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Posted On 05.06.2013

New on-line store

Welcome to our new shop at BigCartel! This on-line store temporarily replaces our official site till I get some free time to create new design etc.

Posted On 15.05.2013

Summer Sale (and the living is easy)!

Dear Other Voices friends, enjoy hot weather and great prices! Buy our CD as low as € 8.00 and some of them even lower! Get them all now! We want holidays in the sun too! ;-)

Posted On 11.02.2013

An Interview with Stress

Usually when good and attentive listeners seek to create their own music or art, they fail to avoid exhibiting a strong similarity to their inspirers.

But English duo Stress certainly isn’t such a case, and any attempt to describe their music would turn into an exercise in inventing new genres. Due to their really diverse musical awareness and a conscious resistance to drifting along on the back of any trendy musical “wave”, hybrid descriptions as anarcho-industrial or dark-synth might fit them better than any of the established genres. But instead of wasting my effort on such a questionable and ultimately pointless exercise, I thought it would be better to find out more about the band and its environment directly from its members – Alan Rider and Phil Clarke.
Nattsol: Greetings! To start this interview with, please introduce yourselves to our readers.
Alan: I'm Alan Rider, one half of Stress. I also used to run Adventures in Reality Recordings in the mid 1980's. I put out releases on vinyl and cassette from artists such as SPK, Test Department, Attrition, Bourbonese Qualk, Legendary Pink Dots and, of course, Stress.
Before that I produced a UK fanzine called Adventures in Reality. I also did a live film and slide show for Attrition, wrote for lots of magazines and contributed to other musical and print projects. Aside from Stress, I'm currently working on a book on 1980's UK punk fanzines.
Phil: I'm Phil Clarke, singer, song sequencer and general loudmouth of Stress and Patternclear! I've been doing music on and off for about thirty years now, which is a little strange for someone who doesn't class himself as a musician - I can't just sit down and strum a tune on a guitar or pick one out on a keyboard - but I've always found ways round the problem which have involved technology to a greater or lesser degree.
Nattsol: Alan, according to what can be read at your website, adventuresinreality.co.uk, your musical backgrounds and interests are really wide ranging – on your zine’s pages can be found industrial bands like SPK, Attrition, goth bands like Bauhaus and anarcho-punk/hardcore ones like Flux of Pink Indians and Rudimentary Peni. So, before we move to your personal activity, could you describe the whole musical underground/squat environment in which you started your way? Alan: It all seems quite glamorous to people looking back now at the underground UK music scene in the 1980's, but at the time it was just the way it was. There certainly was a lot going on, both locally in Coventy (where I lived), across the UK, and internationally. My background was from punk really, but as that became very commercialised, I got into the electronic scene. It was never a case of one or the other though. Crass and the other anarchist bands like Flux of Pink Indians were a big influence, as were acts like SPK, Cabaret Voltaire, Suicide. I loved Bauhaus too and was fortunate enough to share mutual friends so got to go to parties at their houses, etc. I knew a lot of different bands, labels and fanzine writers so the scene was as much a personal thing as musical. I guess the bands we were closest to, both personally and musically, were Attrition and Eyeless in Gaza, both of whom were close friends. I shared a house with Martin Bowes at the time, and Phil was part of the Ambivalent Scale collective (who put out early Eyeless in Gaza material). All three of us had done, or were doing, fanzines locally. There was a very wide network of bands, labels and artists across the UK and worldwide too and an alternative distribution network that worked through mail order and stalls at gigs as well as via shops like Rough Trade in London. We even ran our own distribution service for a while in London with Attrition and the Legendary Pink Dots. When I moved to London full time I got more involved with bands who were on the squat scene, such as Bourbonese Qualk and Test Department, but I regularly used to stay with people in London on that scene before that. Our shared house in Coventry used to be a Hells Angels chapter house so it was quite crazy a lot of the time and felt very similar to a squat, but that seemed quite normal to us at the time.

Nattsol: How did you come to the idea of founding the fanzine and what was its conception?
Alan: I have always been very artistic and when I saw a Coventry fanzine (Alternative Sounds - produced by Martin from Attrition) I immediately knew that was what I should be doing. So I did! The first few issues were quite basic, but I always saw it as more than just a traditional punk fanzine and really experimented with format and layout from the start. I would try anything. One issue came in a printed paper bag. Another was a folder with two small zines inside. I included posters, stickers, badges, sweets and tea bags. Most early issues didn't even list what was inside on the cover. You bought it just because it was Adventures in Reality. As the circulation went up I had to make it a bit more conventional and included a cover flexi disc and listed bands on the cover. I never featured a photo of any band on the cover though. The first time I ever did that was for the Stress special edition in 2012 that came with the Conspiracy Theory LP.

