Tag Archives: Mute

Miss Grit – Lafayette, London 04.04.2023

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Miss Grit (New York’s Margaret Sohn) played a set at Lafayette in London’s Kings Cross, supporting Bartees Strange.

Consisting of tracks taken from the excellent debut Miss Grit album for Mute, Follow The Cyborg, Sohn seems to embody a certain captivating impassivity in their performance. It’s almost as if Sohn is playing the cyborg character that dominates the theming of their album: movements are scant, they cradle their white guitar like it’s another limb and there is a sort of emotionlessness etched on their face, even as the music on a track like ‘Follow The Cyborg’ reaches a climactic, feverish intensity.

Watching their guitar playing on ‘Like You’ is utterly mesmerising. Sohn is adept at affixing big, snarling riffs onto their songs in a style not dissimilar to Robert Fripp’s work on Bowie’s ‘Fashion’. These riffs arrive with an abruptness and intensity that’s often at odds with either Sohn’s vocals or their electronic arrangements, much as their smile at the end of a piece seemed incompatible with the detachment of the performance itself, or the philosophical gravity of the lyrics. The movements of Sohn’s hands along the neck of their guitar on ‘Like You’ was subtle, robotic almost, in spite of the noisy, grubby distorted blast of all-encompassing noise it produced.

The set concluded with ‘Syncing’, one of the many highlights from Follow The Cyborg. Here it was imbued with heavy emotion in spite of its stateliness and subtlety, the phrase ‘people change twice a year’ seeming to hang in the atmosphere of Lafayette like both a reassuring salve and futile acknowledgment of human weakness.

Thanks to Zoe and Paul.

Words: Mat Smith

(c) 2023 Documentary Evidence

Erasure: Behind The Sleevenotes

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Being invited to write the notes for the reissue of Erasure was, as it was for I Say, I Say, I Say and Chorus, a humbling experience. A pinch-yourself moment. An honour. A privilege. All of these things. Whenever I’ve worked with Andy and Vince like this, I try to imagine what my younger self would think if he knew that one day he’d cross the rubicon between fan and employee of Erasure. I doubt he would believe it. I still can’t believe it.

I found myself reflecting on my younger self as I began the Erasure project. I very often mark out the significant events in my life through Erasure albums, and this was no exception, though perhaps the memories were a little more prominent and poignant than they had been with the previous two albums.

Between the first single, ‘Stay With Me’, and the album’s release, I’d left home and moved to university in Colchester. ‘Stay With Me’ seemed to capture a specific and strange feeling that descended on me as I made my final preparations for leaving, a feeling that was somewhere between optimism and fear. My first year campus university accommodation was in a tower block, and I imagined the observational viewpoint of Andy’s lyrics as if they were looking in on me as I started a new chapter of my life.

By the time ‘Erasure’ was released, I was already at university. I now forget where I purchased the album from but I suspect it was Our Price and I seemed to remember that it was the first week I was there. I still had some wages left from my summer job and I remember I also bought a pair of Levi’s. A shop worker in Birmingham, where I’d bought a pair of Levi’s before, told me to buy them with a larger waist size to avoid them being too tight, and that’s what I did with this pair. Within a month I’d lost so much weight at university that they became way too big and I couldn’t wear them anymore. I wasn’t ill and it wasn’t that my diet was poor: I’d just decided to become vegetarian to save more money so I could afford to maintain my record buying habit.

I first listened to Erasure in my tiny room in my tower block the afternoon of its release. I played it while ironing my new jeans.

“You had a pair of white jeans!” said Vince, when I told him this story. The connection of our Zoom call had either broken; or, more likely, he had deliberately misheard me.

“No, not white jeans,” I protested. (They were blue.)

“Oh man, I can’t believe you wore white jeans,” he laughed, ignoring me, his face displaying the huge grin I’ve become accustomed to seeing over the years. “I don’t think I can talk to you any longer.”

If BMG don’t invite me to write the liner notes for any future reissues, you now know why.

—

Whenever I’ve approached Erasure liner notes, I’ve always followed two guiding principles. The first is to never rely on either my own personal recollections or the massive amount of magazine and newspaper clippings that I collected voraciously at the time. The other is to try and include as many voices as possible in the piece.

The first principle is important. I want these notes to tell the story of the album, and I can think of no better way of doing this than speaking to the people who made it. In many cases, a detailed account of the process of making an Erasure album has never really been written, which gives these notes – I hope – a certain freshness, rather than something familiar. I also go back to what I was saying at the beginning. I am, first and foremost, a fan. These albums are important parts of my life and I’m completely biased. I figure that the best way to avoid these pieces being nauseatingly gushing fanboy pieces is to focus on telling the story. I’m also naturally inquisitive. I like to get inside a story. I like the details.

The ‘many voices’ principle is one that I really, really enjoy following. This isn’t a reaction, by the way, to not getting much information out of Andy and Vince. Far from it. Both have always been incredibly forthcoming with their recollections, and I could easily write these pieces without relying on any other input. But there are always more than two characters in these stories, and those other characters always play an important role, not least because they give us the opportunity to see what it’s like to watch Andy and Vince at work. Those players give a totally different, external perspective on the Erasure creative process, as well as life beyond the studio.

Vince would, for example, never talk about his cumbersome coffee machine and the elaborate process of making cappuccinos before recording sessions at his 37B studio could begin; engineer George Holt did, because they were the best cappuccinos he’d ever drunk, and it was an important part of the daily routine in the studio. Andy wouldn’t necessarily talk about the different ways that his voice would be recorded; Gareth Jones, who produced Andy’s vocal, could explain how he suggested things like sitting on the sofa in his room at Strongroom, or lying on the studio floor to get the specific vocal texture he thought worked best.

For Erasure, I spoke to Andy first. Andy was at his house in Mallorca, where he has some of the original Ashley Potter paintings that were used across the album and single sleeves. He spoke to me from the room containing the piano that became the focal point of Herbie Knott’s celebrated press photograph for the album. I next spoke with Gareth Jones. Gareth and I sat in the artLab, his studio at Strongroom in Shoreditch, and listened back to the album. This is the third time he and I have done a playback like this, and it’s always a fascinating and illuminating experience to hear anecdotes and memories prompted by listening to the music. We spent an inordinate amount of time trying to identify Paul Hickey’s vocal contribution on the track ‘Love The Way You Do So’ and a long time debating whether I should try and speak to Diamanda Galás (in the end, I tried, but didn’t manage to secure time with her).

