk joins in with some crisp rhythm guitar. Arabic wind instruments and found sound from a Jerusalem market complete the package and make for an incredibly evocative release that utilises its sources well without falling foul of cultural tourist clichés. “Red Mecca”, though a very good album feels like a step back to  the sound of “The Voice of America” yet it doesn’t quite have the same punch. It comes as no surprise that Cabaret Voltaire felt they had done all they could with their current sound by this point.

Another crucial element that the band used, was slide and cine projectors that were utilised to create sensory overload for the audience. Like their peers Throbbing Gristle the Cabs saw themselves as reporters operating in ‘the information war’. “The film projections were part of this counter-propaganda, working as a kind of anti-TV. Hence their non-judgemental stance, appropriate to the neutrality of the good reporter.” This stemmed from both the influence of Burroughs and his theories about control and “[t]he hard, unblinking, amoral stare of J.G. Ballard’s fiction as it surveyed the contemporary mediascape” was another huge influence. The band were keen observers of what was happening around them: urban riots in the UK in 1981, the situation in the Middle East and tension present in pre-Reagan America and were able to subtlety articulate this in the mood, tone, lyrics and samples present in their music and visuals.

Cabaret Voltaire’s next release “2 X 45” comprised of two 12” records which feature guest drummer Alan Fish of Sheffield experimentalists Hula and the last three songs recorded with Chris Watson who departed the band in October ‘81 for a career in television sound recording. The second record includes their first recordings as a two piece with guests Nort (drums) and Eric Random (percussion/guitar). Though it is correct to view “2 X 45” as an transitional release it seems there is a transition within the record itself. Watson’s input and influence is definitely reduced and keeps reducing across the three tracks as if he is moving towards the exit as they record. The second half of the record sees the band really start to push towards the dance music direction they would incorporate for the remainder of the ‘80s; the 12” format is also a clue to this new direction. “War of Nerves (T.E.S.)” would be a typical Cabs track but instead it is the rhythm that dominates, “Wait and Shuffle” is as close to upbeat reggae as they ever reached and “Get out of My Face” is driven by Kirk’s relentless yet fun rhythm guitar.

In 1981 Stephen Mallinder and Richard H. Kirk were invited to watch Soft Cell’s performance of “Tainted Love” on Top of the Pops by Stevo the head of Some Bizzare management/record company. Stevo was making a name for himself as an electronic and avant-garde music DJ and someone who could sell new acts to major labels and re-launch the careers of established acts like the Cabs who had reached an impasse. At the meeting Stevo discussed his idea of “conform-to-deform” which struck a chord with the group. He gave them £5000 to buy a video duplication machine for their video company Doublevision, allowing the band to be autonomous and able to produce small runs of video via mail order. Stevo also paid for the recording of the next album “The Crackdown” (1981) and in return the band stripped down their sound to make it more accessible and pushed Mallinder’s vocal central in the mix. This created a shift for his and Kirk’s roles as Mallinder was now becoming the front man and occasional bassist with Kirk taking on other musical roles.

The result of this was a sound that attempted to blend their post-punk paranoia with the electro sound that was emerging from New York simultaneously. As with their friends and peers New Order, who recorded part of their debut album “Movement” at Western Works, Cabaret Voltaire were trying to combine white angst and black groove, though New Order’s was an emotional angst and theirs was political. One of the fateful events that lead to the Cabs’ adoption of electro was Kirk who was blown away by Afrika Bambaataa’s ‘Planet Rock’ which he heard at The Hacienda (the Cabs had also played at the Manchester institution’s opening night) He later remarked, “it was like Kraftwerk only funkier”. This epiphany and (co-composer of “Planet Rock”) John Robie’s electro remix of ‘Yasher’ from “2 X 45” convinced the band on their change of direction and how to create a dance floor suited version of their sound. Cabaret Voltaire undertook this direction change with help from co-producer Flood, Soft Cell keyboardist Dave Ball and all the latest dance music technology of synthesisers, a sequencer, a Roland 808 drum machine, harmonisers and the electro staple, the Claptrap.

With Malinder now the front man the duo relied less on voice recordings from television programmes but were still intent on spreading a complex, ambiguous political message while attempting mass communication. This is a reason why the band are commercially disappointing when compared to New Order. The Cabs attempted to communicate both present and recent political past, their music rich with data and meaning, gleaming with the same number-crunching technology of the bankers and investors who inhabited Thatcher’s Britain. New Order conversely dealt in the universal emotions of yearning, love and death therefore their music was instantly relatable and thus climbed the charts. Cabaret Voltaire’s material was akin to “a night spent channel-hopping on TV, tuning through the shortwave radio dial or watching a sequence of advertising hoardings from the window of a speeding car could ever be”. There was no one subject. “It was more about creating atmosphere.” Kirk commented on the duo’s “cut-up method of setting voices snatched from the mediascape against Mallinder’s vocals”.

