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  1. Sect

    November 7, 1995 by admin

    The past few years have seen a tremendous growth in the field of electronic music, with industrial and techno coming together to create a multitude of hybrids. On their debut album, “Telekinetic (Third Mind), Sect prove to be a good example of this by bringing together the intensity of rave music and the sonic experimentation of industrial.

    Sect was first started up as a solo project by Mike Victory in 1989. Bruce Young joined the group in 1991 and a third member, Jason McEvoy, came along in 1992. The three members rotate around in terms of specific roles within the band, usually depending on who was most skilled with the equipment needed to add a particular part to a song.

    The Vancouver – based group managed to land their deal with Third Mind without too much effort on their part. After spending six months carefully developing their demo, Sect has just began the process of sending it out when they got a call from Third Mind. It turned out that a friend of theirs had made some friends at Go Bang while on a trip to Europe and given them a tape. That label liked it and passed it on to Third Mind.

    “It was quite surprising, but we put so much energy into it that we needed it to happen,” says Victory. “It just seemed natural.”

    Victory cites a combination of interest in experimental music and acid house as the main motivation for starting up Sect. By spending his days working in a record store and dealing with DJs, he has been able to keep up to date with the constantly changing state of electronic dance music.

    “There’s a lot of hybrids,” he says. “There’s enough people involved in music globally that there isn’t a lack of at least one or two interesting combination of styles at least a month, if not a week. Industrial and techno have come together, and I think it’s a little bit more diverse. There are other references to tribal and experimental.”

    Sect’s music is created at The Interlab, a collective studio set up by the band members and other electronic musicians in Vancouver. By pooling resources and rotating time, the members have access to a decent recording environment without having to rent an outside studio.

    While Victory has performed solo sets in the ambient rooms of clubs and raves, Sect has yet to play out as a band. They don’t rule out live shows, but they don’t see it happening in the immediate future.

    “Our images and visions that we have for it are quite grand, so as a matter of realizing it, it’s a little ways off,” explains Victory. “I think that watching electronic music being performed is kind of boring. And we don’t want a vocalist and we don’t want dancers, and basically what we want are 10 x 10 screens with computer graphics on them, and a lot of work needs to go into realizing that.”

    Another thing that may not be realized immediately is the group’s interest in making their music an interactive experience. Victory says that he enjoys it when listeners hear Sect’s music and respond to it in ways different from how the group ever intended it. He feels that listeners shouldn’t be stuck with just that artist’s vision but should be able to alter and play with it at will.

    “I think that when I was listening to music when I was younger the interpretations that I got from it in contrast with where the people were actually coming from was kind of a great distance,” says Victory. “And I appreciated my own interpretation, or misinterpretation, more than I appreciated the actual truth of the artist. So it’s more of just a doctrine that I’ve expressed to my co-workers and they agree as well.”

    Several artists have already created products that allow users to mix and manipulate the music, but for a new band getting such a project off the group would prove difficult.

    “In terms of us being able to do it and create it, I don’t think it’s too far of,” says Victory. “In terms of marketing, it’s a little different story.”

    One market that Victory does see as being open to interactive music is the DJ industry.

    “I listen to DJs criticisms of various new releases,” he explains. “And they’re like ‘oh, if this could be a little higher, or if I could take up those, that kind of thing.”

    Like most electronic musicians, Victory doesn’t see himself being limited to his main band. While the new record deal may not allow for it immediately, he does want to get into side projects eventually. Victory says he would like to get into non-dance, soundtrack-style music, an area he is currently playing around with “just to get inspired”"

    “It would be nice to see an industry start up of various other alternatives for electronic musicians,rather than just a certain set rule,” says Victory on branching out beyond dance music.


  2. Saint Etienne

    by admin

    Trends come and go, but Saint Etienne’s pure pop sound makes them a band that is sure to be around for a long time. Sure, they absorb elements of whatever path dance music seems to be taking, but they always place content over style. As a result, they create songs that are both catchy and sophisticated. Their music is predominantly electronic, but the group tends to lean towards the warmer sounds and samples, something that makes their sound even more unique.

    Like many dance/pop outfits, Saint Etienne started out using different vocalists for each project. But after hearing Sarah Cracknell on some underground techno records, founders Pete Wiggs and Bob Stanley asked her to join as the group’s full-time singer.

    Saint Etienne’s debut album, “Foxbase Alpha,” proved that the trio were masters at smooth, intelligent dance music. Its follow-up, “So Tough,” and the current “Tiger Bay” show that Saint Etienne are not content repeating themselves. The group takes great pride in surprising the public by varying their sound from album to album, and their latest offering adds a folk edge and some real strings. While they don’t think their fans mind, their label is concerned that US listeners may get a bit confused.