With Vince, apart from talking about my white jeans, we spent a lot of the time talking about Dark Side Of The Moon and how it influenced the sound of ‘Erasure’. Vince and I have spent a lot of time talking about this album over the years, and at his insistence he made me buy a vinyl copy because, in his emphatic view, Dark Side Of The Moon should only be heard on vinyl. When Vince is serious about something, I find its best to follow his advice, and he’s never wrong. The whole time I was compiling the liner notes, a copy of Dark Side Of The Moon sleeve was behind me in the room I do my writing in. I read up about the Pink Floyd classic voraciously, watched a documentary about it to understand its technical appeal to Vince, and listened to it almost as many times while writing the piece as I did Erasure.

Perhaps because he knows I am a bit of a technical Luddite, Vince and I rarely talk in detail about the process of making sounds. He once showed me how his studio works and how everything connects up, but I think he noticed quite quickly that I was confused and so anyone looking for my notes to explain precisely how he made that bass sound three minutes into ‘Rock Me Gently’ will always be disappointed. To me it’s basically just magic, and I’m happy for my understanding of what Vince does to stay that way.

Most of the technical detail for the liner notes came from Thomas Fehlmann and George Holt. Similar to when I spoke to Martyn Ware for I Say, I Say, I Say, what I got from Fehlmann and Holt was their awe at how Vince worked. They clearly both work on a technical level that most of us would only ever aspire to, yet they thought what Vince did was basically magic as well. Vince insisted that I should meet George and ask him to cook me Italian food, as he thought he was the best chef he’d ever met; alas, that didn’t happen, but George did offer. Food came up a lot in conversations with the Clarke / Fehlmann / Holt trio, as did lots of tales of larking about in the downtime around the sessions.

Vince encouraged me to speak to Lloyd Puckitt, the mix engineer who worked at Strongroom with François Kevorkian on the album. I tracked him down and was so pleased that Vince had suggested it. I couldn’t secure time with François (“He’s always so busy,” said Daniel Miller) but, in many ways, speaking to Lloyd was better. This was a man who, by his own admission, got to witness two geniuses at work – he would watch the meticulous way that François set up and managed a mix, and he gushingly recalled a moment when Vince brought his Arp 2600 into the mixing room at Strongroom to add additional percussion sounds to a track at the near-final stage. Few people have seen Vince making sounds up close like that, and for Puckitt it was a hugely memorable day on the job.

My final interview was Daniel Miller. Daniel’s involvement with any Erasure album is often understated and imperceptible, but it’s always important. His guiding presence – never controlling, always supportive, always honest – is all over Erasure. It didn’t trouble him at all that this album wasn’t going to yield lots of pop hits for Mute. He thought it made make sense for Andy and Vince to stretch out their sound expansively, though he quickly challenged my assertion that this was the duo at their most experimental. “I generally find the word ‘experimental’ a little bit tricky,” he said to me. “Whenever anybody goes into the studio there’s an element of experimentation.” Daniel was responsible for the art direction of the album, incidentally.

I find myself obsessed with the routines involved when making Erasure albums, especially when Andy and Vince were working apart. For me, that’s what allows me to move from being a mere listener to being a fly on the wall of the creative process. I loved George’s stories about hauling himself in his car (“A 1957 Land Rover with no roof.”) from his girlfriend’s house in Dalston, to Soho to collect Thomas, and on to Vince’s place in Chertsey. I loved knowing that Andy and Gareth were night owls, recording beyond the small hours and running up against the mixing deadline, their tight bond yielding hours and hours of vocal recordings, much of which is sitting, unused, on the master tapes.

—

I recently met up with Janet Gordon, who managed the Erasure Information Service when Erasure was released. We got to talking about the ‘Private Ear’ booklets she produced for fans, and the annual charts she would ask us to complete for our favourite songs, B-sides, remixes etc.

There was also a section for ‘worst remix’, and for as long as I can remember, the top slot was taken by The Orb’s Orbital Southsea Isles Of Holy Beats remix of ‘Ship Of Fools’. That always baffled and frustrated me, and I generally voted it my favourite remix because of that. I loved The Orb. I’d been to see them at Warwick Arts Centre in 1994 and it was a decidedly transformative experience. At university I often said it was more important than my first sexual experience. I loved what Alex Paterson and Thrash did with ‘Ship Of Fools’ – stretching it out, exposing its fragile beauty and taking it off along a course that only someone with Paterson’s imagination could. When I heard that Thomas Fehlmann was going to produce the album, I smiled to myself.

By then, Fehlmann was a member of The Orb, though he hadn’t been at the time the ‘Ship Of Fools’ mix had been completed. When I spoke to him, he was aware that Alex and Trash’s mix had been universally derided, and I think we both shared the view that encouraging Vince to work with a producer attached to a group that was wholly un-Erasure was a brave, bold and typically Daniel suggestion by Mute’s boss.

It’s not right to call it a gamble. It was far too calculated for that. But however you might describe it, it paid off. Fehlmann readily admitted that his role could never be to suggest how Vince should make sounds. That would be like me trying to convince Vince that I didn’t have a pair of white jeans. Fehlmann’s value to ‘Erasure’ was in the arrangement, and how a track was permitted to evolve freely along its own path and hugely exceed the accepted length of a typical pop song.

There are so many things going on in these tracks that I don’t think it will ever be possible to hear them fully, or ever fully know them, and that’s undoubtedly part of its charm. Andy said that these are among the songs he is proudest of. Vince said that it was an album he played repeatedly to friends on his very expensive home stereo, excitedly pointing out details and sounds that may have gone unnoticed.

—

I held back tears when I first played Erasure. I wasn’t remotely sad: these were happy, joyous tears that I wanted to cry. I remember that was the first time that had happened, but it’s happened every time they’ve released an album ever since. I was a fairly emotionally closed person back then, and I’m happier to let the tears of joy flow freely now. There’s always something poignant and reassuring about the band you love the most coming back into your life with something new.

Erasure was a transitionary album for Vince and Andy, released at a transitionary moment in my life. Listening back to the album, and listening to its creators reminiscing about its creation, allowed me to revisit my younger self all over again. A lot has happened in 27 years. We’ve all lived, and are living, through a messy cocktail of joy and sadness; we’re all significantly older than we were then; we’ve all experienced tragedy and hope countless times since Erasure was released. But for the briefest time, I was able to transport myself back to being a callow youth at the start of my adult life, with all of that ahead of me, and for that I’ll be eternally grateful.

Thanks to Shaun, Richard and Janet.