“The Crackdown” also signalled another important development. Cabaret Voltaire signed a record deal with Virgin on the proviso that they be allowed to put out 12” versions of album tracks. The duo left behind the scratchy, lo-fi sound of the 7” associated with punk and Rough Trade for the high end “seduction of the club sound system” and the lifestyle of excess that accompanied it. The 12” is synonymous with the 1980s and the circle that the Cabs moved in from the decade’s early electro scene through to the beginnings of rave music appeared in their sound. The album has a new “rhythmic certainty” and a feeling of “space, order and purpose” where previously there was chaos and claustrophobic. Dissonance, however, still remained but this could be blended seamlessly into the streamlined sequencer music.

They continued to pursue success and the harmonisation of man with cutting edge machinery with 1984’s “Micro-Phonies”. For this release Cabaret Voltaire employed an E-mu Emulator – a sampler keyboard that allowed Kirk to place samples where needed. The keyboard elevated the level of complexity that the Cabs were able to achieve, which was exemplified by the 12” mix ‘Sensoria’ from the album. The 12” “presented Redneck America’s party line on clean living, lifted from a television documentary on the Ku Klux Klan. Set against it, to deepen the conceptual irony further still were the chants of Zulu singers.”

Conversely their visual feature managed to directly mass communicate free of limiting censorship, certification and copyright law. Until the moral panic caused by video nasties which lead to the introduction of the UK’s Video Recordings Act 1984 Cabaret Voltaire were able to assemble cut-ups of hardcore porn, anatomical surgery and CCTV into their videos and could sell these to fans via mail order with no interference from Virgin. They were also able to experiment with all the possibilities of the format with typical video promos, their own Wipeout T.V. magazine show and Johnny Yesno, their film and soundtrack from 1983. In this respect the duo were forerunners to great Audio/Visual innovators like Coldcut and VJs (Visual Jockeys) who were inspired by rave era music are indebted to the Cabs’ pioneering music and visuals.

By the release of “The Covenant, The Sword and The Arm of the Lord” (1985) Kirk had bought a sampler (the E-mu Emulator had been hired due to its prohibitive price) and explored the techniques associated with it. Some of the sampler techniques on display in this release are the same that are used in hip-hop and their beloved electro. The band went a step further than on previous albums that had virtually avoided the traditional emotional palette of pop music. This typical subject matter is subverted on “I Want You” with “…words that once formed the basic unit meaning for just about every pop song in existence…skilfully exposed as the utterance of a TV preacher calling his faithful viewers to prayer.” The Cabs’ explicit, as opposed to earlier, implicit, subversion ended hopes of commercial success.

Another important factor in Cabaret Voltaire’s failure to achieve the commercial and dancefloor triumph akin to their contemporaries New Order, Soft Cell, Depeche Mode and Heaven 17 et al is that club music changed direction and attitude in the mid 1980s. In the early ‘80s post-punk innovators had lead the way and found an audience willing to follow their most daring experiments yet only five years later the times had changed. Conservatism took hold in music with most audiences disliking challenges and debates. Despite the similarity of the Cabs’ music and subject matter to the acts on the On-U Sound label (Tackhead, Mark Stewart, Gary Clail), they now overtook Cabaret Voltaire’s level of attention and popularity in clubs, though they too rarely entered the charts. House and techno DJs and producers grew increasingly popular and people did not want the Cabs’ technological chatter. Though they became unfashionable Cabaret Voltaire exerted a large influence on the development of techno and electronica. Derrick May has stated “Everybody from Frankie Knuckles to Ron Hardy, young black DJs in Detroit, and Richie Hawtin, loved Cabaret Voltaire.” The duo were also educated enough in dance music technology to meet with house and techno producers and share ideas. They also influenced the artists involved in Warp’s Artificial Intelligence series and important early ‘90s labels R&S and Plus 8 owe Cabaret Voltaire a great debt.

More recently their authority can be heard in new bands like White Car (the title of a Cabs track from “C.O.D.E.”), Factory Floor, Breton, Suuns and the reactivated Blancmange. It is odd that a band with this level of reach and whose fans regularly bemoan their underrated music are so consistently overlooked. Some of their Virgin albums are nearly impossible to purchase which should be addressed as it was with earlier albums. They should work with Richard H. Kirk to re-master, remix and re-release the later releases. If contemporaries like Nizter Ebb, Throbbing Gristle and Chris & Cosey can experience a resurgence of interest then why not Cabaret Voltaire? They are a band that consistently created fresh, different and worthy albums from 1978 to 1987 yet they have not received the same reappraisal as others, which needs to be rectified.

Spotify playlist:

Cabaret Voltaire

%d bloggers like this: