When he released his last ‘solo’ album in 2017 (before returning to use Cabaret Voltaire for new releases) I always felt this would be a great way to end his lifelong career. “Dasein” includes many facettes, uncomprising and still groovy, disturbing but listenable. It sums up so many of his interests and phases masterly and as such could have been the closing point of his musical career, going full circle from electro, industrial, experimental white funk, acidic house and experimental cut up’s.
[Intone CD9 – also the first Vinyl 2LP on his own label]
Mute announced today via Instagram:
It is with great sadness that we confirm our great and dear friend, Richard H. Kirk has passed away.
Richard was a towering creative genius who led a singular and driven path throughout his life and musical career.
We will miss him so much.
I did not yet come to terms with his two latest CV Drone releases yet but loved the beautiful 12″ and liked the “Shadow Of Fear” album even if I had the impression that he’s been playing it safer then necessary. Somehow I doubt it was an attempt in seniority mildness…
Classic later CV in the mix (l.t.r. Richard H. Kirk, Stephen Mallinder)
A great deal of his work was curating the Cabaret Voltaire back catalouge, licensed nearly complete to Mute. Partly remastered, remixed and reworked carefully besides many live recordings and some unreleased gems like the complete “Chance Vs. Causality” Soundtrack from 1979.
I’m running out of words for now. Thankyou for all the hours and hours music & inspiration.
Find a great essay by Ken Hollings over at The Wire now for some interesting thoughts, insights and observations.
As there is not much literature on CV available or has been available in the past with the exception of “The Art Of The Sixth Sense” and it’s updated story which was nearly a different book (“Industrial Evolution – Through The 80’s With Cababaret Voltaire“) due the request of CV / RHK by Mick Fish there might be interest in this recently published neat Interview collection by Fabio Méndez which looks a lot like a true labour of love to me which was never ment to be an epitaph to the story.
In times where many thoughts lead back to what once was normal for each of us there is a little catchy ironic nostalgia as performed by Stahlnetz showing this is not really new in phases of change a pleasure to rediscover. I loved the single when it came out and was lucky enought to find the 12″ pretty soon afterwards in the bin’s when the NDW came to an bitter end and German sung pop music went English again or straight into oblivion.
Single (1981/82) aus dem Album Stahlnetz – “Wir sind glücklich” (BMG Ariola).
Produziert von Conny Plank. Musik & Text: Jochen Rausch.
Unavailable since 38 years, except as expensive 2nd hand copy LP, now a digital reissue is available carefully transferred and remastered from the original Masters via various sources. Artwork and tracklisting was altered on this occasion so hold your breath if you paid a lot for the orginal album.
Besides – an unreleased track from the Conny Plank sessions was released a few years ago via Jochen’s Soundcloud.
In December 2020 they actually released a new album (!)
“Music For Smartphones” is (of course) digital only and accompanied with an (extended) single too. But most thrilling – 51 tracks, just arround 1 Minute in length and each accompanied by a video to be found on youtube….
In an interview posted on their homepage they go into the details –
Jochen Rausch and Det Cremer from Wuppertal use a the digital voice software they called Marta and their idea to work with the restrictions following the obversation of people scrolling through their timelines with a short affection span endlessly. Of course you can find them now on Instagram, FB alike with your smarthphone (…)
I’ve read about this documentary when it came out (or at least was shown in some selected places a few times) but could’nt go to watch it. It never appeared on DVD as far as I know but today I stumbled upon it – so yeah – here are just 24 years later some interesting tidbits from the New York scene in glorious youtube quality. Thanks to the uploader.
DONT BRING A DOG, 1997
“It´s not like writing a popsong and have it played on the fucking radio!”
Aurelio Valle / Factory Press
“A lot of these alternative rockbands seem to be more into Kiss than into Duchamp!”
Kid Congo Powers / Ex-Cramps, Ex-Gun Club, Ex-Nick Cave and the Bad Seeds
“Suddenly we became part of the mainstream and that´s still disconcerting!”
Thurston Moore / Sonic Youth
Regie/Buch/Kamera: Oliver Schwabe
Kamera(Interviews): Dirk Lindner
Schnittregie: Rita Schwarze
Schnitt: Oliver Schwabe
Ton Remix: Thomas Arntz
Produktion: Kunsthochschule für Medien Köln
And a little Kid Congo bonus from 2016… He just turned 62 and lives happily with his man & cat!
2020 was also the return of a mighty shade from the Past; Richard H. Kirk’s Cabaret Voltaire Album on Mute did stir up the desired wave of attention, raised eyebrows and startled collectors inclusive.
“Shadow Of Fear” was simultaneously released as purple double Vinyl album, CD in cardboard wallet, digital files and (gasp) Cassette via long time reissue / archive alley mute. Also a free ltd. 7″ with an Electronic Sound magazine (thankfully not with exclusive tracks only edits) appeared.
This is the first fully worked out CV release after several live appearences from Richard H. Kirk as Cabaret Voltaire starting in 2015 at Berlin Atonal (and two tracks on the accompanying compilation triple 12″). His first reclaim of the groups name for current works where the remix albums “Kora Kora Kora” and “National Service Rewind” for Amrik Rai’s Shiva Records already back in 2009/10, reportedly not being well received by Stephen Mallinder.