Words: Mat Smith

(c) 2022 Documentary Evidence

Miss Grit – Amazing Grace, London 01.11.2022

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New Mute signing Miss Grit, New York’s Margaret Sohn, performed a small showcase set of tracks at Amazing Grace last night. The tracks were taken from her forthcoming debut album Follow The Cyborg, a concept record about the life of a cyborg, which will be released in February 2023. Fusing angular guitars, pitch-perfect vocals and inventive electronics, their sound effortlessly straddles the worlds of pop and leftfield experimentation.

The performance came on the same day as Miss Grit released their latest single, the title track from the album. In a break from steadfast and serious playing, Sohn gleefully announced the release of the track with a wonderful display of unbridled excitement and enthusiasm. Definitely one to watch, and an excellent addition to the Mute roster.

Setlist:

Perfect Blue / Your Eyes Are Mine / Nothing’s Wrong / Lain / Buffering / Follow The Cyborg / Syncing / Like You

Words: Mat Smith

Thanks to Zoe

(c) 2022 Documentary Evidence

Sunroof / Simon Fisher Turner / MICROCORPS / Nik Colk Void – IKLECTIC Art Lab, London 20.05.2022

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MICROCORPS / Alexander Tucker

Mute and Mute Song artists took over the IKLECTIK Art Lab near London’s Waterloo on Friday 20 May 2022 for a night of electronic music adventures.

Alexander Tucker’s MICROCORPS project offered faltering, industrial beats that usually formed out of a noisy, joyous sprawl of rapidly switched patch cables, over which he was prone to howl processed, wordless missives. An element of surprise dominated Tucker’s set, with sounds and rhythms cutting out suddenly just as you’d figured out how to shuffle along. A final segment found Tucker accelerating a beat so harshly that it rapidly left gabba territory and more than likely broke Moby’s ‘Thousand’ record with its pacing before abruptly stopping.

Simon Fisher Turner

Simon Fisher Turner presented nowhereyet, his sounds – inchoate melodies, processed cello, clamorous beats – set to a slideshow of London photographs by Sebastian Sharples. There was something eerie about Sharples’ photos, appearing to show a mostly empty, lockdown-era vision of the capital. We cross-cross from Spitalfields to the bombed-out sanctuary of St. Dunstan in the-East; from monolithic skyscrapers to snow-covered residential streets; from Canary Wharf construction to a deserted Bond Street. Fisher Turner’s music seemed to carry the same sort of alien, mournful sparseness; it’s as if the sounds and images, to paraphrase the enquiry ‘if a tree falls in the forest and no one is around to hear it, does it make a sound?’, pondered the question as to whether a place devoid of its people can still be considered a place at all.

Sunroof / Daniel Miller & Gareth Jones

Daniel Miller and Gareth Jones resurrected their occasional Sunroof collaboration for a celebrated collection of modular synth improvisations, released last year as Electronic Music Improvisations Vol. 1. For their Iklectik set, they were seated opposite one another in a manner reminiscent of Marcel Duchamp and John Cage’s 1968 chess game, the board and its pieces replaced by innumerable boxes of flashing lights and tangles of coloured cables. In contrast to the pieces on their album, the set was intensely rhythmic, with grids of spare, almost skeletal beats instead of carefully-wrought, sinewy sequences. Miller and Jones have been friends and sonic adventurers together since 1982 and the symbiosis between them as they teased rhythms and patterns from their kit without ever seeming to communicate with one another was a testament to that enduring partnership.

The evening was interspersed with DJ sets from Nik Colk Void, ranging from juddering techno through to a memorable after-hours moment where she dropped Mudhoney’s socially-undistanced anthem, ‘Touch Me I’m Sick’.

Nik Colk Void / Mat Smith – photo by Leanne Mison

See Sebastian Sharples’ photos of the night at Instagram.

Words and bad photos: Mat Smith

(c) 2022 Documentary Evidence

Jim Sclavunos – Holiday Song

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“I sure could use a holiday, but I don’t know where I’d spend my stay. Can’t afford it anyway. That permanent vacation.”

Jim Sclavunos – ‘Holiday Song’

‘Holiday Song’ is the debut solo single from producer, early Sonic Youth member, Nick Cave & The Bad Seeds stalwart and Grinderman co-founder Jim Sclavunos. A pretty rumination on getting older, realising your best years are long behind you and a reflectiveness on your character flaws, ‘Holiday Song’ is delivered as a plaintive piano-led ballad, somewhere between jazzy lightness and folky earnestness. Sclavunos adopts a resigned, weary tone, yet one that is laced with a wry levity in spite of the song’s weighty themes.

For ‘Holiday Song’, Sclavunos’s celesta and vocals are joined by Dave Sherman (piano), The Pogues’s Spider Stacy (tin whistle), Gallon Drunk’s Terry Edwards (flugelhorn) and Sarah Lowe (backing vocals). Nick Cave describes the song thus: “Beautiful and complex song and a sweet and generous offering. Really beautiful and true to the bone!”

Profits from sales of the single go to the Music Venue Trust’s Grassroots Music Venue Crisis Fund, established to provide financial support to venues impacted by the COVID-19 pandemic. To read more about Music Venue Trust, click here.

Holiday Song by Jim Sclavunos is released January 1 2021 by Lowe Amusements Records. With thanks to Sarah.

(c) 2021 Documentary Evidence

I’m Dreaming Of A Mute Christmas

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It’s that special time of the year where the sounds of well-worn Christmas hits from yesteryear fill playlists and people begin to debate whether ‘Fairytale Of New York’ really is the best Christmas song of all time.

With some help from my good friend and Mute afficionado Jorge Punaro, I here present a trawl through the back catalogues of Mute artists past and present to deliver an alternative compilation of seasonal songs; songs that range from the traditional, the just plain festive and on to the downright tenuous. Jorge has meticulously prepared a Spotify playlist containing everything we could get our hands on (and many more songs than I’ve covered here). For your optimal listening experience, Jorge’s should be listened to while drinking one of the cocktails from Erasure’s Snow Globe box set. 

I often think of Erasure at Christmas, mostly because I remember receiving a 7″ of ‘You Surround Me’ in 1989 in my stocking. The year before, Vince Clarke and Andy Bell narrowly missed securing the coveted Christmas number one slot with Crackers International, an EP which led with ‘Stop!’ but also included the moving ‘She Won’t Be Home’ (renamed ‘Lonely Christmas’ on the slightly dubious The Erasure Christmas Gift 7″); elsewhere on the EP, the duo delivered a spooky version of the traditional carol ‘God Rest Ye Merry Gentlemen’ complete with authentic choir-boy vocals from Bell, while two years before the pair did a relatively throwaway take on ‘Silent Night’ for the US Yulesville promo LP. The limited formats of the ‘Am I Right’ EP (1991) featured a festive Me Company design of Christmas trees with a photo of a young boy holding presents, while Andy Bell co-hosted Channel 4’s Camp Christmas in 1993, with musical accompaniment from Vince. Andy also featured in a short film called I Hate Christmas as a market stall worker. 

