Podcasts about Mute Records

In anticipation of her new album, HUMANISE, on Mute Records, we talk to DJ & producer HAAi about how a young hairdresser from a small town Down Under landed in London, broke up with her psych rock band, fell in love with house and techno and ended up on the world's biggest stages. Topics include wild rave locations, drug trips, fat pants, dinosaur energies and doof sticks; how she selects records and the elements that play into her otherworldly musical style. Teneil also sheds some light on what it's like to go B2B with The Blessed Madonna, shares advice, talks about the importance of safe space and queer space and shares tales from the making of her latest album with collaborators like Jon Hopkins and the Trans Voices choir. From tree shakers to yacht people, it's all in here. Get amongst it! Hosted by Vivian Host (aka DJ Star Eyes). For more info and extras, visit Ravetothegrave.org or Instagram @ravetothe.grave.

Terence Fixmer's music has the remarkable ability to not only set feet in motion on the dance floor but also resonate deeply with the searching soul, all while maintaining a profound musical depth and integrity. With a career spanning over two decades, he has released numerous albums and EPs on some of the most prestigious techno labels. His remixing talents have extended to tracks from industry giants like Depeche Mode, Yann Tiersen, Sven Väth, Dave Clarke, Front 242, Nitzer Ebb, Indochine, and more. Terence Fixmer is renowned for the quality of his live performances, gracing renowned clubs and festivals worldwide. Chapter 1: 1998-2007. In 1998, Terence established his own label, Planete Rouge. From 1999 to 2007, he gained worldwide recognition with the release of his debut album, "Muscle Machine," under DJ Hell's legendary International Deejay Gigolos imprint. In 2002, Fixmer joined forces with Nitzer Ebb's lead singer, Douglas McCarthy, to form Fixmer/McCarthy. Together, they released two full-length albums that pushed the boundaries of Techno EBM to the maximum. The album "Fixmer McCarthy Between the Devil" has earned its place as a revered classic, and the band has become iconic in the Techno EBM scene.Fixmer/McCarthy earned respect in the global scene for their unique way of creating truly pioneering sound fusions by elegantly blending the aggression of Techno Body Music and the sensuality of Electronica. Chapter 2: 2007-2015 Fixmer continued to expand the horizons of modern techno, releasing albums and EPs under his own name as well as various alter egos. His works found homes on highly respected techno labels such as Electric De Luxe, Prologue, Jealous God, CLR (including the "Depth Charged" album in 2014), Aufnahme + Wiedergabe. Chapter 3: 2015-2020 Terence Fixmer continued to evolve his sound in 2015. His EP "Aktion Mekanik," was reissued on Ostgut Ton, marking his entry into the Ostgut Ton family—the flagship label of Berlin's Berghain club. He subsequently released various EPs on Ostgut Ton ( Force EP, Devil May Care EP) and his album "Through the Cortex LP ." in 2017. Chapter 4: 2020- Terence produced music for Thomas Cohen (formerly singer of Scum) with tracks like "Braid" and "Chain of Love" on Mute Records.Additionally, he signed with the legendary label Mute Records, renowned for its roster of innovative and influential artists.  In 2022, he released his first album on Mute Records titled "Shifting Signals" . His music has been used by Fashion brand, such as Prada, Raf Simons, Zegna... Terence Fixmer's unwavering drive to craft experimental, mind-bending, and relentless sounds continues to transcend the boundaries of the musical mainstream, solidifying his place as a visionary within the techno and electronic music landscape. Tracklist via -Spotify: bit.ly/SRonSpotify -Reddit: www.reddit.com/r/Slam_Radio/ -Facebook: bit.ly/SlamRadioGroup Archive on Mixcloud: www.mixcloud.com/slam/   Subscribe to our podcast on -iTunes: apple.co/2RQ1xdh -Amazon Music: amzn.to/2RPYnX3 -Google Podcasts: bit.ly/SRGooglePodcasts -Deezer: bit.ly/SlamRadioDeezer   Keep up with SLAM: https://fanlink.tv/Slam  Keep up with Soma Records: https://linktr.ee/somarecords    For syndication or radio queries: harry@somarecords.com & conor@glowcast.co.uk Slam Radio is produced at www.glowcast.co.uk

In this occasional series exploring modular synthesis and live performance, William Stokes talks to Tony Rolando, electronic musician and founder of modular company Make Noise. Tony talks about his beginnings in the industry and how Make Noise has relaunched in 2025 with a new team and a brand new module release, which he then showcases in an exclusive performance alongside four additional modules.Chapters00:00 - Introduction05:22 - Creating Social Media Posts12:10 - Recent Innovations In Modular14:02 - Revisioning Jettisoned Music Technology21:08 - Module 1: Maths 30:17 - Module 2: Morphagene47:42 - Module 3: Qpas 57:57 - Module 4: Bruxa01:12:52 - Module 5: New Universal Synthesizer System01:27:40 - The PerformanceTony Rolando BiogTony Rolando is a self-taught musician and electronic musical instrument designer who started his career building electronics for artists, such as the light controlled mixer for Simon Lee's “Bus Obscura,” working for Moog Music and playing in bands. He has recently released music with Important Records and the Asheville, NC based Ceremony of Seasons.Tony is the founder, lead designer and co-owner of Make Noise, a modular synth company launched in 2008, known for modules such as the Morphagene and 0-Coast, popular with artists like Thom Yorke and Robert Lowe, aka Lichens. They operate out of Asheville, NC and have global distribution through a number of music tech dealers.https://tonyrolando.bandcamp.com/www.makenoisemusic.comWilliam Stokes BiogWilliam Stokes is a producer, writer and artist in three-piece avant-psych band Voka Gentle. As well as being a critic and columnist for Sound On Sound, conceiving the popular Talkback column and heading up the Modular column, he has also written on music and music technology for The Guardian, MOJO, The Financial Times, Electronic Sound and more. As an artist in Voka Gentle he has made records with producers from Gareth Jones (Depeche Mode, Grizzly Bear, Nick Cave) to Sam Petts-Davies (Radiohead, The Smile, Roger Waters), has had songs featured on franchises from FIFA Football to The Sims and has toured across the UK, Europe and the USA, playing festivals from Pitchfork Avant-Garde in Paris to SXSW in Austin, Texas. He has collaborated with artists including the Flaming Lips' Wayne Coyne, Morcheeba, Panda Bear and Sonic Boom. Alongside being a guitarist and pianist, he is a synthesis enthusiast with a particular interest in sampling and explorative sound manipulation. As a producer and engineer, he has made albums with acclaimed avant-garde musicians from composer Tullis Rennie to Mute Records artist Louis Carnell. “I'm always seeking out the most ‘out-there', experimental, risk-taking musicians I can find to work with,” he says, “to capture vibrant, detailed recordings and create three-dimensional mixes of music that might otherwise struggle to know where to begin in the studio environment.” Stokes currently lectures in Music Production at City, University of London.https://www.vokagentle.com/Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

On today's episode, I talk to Daniel Miller and Gareth Jones of Sunroof. Daniel and Gareth have had long, varied careers for decades - as musicians, music producers and more. Daniel is the founder of Mute Records, which has released albums from numerous groups including Depeche Mode, New Order, Wire, Nick Cave and many others. And as a producer, Gareth has worked with many of those same bands and more including Interpol, Grizzly Bear, Madness and that's just a small sampling. The two began collaborating together in 1982 when Daniel asked Gareth to work with him on what became Depeche Mode's Construction Time Again. After Depeche Mode had gone home for the day, the two would stay on to work on their own sessions. This became Sunroof, and they worked mostly as a remix project. However, in 2019, they started improvising together with modular systems as a lark and enjoyed the results. They've recorded three fantastic albums, and their latest, Electronic Music Improvisation Vol.3, came out at the end of November, and it's wonderful! This is the website for Beginnings, subscribe on Apple Podcasts, follow me on Twitter. Check out my free philosophy Substack where I write essays every couple months here and my old casiopop band's lost album here! And the comedy podcast I do with my wife Naomi Couples Therapy can be found here! Theme song by the fantastic Savoir Adore! Second theme by the brilliant Mike Pace! Closing theme by the delightful Gregory Brothers! Podcast art by the inimitable Beano Gee!  