So, after an stream of archive, live and studio, remastered and redesigned releases with some excellent results (Johnny YesNo Redux, Drinking Gasoline, Live From London, Chance Vs. Causality) there was finally a new album.
Well, almost. The 8 tracks published where recorded between July 2014 to April 2020, an endless process for someone like RHK who used to drop up to 3 or 4 albums a year in different monikers for several years. Two of these had already been on the Atonal Compilation in diffent versions. So I guess the main effort was to get the balance right between RHK’s own style, expectations coupled to the CV name / brand and proper marketing. As a whole this is good, but not extraordinary and if it had been sold to me as a new RHK album under whatever moniker I had had no problems with it. Seeing it as a continuation of the last Cabaret Voltaire albums – Plasticity, International Language and The Conversation does not really work for me as he plays it safer than needed.
When he published his excellent solo album “Dasein” on his own Intone label after a long silence back in 2017 this felt to me more like his mind had wandered through the different approaches and phases of the past and making a stand for the future.
Of course besides a little press and his die hard followers the waves stirred up for this one where foreseeable smaller and the bleak b/w image did not attract occasional listeners in the first place too.
While excitment was still allover the place 3 (!) more new releases had been announced in January; a limited 12″ EP (in funky curacaou Vinyl) for February
…and two one track Drone derivates for March and April. The later again as Double Vinyl Album (in white), CD and digitally available for pre-order.
The Message (An Original Hollywood Theme)
Colours (Thunder Mix)
Easy Life (Jive Turkey Mix)
Brutal But Clean
Ride Baby Ride (Acid)
Don’t Walk Away
Keep On (Clubbing)
Keep On Pushin’
What Is Real
Rescue Me (City Lights)
Due to the global pandemic slowdown 2020 was musicwize a great year for unexpected archive releases and supporting artists with no other income via digital purchases.
Concerts I’ve missed where I already had tickets for (Heaven 17 and Drew McDowall). Other tours and events, like the James Bond Movie f.e. and the cabaret shows I had in mind just disappeared
but at least no one I live along was seriously ill and suffered which allows me to keep some hope left for the better.
Like so many I’ve spent unexpectedly much time at home which brought the bonus of listening to more longform pieces and much more music in general. One of the artists I discovered and listened a lot to was OhmikRon, a Musician and DJ from Hungary with many mixes online at soundcloud and a batch of releases spread over various platforms and labels. I already featured one of his extraordinary dubtech tracks here month ago but as the according album was issued in early February I won’t miss the chance to include it here.
Another early bird of 2020 when we still thought Donald Trump and his likeminded fans where one of the greatest global Problems was the 2nd Album from the US Ska / Pop act Heavensbee. Different line-up and new singers but lyrically and musically a great pleasure to listen to, especially when it get’s a little more sunny outside. I kept this one always on my phone;
In March thing looked more grim already and an emotional snapshot of mixed feelings, effects of isolation, unforeseeable future developments, danger through social habits reached me via Marco Milanesio’s new label hum_an. Italy was by then more haunted than Germany as I recall and it was hard to believe the news.
A collaboration of DsorDNE with Onda Lunga, the resulting 20+ Minutes left an lasting impression on me.
May brought a new 10″ single by an artist I’ve been following through the years, since I discovered the first Bourbonese Qualk album in a 2nd Hand store and discovered a pretty unique approach
leading to many styles and releases I enjoyed a lot. Since the end of BoQu he released two brilliant albums as solo artist, the second more electronically based and more easily to obtain appeared in 2018 and this was the first new release I found issued in dubplate form on a small french label with a version on the flip. Digitally not fully available online but really worth tracking down.
Also in May ŽEN from Croatia issued this free / pay what you want Remix Album to celebrate their 10th Anniversary I stumbled upon while looking up whatever happened to Borghesia, a pretty underrated ex-yugoslavian band I’ve been listening a lot to somewhen in the last century. While their regular Albums are recommended on their own too this more electronically / experimental approach collected here works surprisingly well and I’m sure their lyrics are full of passion and sense too.
June brought the next fruits of the Cousin Silas / Glove Of Bones colloboration, actually the 4th already and this one connects even more wildly than it’s predecessor Afrodubism with a fictious Africa, Voodoo and Experimental Dub. It can be reminiscent of African Head Charge at their heights while adding the spiritual freedom of The Grateful Dead and after repeated listening it get’s addictive. Great Stuff, you’re warned. And it was releases on Cassette too. Who could have believed we’ll return to buying tapes casually in 2020?