2013 was the year that Erasure went all-out Christmas with the celebrated release of Snow Globe. The album collected a number of classic Christmas songs, including ‘Silent Night’ and ‘God Rest Ye Merry Gentlemen’ in updated splendour, as well as some of Vince and Andy’s own tracks. The limited-edition box – or should I say the obligatory limited-edition box, since if Mute did one thing in 2013 it was to ensure that their avid fans went without their turkey after spending out a small country’s GDP on ever more elaborate and expensive box sets – included a bauble, balloon, a packet of sweets and some Erasure-themed cocktail recipes. 

Other artists who’ve covered Christmas songs include Echoboy, who released a special split EP with Six By Seven for a Christmas show in Nottingham in 1999 which included a very alternative version of ‘Silent Night’. Richard Hawley also delivered a very easy listening take on ‘Silent Night’ for a special one-track CD given away to people who attended his show in Sheffield in December 2006; during winter gigs and on radio Hawley has also covered ‘Blue Christmas’, made famous by Elvis Presley, but I haven’t heard a recording of that yet (if anyone feels charitable enough at this time of giving to send me one in the name of research, please get in touch). 

In the wake of their 2008 album Seventh Tree, Goldfrapp found time to record a beautifully jaunty version of ‘Winter Wonderland’ for a US Starbucks compilation, while former Blast First act Sonic Youth recorded a sketchy and somewhat unpleasant version of Martin Mull’s ‘Santa Doesn’t Cop Out On Dope’ for a 1996 compilation, which is definitely one for completists only. 

For Can completists, the veteran Krautrockers put out an ultra-twee take on ‘Silent Night’ way back in 1976 on Virgin in the UK. The Residents launched their audacious avant-garde music career with Santa Dog in 1972, a double 7″ single mailed out to various people featuring four tracks by various pseudonymous artists, all of whom were actually The Residents themselves (whoever they are). The band have released several other versions of Santa Dog since 1972 – in 1978, 1998, 1992 (‘Show Us Your Ugly’), 1999 (Refused), 2006, 2012 (SD12) and a fiftieth anniversary version in 2022. Way back in 1956, occasional Blast First artist Sun Ra co-opted the alias The Qualities and issued the doo wop 7-inch ‘It’s Christmas Time’. Backed with the sincere blues of ‘Happy New Year To You!’ this curiosity remains one of the most surprisingly accessible pop releases in the expansive Ra catalogue, and proof that they celebrate the holidays on Saturn just like they do here on Ra’s adopted home.

Einstürzende Neubauten stalwart F.M. Einheit and Caspar Brötzmann recorded an album called Merry Christmas which Paul Smith‘s label put out in 1994, but it isn’t at all festive and, besides, it was released in May that year. Still, the album’s sleeve of a hand-drawn tank reminds me of troops putting down arms during World War II, so maybe there’s a connection to the festive season somewhere on this album after all. Mute US duo The Knife recorded a song called ‘Reindeer’ for their eponymous album in 2001; as if the song wasn’t festive enough already with its lyrics about Santa, The Knife issued a version with Christmas bells (renamed ‘Christmas Reindeer’) in 2006 as a free download. Holger Hiller’s eponymous last album for Mute in 2000 included the track ‘Once I Built A Snowman’, while Ben Frost’s 2017 album Music From Fortitude opened with ‘This Is Not Christmas’. 

Andreas Dorau, he of one-time Mute group Die Doraus Und Die Marinas, has recorded two Christmas songs. ‘Weihnachten Ist Auch Nicht Mehr Das Was Es Mal War’ is a bouncy electropop track that appeared on Staatsakt’s Santo Klaus sampler in 2016, and just over ten years earlier, he released the track ‘Weihnachten Im Wald’ as a limited-edition of 100 CDs for a Carhartt jeans promotion. The Jon Spencer Blues Explosion‘s 1992 Sub Pop Singles Club 7-inch paired together two excellent tracks – the wild rockabilly gestures of ‘Big Yule Log Boogie’ and the ‘Blue Christmas’-esque ‘My Christmas Wish’.

Josh T. Pearson became the first Mute artist to deliver a whole EP of Christmas songs, with his maudlin Rough Trade Bonus disc getting released in 2011 as a Rough Trade shop exclusive accompanying his Mute debut, Last Of The Country Gentlemen. This year, Pearson issued a new song, ‘2020’s Silent Night Hindsight’ straight to YouTube, and a more perfectly cynical take on a shit year you will be hard-pressed to find. 

In 2012, Canada’s Ladan Hussein, variously known as Al Spx and later Cold Specks covered Mary Margaret O’Hara’s ‘Christmas Evermore’ for a Christmas compilation, complete with brass and obligatory messages of peace and hope and a bit of Diamanda Galás-esque tremulous wailing. The debut Cold Specks album, I Predict A Beautiful Expulsion (2012) also features the stirring track ‘Winter Solstice’. 

Looper‘s 2003 album The Snare features the haunting and evocative ‘New York Snow’, while the ‘Intro’ track on M83‘s Hurry Up, We’re Dreaming has dreamy lyrics about walking in snow. Way back in 1982, Yazoo‘s Upstairs At Eric‘s included the sparse ‘Winter Kills’ and an orchestral version of ‘Only You’ was used in a Boots TV ad in 2017. A year before Upstairs At Eric’s, future Mute artists A Certain Ratio recorded the irrepressable long-form funk track ‘Winter Hill’ for their To Each album, while, some twenty years later, Nick Cave & The Bad Seeds released the wintery ‘Fifteen Feet Of Pure White Snow’ in 2001, regrettably the closest the songwriter has yet come to recording a seasonal song. Surely there’s a Christmas album in St. Nick somewhere? Moby‘s never done a Christmas track either, though he did remix arch-crooner Tony Bennett’s ‘I’m Coming Home For Christmas’ in 2007, but the track was only ever released as a promo. 

Maps, known to his parents as James Chapman, kicked off his pre-Mute career as Short Break Operator, including the haunting ‘Some Winter Song’ as the first track on his debut EP from 2003. In fact, of all the Mute roster, Maps is easily the most prolific Christmas-loving artists. He recorded the frosty ‘Sparks In The Snow’ for his second single, went on to cover East 17’s ‘Stay Another Day’ for a promo CDr and released ‘Merry Christmas (My Friend)’ straight to Soundcloud in 2013, which is among the most atmospheric things Chapman has ever recorded. 