Electronic music pioneer and composer Suzanne Ciani discusses her career highlights in conversation with William Stokes, including early performance struggles due to her determination to present shows in quadraphonic, a career resurgence thanks to Moogfest and why she loves working with the Buchla interface.Chapters00:00 - Introduction01:06 - The First Female To Score A Movie04:01 - Having More Than 20 Albums04:36 - Golden Apples Of The Sun07:55 - Live Performance Struggles11:57 - A Love Of Programming14:09 - Interacting With A Buchla17:14 - A New Way Of Performing Music22:32 - The Buchla 250 MARF25:36 - Making A Comeback At Moogfest29:36 - Creating Spatial Content38:40 - A Meeting Of Art And Science 41:36 - Future Plans"I didn't build the machines, I certainly didn't design them, but I could interact with them and use them, you know, and that's what I liked".#buchla #moogSuzanne Ciani BiogSuzanne is a five-time Grammy award-nominated composer, electronic music pioneer, and neo-classical recording artist who has released over 20 solo albums including "Seven Waves," and "The Velocity of Love," along with a landmark quad LP “LIVE Quadraphonic,” which restarted her Buchla modular performances. Her work has been featured in films, games, and countless commercials as well. She was inducted into the first class of Keyboard Magazine's Hall of Fame alongside other synth luminaries, including Bob Moog, Don Buchla and Dave Smith and received the Moog Innovation Award. Most recently, she is the recipient of the Independent Icon Award from A2IM, The Golden Ear Award and the SEAMUS Award.Suzanne has provided the voice and sounds for Bally's groundbreaking "Xenon" pinball machine, created Coca-Cola's pop-and-pour sound, designed logos for Fortune 500 companies and carved out a niche as one of the most creatively successful female composers in the world. A Life in Waves, a documentary about Ciani's life and work, debuted at SXSW in 2017 and is available to watch on all digital platforms. Ciani is a graduate of Wellesley College and holds a Masters in Music Composition from the University of California, Berkeley.http://sevwave.com/https://transversales.bandcamp.com/album/golden-apples-of-the-sun-3William Stokes BiogWilliam Stokes is a producer, writer and artist in three-piece avant-psych band Voka Gentle. As well as being a critic and columnist for Sound On Sound, conceiving the popular Talkback column and heading up the Modular column, he has also written on music and music technology for The Guardian, MOJO, The Financial Times, Electronic Sound and more. As an artist in Voka Gentle he has made records with producers from Gareth Jones (Depeche Mode, Grizzly Bear, Nick Cave) to Sam Petts-Davies (Radiohead, The Smile, Roger Waters), has had songs featured on franchises from FIFA Football to The Sims and has toured across the UK, Europe and the USA, playing festivals from Pitchfork Avant-Garde in Paris to SXSW in Austin, Texas. He has collaborated with artists including the Flaming Lips' Wayne Coyne, Morcheeba, Panda Bear and Sonic Boom. Alongside being a guitarist and pianist, he is a synthesis enthusiast with a particular interest in sampling and explorative sound manipulation. As a producer and engineer, he has made albums with acclaimed avant-garde musicians from composer Tullis Rennie to Mute Records artist Louis Carnell. “I'm always seeking out the most ‘out-there', experimental, risk-taking musicians I can find to work with,” he says, “to capture vibrant, detailed recordings and create three-dimensional mixes of music that might otherwise struggle to know where to begin in the studio environment.” Stokes currently lectures in Music Production at City, University of London.https://www.vokagentle.com/Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

It's time for one of those huge episodes. Well, it's a three parter anyways. 1965 was a low rent year for horror movies on the whole but some younger hot shot directors were beginning to changed things. A modern flavour was evident in a few of the picks. But, what do I think was the very greatest horror movie that came out during 1965? Well, here we have the top 10. The worst 10. A slew of also rans. Some awesome mates. Some special guests. Several shots of whisky and a 4+ hour running time split over 3 episodes. This is 1965, A Year In Horror. You can now support A Year in Horror via the Patreon.Theme Music by Max Newton& Lucy Foster.Email the podcast at ayearinhorror@gmail.comDon't bother following the podcast on Facebook. But feel free to...Follow me on Twitter.Follow me on Instagram.Follow me on Letterboxd.Below are the time codes for all the different segments and my guest links. Feel free to let me know where you think I got it wrong or right and of course stay safe out there and I'll see you next month.0.34 - The Worst Horror Films from 19655.20 - Also Rans7.36 - Dr. Terror's House of Horrors (w/ James Chapman)42.46 - Color Me Blood Red (w/ Perran Helyes)

"We need to give more people a seat at the table." The Australian DJ and producer talks about exclusivity in the music industry, neurodivergence and London's thriving lesbian scene. The London-based Australian artist Teneil Throssell (AKA HAAi) doesn't have a typical DJ story. She moved to London in the early 2010s as part of a now defunct psych rock band, and once it broke up, she thought her stint in the music industry was over. Unsure what to do with herself, she started mixing dance music records at the bar where she was working at the time, Ridley Road Market. The right person happened to "discover" her, offering her a spot supporting Jacques Greene at the London club Phonox. She went on to hold a residency there for two years, and the rest, as they say, is history. Throssell's career blew up almost immediately. For the last eight years that she's been DJing, she's toured internationally on a massive scale, sometimes going to six different countries in one week. She's also released a number of EPs and one LP on Mute Records, remixed Kylie Minogue and started two labels of her own: Coconut Beats and Radical New Theory, which she runs with her partner. Her style is eclectic, but fans of hers will know her for her upbeat, techno- and acid-inflected sound. In this RA Exchange, Throssell dives into some emotional and complex topics, like the criticism she received from RA for her early EP Systems Up, Windows Down; London's lesbian scene; her ADHD diagnosis; and climate activism in the electronic music industry. Listen to the episode in full.

How did a friendship spanning nearly four decades evolve into one of the most compelling musical partnerships in Berlin's underground scene? Alexander Hacke and Daniella de Picciotto, collectively known as Hackedepicciotto, join us to share their remarkable journey. They open up about their creative processes, blending industrial beats, electronic sounds, and classical harmonies into what they call Symphonic Drone. Their latest album, "The Best of Hackedepicciotto (Live in Napoli)” is more than just a collection of live performances; it's a reflection of their artistic evolution and enduring commitment to pushing musical boundaries.Step back to the vibrant 1980s in Berlin—a city on the fringes. Hacke and de Picciotto reflect on the iconic underground music scenes of Berlin and New York, which served as creative ground zero for many artists. They share personal stories of this era and examine how the spirit of repurposing old ideas into new, groundbreaking concepts has influenced generations of musicians. Their experiences highlight the radical artistic atmosphere that fostered connections with like-minded individuals eager to challenge societal norms.Imagine a life without a permanent address, driven by artistic freedom and cultural exploration. This episode also uncovers the couple's unique nomadic lifestyle and its profound impact on their music-making. Hacke and de Picciotto discuss the philosophical and spiritual insights gained from their travels, emphasizing a broader understanding of global interconnectedness in the face of modern consumerism.The Best Of Hackedepicciotto (Live In Napoli) is out Nov 1st on Mute. Find out more here.Follow Paul Hanford on InstagramLost and Sound is sponsored by Audio-TechnicaPaul's BBC World Service radio documentary “The man who smuggled punk rock across the Berlin Wall” is available now on BBC Sounds. Click here to listen.Paul's debut book, Coming To Berlin: Global Journeys Into An Electronic Music And Club Culturet Capital is out now on Velocity Press. Click here to find out more. Lost and Sound title music by Thomas Giddins

"We need to give more people a seat at the table." The Australian DJ and producer talks about exclusivity in the music industry, neurodivergence and London's thriving lesbian scene. The London-based Australian artist Teneil Throssell (AKA HAAi) doesn't have a typical DJ story. She moved to London in the early 2010s as part of a now defunct psych rock band, and once it broke up, she thought her stint in the music industry was over. Unsure what to do with herself, she started mixing dance music records at the bar where she was working at the time, Ridley Road Market. The right person happened to "discover" her, offering her a spot supporting Jacques Greene at the London club Phonox. She went on to hold a residency there for two years, and the rest, as they say, is history. Throssell's career blew up almost immediately. For the last eight years that she's been DJing, she's toured internationally on a massive scale, sometimes going to six different countries in one week. She's also released a number of EPs and one LP on Mute Records, remixed Kylie Minogue and started two labels of her own: Coconut Beats and Radical New Theory, which she runs with her partner. Her style is eclectic, but fans of hers will know her for her upbeat, techno- and acid-inflected sound. In this RA Exchange, Throssell dives into some emotional and complex topics, like the criticism she received from RA for her early EP Systems Up, Windows Down; London's lesbian scene; her ADHD diagnosis; and climate activism in the electronic music industry. Listen to the episode in full.

"We made this mix foryou with some previously unpublished material. Cocaine Sex was originally recorded & included, Sub Aqua Overdrive Dub for Rhythm King Records(Mute Records dance subsidiary) in 87. Later reissued on Mute Records. Cocaine Sex has spawned many children over the years through various recordings & I've included some of the many including Dragonbass Soundsystem & Renegade Soundmachine to exemplify its broad impact & bookended with a vocal & instrumental versions of our most recently released recording A.D.I.D.A.S... for the Hua Hua, Compilation album." Step forth the mighty Renegade Soundwave with all the wit, cheek, and chaos that defined RSW, Asquith dips deep into their archives, pulling out tracks from the seminal Cocaine Sex sessions, Rhythm King's dancefloor dubs, and RSW's back catalogue, offering a true taste of a time when dub, industrial, and raw attitude collided. It's a celebration of that unmistakable renegade spirit that never quite fit into any box – and wouldn't have wanted to. @renegade-soundwave-official

Aaron and Randy talk about last week's interview with Aaron Hemphill. Go buy his new record, out now on Mute Records!!!!