Nattsol: How did Adventures of Reality become record label and what are the releases in its catalogue of which you’re most proud?
Alan: The label grew from the fanzine. I was hearing a lot of good unreleased music and rather than just tell people about it, I started to release cassettes of the bands I was writing about too. I am proud of all the releases, but some do stand out. The Last Supper compilation was by far the biggest seller - 1700, which for an independently produced cassette was a lot. It has since become a classic from the time. I'm proud of all the Stress releases too, especially The Big Wheel LP. The Attrition Flexi disc (their first vinyl!), the Attrition Death House cassette, and both of the Irsol cassettes are also highlights. I plan to re-issue some of those . The first Stress cassette album, Help Comes Too Late, has of course just been re-released in 2012 in its original form on Vocoder tapes and sold out on pre-order, so there is still a big interest in them. Material from early Stress cassettes on Adventures in Reality have also been re-mastered and re-released in 2012 in the US as the Conspiracy Theory LP on Dark Entries Records.

Nattsol: To describe your activity within the original Adventures In Reality (1980-1991), could you recall some random things connected with it?
Alan: Lots of things spring to mind. The Adventures in Reality benefit gig with Eyeless in Gaza and Attrition. I was so grateful for them doing that for free to help me out at a time when the magazine was running short of money to continue. Releasing the "Something Stirs" compilation LP (my first vinyl release), cutting the Big Wheel LP in a studio with Paul McCartney recording in the room next door (though he chose not to pop in to say hello), recording the Big Wheel over a snowy weekend and sleeping overnight in the studio with all our equipment, SPK cooking me vegetarian spagetti when I interviewed them then letting me sleep on their sofa as it was too late to get back to Coventry, interviewing Bauhaus, Delta 5 and Pere Ubu backstage at gigs, going to lots of great gigs on the Coventry scene and in London, the fanzine being featured in a national TV documentary, and lots more. There is so much it would take far too long to go through it all. The main thing I remember though is all the great people I met. Everyone was doing things they loved, creating their own unique sounds and not chasing after fame. It felt enough just to be doing it and we never really thought about whether it would be successful or not.

Nattsol: Phil, you also ran a fanzine and you and Alan used to write for each others zines. In order to understand the main purposes of your zines, could you tell, what kind of stuff you could (and did) write for each others zine, and what sort of stuff you could keep only for your own one? Phil: It started off with simply noticing that both of our 'zines existed, initially because they were available through the same alternative bookshop/cafe in Coventry called "The Wedge" and because we wrote to each other, no FB or texting! We contributed opinions and reviews, which lead to a shared edition relatively late in the lifespans of "Damn Latin" and "Adventures In Reality" - by this point, I think we had both tried to broaden the base of what we wrote about and covered away from a purely local focus, so although what we did was different in content it was similar in it's approach and general irreverance! So I don't think there was material that could be thought of as exclusively suitable for DL or A in R and ringfenced as such.
Alan: As Phil says, it was mainly reviews, but it wasn't unusual at the time for zine editors to contribute to each others zines. I used to contribute articles and interviews to other local and national zines Phil used to write reviews for his local newspaper too. Nothing was really planned out, it all happened fairly spontaneously so there wasn't really a selection process for what articles appeared where. The important thing was that they appeared somewhere!

Nattsol: Alan, I know that now you work on the book which covers your early journalistic experience, and seems that something’s going on with the fanzine itself these days. So could you tell what is Adventures In Reality in XXI century? Alan: The fanzine got a brief resurrection when Dark Entries Records asked me to do another edition to go with the Conspiracy Theory LP. I did it in exactly the same way I used to, with glue, scissors, photocopies. That did cause a few problems as their printer couldn't cope with anything not produced digitally. They also couldn't print UK paper sizes, so it had to be re-scaled for US paper sizes. A few pages also had to be cut out due to cost. You can download the full version at adventuresinreality.co.uk though. There are plans to re-print a limited run of early issues of Adventures in Reality too. Aside from that I have no plans to start doing a fanzine again. The scene is very different now and apart from local events magazines, there are not many print fanzines going as it's is hard to sell them anywhere. People want things online now. So in the 21st Century Adventures in Reality will be a website, a label (soon) and a way of doing things rather than a fanzine.