Later still, 2016 Chapman’s collaboration with former Mute artist Polly Scattergood, On Dead Waves, yielded two Christmas songs in the form of a cover of ‘In The Bleak Midwinter’ and the track ‘Winter’s Child’ that closed the duo’s only album together. This year, Polly Scattergood released her own Christmas track, ‘Snowburden’, which followed this year’s career-defining and intensely personal album In This Moment. The new song found the singer somewhere between Laurie Anderson-esque sound art and sensitive balladeering. 

in 2020, one of Mute’s longest-serving sons, David Baker – one half of I Start Counting, Fortran 5 and Komputer – released ‘The Lights Of The Pub’, a charity single under his Joanna-tinkling alias Dave The Keys in aid of his local London boozer, The Lamb on Holloway Road. Dave (now working as lonelyklown) unwrapped another Christmas treat this year with the emotive ‘Winter In London’, the video for which can be found below.

Speaking of charity, here’s a shameless plug: in 2012, Documentary Evidence compiled MuteResponse, a double download charity compilation album intended as a tribute to Mute’s legacy, and also to rule off the first ten years of writing this very site. On MuteResponse #1, I was able to include one-time Credible Sexy Units act Vic Twenty‘s ‘Christmas In Korea (New Year In Japan)’. Angela ‘Piney Gir’ Penhaligon and Adrian Morris recorded the track years ago but it was never officially released until the MuteResponse compilation. I first heard this track years ago during an interview with Morris, and I always wanted to make sure that others would get to hear it, and so I was delighted to let the song see the light of day. Incidentally, Piney’s done plenty of other Christmas songs, one of my personal favourites being the lovely ‘For The Love Of Others’ in 2009. You can find MuteResponse over at Bandcamp. 

So we’ve surveyed the traditional and the festive – what about the tenuous? Look no further than Mute’s most bankable act, Depeche Mode, whose only obvious Christmas connection was Dave Gahan delivering a festive message on the aforementioned Yulesville compilation. However, a year earlier, Depeche’s Alan Wilder and Martin Gore penned the track ‘Christmas Island’ as the B-side to ‘A Question Of Lust’; it isn’t remotely festive, it was released in May that year, it’s named after an island in the Indian Ocean, but it’s got the word Christmas in the title and so, dubious though it is, onto the Dreaming Of A Mute Christmas playlist it goes. 

Christmas is supposed to be fun, and so here’s a version of The Normal’s ‘Warm Leatherette’ by The Bombshelter Brigade, re-titled ‘Merry Christmas’ and taken from the 1988 compilation Christmas At The Bombshelter.

Happy Christmas to Mute fans everywhere. 

Words: Mat Smith 
Spotify playlist and Mute Navidad nous: Jorge Punaro 

(c) 2022 Documentary Evidence & Jorge Punaro. Earlier versions of this feature were published in 2012, 2013 and 2022. If we’ve missed anything let us know and we’ll get them added in.

Dave The Keys – The Lights Of The Pub

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“The lights of the pub are shining. Though we can’t be there to hear, in spirit we’ll all be singing, Merry Christmas and Happy New Year.”

– ‘The Lights Of The Pub’ by Dave The Keys

In normal times, if you were to head down to The Lamb on London’s Holloway Road on a Thursday evening, you’d be sure to find a certain Dave The Keys tinkling the ivories and playing popular songs at the piano. Said Dave is Mute stalwart David Baker, one half of I Start Counting, Fortran 5 and Komputer, whose prowess with the pub’s upright piano might come as a surprise given how every iteration of his pairing with Simon Leonard has been almost exclusively centred on electronic music. 

Well, these aren’t normal times, and The Lamb, like so many pubs across the country, is on its knees thanks to two lockdowns and financially punitive – though necessary – restrictions. In response, Baker has recorded ‘The Lights Of The Pub’, a beautifully evocative song where all sales go toward The Lamb’s crowdfunding campaign to avoid its metaphorical last orders. 

‘The Lights Of The Pub’ is the singalong around the Joanna that never was, carrying a gentle sway like the last song before closing time. The song is led by Baker’s piano, around which a softly fluctuating synth meanders, joining up with festive bells and a beat as crisp as a frosty winter morn. Here you will find a wistful nostalgia for more carefree times, deeply rooted in a sense of a London community that could permanently lose the centre of its community. Poetic reflections of Baker’s North London locale abound here; an ambulance screams down the Holloway Road; a desperate man sits outsides the Tube station; he sings of an empty train, an ironic inversion of the movement of people across the capital that he sang about in Komputer’s ‘Looking Down On London’. 

“I’d been wanting to do a Christmas song for years, but never got round to it,” Baker explains. “I had an idea of doing a London version of ‘Fairytale Of New York’. It started off as ‘The Lights Of The Thames’ but it evolved into ‘The Lights Of The Pub’ when I connected it to the plight of The Lamb and many other pubs around the country. The Lamb is a lovely pub on Holloway Road in North London where I’ve been playing piano for singalongs on Thursdays for a few years now. Unfortunately, it is closed due to the current regulations so they launched a Crowdfunder which I thought I’d try and help out with.” 

Support The Lamb’s Crowdfunder here. Buy ‘The Lights Of The Pub’ at Bandcamp. 

The Lights Of The Pub by Dave The Keys was released December 4 2020.

Words: Mat Smith 

(c) 2020 Documentary Evidence 

Fad Gadget – The Best Of Fad Gadget

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The Best Of Fad Gadget was originally released in 2001 to accompany Frank Tovey bringing his Fad Gadget alias out of retirement for a support slot with Depeche Mode. It was a moment of electronic music history repeating itself, albeit in reverse and on a massive, stadium-friendly scale: Depeche had supported Gadget in 1980, back when they were all a bunch of callow, synth-loving young chaps, Frank Tovey being the first artist to join Daniel Miller’s nascent Mute Records.

Twelve months after the compilation was issued, Tovey was dead from a heart attack. It’s hard not to listen to these tracks, hand-picked as they were by Fad himself, without mourning the fact that he left behind such a brief legacy – a clutch of singles, four Gadget albums and a challenging performance art repertoire that was already honed back when he was fighting over Leeds Polytechnic’s studio space with fellow students Dave Ball and Marc Almond.