Guests Will Gregory - Moog Ensemble, Goldfrapp Video Version on Youtube: https://youtu.be/ROAy7SRGQ90 For preshow and Ad free version and much more: Patreon.com/sonicstate Pre-recorded interview with Will. Heat Ray is the new album out by Will Gregory's Moog Ensemble on Mute Records. For all formats: https://mute.ffm.to/wgme-heatray   For preshow and Ad free version and much more: Patreon.com/sonicstate     IZotope RX11 is the industry trailblazer for audio repair and enhancement. Powered by machine learning technology, RX's comprehensive suite of tools tackles everything from common audio problems to the trickiest of sonic rescues, for music, audio post production, and content creation. Save an extra 10% on any software purchase with the code SONIC10 at checkout. at izotope.com/sonictalk  Save 50% -Kontakt is your gateway to an unmatched trove of virtual instruments. More than a sampler, Kontakt has powered two decades of blockbuster film scores and chart-topping hits, plus thousands of incredible instruments. Kontakt is the industry's leading instrument-building tool. And exclusively for listeners of Sonic TALK, take 10% off your software purchase at Native-Instruments.com with the  code SONIC10. Some restrictions apply. Where to Watch/Listen - We now stream the live show to Youtube Live, Twitch,  Facebook Live as well as at  Sonicstate.com/live every Weds at 4pm UK time- please do join in. Preshow available on Twitch. You can also download the audio version from RSS FEED 

In this first part of an occasional series exploring modular synthesis and live performance. William Stokes talks to experimental electronic musician Scanner about his career, the choice of his favourite modules he'll showcase in his closing performance and the friendliness of the modular community. Chapters00:00 - Introduction01:13 - The Tate Modern Installation02:52 - Working With Laurie Anderson06:40 - The Origin Of The Name Scanner10:47 - Module 1: Morphagene14:30 - Module 2: Mimeophon18:52 - Module 3: Equation Composer24:08 - Module 4: QU-Bit Prism26:51 - Finding Your Sound With Modular29:22 - Module 5: QU-Bit Nano Rand31:16 - Module 6: Instruō øchd DivKid 33:12 - Modular Social Community 35:31 - Modular Aesthetics38:38 - Module 7: Bela Gliss42:37 - The PerformanceMorphagene - https://www.makenoisemusic.com/modules/morphagene/Mimeophon - https://www.makenoisemusic.com/modules/mimeophon/Equation Composer (discontinued) QU-Bit Prism - https://www.qubitelectronix.com/shop/p/prismQU-Bit Nano Rand - https://www.qubitelectronix.com/shop/p/nano-rand Instruō øchd - https://www.instruomodular.com/product/ochd/Bela Gliss - https://uk.shop.bela.io/products/glissRobin Rimbaud BiogScanner (British artist Robin Rimbaud) traverses the experimental terrain between sound and space connecting a bewilderingly diverse array of genres. Since 1991 he has been intensely active in sonic art, producing concerts, installations and recordings, the albums Mass Observation (1994), Delivery (1997), and The Garden is Full of Metal (1998) hailed by critics as innovative and inspirational works of contemporary electronic music. To date he has scored 65 dance productions, including the hit musical comedy Kirikou & Karaba Narnia, Qualia for the London Royal Ballet, and the world's first Virtual Reality ballet, Nightfall, for Dutch National Ballet.More unusual projects have included designing sound for the Philips Wake-Up Light (2009), the re-opening of the Stedelijk Museum, Amsterdam in 2012 and the new Cisco telephone system used in many offices around the world. His work Salles des Departs is permanently installed in a working morgue in Paris whilst Vex, the residential house by Chance de Silva architects, featuring his permanent soundtrack, won the RIBA London Award 2018.Committed to working with cutting edge practitioners he collaborated with Bryan Ferry, Wayne MacGregor, Mike Kelley, Torres, Michael Nyman, Steve McQueen, Laurie Anderson and Hussein Chalayan, amongst many others.http://www.scannerdot.comWilliam Stokes BiogWilliam Stokes is a producer, writer and artist in three-piece avant-psych band Voka Gentle. As well as being a critic and columnist for Sound On Sound, conceiving the popular Talkback column and heading up the Modular column, he has also written on music and music technology for The Guardian, MOJO, The Financial Times, Electronic Sound and more. As an artist in Voka Gentle he has made records with producers from Gareth Jones (Depeche Mode, Grizzly Bear, Nick Cave) to Sam Petts-Davies (Radiohead, The Smile, Roger Waters), has had songs featured on franchises from FIFA Football to The Sims and has toured across the UK, Europe and the USA, playing festivals from Pitchfork Avant-Garde in Paris to SXSW in Austin, Texas. He has collaborated with artists including the Flaming Lips' Wayne Coyne, Morcheeba, Panda Bear and Sonic Boom. Alongside being a guitarist and pianist, he is a synthesis enthusiast with a particular interest in sampling and explorative sound manipulation. As a producer and engineer, he has made albums with acclaimed avant-garde musicians from composer Tullis Rennie to Mute Records artist Louis Carnell. “I'm always seeking out the most ‘out-there', experimental, risk-taking musicians I can find to work with,” he says, “to capture vibrant, detailed recordings and create three-dimensional mixes of music that might otherwise struggle to know where to begin in the studio environment.” Stokes currently lectures in Music Production at City, University of London.https://www.vokagentle.com/Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

Todays fascinating episode of Synthetic Dreams features Ivor Novello winning musician, producer and co-creator of popular electronic act, Goldfrapp. In 2005, Will formed The Will Gregory Moog Ensemble  - a group of talented musicians, who all perform with analogue synthesisers.  We discuss the formation of the Moog Ensemble and  recording of their excellent debut album, ‘Heat Ray' which is out on June 14th via Mute Records. Will also talks about his vast collection of analogue synths, his earliest musical passions and love of Wendy Carlos and her album, ‘Switched-On-Bach'. A hugely influential electronic album, which was truly groundbreaking at the time of its release back in 1968.  The Moog Ensemble are playing a few live dates later in the year, including a headline slot at the Hidden Notes Festival on 21st September. For more information about the Will Gregory Moog Ensemble and the players involved visit: https://www.willgregorymoogensemble.co.uk/  To pre-order the album visit: https://mutebank.co.uk/collections/will-gregory-moog-ensemble Moog Ensemble - Young Archimedes (Official Visualiser) Synthetic Dreams is presented and produced by Scott Zverblis Synthetic Dreams on ⁠⁠Instagram⁠⁠ Synthetic Dreams title music by Chris Ibbott

Brian Carney meets Michel Moers (Telex) at Freaksville for the release of his album As Is on 19 April 2024.Michel Moers, emblematic member of Telex, returns in 2024 with 'As Is', 33 years after his first solo album. This opus fuses thoughtful electronic music with surreal touches, marking a turning point in his career. It features a number of collaborations, including one with Claudia Brücken on "Microwaves", reminiscent of 2000s electropop, and "New Friend", reminiscent of the work of Bryan Ferry. "Les gens sont affligeants", an updated song written with Jacques Duvall, underlines its relevance in our individualistic age. Moers has devoted himself to photography and architecture, perfecting his musical compositions. The remastering of Telex albums with Mute Records revived his aural skills. Despite the death of Marc Moulin, Moers continues his artistic journey, proving that even after decades, he still has important messages to share. "As Is" embodies a triumphant return and constant innovation, testifying to Moers' vitality in today's music world.Vinyl on Freaksvillemusic dot com

"I often myself being responsible for a film's music, but also fighting for its absence." The composer discusses movie scoring, his love of opera and his new album, Scope Neglect, on Mute Records. The multidisciplinary Australian artist Ben Frost might best be known for his score work: he's soundtracked Netflix shows like Dark and its spinoff 1899, as well as a number of major motion pictures and video games. While his formal studies were in visual art, he started experimenting with music-making from an early age, homing in on a unique sound that is truly a melange of his influences in punk, black metal, classical and modern minimalism. His unique approach to composition has led him to some extreme places to capture field recordings, like the Democratic Republic of the Congo, the Amazon rainforest and the empty hulls of fishing boats docked on the banks of Icelandic port towns. Artists like Steve Albini, Björk, Brian Eno and the band SWANS have tapped Frost to work with them, and he's performed extensively as a solo performer and as part of an A/V outfit at the world's biggest festivals and art world circuits. In this episode of the RA Exchange, he sits down with senior producer Chloe Lula to discuss his latest venture, a full-length album, Scope Neglect, on Mute. It pulls heavily from his proclivity for guitar music and metal, but still nods to the cinematic minimalism that has become one of his work's primary tropes. Frost dissects some of the recording techniques he used to make the record—he borrowed from the methods used by Mark Hollis of the band Talk Talk—as well as his studio practice, his love of opera and his approach to writing scores. Listen to the episode in full.

Podcast Overview: Moby & Will discuss his 30 years in the industry, where young creatives go nowadays, not focussing on selling out DJ tours & his journey with his mental health. Who is Moby: Richard Melville Hall, 11 September 1965, New York, USA. A New York DJ, recording artist, Christian, vegan and Philosophy graduate. Moby is so nicknamed because of the fact that he can trace his ancestry to the author of the famous whaling tale. This is by no means the only interesting aspect of his idiosyncratic artistic life. He refuses to travel anywhere by car because of the environmental considerations, and generally displays little of the public anonymity that is the creed of the underground DJ. In 1991, he took the Twin Peaks theme, under the guise of "Go", into the UK Top 10. Although that appealed to the more perverse natures of both mainstream and club audiences, the release of "I Feel It"/"Thousand" in 1993 was yet more bizarre. The latter track was classified by The Guinness Book Of Records as the fastest single ever, climaxing at 1,015 bpm. It was typical of Moby's playful, irreverent attitude to his work. In his youth he was a member of hardcore punk outfit the Vatican Commandos, and even substituted as singer for Flipper while their vocalist was in prison.He has brought these rock 'n' roll inclinations to bear on the world of dance music: at the 1992 DMC/Mixmag Awards ceremony he trashed his keyboards at the end of his set. His introduction to dance music began in the mid-80s: "I was drawn to it, I started reading about it, started hanging out in clubs. For me house music was the synthesis of the punk era." He collected cheap, second hand recording equipment, basing himself in an old factory/converted prison in New York's Little Italy district. The albums issued by New York dance label Instinct collect the artist's early work. Ambient comprised unissued cuts from 1988-91, composed of barely audible atmospheric interludes. Moby signed to leading independent Mute Records in 1993, and the following year released "Hymn", a transcendental religious techno odyssey, distinguished by a 35-minute ambient mix and a Laurent Garner remix. The track was included on his eclectic major label debut, Everything Is Wrong. His own remix catalogue includes Brian Eno, LFO ("Tan Ta Ra"), Pet Shop Boys, Erasure ("Chorus"), Orbital ("Speed Freak"), Depeche Mode and even Michael Jackson. He moved away from his dance base in 1996 with the thrash rock of Animal Rights, and in turn sounded more like Johnny Rotten. His "James Bond Theme' debuted at UK number 8 in November 1997. The attendant I Like To Score was an uneasy experiment in soundtrack work. Another change of style was apparent on 1999"s Play, a superb album on which several tracks were based around sampled field recordings made by folklorist Alan Lomax in the earlier part of the century. Play became a remarkable sleeper hit, thanks in the main to the licensing of every track on the album for use in advertisements. Moby repeated the Play formula to lesser effect on 18. If you would like to join my community to carry on with all of these discussions please sign up to the link here: http://willclarke.club/ Learn more about your ad choices. Visit megaphone.fm/adchoices

Please welcome to A Year In Horror, special guest James Chapman from the electronica project Maps. We talk about the Hammer Films, Alicia Silverstone starring The Lodge. I loved it & want to talk about it with as many people as I can. Thanks for listening.maps Spotify Facebook Instagram

Today's guests teach me things; specifically symbolism in music. It's one of those things that I always feel everyone else gets more than I do. So I was beyond happy to have Alexander Hacke, Danielle DePicciotto, and Raven Chacon guide me through their experiences creating work heavy in symbolism. And we go beyond music into visual arts, as well. Hackedepicciotto have released a new album that is full of symbolic music. But the symbolism in Keepsakes is much more personal, this time. Raven discusses his connection to John Cage, growing up listening to Navajo songs and heavy metal. And Alexander explains the three layers of symbolism. And all three guests tell me how far the symbolism can go, even extending to the intended audience. Give them all a follow on social media @hackedepicciotto and @ravenchcn on Instagram. Pick up the album from Mute Records or on Bandcamp. Check out hackedepicciotto.de for more info. Check out Raven's past work and stay up to date on new pieces at spiderwebsinthesky.com. Follow us @PerformanceAnx on X & Instagram. Our pieces are available at performanceanx.threadless.com. Support our coffee habit at ko-fi.com/performanceanxiety. And hopefully you learn something new with Alexander Hacke, Danielle DePicciotto, and Raven Chacon on Performance Anxiety on the Pantheon Podcast Network. Learn more about your ad choices. Visit megaphone.fm/adchoices

Yann Tiersen and QUINQUIS (Emilie Tiersen) are on a boat with a manifesto, touring the Celtic Islands and playing community halls, pubs, record shops and places along the way. The producer/musician/composing couple talk with Paul about the environmental and consumerist impact of touring and their holistic approach to navigating this. Yann (who first appeared on Lost anf Sound two years ago) did the score to Amelie, which he's not super hot on by all accounts, he did the score to Goodbye Lenin too, and his recent stuff on Mute plays with textures and atmosphere, Emilie's work has that magic of early 4AD but in it's own unique way. Together, they talk about their inspiring adventure and how it relates to our wider world.YANN TIERSEN & QUINQUISNINNOG SUMMER TOUR - SAILING TO CELTIC LANDSKERBER COMPLETE - MODULAR SYNTHESIS, SOLO PIANO, REMIXESBOX SET WITH NEWLY RECORDED SOLO PIANO VERSION OF HIS 2021 ALBUM, KERBER - 15 SEP ON MUTELost and Sound is proudly sponsored by Audio-TechnicaPaul's debut book, Coming To Berlin: Global Journeys Into An Electronic Music And Club Culture Capital is out now on Velocity Press. Click here to find out more. Lost and Sound title music by Thomas Giddins

Author, Richard Evans joins me on the podcast today to talk about his truly excellent book 'Listening To The Music The Machines Make: Inventing Electronic Pop 1978-1983. A must have for any fans of electronic music Heres more about Richard's book: Listening to the Music the Machines Make is the revolutionary story of electronic pop from 1978 to 1983, a true golden age of British music. This definitive account explores how krautrock, disco, glam rock and punk inspired a new generation to rip up the rulebook and venture toward a new frontier of electronic music – one that laid the foundations for Hip-Hop, house, techno and beyond. Including an extensive collection of archive images throughout, Richard Evans's kaleidoscopic narrative draws on years of research, a plethora of archive press materials and the input of key figures, including Vince Clarke (Depeche Mode, Yazoo, Erasure), Martyn Ware (The Human League, B.E.F., Heaven 17) and Daniel Miller (The Normal, Mute Records). From the gritty and experimental to the camp and theatrical, this book charts the careers and impact of electronic pop's earliest innovators and luminaries, from Devo, The Normal, Telex and Cabaret Voltaire to Soft Cell, Gary Numan, OMD, Duran Duran, Depeche Mode. https://omnibuspress.com/products/listening-to-the-music-the-machines-make-the-electronic-pop-revolution-1978-1983-published-on-27th-october-2022

When Daniel Miller and Gareth Jones make music together as Sunroof,  they sit either side of a table, adjusting the dials of modular synths and they look like two veteran chess players locked into a very long, perhaps even decades long game. Yet instead of being in competition, it's like they raise each other's vibration: one making a sound, the other responding. Both men have changed the way we hear electronic music in the last 40 years. Miller founded Mute Records initially to release his single Warm Leatherette. He met Gareth when they worked on Depeche Mode's Berlin-connected ‘80s records. The Depeche Mode records we all like. Gareth has produced songs we've all danced to many times: Erasure, Wire, Grizzly Bear, Clinic, Interpol. For decades, they've been getting together and making these modular improvisations and have finally gotten round to releasing some of the stuff and it's really good. Paul caught up with the pair to talk about how they work, how they met and what they think. Sunroof's new album, Electronic Music Improvisations Volume 2 – out now on limited edition white vinyl and digitally, via the Parallel Series of MuteLost and Sound is proudly sponsored by Audio-TechnicaPaul's debut book, Coming To Berlin: Global Journeys Into An Electronic Music And Club Culture Capital is out now on Velocity Press. Click here to find out more. Lost and Sound title music by E.S.O