    “I don’t think it confuses people in this country, because in this country we do things in a slightly different way,” explains Cracknell. “In America, it is changed slightly, supposedly to suit the American market. I, however, think that the American market would be much happier just getting what we want to put out, what we put out in Britain. But you know, the powers that be…. So I think it would be more confusing for people in the states than here.”

    Saint Etienne create their music in a small studio they co-own with Ian Catt, who engineers all their recordings. “Tiger Bay” took a total of six months to make, and though they weren’t following any kind of formula in the writing, they did have some goals for the LP in general.

    “It was very specific, we had a plan to use folk melodies and quite a lot of techno and we also wanted to get other people to do mixes of certain things,” explains Cracknell. It was quite nerve-wracking because we’ve never done that before, we’ve always produced everything ourselves, but I think it worked really well. We were happy with what everybody did.”

    The album features an appearance by The Charlatan’s Tim Burgeous, who adds his vocals to “I Was Born on Christmas Day.”

    Saint Etienne’s approach to writing can differ greatly from track to track. For example, some songs are written by all three members, some by Stanley and Wiggs and some by Cracknell and others. The band is very fond of remixes and likes it when other people take their songs and drastically alter them.

    For the live shows, Saint Etienne is expanded to an eight piece that doesn’t include Bob (he DJs before and after the sets) The group adds two backing singers, a drummer, bass player, guitarist, an extra keyboard player. Some samples are used to prevent it from sounding too different than the records, but most of the parts are played live.

    The group is very eager to tour America (“Somebody send us the airfare and we’ll come over!” proclaims Sarah). Saint Etienne has had several disappointments when planned tours did not happen. Most recently, the band was meant to go on the road with the Charlatans, but bassist Martin Blunt hurt his back and the tour was canceled.

    Saint Etienne are sure to surprise people with their next album through they refuse to hint at what direction their music may be taking in the future.

    “That would be telling,” says Cracknell. “If there’s a direction I’d like to see the band go in the future than we probably will. I’d rather surprised people.”


  3. Ruby

    by admin

    If there’s one thing that Lesley Rankine wants to make perfectly clear it is that she is NOT Ruby. Sure, she’s the only one pictured on the “Salt Peter” album cover and she is the one out doing live shows to support it. But Ruby is still very much a duo, comprised of former Silverfish vocalist Rankine and WELT’s Mark Walk.

    Rankine and Walk met in Chicago a few years ago and went on to work together in Pigface. In Pigface, Rankine says that they “discovered in like five minutes” that their “interests were far more to do with art and creative expectations than the others.” After leaving Silverfish, Rankine went to Los Angeles to work with Walk, who at the time was involved with Skinny Puppy. Pleased with the results, the duo went to Walk’s Seattle studio to record “Salt Peter.”

    Musically, Ruby is very different from Rankine’s former band. Rather than being loud and noisy, the music of Ruby is warm and highly melodic while still maintaining an experimental edge. Rankine says that two of her favorite vocalists are Ella Fitzgerald and Aretha Franklin, and Ruby allows her to finally show that she can sing like that.

    “I knew that I wanted to do something much more melodic and soulful and have sort of what are perceived as traditionally feminine aspects to it,” she says. “I wanted a sense of beauty and sensuality. But I also wanted it to have some kind of sinister undertone and be frightening and intense in some way.”

    Currently in the midst of a short showcase tour, Ruby will return to America later in the spring for a full tour. Rankine says that she is “really enjoying” doing live shows, as she hasn’t toured in three years. Rankine is aware that Ruby will probably be embraced by a more mainstream audience than Silverfish was, but she’s not worried about public perception.

    “I know there’s going to be a lot of people listening to this LP that just don’t get it,” she says. “But they’ll like the tunes and have heard it on the radio so many times that they’ll buy it. That comes with the territory and I’d rather have more people listening to Ruby than Whitney Houston. You have to do just what you want to do personally, your personal expression. And then whatever happens after that, it just gods will. I don’t care, that’s not my problem. All I can do is an honest expression of where I’m at artistically, and how it’s perceived by other people is not my problem.”


  4. Portishead

    by admin

    When Geoff Barrow started doing remixes and creating backing tracks for Neneh Cherry, the fact that he wasn’t himself working under a band name led many people to refer to him simply as “the guy from Portishead.” The name stuck, so when he teamed up with vocalist Beth Gibbons to focus on his own music, the project was named Portishead

    Portishead’s debut album, “Dummy” has an unusual sound that brings together hip-hop influences with sampling and elements of jazz. There’s a dark retro feel thoughout which provides an interesting contrast to the hip-hop beats and scratching. While sampling old records plays a role in achieving this sound, for the most part Portishead sampled and manipulated their own playing.