Always a pleasure is a new release by Little Annie Anxiety, while never sure if it will be more Torch, Experimental or Blues orientated her lyrics and incredible smokey voice classified her years ago as the diva of our generation. Her history is as interesting as her whole ouvre – working with Crass, On-U Sound, Coil, painting, writing and during the last years being involved with Italian group Larsen a lot she returned with a new album which bears one of the very best suitable titles for 2020 imho; ‘A Bar Too Far’. Contrary to her last one this leans more into the blue hours, recorded with Paul Wallfisch on the Piano once more after a break of 10 years and also featuring Kid Congo Powers on several tracks. Since July only available digital with full cd graphics enclosed on a ‘pay what you want/can’ base, all proceeds are donated to a good cause in her local community at Miami, Florida.
Shriekback where one of the artists who took their chances to empty their archives this year in full. Nearly no month without a release passed by and I still did not manage to catch up with it. Besides rare live and session material, collaborations and solo stuff now nearly their complete catalouge is now available digitally too but only via their homepage.
No other way supports the artist more directly, so check it out, also a wealth of free downloads can be found there to wet your tastes. Stic Basin was an project started by Barry Andrews years ago and besides my chance to get the first release finally he also found time to get this 30 Minute something Album out in October, even physically as limited DIY CD in hand stamped and personalized digipak too. The only fault I could find was – it is too short.
Coincidentally another 17 years came to fruition for Denise Sherwood, the eldest of Adrian (ON-U Sound) Sherwood’s daughters. ‘This Road’ as she frankly admits in interviews was devoloped, rethought, re-recorded in parts nearly endlessly. Still it sounds like a ‘Fairy Tale’ and fulfils all the promises her contribution to 2019’s excellent ‘Pay It All Back, Vol. 7’ compilation ‘Ghost Heart’ made. This is charming, groovy and – dare I say – soulful at once.
Of course it helps if you have Lee ‘Scratch’ Perry, Skip McDonald, Doug Wimbish, George Oban, Keith LeBlanc, Carlton Oglive, Mark Stewart and equally talented guests at hand and a great producer and engineer as father. I just wished she could have gotten her mother – Kishi – to do one of the classy ON-U sleeves for this, while I understand that the japanese styled aquarell of flowers in a broken vase in mellow colors might be for her the perfect fitting artwork. Available in all formats, a real gem.
Released in late Autumn, End of October came Drew McDowall’s 4th solo album, his closest to Ritual Music and to his time with Coil yet. A differentiated and very delictate but minimimal and ambient work. Coupled with utterly bizarre artwork by NY artist Caroline Schub who sees her work as public record of chronic illness and published by Dais Records in a variety of formats including limited beautiful grey smoke Vinyl, green transparent and unlimited black Vinyl. Digital it comes along with it and two extra tracks. I did not expect too much from this to be honest but working on Coil reissues he was involved in and the Time Machines live project it seems he found his way now more focused again. ‘Agalma’ is a sublime pleasure, where musicanship, vision and well crafted mastering and production meet.
Beginning of December a 19 track fundraiser compilation supported and initated by local artists with all donations going to Our Kitchen on The Isle Of Thanet (1hr away from London on the coast of Kent) was published via bandcamp digital only. While for me the unknown and exclusive tracks of artists I knew – Adrian Sherwood Mixes, Mark Stewart Vs. NoHumanEye, Youth and one of the last mixes done by Andrew Weatherall for Meatraffle – did not let me think very long about the 5 P.St. asked for it. Especially after using the chance listening to it as a whole I was impressed with many of the tracks by artists I’ve hardly ever heard of. This is an outstanding compilation and worth every Penny.
Of course this listing can only be a glimpse, there have been several more outstanding and remarkable releases throughout the year and most likely even more I simply missed and find about in years to come.
Another dear tradition of the ever generous Pink Dots is the festive closure of the year with a special EP, sometimes more reminiscent of an audio play (Well actually two as there is a Halloween Special, too).
One of the great tunesmiths of our time, gardener and poet, well actually a relict of the jangling 60’s – Martin Newell from Wivenhoe, Essex has published this year’s “almost traditional Christmas EP” as usual as pay what you want / can release:
Listen and Enjoy.
He also overhauled his online presence after years and besides a new homepage and bandcamp he can be found on twitter, fb and instagram easily.
And while I’m at it; there’s also a documentary in the makes which should be published in one way or another next year – watch the trailer on yt;
Besides staying inside like what felt the whole year many re-mastered releases and nearly lost albums made it back in the limelight and to my pleasure the very first real Cleaners From Venus post 1980’s album, the excellent “English Electric” whose title was immediately snatched by O.M.D. found it’s way back in November too.
And I was dreaming in my sleep
Saw through you all
And I was dreaming still on my feet
Saw through you all
And I saw what you could be
And you just don’t feel free
And I saw what you could be
But you just won’t be real to me
So let’s blame this excess
On an American dream
So let’s blame the success
Of an American dream
Are you confused by the chaos
In everyones wandering eyes
Do you dream of running naked
In warm rain
Are you confused by the chaos
It’s no, it’s no surprise
We all stand next to Jesus
Close to Satan we’re both the same
These birds can’t fly away away
These birds can’t fly away
So let’s blame this excess
On an American dream
So let’s blame the success
Of an American dream (x4)
Feeling so high and low
It’s the American dream (x4)
Daniel Ash / David J. Haskins / Kevin Haskins 1986