This is a re-upload of my conversation with the late great Mark Stewart Rest In Power!         For those who don't know  Mark Stewart is an artist, vocalist, producer and songwriter from Bristol. As a founding member of The Pop Group and as a soloist, Stewart has remained an anarchic and pioneering figure since the punk era, a constant source of discordance amongst the frontiers of post-punk, dub, industrial and electronic music. In a body of work driven by an explosive form of lyricism and inspired by radical politics, protest movements, theory, philosophy, technology, art and poetry, Stewart has fearlessly cultivated a revelatory collision of ideas, ideals and influences throughout an indisputably ground-breaking and seditious career. Empowered by the DIY incentives of punk Stewart initiated The Pop Group in 1977, subsequently producing some of the most original and combative music of both the post-punk and contemporary era. From 1977 until 1980 Stewart led the charge in a group that completely eschewed punk's formalism for something far greater. Producing epiphanic, irrepressible anthems, including She's Beyond Good & Evil and We Are All Prostitutes, both in 1979, as well as masterful, seminal albums including Y in 1979 and For How Much Longer Do We Tolerate Mass Murder? in 1980, The Pop Group ignited the revolutionary aesthetic potential of post-punk. The impact of this first incarnation left an immensely significant legacy ultimately leading to the group's reformation in 2010. With 2015's refined return Citizen Zombie and 2016's audacious left-turn Honeymoon On Mars, the group emphatically renewed their relevance, proving as incendiary as ever. Stewart continues to operate as a crucial impetus in the bands ongoing mission. In 1980 Stewart embarked on his solo career inspired by the sounds he had heard during a visit to New York the same year. The virtuosic scratching and early hip hop propagated by Kiss FM's Kool DJ Red Alert, coupled with the impact of a pile driver at a construction site Stewart happened to encounter there, was enough to encourage his visionary next step. In 1982 Stewart consolidated these encounters into coherent possibilities, forming a group called The Maffia and linking up with producer Adrian Sherwood and his cutting edge label On-U Sound. Alongside a rotating cast of session players, initially comprised of members of African Head Charge, Creation Rebel & Dub Syndicate, and later made up of Doug Wimbish, Keith LeBlanc and Skip McDonald (the erstwhile rhythm section of The Sugarhill Gang) Stewart & The Maffia fashioned an abrasive confection of dub reggae, early hip hop and industrial noise that was shattering, seismic and completely ahead of its time. Headed by an iconic version of William Blake's eponymous ancient poem, Stewart & The Maffia unveiled the Jerusalem EP in 1982, swiftly followed by their cult 1983 LP Learning To Cope With Cowardice. Stewart later moved to Mute Records in 1985 for the ferocious proto-industrial militancy of As The Veneer of Democracy Starts to Fade and successive appearances on the label continued to break untold new ground, from 1987's Mark Stewart to 1990's Metatron and 1995's Control Data. Stewart has continued to plot an utterly uncompromising and individual course into the 2000s, with a streak of solo material that has included Edit, The Politics of Envy, The Exorcism of Envy and Experiments. Preserving his vociferous energy and defiant stance whilst advancing, as always, into unfamiliar territories, this work bears all the traces of Stewart's enduring severity and modernism, an exploratory power reinforced by a host of legendary collaborators and artistic descendants including the likes of Primal Scream, Keith Levene (Public Image Ltd / The Clash), Richard Hell, Kenneth Anger, Daddy G (Massive Attack), Lee ‘Scratch' Perry, The Bug, Kahn (Kahn & Neek, Young Echo) and Factory Floor. Stewart continues to exert an inestimable impact on a disparate range of ensuing artists and scenes. His work has been acknowledged and celebrated as a vital inspiration by the likes of Nick Cave, Trent Reznor (Nine Inch Nails), James Murphy (LCD Soundsystem), Tricky, Massive Attack, St Vincent and countless others, while his eye for unorthodox extremity has instigated myriad new evolutions, blueprinting industrial, trip-hop, noise-hop, dance-punk and many other subsequent conceptions. Through a staunch, unrelenting desire to confront, deconstruct and make anew, Stewart has become of the most influential and forward-looking luminaries of post-punk, or indeed, any other form of music. An artist often imitated but never bettered. Mark's Info https://www.markstewartmusic.com/ https://www.facebook.com/markstewartm...

The story of how a few synth-curious teenagers became one of the most influential - and enduring - musical institutions of our time. In Part 1 of our wild two part ride, Yasi and her guest Patrik Sandberg follow the lads of Depeche Mode from their humble but ambitious Basildon beginnings as they develop their sound by way of a variety of powerful influences, including Daniel Miller of Mute Records, Genesis P-Orridge, and their second home, the city of Berlin, dropping hit single after hit single along the way to their Black Celebration.  You can follow Patrik on Twitter @PatrikSandberg Listen to songs we detail in the episode here: http://spotify.link/dnTYBcSxxyb Learn more about your ad choices. Visit podcastchoices.com/adchoices

Violator is the seventh studio album by English electronic music band Depeche Mode. It was first released on 19 March 1990 by Mute Records internationally, and by Sire and Reprise Records in the United States. --- Send in a voice message: https://podcasters.spotify.com/pod/show/drzeusfilmpodcast/message Support this podcast: https://podcasters.spotify.com/pod/show/drzeusfilmpodcast/support

Daniel Miller ( founder of Mute Records) and Gareth Jones (legendary producer) return to Pod Mod to talk about their new album from their duo, Sunroof (Out February 17th, 2023) (https://mute.com/mute/sunroof-daniel-miller-gareth-jones-announce-debut-album) SUPPORT POD MOD ON PATREON (https://www.patreon.com/podularmodcast) Thank you: 4ms (https://4mscompany.com/) After Later Audio:http://afterlateraudio.com/ Patchwerks: https://patchwerks.com/ Bored Brain Music: https://boredbrainmusic.com/ NOVATION: https://novationmusic.com/en/synths/summit WAVEFORM MAGAZINE: https://waveformmagazine.com/ Mama Kel's Gofundme (https://www.gofundme.com/f/kelly-held-medical-assistance?utmsource=customer&utmmedium=copylink&utmcampaign=p_cf%20share-flow-1

My guest this week is Kevin Paul, who started in the music business as a DJ, but then discovered sound engineering and immediately knew that was his true calling. Starting at Soho Studios in London, he later moved to the Kink's own Konk Studios. At Konk, he worked alongside a bevy of successful producers and engineers, as well as bands such as The Kinks, Galliano, Terrorvision, UFO and Elastica. After working on archiving the Depeche Mode back catalogue in 1994, he was offered an engineering role at Mute Records' in-house studio, which eventually lead to a position as Head Engineer. Since 2008, Kevin has been in charge of mixing and remixing the exclusive performances at the coveted iTunes Festival UK and Germany events. He has mixed over 100 artists to date including David Bowie, Adele, Ed Sheeran, Alicia Keys, Nick Cave & The Bad Seeds, Calvin Harris, Foo Fighters, Jack White, Linkin Park, Florence & The Machine, Deadmau5, David Guetta, Norah Jones, Oasis, Mumford & Sons, Paul Weller and many more. During the interview we spoke about the producer that influenced him the most, why he worries about immersive audio being accepted, his views on audio education, where mixing and mastering will be in 10 years, and much more. I spoke with Kevin via Zoom from his studio in the UK. On the intro I'll take a look at Spotify skip rates, the one super-important metric that's still a secret, and AI-driven ChatGPT codes up an Ibanez Tube Screamer plugin.

La historia de una canción y de un músico que parecía huir del éxito al tiempo que lo perseguía. Mute Records y la llegada de Fad Gadget. Un encuentro genial en Berlín. Frank Tovey y los sonidos industriales.  Collapsing New People ECDQEMSD podcast episodio 5429 Gente Nueva Colapsando Conducen: El Pirata y El Sr. Lagartija https://canaltrans.com Historias Desintegradas: Tiempos de discotecas - Antros vacíos - Hablar de más - Imprudencia verbal - Platiquemos sobre hamburguesas - Crónica detallada de un día bravo - CrossFit - Descarga automática - El paciente que sabe - Medicina para gatos - Cambio por música - Cotizando el dólar de la suerte - Documentado en VHS - Tiempo de digitalización - Sistema de almacenado - La cabalgata de Reyes - Dejen los zapatos - Guía para los regalos https://www.canaltrans.com/ecdqemsd_podcast_2023/5429_gente_nueva_colapsando.html En Caso De Que El Mundo Se Desintegre Podcast no tiene publicidad, sponsors ni organizaciones que aporten para mantenerlo al aire. Solo el sistema cooperativo de los que aportan a través de las suscripciones hacen posible que todo esto siga siendo una realidad. Gracias Dragones Dorados: https://www.canaltrans.com/radio/suscripciones.html