Nattsol: Now let’s move to the main reason of our interview – Stress. How did you meet each other and how did it happen that you started to play together?
Alan: As we've both said earlier, we were both producing local fanzines at the time. Phil's was called Damn Latin. So we saw a lot of each other on the local scene and wrote for each others fanzines. Everyone was in a band it seemed so we thought we had better be in one too. Both Phil and myself had been in short lived bedroom bands before, but when Stress came together it seemed to 'click' although we had very little equipment and no money. We borrowed equipment, recorded in home studios and played a few local gigs. Gradually we got better and got more equipment and started to play live outside of the local area. Having Adventures in Reality as a label helped as we could put material out and Rough Trade would distribute it. Although those early releases are now seen as classics, at the time it was hard to get interest. I spent a lot of effort promoting the band and getting material released. We both had to contribute to the music, with Phil writing the lyrics and handling vocals. It was quite democratic really, with each of us playing to our strengths
Phil: Yes, we seemed to each fall naturally into doing different aspects of writing, playing and promotion. The surprising thing from my point of view is that we picked up the threads of this after more than twenty years as if the intervening time had just been a weekend holiday!

Nattsol: Stress records make the impression that you’d been adhering to raw, but much offbeat sound by choice, and your contribution to cassette culture only puts stress on it. So was it really so, and what were the goals of your approach towards sound? Alan: The sound we got certainly was by choice. We experimented a lot which resulted in the Stress 'sound', which had a distinct split between the more experimental tracks and ones that had more of a song structure with lyrics. That's very unusual. No other band on the scene did that, which set us apart a bit really. We used a combination of keyboards and synths, percussion (such as snare drums, cymbals, Xylophones, electronic percussion, wood blocks or just about anything we could hit!), bass guitar (which I also played with a violin bow sometimes so it sounded like a cello). drum machines, cut ups, vocals, sequencers. That all combined to make a very distinctive 'Stress' sound at times. Our approach really was to try anything, and if it sounded good, use it. That wasn't linked to cassette culture. That was just the means of releasing the music and the great thing was that we could keep control and do it ourselves
Phil: The finer details inevitably got shaved off and streamlined as we went along: Part of the sound (or the minimal aspect of it) was involved with the technical limitations of the analogue technology we used, e.g. different 4-track cassette-based recorders and Roland's synchronisation system which would be viewed as Stone Age compared to the software based systems of today.

Nattsol: In an 80’s interview you stated that Stress was a political band. What did you mean by that?
Alan: I can't remember which one of us said that, but it is certainly true. By political we meant that we covered serious topics such as the work ethic, depression, exploitation, war - all good stuff. In interviews we had much more to say than many other bands. That's because we saw how stupid and easily manipulated people are by the media and politicians. If anything it is worse now than it was back then, as the media is more dominant in peoples lives. All politicians are corrupt and all businesses only really care about making money, not about what affect it might have on society or peoples lives. We've seen that very starkly in the recent banking crisis where the poor are paying for the mistakes of the rich and powerful. It has always been like that, but it's a far more meaningful thing to sing about than a love song. We were, and still are, political in that we care about this and it still makes us angry that nothing seems to have changed.
Phil: Politically motivated in a broader sense, but not in a Party Political sense. No party has all the answers, and everything's been tried from far right through the middle and over to far left. I'm naturally attracted to left-wing views, but I became disillusioned with the Labour Party with Blair in the 90's so I tend to vote Green now as a protest and because they're closest to my views on the environment and sustainability.

Nattsol: What was Stress on stage and what were the bands you shared the stage with?
Alan: It was the two of us trying to play as much as we could live. That was never easy to do and we only played about 10 gigs in total. We had slides projected behind us, but I wouldn't say we had a 'show' as such. If we did it now I am sure we would make a far better job of it, but we had to do whatever we could afford to do at the time. We had no transport of our own so sometimes we would even use the bus to get to gigs! We played quite a few gigs with Attrition, and other local bands. Our farewell gig was headlining a two day music festival I arranged with Kleo Kay in London. There are a few live recordings surviving, but the sound quality is poor as they were mainly recorded on mono cassette players and have a lot of crowd noise. I'm sure some of them will come out eventually though. Unfortunately we have no video footage of any gig. That's a shame as I would have liked to have seen how we looked back then.
Phil: Maybe that's a blessing in disguise! My experience of playing live was partly of a cathartic release and partly of sheer terror - I remember going blank on the lyric I was on once and forcing myself to remember each word as I sang it - uncomfortable, to say the least!

Nattsol: Alan, you did live visuals for such bands as Legendary Pink Dots and Attrition, but what was the importance of the visual side for Stress?
Alan: Very important in that we always used images that had a lot of thought behind them. We both did visuals and Phil did some very good visuals and lyric sheets for Stress so I will let him explain...
Phil: The visual side was always important, as we didn't trade on Stress being us striking a pose (although it didn't stop us staring meaningfully into the mid-distance during photo sessions!) but on providing visual prompts which ran with, or against, the lyrical flow of the songs; I think this sprang from our mutual experience with fanzines, a kind of development and continuation of the page layouts we used.