Mute’s pressing of the album on vinyl for the first time coincides with the fortieth anniversary of ‘Back To Nature’, Fad Gadget’s first single. Recorded with Daniel Miller, ‘Back To Nature’ nodded to the Ballardian tropes of Miller’s own ‘Warm Leatherette’ statement, but also highlighted Tovey’s wry humour: while its gloomy industrial electronics sounded like a post-apocalyptic world of extreme temperatures, it was in fact Tovey ruminating on sun-loving folk enjoying the beach at Canvey Island.

Its B-side, ‘The Box’, was yet more subversive, its desperate lyrics reading like the stage directions for a macabre one-man show with a performer stuck in a box. After the dry ‘Ricky’s Hand’ single – the sinister counterpart to Depeche Mode’s similar-sounding ‘Photographic’ – Tovey gently moved Miller’s producer’s hand to one side and forged his own path, his 1980 debut album Fireside Favourites dealing with everything from cosy nights around the hearth during a nuclear meltdown on its memorable title track to bedroom frustration, each track a symbiosis of Tovey’s synths and whatever potential sound-making objects were lying around the studio at the time.

Through his ensuing albums – Incontinent (1981), Under The Flag (1982) and Gag (1984) – Tovey developed his songwriting craft, initially through getting to grips with kit like an MC-4 sequencer and then developing a full-band aesthetic at precisely the same time as pop music was dispensing with traditional instruments in favour of keyboards and drum machines. But even as his music matured, anticipating the series of folk and rock-inflected albums released under his own name with the band The Pyros, Tovey was still covering himself in tar and feathers on stage, or stripping off his clothes and spraying shaving foam all over his body, memorable images of which Anton Corbijn captured for Gag and the harrowing cover of this compilation.

His songs never once lost that slightly disturbing potency that had made his earliest singles so insistent. ‘Lady Shave’ made a song about the quotidian act of removing hair a seedy, voyeuristic, perverted show; ‘Saturday Night Special’ dealt with guns and the right to bear arms; ‘Love Parasite’s sleek electronic shapes detailed a sexual predator; ‘Life On The Line’ and ‘For Whom The Bells Toll’ were dour pop songs that betrayed Tovey’s paranoia at having become a father for the first time; ‘Collapsing New People’ took industrial percussion and the looped mechanical sound of a printing press to offer a vivid anthropological assessment of the dispossessed, wasted, vampiric youths he observed while recording the track in Berlin. The compilation ends with the leftfield proto-electro and howling baby sounds of ‘4M’, sounding somewhere between clinical fascination and the soundtrack to the end of the world, but was in fact a tender piece of sound art using the sampled voice of his baby daughter.

It would, perhaps, be too easy to look back on Frank’s wild Fad Gadget years as a kind of grim novelty cabaret sideshow schtick, a product of an anything-goes, disaffected, post-punk British society, his effect on the development of electronic music in the early 1980s easily dismissible in favour of dark-hued works by Cabaret Voltaire, Human League, Soft Cell and others. Observed in hindsight, no other musician managed to fuse art school theatrics and dystopian social commentary so fluidly within the emerging constructs of electronic technology as Frank Tovey did, and the likelihood of another artist like Fad Gadget emerging in these supposedly super-liberal times is unimaginable; we’re all trapped inside the metaphorical cage of ‘The Box’, and no one dares try – like he did – to break out.

Frank Tovey: 8 September 1956 – 3 April 2002

The Best Of Fad Gadget by Fad Gadget was originally released in 2001 by Mute, and reissued as a double vinyl LP in 2019.

Words: Mat Smith.

Note: this review originally appeared in Electronic Sound issue 57 and is used with the kind permission of the editors. Thanks to Neil, Zoe and Paul.

(c) 2019 Mat Smith for Electronic Sound

 

Daniel Avery / Alessandro Cortini – Illusion Of Time

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The first evidence of Daniel Avery and Alessandro Cortini’s collaboration emerged last year with a white label 7-inch single credited to DA-AC called ‘Sun Draw Water’. Only available at the FYF Festival, Mount Analog in LA, the two tracks showcased a perfect, symbiotic pairing between the two.

With ‘Sun’, you could discern Cortini’s trademark, bold synth strokes edged with a dirty, fuzzy industrial quality. Haunting vocal textures and submerged melodies created a brooding, dark ambience, like an alternative soundtrack to Terminator and every bit as dystopian. ‘Water’ was the inverse, offering a richness and depth of colour, an elastic sound occupying the foreground carrying an unpredictability while the background stayed resolutely focussed on clusters of pads and spiralling tones. The effect was not dissimilar to some of Robert Fripp’s experiments with triggered sounds and textures, poised somewhere between a meditative, reflective mood and a restless hopefulness.

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Illusion Of Time was completed in 2018, and cements the vision that ‘Sun’ and ‘Water’ hinted at. Like many electronic projects, Illusion Of Time began as a distance collaboration, the pair shaping and sculpting tracks over the digital aether before finalising the pieces together while touring with Nine Inch Nails.

The album’s title track opens with delicate, mesmerising synth cycles overlaid on top of resonant blocks of sound and white noise panned across the stereo field. The track has a poignancy and sweetness, a sense of optimism in troubled times, whether illusory or not. That approach runs throughout the record, sometimes with a glimmer of uncertainty; ‘At First Sight’ is probably the best example of this, delivering gentle melodies sounding not unlike uilleann pipes drifting across a turbulent, pulsing, bass-heavy sequence of tones.

Elsewhere, we come across moments of intense beauty. ‘CC Pad’ contains sparse, haunting, overlapping pads, creating an effect like gazing across a beatific, frosty Spring morning landscape. In the background you hear a feint clicking sound, creating a suggestion of rhythm or the scratchy rotations of an ancient gramophone. Two brief interludes in ‘Space Channel’ and ‘Interrupted By the Cloud Of Light’ have an evocative, ethereal quality, nodding to an ambient tradition but laced with crackling white noise sounding like the release of intense radiation from a distant star.

Among all of these poignant, brilliant vignettes is the standout ‘Inside The Ruins’, advancing forward on growling synth sounds moving from ear to ear, wrapped in cavernous echo and a sense of imminent, unresolved threat. On this piece it’s hard not to imagine the environment suggested by its title. In my mind I see myself standing in a destroyed ancient temple in Syria while drones buzz and criss-cross overheard, emotionlessly surveying the devastation.

Illusion Of Time by Daniel Avery and Alessandro Cortini is released March 27 2020 by Phantasy Sound. Thanks to Ellie, Naomi and AC.