GENESIS AND BEYOND: The Boyd Rice Christmas/Hanukkah Extravaganza “Boyd Rice is a black pimp.” —Charles Manson “Boyd Rice was my mentor." —Marilyn Manson “Boyd is an iconoclast!” —Anton LaVey, Church of Satan “Boyd Rice could be the next John F. Kennedy or Jesus Christ.” —Kim Fowley “(Boyd Rice) is a bad influence.” —Der Spiegel Referred to by some as “The most dangerous man alive”, Boyd Rice (c. 1956) is a pioneering American artist, occultist, prankster, mystic, social critic, archivist, and provocateur whose impact & influence has penetrated nearly every level of global underground culture; a notably brazen and polarizing figure who has courted endless controversy worldwide over a span of more than four decades. Rice initially came to prominence in the 1970s as one of the founders of the “Industrial Music” genre and as one of the first artists signed to Mute Records. He quickly gained a reputation for starkly ritualistic live performances that were regarded as being the most abrasive, minimalistic, dangerous, and blisteringly high volume concerts ever staged. As early as 1980, he was already being hailed as “The Godfather of Noise”. Since then, Rice—a high school dropout raised in a Southern California trailer park—extended his creative pursuits to innumerable fields including visual art, film, literature, photography, acting, interior decoration/design, and culinary arts (taking first prize in the 2012 Denver County Fair Jello molding competition) among other things; something of a Renaissance Man for our technocratic age of decadence and decline. In his own words: “My life is a testament to the idea that you can achieve whatever the hell you want if you possess a modicum of creativity, and a certain amount of naivete concerning what is and isn’t possible in this world. I’ve had one man shows of my paintings in New York, but I’m not a painter. I’ve authored several books, but I’m not a writer. I’ve made a living as a recording artist for the last 30 years, but I can’t read a note of music or play an instrument. I’ve somehow managed to make a career out of doing a great number of things I’m in no way qualified to do.” In the 1980s, through his collaborations with Re/Search Publications, Rice further established his position in the underground with recountings of his uproarious pranks and the promotion of “incredibly strange” cult films and “industrial” culture. Rice’s influence on the subculture was further extended through his vanguard exhibition of found photographs and readymade thrift store art, as well as his zealous endorsements and curation of outsider music, totalitarian & military aesthetics, tiki culture (even designing a now defunct tiki bar in Denver, Colorado eponymously named Tiki Boyd’s), and bygone pop culture in general (he’s been an avid collector, outspoken enthusiast, and longtime archivist of myriad forgotten mid-century oddities & treasures).

From producing Warm Leatherette, to founding Mute Records, few people have done more for electronic music than Daniel Miller, a genuinely legendary figure in modern British music. His improvisational electronic duo, Sunroof, have a new album out in February and he was playing live and DJing at the recent Ombra festival in Barcelona, which is where I caught up with him to talk analogue synths, being on his own label, Kraftwerk, the appeal of synths, punk, Depeche Mode and being indie in 2022.

Gary Asquith - Renegade Soundwave & Rema Rema- in conversation with David Eastaugh Debuting on Rhythm King label with the "Kray Twins" single, their early records mixed together the sound of the then embryonic dance scene, hip-hop, dub, sampling and electro-industrial noise. Later singles such as "Biting My Nails" (a cover version of a song by Genevieve Waite, from her 1974 album, Romance is on the Rise, produced by her husband, John Phillips of The Mamas and the Papas) and "Probably a Robbery" eventually reaching number 38 in the UK Singles Chart in 1990, mostly due to the AA side "Ozone Breakdown", a popular dance track, which featured a sample from the film, The Warriors. A switch to Mute Records brought the release of the debut long-player Soundclash in 1989, swiftly followed by In Dub. The Japanese version of In Dub featured a second disc of the cuts, previously available only on their early 12" singles. At this point, Bonnie exited to pursue a solo career (citing musical differences), leaving Briottet and Asquith to continue as a duo. After two more albums, the group formally disbanded in 1995, leaving behind a legacy of four albums and 12 singles.

Studio Soundtracks takes listeners behind the scenes of how music is crafted for film and television by hearing directly from composers, songwriters and music professionals in the Entertainment Industry. Listen to inspiring conversations about composition and hear works from Emmy, Grammy, and Oscar-winning film scores on the show. LUCY BRIGHT: Lucy Bright started out at Mute Records working with artists such as Nick Cave and Depeche Mode, before moving to Warner Classics for six years and then leaving to manage composer Michael Nyman. She joined the film and TV department of publisher Music Sales (now Wise Music) in 2008 and worked there for a decade. In 2020 she launched her own music publishing company, Bright Notion Music, signing the composers like Anne Nikitin, Jed Kurzel and Tamar-kali Brown.
 Lucy has supervised some of the most critically-acclaimed British films and TV shows in recent years including The Unloved, The Arbor, Slow West, Southcliffe, McMafia, This is England ‘90, Daphne, The Virtues, The Nest, Life After Life and BAFTA-winning short The Swimmer. Most recently, she has worked on Charlotte Wells' directorial debut AFTERSUN and Todd Field's TÁR, set within the world of classical music in which Cate Blanchett plays the first female conductor of a German orchestra. VOLKER BERTELMANN: Volker Bertelmann is an internationally acclaimed pianist, composer and experimental musician. His score for Garth Davis' Oscar-nominated film Lion, which he composed in collaboration with Dustin O'Halloran, and was nominated for multiple awards, including the 2016 Oscar for Best Original Score, the 2016 Golden Globes for Best Original Score, and Best Film Music at the 2016 British Academy Film Awards, or BAFTAs. He has provided music for several leading films and television series, including the score for Patrick Melrose, Showtime's Emmy-and BAFTA nominated mini-series, and for Gunpowder, the HBO mini-series starring Kit Harrington, and the 2020 film Ammonite, co-composed with O'Halloran, which received a spot on the Academy Awards short list for Best Original Score. In 2022, he scored All Quiet on the Western Front for Netflix, the official Oscar-entry for Germany, and War Sailor, both of which were official selections at the Toronto International Film Festival. A uniquely innovative pianist, who in his solo work goes by the name Hauschka, Bertelmann has worked with, among others. the MDR Leipzig Radio Symphony Orchestra, where he was the artist in residence, and the Grammy-winning violinist Hilary Hahn. In 2018, he accepted an invitation to join the Academy of Motion Picture Arts and Sciences.

I'm so tall, I'm so tall. This episode is all about the comeback and consistency. It's incredible to think that since they reactivated, Neil Arthur has recorded 10 albums as Blancmange in just over a decade. Beginning as a duo (with Stephan Luscombe)  at the dawn of the eighties, their lo-fi experiment electronic pop inspired Mute Records' Daniel Miller to call them “The Maiden Aunts of Techno”.  Those timeless mega anthems, synonymous with that era like Living On The Ceiling followed, before they called it a day. Then, all of a sudden, 11 years ago, the project materialised again. Paul caught up with Neil, a true eighties survivor on something of a creative roll now.Blancmange's new album Private Life is available on London Records.This episode is sponsored by Audio-TechnicaPaul's debut book, Coming To Berlin: Global Journeys Into An Electronic Music And Club Culture Capital is out now on Velocity Press. Click here to find out more. Lost and Sound title music by E.S.OTo support this show, head on over to Paul's Patreon at:www.patreon.com/paulhanford

Miss Grit - "Like You" a 2022 single on Mute. New York-based, Korean-American artist Miss Grit (real name: Margaret Sohn) shares the new single "Like You," her first track released since signing to Mute Records. “Mute is one of the labels I put on a pedestal in my mind, so the fact I was even on their radar was really flattering,” Sohn said in a press release. “And then to think they believed in my music enough to want to work together made me so happy.” Today's Song of the Day is an electropop groove that builds into a radiant burst of synths. The lyrics take inspiration from the 2014 film Ex Machina, the story of a computer programmer interacting with a beautiful robot.  “I had the character of Ex Machina in mind as the voice I was singing from. Her arc in the movie felt really beautiful to me, and I wanted to reach the same ending as her in this song.” Listen to song below, and check out their 2021 Live on KEXP at Home session, too.  Read the full story at KEXP.orgSupport the show: https://www.kexp.org/donateSee omnystudio.com/listener for privacy information.

