What You Could Not Visualise (dir. Marco Porsia, 2022)

On 1 March 2019, I hosted a Rough Trade in-store discussion with Gary Asquith, Dorothy ‘Max’ Prior and Mick Allen from Rema-Rema.

The occasion was the release of Fond Reflections by 4AD, an overdue collection of demos, live recordings and Wheel In The Roses, the band’s solitary 1980 12-inch. That EP has taken on an almost mythical significance in the margins of accepted post-punk histories, and not just because it would ultimately prove to be the launching pad for the careers of musicians that would leave a mark on the ensuing post-post-punk music – guitarist Marco Pirroni with Adam & The Ants, Allen and the band’s Mark Cox with The Wolfgang Press, Max with Psychic TV and Asquith with celebrated future Mute group Renegade Soundwave. That was important, but just as important was that it gave the nascent 4AD, according to its founder, Ivo Watts-Russell, the label’s identity and the high musical watermark to which they would constantly aspire to.

It felt like that event and release in 2019 were both part of a concerted effort to usher in a better appreciation of the importance of Rema-Rema, seeing them move from music’s fringes to somewhere more central, alongside contemporary bands that seem to dominate the post-punk narrative. It was a chaotic, awkward and frankly nerve-wracking evening, made significantly worse by Asquith and Allen arriving late, but it was also touching. Asquith, in particular, has been active in both preserving and promoting the fleeting legacy of Rema-Rema, frequently describing it as his favourite project he’s ever been involved with, and those fond affections for the band that started his career was abundantly clear that night at Rough Trade.

Toronto film-maker Marco Porsia has now made a decisive move that will assuredly imprint the significance of Rema-Rema on a whole new audience. His documentary film, What You Could Not Visualise, follows his celebrated 2019 film about Michael Gira’s Swans (Where Does A Body End?), and features his signature forensic approach to exploration. Porsia’s film is currently crowdfunding, and is expected to be released in 2023.

For the film, Porsia interviewed the band and Ivo Watts-Russell, as well as those personally influenced by the band’s brief legacy – Steve Albini (whose Big Black covered Rema-Rema), Foetus’s JG Thirlwell and Cabaret Voltaire co-founder Stephen Mallinder.

Porsia also interviewed me for the film, which saw a return to Rough Trade West to once again stand behind the counter and reflect on that important band and what they represented.

Watch the trailer below and visit the crowdfunding campaign here.

(c) 2022 Documentary Evidence

MixBus With Kevin Paul

On January 10 2020, producer Kevin Paul begins a series of podcast interviews with fellow studio stalwarts including fellow former Konk resident Dave Eringa and other names familiar to Mute collectors such as Dave Bascombe, Flood, Danny Briottet, Pascal Gabriel and Gareth Jones.

“It came out of listening to podcasts about the recording studio and music production,” explains Kevin. “I could hardly find anyone talking about people from the UK. I thought, ‘I know a few people, so I’ll call them and ask if they want to speak to me and if I get 5/6 then I’ll start a series.’ Incredibly, everyone said ‘Yes’ and I thought ‘Oh my god, I’d better get going!”

Key to the format of the podcast is a relaxed, accessible tone distinct from similar podcasts which go heavy on technical detail. “It’s just me and my guest talking informally about their career and their approach to music,” continues Kevin. “It’s designed to let the guest just talk openly about whatever they want, really. There’s plenty of people who do super technical podcasts already and they do that very well. I’m hoping anyone interested in how records are made can enjoy my podcasts.”

Kevin is himself no stranger to Mute, having worked on countless records for the label between 1992 and 2012. His association with the label began with work on the Pro-gross Three remix of Nitzer Ebb’s ‘Ascend’ and Phil Kelsey’s expansive remix of ‘Take A Chance On Me’ from Erasure’s chart-topping ABBA-Esque EP. “I ended up at Mute through my time at Konk studios,” he recalls. “‘Ascend’ was actually the first record I’m credited on so carries a special place in my career. Mute was such a creative place to be that there are too many highlights to list: I worked with pretty much every artist on Mute and its subsidiaries at one point, including The KLF, Appliance, and Paul Smith’s Blast First. I mixed Goldfrapp’s first album, Lovely Head. I met and worked with Nick Cave & The Bad Seeds and David Bowie, who spent time at Worldwide Studios recording some of his Hours… album, and I worked on the 5.1 remixes of the Depeche Mode back catalogue. That’s just a few of the things I’m really proud of.”

Nitzer Ebb – Ascend (cdmute145, 1992) featuring Kevin Paul’s first credit (track 2).

Kevin’s series arrives at a time where the ease with which artists can make music without relying on expensive studio time potentially puts the traditional roles of producer, mixer and engineer under threat. Nevertheless, he still sees the value that a good quality studio team can provide. “Studio people are there to help artists make the best music they can make, in whatever form that takes,” he says. “In order to achieve that, we must do whatever that entails.”

The KP MixBus podcasts will be available from January 10 2020 on your favourite podcast app on iOS and Android, and from www.kpmixbus.com. The first in the series finds Kevin chatting with Catherine Marks (St. Vincent, Local Natives, Wolf Alice, White Lies, PJ Harvey, Frank Turner and many others).

(c) 2019 Documentary Evidence