Words: Mat Smith

(c) 2020 Documentary Evidence

Erasure – Chorus : References & Influences

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To accompany the release of a deluxe reissue of Erasure’s 1991 monophonic analogue opus Chorus, I put together a series of additional short written pieces focussed on the album’s four distinctive single videos, along with Andy and Vince’s recollections of The Phantasmagorical Entertainment tour that followed in 1992.

For this final piece, we delve into the myriad influences and reference points that cropped up during the interviews I undertook to prepare the reissue’s liner notes.

Featuring remastered tracks, new remixes, rare session tracks, live recordings and an essay on the creation of the album by me, the deluxe reissue of Chorus is available from Lexer Music.

Deee-Lite – What Is Love? (1990)

Why, Vince Clarke, does Chorus sound the way it does?”

“I tell you why,” he answers. “It was because of the B-side of ‘Groove Is In The Heart’ by Deee-Lite, a remix of a track called ‘What Is Love?’. I was thinking that the timing on that was so incredible. I’d been pissed off with the timing of MIDI sequencers for a long time, because they just weren’t very good, and I thought, ‘You know what? I’m going to try and make a track with an MC-4’. The Roland MC-4 is a basic analogue sequencer. But the MC-4 could only trigger one monophonic synth at a time, it couldn’t do chords, really.”

And so that’s why Chorus was an exclusively monophonic, analogue synth-heavy album. Thanks Deee-Lite.

Londonbeat – I’ve Been Thinking About You (1990)

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Martyn Phillips came to produce Chorus thanks to two previous projects. The first was The Beloved’s Happiness from 1990, and the use of electronics on that album was a major draw for Daniel Miller. What clinched it though was his work on a much more pop-oriented LP.

“I was also riding high because I’d produced Londonbeat’s first album,” recalls Phillips. “We had a very big hit off that called ‘I’ve Been Thinking About You’, which got to number one in over 20 countries. It was an enormous record. It’s the most heavily-played record on German radio ever, I think. So Daniel, obviously being a sensible businessman, thought ‘Maybe he could do something with my lot?’”

“That song struck me,” says Daniel. “It was quite a catchy song, and I liked the sound of it very much. It was kind of minimal and quite chunky sounding, to my ears, and I thought that would be interesting to apply to Erasure.”

Phillips’ nous with analogue synths gelled nicely with Vince Clarke, and both brought their own ARP 2600 into the three studios where Chorus was recorded. “He’s a nice bloke,” says Vince, ever the man of few words.

Inspiral Carpets – Please Be Cruel (1991)

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Dave Bascombe was no stranger to Daniel Miller and Mute, and his biggest contribution to the label by 1991 had been his work on Depeche Mode’s transformational Music For The Masses LP a few years earlier. He specifically joined the Chorus project thanks to the single remix he was commissioned to undertake of Inspiral Carpets’ ‘Please Be Cruel’, taken from the group’s second album The Beast Inside.

“I was in the studio doing the mix of Inspiral Carpets, and Daniel played me the ‘Chorus’ single,” Bascombe recalls. “I think he just wanted my opinion on it and whether I thought it would make a good first single. I mean, obviously I hadn’t heard anything else, but I immediately fell in love with it, and was gushing about it, and said it was absolutely great. So that’s how I got involved.”

Of his mix of the Chorus LP, Bascombe is straight to the point. “I just brought some balls to it.”

Charlie Rich – The Most Beautiful Girl (1973)

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When I spoke to Andy Bell for an Electronic Sound Under The Influence feature back in 2015, he called out three things that had left a lasting impression on his younger self. One was the singing lessons and confidence-boosting performance techniques he was given by his choirmaster Mr. Morris as a child, and another was his enduring love of steam engines. Yes, steam engines.

The final one was the song ‘The Most Beautiful Girl’ by US ‘countrypolitan’ singer-songwriter Charlie Rich from 1973 that he used to hear playing every Saturday morning at his local Peterborough roller rink. “I was a bit of a country and western fan,” he confessed at the time. “My parents had a lot of those records, and this song seemed to have a bit of a country twang to it. I took it as one of those songs that was very truthful.”

A country influence had crept into Erasure’s music in fairly subtle ways prior to Chorus, in tracks like the banjo-led ‘Don’t Suppose’ from the ‘Chains Of Love’ single. On Chorus, Andy’s love of country music and Charlie Rich’s smash hit single was a direct influence on the yearning, bitter ‘Waiting For The Day’ from the album. On The Phantasmagorical Entertainment tour in 1992, the band covered Tammy Wynette’s ‘Stand By Your Man’ while Andy was dressed as a rhinestone-clad cowboy, a country influence was pretty self-evident on the Cowboy LP from 1997, and the band worked up countrified versions of their back catalogue for the charming Union Street in 2006. It can all be traced back to ‘The Most Beautiful Girl‘.

ABBA – The Day Before You Came (1982)

‘The Day Before You Came’ was taken from the abortive sessions that followed ABBA’s final studio album, The Visitors, a record that was to Agnetha, Anni-Frid, Benny and Björn what Let It Be was for The Beatles – namely the sound of a band bitterly falling apart. This unlikely single, presented as an almost exclusively electronic pop song, was delivered in a flat, diaristic fashion by Agnetha. It documents the quotidian events of a perfectly humdrum day, which turns out to be the day before someone important comes into her life and turns everything upside down.

This was the group of ‘Dancing Queen’ and ‘Gimme Gimme Gimme’ and ‘Voulez-Vous’, upbeat disco-tinged songs that might have a sense of longing within them, but which were broadly upbeat and positive. We never find out who the person is that arrives the following day, but something about the tone of this song, its emotionless, near-spoken delivery and the minor chords of its chorus suggest it wasn’t someone positive. Written by Björn, it documented, in relatively shrouded terms, his feelings as he went through his divorce from the singer.

Andy Bell acknowledges that the song was an influence on ‘Am I Right?’, and you can hear that same sense of mystery – and of never quite knowing what tragic event has occurred – in the lyrics and presentation of the album’s third single.

La Belle et la Bête (Dir. Jean Cocteau, 1946)

Jean Cocteau’s movie version of the Jeanne-Marie Leprince de Beaumont’s 1757 Beauty And The Beast story was a strange mix of cinematic flourishes designed to evoke the art of Gustave Doré and Jan Vermeer, presented with an air of grim, sinister foreboding not dissimilar to early horror flicks.