    “There’s about four tracks on there where we’ve taken samples from other places, which we wrote down and gave credit to,” explains Barrow. “The other ones are actually a cross between programmed beats, taking a live break an chopping it up, putting it back together and putting it through processors to make it sound older. The guitar parts are usually live, and the organ parts are usually samples, the same with the drums. But it’s us playing them live, and then sampling them.”

    While Barrow and vocalist Beth Gibbons are the ones that “signed on the dotted line,” there are others with key roles in the band. Dave McDonald is the groups engineer, while Adrian Utley plays guitar and does production work. Portishead have used many different keyboardists and drummers, but for the live shows they use musicians from Utley’s own jazz band. For live shows, the group is able to use completely live instrumentation, with no samplers, while still sounding similar to the album.

    The actual song writing comes from Barrow and Gibbons. Barrow will put together the backing tracks, give a tape to Gibbons so she can come up with vocals, and then the two will work more collaboratively to finish the songs.

    Portishead took a unique approach to making a promotional video, as they started out with a 10 minute film. This film, “To Kill A Dead Man,” features an entirely original instrumental score. The hip-hop influence that permeates “Dummy” is absent from the soundtrack, and footage from the film was used in their “Sour Times” video.

    “The film we did not as a major kind of ‘film classic,’ we just wanted to do something that was interesting,” explains Geoff. “There’s an awful lot of money wasted on pop videos, and in England the film scene is so weak, the amount of money invested in British films is disgusting, really. And because of that, we though if we’ve got the money, why should we do something that is so standard? We had this opportunity to make a film, so we thought let’s do it. The film is quite strange, only because we don’t know how to act! It’s basically a cliche of every Italian spy, kind of cold war French thriller known to man. There isn’t any dialogue, so basically we walk around like cardboard cutouts, which gives it a really odd vibe. So there’s no expression in the film.”

    Despite their interest in film music, Portishead don’t see themselves as a particularly visual live band. In the future, they’d like to change that, but Barrow says that now they’re too involved with the music to worry about it.

    Barrow says that the group would like to get more into film music in the future, but it would have to be on their own terms.

    “The trouble is that when you do a soundtrack for a company, unless they totally love what you do, you don’t have a free rein,” he explains .”I wouldn’t be interested. We’re not a very great band on compromise, so it would be difficult, I think.”

    Portishead already have about a dozen song ideas for their next album, though they are unsure what direction the music will take in terms of sound.


  5. Plastikman

    by admin

    As both a DJ and musician, Richie Hawtin has been one of the biggest driving forces behind electronic dance music in recent years. Never content repeating himself or sounding like anyone else, Hawtin’s music constantly pushes techno into uncharted territory. With his label, +8, he has given such artists as Vapourspace the exposure they deserve. Hawtin’s latest endeavor is “Muzik,”a new album of his own music released as Plastikman

    Hawtin, who hails from Canada, started out listening to alternative electronic music before getting into DJing in late 1987. From that point on, he immersed himself in house and techno and was DJing very heavily. Then he started making his own music, something he’d never planned on.

    “It was probably the furthest thing from my mind, even when I started to DJ,”he says. “I didn’t know I was going to make records. I was just really into the music and getting engulfed by it. I was hearing lots of good records. I was brought up in the Detroit scene, so I was playing lots and lots of Detroit records from guys just around the corner. I thought these guys can do it, so I’d like to try and see what happens, to do something for the dance floor. That’s basically how it started.”

    Currently, Hawtin has two major musical ventures, Plastikman and Fuse. He tries to keep them as seperate entities, though he admits similarities are inevitable when it’s the same person under two names. Hawtin still DJs most weekends, and works on his own music in between.

    In creating his music, Hawtin generally doesn’t have a complete idea for a track and just sit down and record it. He’s also not like such artists as Aphex Twin, who release virtually everything they ever record. Rather, he records everything that goes on in his studio, going back later to find the best parts. Hawtin will then take those, discard the bad stuff, and work new ideas around them.

    “I heard a statistic that a musician is only brilliant 10% of the time, even the most brilliant minds in history,”he says. “That’s what they get recognized for. So even though this music is in some ways easy to create and you can do a lot of it in a short time, you shouldn’t release it all because you don’t do good stuff all the time. Some of them are steppingstones to a better idea.�

    Hawtin’s DJing experience has helped define his music, as it has taught him what works on the dance floor and allows him to hear what everyone else is doing. He can then take this knowledge to his studio and try to do things that no one else is doing.