Nattsol: To get the ideas behind Stress more clear, which of non-musical works of art (like books, films, paintings etc) you could compare this project with?
Alan: That's a very difficult question to answer and I'm sure Phil and I will answer differently! Art wise, I was (and still a) a big fan of the Italian Futurists and their confrontational style, but not their politics. Anti nazi photocollager John Heartfield was another big influence as was a number of pop art artists. Film wise, I wouldn't say there was any overall influence, apart from City of the Dead, where the clips for the track Elizabeth Selwyn came from, of course. I love Quentin Tarantino myself but who doesn't? At the time it was more David Lynch films like Eraserhead and Blue Velvet. I loved Apocolypse Now, Rollerball and Escape from New York or anything by John Carpenter, especially because he did some great electronic soundtracks. I wouldn't compare Stress to any of those though.
Phil: I think Alan's pretty much summed-up that it's a pretty diverse mixture of things we've felt an affinity with, it's more the feel of them and their attitude that have influenced what we've produced. I like Surrealism and Dada because it's subversive and wilfully strange, like a parallel universe where familiar things have hidden meanings or no meaning at all.

Nattsol: How and why did it happen that Stress broke up?
Alan: There is always some tensions at play in any creative project and I guess that contributed, but it was more to do with what was going on in our personal lives, where we were living, and what we wanted to do. We kept in regular touch over the years after Stress and even recorded more tracks in 1991. In some ways it might have been for the best as it meant the project was complete. Now that the material is all coming out again it almost feels like we are re-forming and there is nothing to stop us recording new material if we wanted to. Who knows?, it may already have happened!
Phil: I came back into this with an open mind, but I didn't want us to simply be curators at a museum of our past endeavors, blowing the cobwebs off our creativity. For me, Stress classifies as unfinished business and it'll be fascinating to see what happens rather than having that terrible question What If? hanging in the air between us like the Sword of Damocles for the rest of our lives.

Nattsol: Alan, after Stress you formed Dance Naked with Garden of Delight’s Kleo Kay. Could you introduce this band to our readers?
Alan: I formed Dance Naked with Kleo and two others from Garden of Delights (who supported us at our final gig) almost immediately after Stress split. I just wanted to quickly do something new and different and not wait. It was very different from Stress as it was a 4 peice and we did much more live work. We looked very Goth and were a part of that scene (which was new at that time and very different to what it later became). We recorded and released one cassette album, which will be re-issued one day on CD or LP and were featured in a lot of fanzines and magazines. It was more like a conventional band, but we had great fun doing it. There are some tracks on Youtube that fans have uploaded but you will need to search carefully for them as when you do a search on 'Dance Naked' all you get is porn! Quite appropriate really.

Nattsol: Phil, and you, as far as I got it, eventually ended up with releasing your own music under the name Patternclear, right? Could you tell more about it and other your post-Stress activity?
Phil: I started doing my own solo project around 1990/91 after a four or five year gap after Stress: Initially, that was under my own name, which sounded a bit bland and obvious, so I changed it to Patternclear. At that time, it was relatively easy to appear on cassette compilations from different countries, and after a few years I graduated onto CDs - the music itself was still divided into a "pop song" format and a "soundscape" format, much as it had been with Stress's "Light" and "Shade" sides, but with more of a Techno and World Music feel to it. It all went pretty well up to and including the release of my second album "Beat Supremacy" in 1995 through "Vuz Records" in Germany, I had good pre-orders and I was expecting it to lead to bigger things and unfortunately they didn't - no-one's fault really, but I blamed myself and didn't touch music again until a couple of years ago. I couldn't even listen to anything with a beat to it for much of the rest of the nineties! But now, I have two sets of back catalogue with two different projects with the option of contributing further material to either, so it's quite a good position to be in.

Nattsol: In 2012-13 Stress music is re-released in Russia, UK and US on vinyl, CD and cassette. In your opinion, what makes Stress still relevant not only in the native country, but also, outside of it?
Alan: I've said in other interviews that I think Stress is actually more relevant now than it was before, as there seems to be far more acceptance of the status quo than there was before. Nothing really seems to have changed a lot. Power is still in the hands of the same people as before and big business still runs the world. We are spied upon more now an with the rise of Facebook there is less privacy than before. I don't see Stress as being something that is only relevant to the UK either. The subjects of the songs are universal really. It does surprise me that there is such an interest in Stress, even with the great interest in everything from the 1980's. It's great that there is the opportunity to re-issue Stress material in new forms as many of the early recordings are now rare. It gives us the chance to make recordings that deserve a wider audience available again. There are quite a few tracks on the Big Wheel CD that are rare, but should have been more widely released. Now they are.
Phil: It's amazing that there's been so much interest shown after all this time, I've been quite taken aback by it. The technology we have to hand now (both in a recording sense and in a publicity/dissemination sense) would have seemed like something from a Science Fiction novel to our younger selves but it fits in with our worldview and wider objectives.