Andy Bell remembers trying to capture some of La Belle et la Bête’s distinctive essence in two tracks on Chorus – ‘Home’ and ‘Siren Song’ – but not necessarily the sense of turbulent love and mournful longing that Belle displays in Cocteau’s film, which might have been a more obvious reference point. Instead it was some of Cocteau’s film effects that particularly inspired Andy. “There’s a scene where they show this kind of backwards segment of flames being blown out,” he recalls. By modern film-making standards, reversing some tape seems pretty basic, but in 1946 this – and scenes of hands poking through walls holding lights – were what gave La Belle et la Bête its distinctive presence.

To achieve something similar to the visual effect he admired so much, Andy turned to producer Martyn Phillips to create a suite of evocative vocal equivalents. “We loved turning the tape round and doing backwards singing,” says Andy. “There are quite a few backwards harmonies on songs like ‘Siren Song’. It’s just a trick, really, but I just loved that idea of just turning it around and singing on top of the backwards noise.”

Das singende, klingende Bäumchen (Dir. Francesco Stefani, 1957)

Beauty And The Beast wasn’t the only weird fairytale whose influence crept into Chorus. Another was the obscure Grimm Brothers story ‘Hurleburlebutz’, filmed as Das singende, klingende Bäumchen by the East German state-owned film studio DEFA in 1957. A remarkable success at home, Britain’s BBC picked up the film and sliced it into three episodes, forming part of a 1964 series called Tales From Europe.

The Singing Ringing Tree’s weird, freaky, fantastical edge left an indelible mark on anyone growing up in the Sixties that happened to find themselves watching it at teatime. Two of those children were Martyn Phillips and Andy Bell.

“We’d trade visual images,” says Martyn of Andy’s process of writing the lyrics for Chorus. “One image that cropped up a lot was The Singing Ringing Tree. It was one that seemed to capture what Andy and I remembered from watching that film, as kids, on TV. It was black and white, set in this hobbit land with all these strange, magical creatures wandering around. So we’d discuss the energy and the feelings of that, and then hone in on what the words might be saying and what sort of backing vocal blocks we could stick in the background.”

The film’s influence can be most felt again in ‘Siren Song’. “Andy kind of chipped away at that song like a sculpture,” continues Martyn. “Everyone sort of chipped away at it from different ends, but everyone was seeing something quite similar and so you eventually come up with something nice. The influence of The Singing Ringing Tree is definitely there in that song.”

I mentioned the film to Andy a short while after I spoke with Martyn. He had, coincidentally, just bought a DVD of the film for a friend and confessed to still being a little freaked out by it. Sticking with foliage-related matters, Andy then went on to tell me that he’d always wanted to own one of The Music Trees from The Clangers, undoubtedly a relative of the enchanted tree in Stefani’s film. One of the B-sides on ‘Am I Right?’ was, of course, ‘Carry On Clangers’.

C. S. Lewis – The Lion, The Witch And The Wardrobe (1950)

I grew up with the Narnia books. The idea of finding another world lurking at the back of a wardrobe seemed to have a major sway over my imagination as a young boy, a long time before the realities of real life fully set in. I’ve re-read the books countless times into adulthood and watched my two daughters see the magic in The Lion, The Witch And The Wardrobe when they themselves pulled the book down from the shelves of their school library.

In spite of that familiarity, the obvious influence of the most famous of the Narnia stories on ‘Home’, the final track on Chorus and a song originally intended as the album’s first single, had never occurred to me until Andy pointed it out. Yet it’s all there, hiding in plain sight: the child who doesn’t want to go home because he thinks he’s ‘having a good time’ (Edmund Pevensie, a boy forever trapped in his brother’s shadow), the cold wintery landscape, a mystical force that ‘ices over and freezes life’, the roar of the lion (Aslan). It’s pretty obvious when you know where it came from.

Another fantastical literary reference point would come with the Alice In Wonderland-themed video for the album’s final single, Breath Of Life.

The Tornados – Telstar (1962)

Joe Meek was fascinated with electronics from an early age, becoming an obvious fit for the role of radar operator during his National Service, that experience honing his understanding of nascent technology and allowing him to secure a job as an engineer for Radio Luxembourg. From there it was a short hop to engineering records and producing groups, his progressive techniques rightly giving him the acclaim as being the first to use the studio as an instrument itself.

1962’s instrumental ‘Telstar’ by his group The Tornados was electronic pop before electronic pop had even been dreamt of (although Meek probably had dreamt of it, if we’re completely honest). The track was loaded with joyous ahead-of-its-time phasing, giving it the astral effect that Meek wanted to encapsulate for a song celebrating the first TV satellite. However, it was the lead instrument that was totally out of this world – the Clavioline, first heard in a pop context on Del Shannon’s ‘Runaway’, and a predecessor to the monophonic synthesizers that Vince Clarke used to give Chorus its distinctive sound.

Joe Meek recording hit records in his rented residence, equipment and cables strewn across the landing and with instruments, tape machines and microphones set up in every room, provided ‘Love To Hate You’ director David Mallet with the inspiration for Vince’s manic, driven character in that video. The inference was that the singular vision that Vince brought to the studio for Chorus was comparable to Meek’s own genius, and its hard to disagree with that.

In Mute-related Meek matters, Daniel Miller recorded a cover of ‘Just Like Eddie’ for his 1980 Silicon Teens LP Music For Parties. The track had originally been recorded by the singer Heinz in 1963 and was produced by Joe Meek.

Frank Sinatra – Songs For Swingin’ Lovers! (1956)

Sticking with Mallet’s ‘Love To Hate You’ video, if you look very carefully, within the opening moments of the film, you see a brief glimpse of a Frank Sinatra CD among a pile of detritus. Songs For Swingin’ Lovers!, Frank’s 1956 album, was a collection of standards recorded in a hip, jazzy style which directly appealed to the tastes of pop music buyers at the time.

Including that CD was a cheeky in-joke by Mallet. Joe Meek routinely admitted his love of Sinatra’s music, and the inclusion of his crossover pop LP in the environs of Vince’s portrayal of pop producer Meek was entirely deliberate.

Speculation is rife that Meek was involved in the recording of Frank’s 1962 TV performance at London’s Royal Festival Hall – the same year that ‘Telstar’ secured him a massive hit – but if he was, he took that with him to his untimely and tragic grave. That said, Meek believed you could use electronics to communicate with the dead, so someone in the modular synth community might be able to ask him.

Words: Mat Smith

Interviews conducted as part of the BMG / Mute Erasure Chorus reissue project, November 2018 to February 2019 in London, New York, my dining room, a hotel room in Edinburgh and a taxi back from Heathrow. Thanks to Zoe, Shaun and Richard.

(c) 2020 Documentary Evidence for BMG / Mute