    “It would be very easy for me to put all the formulas together and make a hit dance record,”says Hawtin. “But I generally try to take something like that and twist it a bit, so it’s a little different and catches people’s attention while still having ideas of what will work. This music is never going to get anywhere if people are doing the same thing and keep doing the formula. This music works I think because lots of people do try to keep pushing it forward.”

    Off all the equipment he uses, Hawtin’s favorite pieces is still the Roland TB 303. Hawtin says that he’s always afraid of putting too much into a track, so he tries to strip them down to a bare minimum. He feels that a lot of the best music is minimalistic.

    “To me, the space between the sounds and beats defines the music that it’s surrounding,”says Hawtin. “If there’s no space between everything, it just becomes noise.”

    Next up for Hawtin is a new Fuse album, and in the future he will once again be collaborating with Pete Namlook. He’s also planning on touring as Plastikman soon, something he has never done before. Hawtin did a show in Detroit, but because it was only 10 minutes from his studio, he was able to bring all his equipment. While he admits limitations will make the tour more of ” a standard dance kind of show,”he promises there will be a “Plastikman flair to it. “


  6. One Dove

    by admin

    It’s been a long wait for “Morning Dove White,” the debut album of One Dove, but thankfully all the hype and high expectations are entirely warranted. One Dove manage to fuse dance beats with guitars and ethereal keyboards and vocals like no one else has done in the past. Their dreamy sound manages to incorporate elements of the current dance and indie rock styles without ever falling into any preconceived category.

    One Dove is a trio comprised of Dot Allison (vocals), Ian Carmichael (keyboards) and Jim McKinven (electronics). One Dove’s first single, “Fallen,” was released on Soma Records and quickly attracted the interested of Andy Weatherall, who put the bands next two singles out on his prestigious Boy’s Own Productions label. “Morning Dove White” was completed in October 1992, but contractual disagreements between Boy’s Own and London prevented the album from being released until a full year later. As a result, fans were left waiting for the new material and in England the LP become one of the most anticipated release of recent years.

    “It was a bit scary at the time, because we knew that it could only be harmful,” says McKinven. “The more people expect of something the more they can be disappointed in it. It’s like if all your friends are constantly saying ‘you’ve got see to this band’ your imagination builds up to be this great epic. Basically, all you can be is disappointed because nothing is as good as your imagination.”

    The group was totally satisfied with the album and chose not to take the lag time to go back and make changes. Instead, One Dove took the year to focus on becoming a strong live band. Despite using extensive keyboards and electronics in the studio, the group was able to craft a live sound where everything but the drum loops are played live. By placing more of an importance on songwriting and vocals than many dance bands, One Dove are able to comfortably take their studio created sound into the live setting.

    “Far, far too many people are taking the easy way out,” says McKinven. “Some dance tracks could actually just be running a random program, there’s not ingenuity in it.”

    All of the members of One Dove have equal input in songwriting, though individual songs are usually initiated by one member before being fleshed out by the entire band. Normally, a song idea will start with a chord progression as a base. Some songs begin at home with ideas being played out on a piano or guitar, while others are created entirely in the studio. One Dove have continued writing since the album was completed, though they won’t be going into the studio to record new material until early 1994.

    The three members of One Dove come from different kinds of musical backgrounds. McKinven was a member of Altered Images back in the 80′s. Carmichael got involved with the music business by building his own studio rather than learn an instrument. Allison had learned piano from her mother at an early age but was pursuing a degree in applied biochemisty before deciding to pursue One Dove full-time.

    Before they were ever actually a band, the members of One Dove had come up with an idea of what their group should be like. At the time, it was all talk, but it wasn’t long before their vision turned into a reality.

    “When we finished talking about what we wanted to do, we actually went into the studio and tried it,” says McKinven. “We came up with ‘Fallen’ and at that time we just thought, and right there and then we knew that we had created something new and exciting, so that’s when we decided to become One Dove.”

    One Dove believed in “Fallen” enough to raise the money so that they could release it as a white label in 1991. They sent a copy to Weatherall, who like it so much that he persuaded London Records to give them a six album deal, just on the strength of that one song. Weatherall then remixed “Fallen” and the track was released again in February 1992, exposing the masses to the unique sound of One Dove.”

    The group will soon be coming to play some shows in America, and is excited because they are still considered a new band here. While British audiences have been constantly exerting the pressure of high expectations, One Dove are excited to make a fresh start with listeners just now getting into their music.”