Electro Classic Jukebox: Cabaret Voltaire.

"There's 70 billion people over there."
"Where they hiding?"
"There's 70 billion people over there."
"Where they hiding? Where they hiding?"


And thus begins "Yashar," one of my all-time favourite tracks from Sheffield-based electronic pioneers Cabaret Voltaire. Having formed in 1973, well ahead of the vast majority of their future post-punk peers, Cabaret Voltaire began their two-decade career performing not necessarily "music" per-se, but a fascinating hybrid of Dadaist (they were named after the famous Zurich, Switzerland Dada club after all) performance art, featuring (amongst other things) feedback, bleeping synth noises, and endless taped loops of sampled sounds, voices, and strange, experimental static. It wasn't until 1979 that they released their first "proper" LP, the noise-punk manifesto Mix-Up. (If one is interested in hearing what CV was up to during those heady days of noise manipulation and experimentation, then one should go forth and find their 1980 cassette-only compilation 1974-1976.)


Originally a trio consisting of Richard Kirk, Chris Watson, and Stephen Mallinder, after Watson's departure in 1981, they became a duo. Many albums throughout the '80s and early '90s were to follow, including such classics as Red Mecca (1981), The Crackdown (1983), Drinking Gasoline (1985 EP), Plasticity (1992), and The Conversation (1994). 1982's 2X45 (so named because it consisted of 2 45RPM 12" records (goddamn, now that would be a collector's item worth having, wouldn't it?)) was the last album released with Chris Watson as a member, and it is also the album from which "Yashar" is culled.


So here is "Yashar." Listen to it, and try to imagine ambient music as we know it without the influence of these mightily talented and influential Sheffielders. I certainly doubt there'd be any Aphex Twin, that's for sure. Enjoy!





And, from their 1985 EP Drinking Gasoline, here's another terrific track "Ghostalk." Goddamn, I love this shit.

Gothic Masterpieces: Clan of Xymox.

Ah, Clan of Xymox. I've been listening to a lot of them today - it's rainier than fuck here in Melbourne at the moment, and damned if I'm going to head out into it ... unless I absolutely have to. Clan of Xymox's music is, for want of a better word, absolutely perfect for the occasional cold and rainy day - so this rainy-ass Derby Day seems to be a perfect opportunity to reflect on their 1985 self-titled debut Clan of Xymox!


Based out of Amsterdam and signed to the prestigious London label 4AD (home to such stalwarts as Cocteau Twins, Dead Can Dance, and The Pixies), Clan of Xymox made an immediate impression on the electronic scene with their sweepingly hypnotic melodies that were firmly moored with a sophisticated sheen of guitars. What is it exactly that defines this record? Maybe it is the soaring je ne sais quoi of "No Words," with its delicate acoustic instrumentation hovering lovingly over Ronny Mooring's (who writes and records all of the songs himself) despondent lyrics: "No words to explain, no words in my mouth / No words in my mind / But the gesture said it all / And the words refined it all"? Perhaps it boils down to the grandiosity and pulsing power of the largely instrumental (and a guaranteed floor-filler at finer dance clubs) "Stranger"? Or is it the strange and glossy nonsense of the galloping bonus track "Muscovite Mosquito," overlaid with a distinctly brooding bass? Who knows? Hell, what is a Muscovite Mosquito, anyway? I don't know -- but it fucking rocks. Luckily, Clan of Xymox is still with us after all these years, and their new album Hidden Faces will be released on the 9th of November. Can't wait -- I'll be sure to review it and let you all know what I think!


But for now I think I'm going to continue to sit at my desk with my bottle of Cooper's Green and listen to some more COX. Let me let you in on what it is I'm listening to on this rainy, rainy day.

clan of xymox

"stranger"

clan of xymox

clan of xymox

"a day"

clan of xymox

clan of xymox

"muscovite mosquito"

clan of xymox

Wax Trax!: Ministry.

Somewhere between the hardcore and aggressive metal-infused industrial music Ministry became known for -- "N.W.O.," "Just One Fix," "Stigmata," and "Reload" are some of the tracks that come immediately to mind -- and the 1983 new wave oddity With Sympathy, which featured longtime provocateur and leader Al Jourgensen singing melodic pop songs with a feigned English accent (Ministry sprouted from Chicago, IL), they released a total of four 12" singles on the Wax Trax! label. Of these four, one of them spawned what would become, arguably, Ministry's most popular and well-known songs. I'm speaking, of course, of the single for "All Day" (WAX 007) -- the B-Side was "(Everyday) Is Halloween." I'm sure you've heard of it? Whilst Jourgensen despised With Sympathy (he famously referred to it as "an abortion of an album"), "All Day" was included in Ministry's 1986 followup, Twitch, which gave listeners a hint in what direction Jourgensen (along with new partner Paul Barker) would follow with 1988's The Land Of Rape And Honey.


But let's focus on "(Everyday Is) Halloween," shall we? Who can forget the intro and its steady drumbeat and drone-y synth, with those "bop ... bopbop's" in the background as Jourgensen (still in faux-English accent mode) sings, "Well I live with snakes and lizards and other things that go bump in the night"? I can't. It's admittedly a rather simple song -- existing in a realm between the banal and the extreme -- but you gotta admit, it's pretty fucking catchy. No Halloween celebration would be complete without this track being on the playlist; and we have Wax Trax! to thank for that. Happy Halloween from your friends at Second Drawer Up -- for those about to dress up, we salute you.

ministry

"(everyday is) halloween"

all day / (everyday is) halloween 12"

Get Happy, Find Bliss.

What, exactly, is happiness anyway? For that matter, what is bliss? Are they genuine emotions, or, in a cold, grey and uncaring urban nightmare are they merely commodities that can be created, bought and sold? If the latter were the case, what would be the price?

Mark Osborne's gorgeous 1999 stop-motion short film More tackles this subject with a magical grace that simply has to be seen to be believed. Nominated for an Academy Award for short animated film (and taking the honors in Sundance, South by Southwest, and ResFest), this fascinating short examines the cost to one's soul that trying to create a genuine emotion can exact.

Equally cool is that Osborne chose a track off of New Order's 1985 album Low-Life for the dialogue-free film - the glorious and understated instrumental, "Elegia". My goodness; it really appears they were made for each other. It ... works, in a thoroughly surprising and inspiring way.

But don't take my word for it! Watch it yourself, and get lost in the magical world of ... More.

Electro Classic Jukebox: Thompson Twins.

Named after Thompson and Thompson, the bumbling twins from Hergé's The Adventures of Tintin, the Thompson Twins successfully married synth-pop with a touch of calypso and a dash of raggae. Taken from their last album as a trio, 1985's Here's To Future Days, the fun and lively "King For A Day" is a perfect example of everything coming together neatly in a brilliant single. Here's Tom Bailey (a personal note: I share the same name as him!), Allanah Currie, and Joe Leeway performing the aforementioned "King For A Day." Charming video, as well!

Stay tuned, dear readers, for an interview I did with the Presets!