An interview conducted by Andy Black Forest in 2010, thanks for the permission to reprint.
Stephen
Mallinder Interview 2010
You
(Cabaret Voltaire) are often cited as pioneers of
electronica/industrial, how do you feel about being referenced as
such a major influence on modern electronic music?..
It’s
very flattering and good to know that what we created had impact and
longevity. I think you have to put it into the context of the time
and the place as well and acknowledge how a lot of things were coming
together at the time - in the mid to late 1970s and beyond into the
1980s. This was the last time that we could really identify the
scenes and cultures that were emerging, the volume of music created
now and the way it is heard work against the way we evolved –
basically it was easier to see and hear us.
Although
CV's influence is acknowleged, do you ever feel that theres a whole
period thats been overlooked? Nag nag nag seems to be the
'trendy' Cabs song people reference, but theres so many good tracks
on say, Covenant and Microphonies, aside from the
singles.. You had a really unique sound and take on the
electro/pop/industrial crossover.Do you think sometimes there's too
much focus on the obvious singles? ....
I think
it's inevitable that certain tracks and periods are picked up on ...
In large part due to the media. Current media has reduced a very rich
and complex period of music to a series of ‘must have’ tracks and
iconic acts. Much as I love New Order, and similar bands, the way its
is portrayed in the media is that was all there was. That same
reduction goes on with bands like us where only one or two tracks
ever get mentioned. But that’s the way it is always is ... A lot of
history gets squeezed out.
Whats
your personal favourite Cabs record and why?
Oh
blimey, that’s a tough one. We seemed to cover so many phases of
music so I’d have to give a few: From the very early period Sunday
Night in Biot; from the independent days This Is Entertainment
and Sluggin Fer Jesus; I liked Crackdown and Digital Rasta
from the Some Bizarre period and then later clubby stuff Easy Life
and from our own Plastex period the Colours EP.
Reason?
Oh, I think all of them seem to distill the ideas and the vibe of the
periods in which we made them more than other tracks. Having said
that I loved the mashup of us with Public Enemy and Air which came
out recently called ‘Sensorair’. That’s a good representation
of where things are at like it or not – we live in a creative
interactive culture, it’s other people’s jobs to recontextualise
the music.
The
audio visual element in the evolution of cabaret voltaire was a key
and unique element … you helped pioneer the industrial aesthetic
and 'look' … What was a big influence on you musicially or
filmwise? … Obviously you started making music in a very political
time ...
Film
was always important, we always considered ourselves visual, as in
the music had that cinematic quality – textures, moods, ambience
etc. We were always a mirror reflecting back what was happening and
visually the political images were thrown back in a new setting with
sound as the manipulative force ... I’m just about to do a talk on
some of this and I singled out the Coppola film The
Conversation.
Obviously it was the name of our last real album but also it
encapsulated the idea of ‘sound’ as an almost forensic
application – sound as alchemy - I love the idea of how sound
worked in this context. But there was much more as well with film –
loved things like Popol Vuh soundtracks for Werner Herzog, Henry
Mancini’s music for Touch
of Evil
and the way Bernard Herman soundtrack worked with Taxi
Driver
... Having said that I loved the music in
American
Graffiti
and in Vanishing
Point.
When
and how did you meet Genesis P Orridge and become involved with
industrial records?
Kinda
goes back to the answer in the first question - There weren’t that
many people making this sort of music and these statements back then
so we all found each other like heat-seeking missiles. We wanted to
do something with Gen and TG for Industrial and the early attic tapes
seemed the most likely thing as it was at a slight tangent to the
Rough Trade/Factory releases and seemed to fit with the label’s
vibe.
Are
you still in touch with Chris Watson?
Sadly
no and our paths seem to just miss – at talks or festivals, but
very pleased to see the work he’s done and proud of the work we did
early on.
The
house music explosion that happened in the late 1980s was embraced by
yourselves and psychic tv..Tell us about your projects post Cabaret
Voltaire - .Sassi and loco etc …
I
wanted to run the label – Off World Sounds – and my albums were
part of that. I have always had a very cooperative approach to music
and wanted to give other people an avenue to release music and do
gigs .. I hated the idea of it just being about me. Doing the label
and the promotions side (Off World Productions) was the best way for
me to achieve this. I was doing lots of other things – a producer
of a number of radio programmes, writing for magazines, Djing. Doing
the label with Pete Carroll let me diversify. Mind you, we never made
any money.
Any
particular stories you wish to share, amusing or otherwise from this
period?
Probably
lots but I’d be here all day ... And that would just be talking
about the Shaun Ryder album.
Any
future plans post this release to release anything under the Cabaret
Voltaire monicker?
I think
the worst thing that could happen would be to tarnish, or devalue,
the name by using it as a brand. Everything has a time and a place we
should respect that. BUT you never say never.
Any
projects you are currently involved in you want to tell readers
about?
I did
some stuff with Billie Ray Martin out of Berlin and I’m in the
studio finishing off the Light Programme release which is myself and
Steve Cobby – from Solid Doctor and Fila Brazillia – sounding
really good. And the other project I’m currently doing is Wrangler
– with Benje and Phil from Tunng – very electronic and much fun
to do. I’m always open to stuff and when I get chance I collaborate
– I’m sorting out doing some tracks with Celebratory Murder Party
next.
Are
you active politically in any sense ?
I’m
in favour of direct action so give me a cricket bat and access to
Rupert Murdoch, David Cameron and ... Is Margaret Thatcher dead yet?
Lastly,what
are your views on the current electronic music scene? Any artists
you'd like to mention or recommend?
Its
all there in the present and completely subjective so I don’t think
its possible to see things as new, just new to me. Yeah love a lot of
the West Coast electronic stuff – Vibesquad – and Autechre still.
But it's so vast and so available its hard to navigate. As David Toop
said ‘an ocean of sound’ or perhaps sadly as Eno said ‘there’s
so so much of it and it all sounds so familiar’. Still never be
disheartened 'cos there’s so much more to hear and do.
c. ANDY
BLACK FOREST for Black Forest, 2010