This week, my guest is music supervisor Lucy Bright.  Lucy started out at Mute Records working with artists such as Nick Cave and Depeche Mode, before moving to Warner Classics for six years and then leaving to manage composer Michael Nyman. She joined the film and TV department of publisher Music Sales (now Wise Music) in 2008 and worked there for a decade. In 2020 she launched her own music publishing company, Bright Notion Music, signing the composers like Anne Nikitin, Jed Kurzel and Tamar-kali Brown. Lucy has supervised some of the most critically-acclaimed British films and TV shows in recent years including The Unloved, The Arbor, Slow West, Southcliffe, McMafia, This is England ‘90, Daphne, The Virtues, The Nest, Life After Life and BAFTA-winning short The Swimmer. Most recently, she has worked on two forthcoming films: Charlotte Wells' directorial debut AFTERSUN, which is showing at this year's London Film Festival and then coming to UK cinemas via MUBI on 18th November, and I can testify it has a truly phenomenal soundtrack and Todd Field's TÁR, set within the world of classical music in which Cate Blanchett plays the first female conductor of a German orchestra.It recently premiered to critical acclaim at the Venice Film Festival and is one of my most hotly anticipated films of the year. We spoke about how Lucy got her start in the music industry and then gradually discovered the role of music supervision, getting her first credit as a music supervisor on Samantha Morton's TV film THE UNLOVED, how she collaborates with directors and other HoDs to build a soundtrack, why certain songs cost more than others, how needle drops happen and what song she is particularly proud of clearing for use in a film…

Today's unique Electronically Yours episode features the sublime and unusual talents of singer/songwriter Polly Saccattergood. Polly released her first single on Mute Records in 2009 since then she has released three studio albums. She has been described as ethereal, dark, intense and quirky, while her musical style has been described as "early 21st century electro-dance-pop of London proper", and she is a creatively daring musical artist of the godhead standard. Ladies and gentlemen - star of BEF Music of Quality and Distinction's Dark - Polly Scattergood... If you can, please support the Electronically Yours podcast via my Patreon: https://www.patreon.com/electronicallyours

1990. Well it certainly was time for the guru, but as the first year of the new decade was drawing to a close, it was time - a little time, if you will - for so much more. And as always, our favourite compilation series was there to capture it all.So volume 18 provided us with the NOW albums second numbered album of 1990 in the shape of big ballads, bigger ballads, pop, rock, dance, indie and even Timmy Mallet. Yes, all life forms were present and correct! Elton was BACK and, with Bernie Taupin, scoring his biggest hit in years (and a first solo No1!). Sinead was rewriting the Prince songbook and music video like no one else could, William Orbit was quietly ushering in the rest of the decade with some fascinating rhythms and Kylie was not only sidling nicely alongside her then boyfriend Michael in INXS, she was riding on the love train somewhere back in time.There were remixes and reissues aplenty too; best of albums for PiL and Talk Talk alongside (are we allowed to say indie dance?) excursions from The Cure, Sting and Suzanne vega were reminding us that the 80s were still a force to be remixed with.And so to step back in time to NOW18 in this episode we are joined by film and TV music supervisor Lucy Bright. Lucy started out at Mute Records working with artists such as Nick Cave and Depeche Mode, she then moved to Warner Classics for six years before leaving to manage composer Michael Nyman.In 2020 Lucy launched her own music publishing company, Bright Notion Music, which currently represents and nurtures some of the world's most influential artists and composers working today. And Lucy has music supervised some of the most critically-acclaimed British films and TV series of recent years: Samantha Morton's directorial debut The Unloved, Charlotte Wells' Cannes winning After Sun and both Shane Meadows's This is England ‘90 and The Virtues.So we can think of no one better to navigate us through an album chock filled with film and TV related tracks! Jeans! Pottery Wheels! Julia Roberts! Bridesmaids! Julian Temple in the desert! Tim Pope in a wardrobe! As well as deciphering these conundrums, Lucy also joyfully revisits her first (and only?) NOW album whilst delighting us with some wonderful and personal stories including guest appearances from Youth, James Mason, Prince (and a chocolate milkshake), Michael Hutchence, Shane Meadows and Holly Knight (she wrote some big songs, oh yes) to name but a few! 1990 - who has time for the guru with all of this going on?Jump straight back in to the wonderfully eclectic and memory packed NOW18! Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

Today's topic was suggested by listener Nick Jewlachow, who thought finding out what the first release on UK label Mute Records would be a good idea.  And he was right! Dig into the story of a label started with a synthesizer, a four track tape recorder and some earnings from film editing. Throw in a little help from Rough Trade Distribution and a classic label was born.  Hit and play and don't hit mute!  Subscribe to Rockin' the Suburbs on Apple Podcasts/iTunes or other podcast platforms, including audioBoom, Spotify, Google Podcasts, Amazon, iHeart, Stitcher and TuneIn. Or listen at SuburbsPod.com. Please rate/review the show on Apple Podcasts and share it with your friends. Visit our website at SuburbsPod.com Email Jim & Patrick at rock@suburbspod.com Follow us on the Twitter, Facebook or Instagram @suburbspod If you're glad or sad or high, call the Suburban Party Line — 612-440-1984. Theme music: "Ascension," originally by Quartjar, covered by Frank Muffin. Visit quartjar.bandcamp.com and frankmuffin.bandcamp.com

This week we have NIK COLK VOID (Factory Floor, Carter Tutti Void, NVPR) and ALEXANDER TUCKER (MICROCORPS, NONEXISTENT, Grumbling Fur) on the show to talk about their new collaboration, BROOD X CYCLES and their debut album, Sleep Nameless Fear (https://state51.greedbag.com/buy/sleep-nameless-fear-0/) – out on 21 June 2022 via The state51 Conspiracy. VELOCITY (https://velocityseattle.com/) PATREON ((https://www.patreon.com/podularmodcast)) Ornament and Crime Video (https://youtu.be/izvy7WAeOQc) TINY CRUSH MIXING (https://tinycrushmixing.com/) SPONSORS After Later Audio:http://afterlateraudio.com/ Patchwerks: https://patchwerks.com/ WAVEFORM MAGAZINE: https://waveformmagazine.com/ ZORX Electronics: https://www.zorxelectronics.com/

This week we talk with world renowned multi-instrumentalist Yann Tiersen (https://www.yanntiersen.com/) about his new album and his current tour! VELOCITY (https://velocityseattle.com/) PATREON ((https://www.patreon.com/podularmodcast)) Ornament and Crime Video (https://youtu.be/izvy7WAeOQc) SPONSORS After Later Audio:http://afterlateraudio.com/ Patchwerks: https://patchwerks.com/ WAVEFORM MAGAZINE: https://waveformmagazine.com/ ZORX Electronics: https://www.zorxelectronics.com/

Mark Stewart is an artist, vocalist, producer and songwriter from Bristol. As a founding member of The Pop Group and as a soloist, Stewart has remained an anarchic and pioneering figure since the punk era, a constant source of discordance amongst the frontiers of post-punk, dub, industrial and electronic music. In a body of work driven by an explosive form of lyricism and inspired by radical politics, protest movements, theory, philosophy, technology, art and poetry, Stewart has fearlessly cultivated a revelatory collision of ideas, ideals and influences throughout an indisputably ground-breaking and seditious career. Empowered by the DIY incentives of punk Stewart initiated The Pop Group in 1977, subsequently producing some of the most original and combative music of both the post-punk and contemporary era. From 1977 until 1980 Stewart led the charge in a group that completely eschewed punk's formalism for something far greater. Producing epiphanic, irrepressible anthems, including She's Beyond Good & Evil and We Are All Prostitutes, both in 1979, as well as masterful, seminal albums including Y in 1979 and For How Much Longer Do We Tolerate Mass Murder? in 1980, The Pop Group ignited the revolutionary aesthetic potential of post-punk. The impact of this first incarnation left an immensely significant legacy ultimately leading to the group's reformation in 2010. With 2015's refined return Citizen Zombie and 2016's audacious left-turn Honeymoon On Mars, the group emphatically renewed their relevance, proving as incendiary as ever. Stewart continues to operate as a crucial impetus in the bands ongoing mission. In 1980 Stewart embarked on his solo career inspired by the sounds he had heard during a visit to New York the same year. The virtuosic scratching and early hip hop propagated by Kiss FM's Kool DJ Red Alert, coupled with the impact of a pile driver at a construction site Stewart happened to encounter there, was enough to encourage his visionary next step. In 1982 Stewart consolidated these encounters into coherent possibilities, forming a group called The Maffia and linking up with producer Adrian Sherwood and his cutting edge label On-U Sound. Alongside a rotating cast of session players, initially comprised of members of African Head Charge, Creation Rebel & Dub Syndicate, and later made up of Doug Wimbish, Keith LeBlanc and Skip McDonald (the erstwhile rhythm section of The Sugarhill Gang) Stewart & The Maffia fashioned an abrasive confection of dub reggae, early hip hop and industrial noise that was shattering, seismic and completely ahead of its time. Headed by an iconic version of William Blake's eponymous ancient poem, Stewart & The Maffia unveiled the Jerusalem EP in 1982, swiftly followed by their cult 1983 LP Learning To Cope With Cowardice. Stewart later moved to Mute Records in 1985 for the ferocious proto-industrial militancy of As The Veneer of Democracy Starts to Fade and successive appearances on the label continued to break untold new ground, from 1987's Mark Stewart to 1990's Metatron and 1995's Control Data. Stewart has continued to plot an utterly uncompromising and individual course into the 2000s, with a streak of solo material that has included Edit, The Politics of Envy, The Exorcism of Envy and Experiments. Preserving his vociferous energy and defiant stance whilst advancing, as always, into unfamiliar territories, this work bears all the traces of Stewart's enduring severity and modernism, an exploratory power reinforced by a host of legendary collaborators and artistic descendants including the likes of Primal Scream, Keith Levene (Public Image Ltd / The Clash), Richard Hell, Kenneth Anger, Daddy G (Massive Attack), Lee ‘Scratch' Perry, The Bug, Kahn (Kahn & Neek, Young Echo) and Factory Floor. Stewart continues to exert an inestimable impact on a disparate range of ensuing artists and scenes. His work has been acknowledged and celebrated as a vital inspiration by the likes of Nick Cave, Trent Reznor (Nine Inch Nails), James Murphy (LCD Soundsystem), Tricky, Massive Attack, St Vincent and countless others, while his eye for unorthodox extremity has instigated myriad new evolutions, blueprinting industrial, trip-hop, noise-hop, dance-punk and many other subsequent conceptions. Through a staunch, unrelenting desire to confront, deconstruct and make anew, Stewart has become of the most influential and forward-looking luminaries of post-punk, or indeed, any other form of music. An artist often imitated but never bettered. Mark's Info https://www.markstewartmusic.com/ https://www.facebook.com/markstewartmusic  

In this Episode Lol and Budgie continue our talk with: Zola Jesus with whom, we discuss:Zola in LA - Seattle and Wisconsin / Sacred Bones and family.A Spiritual Strength to ground you / Zola's black metal box in the woods.Lol imagines a desert commune / A post-punk Kibbutz / Budgie acknowledges strong women.Zola battles the male power dynamic and the Dark Witch Goddess archetypeWomen in music - is it getting better? / Zola and the balance of masculine-feminine traits.Progress in the Present! / Is the record industry any better? / As Deviants, We Always find a Way! Budgie rediscovers Malaria and Berlin's community / Zola is channelling Brian Eno & BowieSo much Good music Then - So much Good music Now! / We are in a Transition period.An Emotionally Fertile Ground for Art Exists Now!Dedicated to: Ariane Daniele Forster - Ari Up (17 January 1962 – 20 October 2010)‘ARKHON ‘ - New Zola Jesus Album May 20 via Sacred Bones“ Stick around and then we'll see ”CONNECT WITH US:Curious Creatures:
Website: https://curiouscreaturespodcast.com
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Instagram: @CuriousCreaturesOfficial  Lol Tolhurst:  Website: http://www.loltolhurst.comFacebook: @officialloltolhurst  Twitter: @LolTolhurst  Instagram: @lol.tolhurst  
Budgie:  Facebook: @budgieofficial  Twitter: @TuWhit2whoo
Instagram: @budgie646Zola Jesus:Website: http://www.zolajesus.comFacebook: @zolajesusofficialInstagram: @zolajesusTwitter: @zolajesusCurious Creatures is a partner of the Double Elvis podcast network. For more of the best music storytelling follow @DoubleElvis on Instagram or search Double Elvis in your podcast app. 

Today's fascinating guest on Electronically Yours is German techno DJ and Mute recording artist Chris Liebing. After three decades working dancefloors with pummelling techno, Chris Liebing has a formidable reputation as a DJ and as a recording artist. His new album shows off his fantastic dancefloor creations and songwriting ability. Highly regarded by Daniel Miller and all at Mute Records, his latest album entitled Another Day is destined to become an underground classic… Ladies and gentlemen – the prince of German techno – Chris Liebing... If you can, please support the Electronically Yours podcast via my Patreon: https://www.patreon.com/electronicallyours

Paul & Tim are joined by Chris Liebing to chat life, career and records, Gareth from Clash magazine looks at the best of 2021, we head to Zagreb for a city report..plus readers letters, news and all your vinyl collecting favourites. Hosts Paul Field and Tim Scullion Editor Tim Scullion Twitter: @WeBuyRecordsPod Twitter: @wmt_network Website: wemadethisnetwork.com

Originally recorded on October 30, 2021, this episode of TNT discusses the haunting Nick Cave & the Bad Seeds album “Murder Ballads,” released in February 1996 on Mute Records.

Germany's Chris Liebing has been a mainstay of the European techno scene since the late '90s, running the CLR and Audio labels and playing music that explores every dark, melancholy, pummeling corner of kickdrum and hi-hat. Upon the release of Liebing's second album for Mute Records, Another Day, we talk about his forays into more chilled realms of electronic music, his formative years at clubs like the Omen and Tresor, Berlin vs. Frankfurt, and the meaning of techno, plus he offers advice for DJs on how to handle anxiety, social media, and promos. Visit RavetotheGrave.org for extras and follow us on Instagram at @ravetothe.grave.

“Boyd Rice is a black pimp.” —Charles Manson “Boyd Rice was my mentor." —Marilyn Manson “Boyd is an iconoclast!” —Anton LaVey, Church of Satan “Boyd Rice could be the next John F. Kennedy or Jesus Christ.” —Kim Fowley “(Boyd Rice) is a bad influence.” —Der Spiegel Referred to by some as “The most dangerous man alive”, Boyd Rice (c. 1956) is a pioneering American artist, occultist, prankster, mystic, social critic, archivist, and provocateur whose impact & influence has penetrated nearly every level of global underground culture; a remarkably brazen and polarizing figure who has courted endless controversy worldwide over a span of more than four decades. Rice initially came to prominence in the 1970s as one of the founders of the “Industrial Music” genre and as one of the first artists signed to Mute Records. He quickly gained a reputation for starkly ritualistic live performances that were regarded as being the most abrasive, minimalistic, dangerous, and blisteringly high volume concerts ever staged. As early as 1980, he was already being hailed as “The Godfather of Noise”. Since then, Rice—a high school dropout raised in a Southern California trailer park—extended his creative pursuits to innumerable fields including visual art, film, literature, photography, acting, interior decoration/design, and culinary arts (taking first prize in the 2012 Denver County Fair Jello molding competition) among other things; something of a Renaissance Man for an age of decadence and decline. In his own words: “My life is a testament to the idea that you can achieve whatever the hell you want if you possess a modicum of creativity, and a certain amount of naivete concerning what is and isn’t possible in this world. I’ve had one man shows of my paintings in New York, but I’m not a painter. I’ve authored several books, but I’m not a writer. I’ve made a living as a recording artist for the last 30 years, but I can’t read a note of music or play an instrument. I’ve somehow managed to make a career out of doing a great number of things I’m in no way qualified to do.” In the 1980s, through his collaborations with Re/Search Publications, Rice further established his position in the underground with recountings of his uproarious pranks and the promotion of “incredibly strange” cult films and “industrial” culture. Rice’s influence on the subculture was further extended through his vanguard exhibition of found photographs and readymade thrift store art, as well as his zealous endorsements and curation of outsider music, totalitarian & military aesthetics, tiki culture (even designing a now defunct tiki bar in Denver, Colorado eponymously named Tiki Boyd’s), and bygone pop culture in general (he’s been an avid collector, outspoken enthusiast, and longtime archivist of myriad forgotten mid-century oddities & treasures). Rice is also notorious for his pu

Jose Gonzalez joins WYCE Music Director Shane German to discuss fatherhood, existentialism & information theory, musical inspirations, and his gorgeous new album "Local Valley"' - which is out now on Mute Records. https://jose-gonzalez.com/ WYCE is an independent, commercial-free, community radio station serving the communities of Grand Rapids, West Michigan, & beyond. Broadcasting on-air programming at 88.1fm, and reaching out to the world through online streaming. Dedicated to providing an eclectic blend of under-represented music. Listener-sponsored, volunteer-powered. http://www.wyce.org WYCE is a proud service of the Grand Rapids Community Media Center. http://www.grcmc.org

Matt Heart Spade & Jinners interview Mona Dehghan, senior director of marketing & project management at Mute Records and founder of Mon Amie Records. They discuss her new compilation The Longest Day (that features songs from a variety of artists to benefit the Alzheimer's Association), New Kids on the Block, the momentary rise of swing music, bands playing college campuses, and much more. For the Repeat/Skip segment, they discuss Morrissey's Maladjusted (1997) and Erasure's Chorus (1991).Follow us on social media:@mixtapememoriespodcast @pantheonpodcasts on Facebook@mixtape.memories on Instagram@MemoriesMixtape @pantheonpods on TwitterVisit mixtapememories.com for links to our Spotify playlists, blog posts and episode extras as well as the wonderful podcast network pantheonpodcasts.com for the episodes! Special thanks to Ryan Mulkey, our technical director who also wrote our theme song and drew our cover art!

from the 2019 album Colours. Reflect. Time. Loss on Mute Records. Support the show: https://www.kexp.org/donateSee omnystudio.com/listener for privacy information.