Nattsol: Let’s focus on the Other Voices reissue of The Big Wheel. Could you tell more about this work and its re-release?
Alan: The Big Wheel was the culmination of the Stress story in a way. It did well at the time and has since become a classic of the genre. I approached Other Voices about re-releasing it on CD and they said yes straight away. We added some extra tracks from the time and went into Attrition's studio to master it. Oleg from Other Voices also wanted to issue a cassette version, which it never came out on at the time, so I thought that was a great idea. A red vinyl version is planned too, which I do hope happens as it will bring the story full circle, right back to vinyl.

Nattsol: Is there something that you expect from The Big Wheel reissue, and do you have plans for other reissues of your music?
Alan: Well I just hope that it does well, both for Other Voices and for us. That's it really, nothing surprising. That and the Dark Entries LP last year has opened up a few doors for us and it is good to have the chance to re-issue Stress material. Fairly soon almost all of the material Stress originally recorded will have been re-released in some form or other, so we are talking about other projects for the future Phil: Indeed! We're just taking it as it comes and seeing what happens - I'll give it until at least 2015 before we're duelling with pistols at dawn in Hyde Park!

Nattsol: “But why exist without a hope that what you do will lead to somewhere? And, even if I fail, I can at least say that I tried” - these are the words from Stress song Nothing New. For me it sounds like the attempt to reflect sincere emotions and not to pretend to be “new” and “original”, creating this fragile originality in an artificial way. So, do you think that the “Nothing New” era still goes on?
Alan: I will let Phil answer that question as he wrote those lyrics....
Phil: I think what I was getting at with the lyric was to not have excuses for laziness, apathy and despair: Just because there literally is nothing new to discover (just things to rediscover and to recombine elements of in different configurations) it doesn't mean we should switch off and not bother to do anything.

Nattsol: And what’s your opinion about the modern music? (if you think there is any “modern” music at all)
Alan: I don't really like to use the term "modern music" as that implies everything else is "old" music. Most music is a combination of old and new anyway, building on what went before, so making that distinction is false. That does make it harder and harder now to come up with anything very original, which is why I think there is such an interest in the music from the 80's, when electronic music was still developing. I don't think many people would disagree with me when I say that there is not a lot of originality around now in music and experimentation is actually quite rare. The ease of putting music out has meant there is a lot out there on the web and through Facebook, but most of it sounds a lot like each other so it's hard to get very excited about it. I tend to dip in and out of different styles of music. I can listen quite happily to electronic, rock or ethnic music. It all depends how I feel. One thing I really hate though are those iPad Apps that claim to make anyone a musician simply by stitching together samples of drums and guitar phrases. That's like saying tracing a famous painting makes you as good as the original artist. That's not helping anyone to be creative. The music I tend to prefer now is put out on very small labels like Scrapmag or Vocoder and acts like Spatial Relation where they are doing it for themselves in a very DIY fashion. That's far more honest.
Phil: Up until recently, I would have said that most of my influences and likings in music were from the 20th Century, I'd started to think that nothing could enthuse me in the same way as the bands I wrote about and went to see in the 1970's and '80's; Now I have a mixed record collection from different eras, still on CDs because I'm a "hard copy" fan rather than a downloader, and my current favourites are "Elbow" and "I Am Kloot" both of whom are from Manchester (like The Fall and Joy Division) and both of whom are incredibly good in unconventional and inventive ways. Then there are mainstreamers like Snow Patrol, Vampire Weekend, Bat For Lashes and Florence & The Machine if I'm feeling less reflective!

Nattsol: In the 2011 interview you stated that politically and socially there’s nearly the same situation as in the Thatcher’s era. In your opinion, is this to be changed somehow, or creation of such environment is in the society’s nature?
Alan: I think it is almost inevitable. Revolutions have failed to change things in the past, or made them worse, so there is little chance of anything changing radically, but peo!-- .style1 { color: #D4D0C8 } --ple can do a lot by changing the way they think and react. Intelligence is the most precious thing we have, and with it the ability to question and reason and not just accept everything that is fed to us by others. That's what scares people in power. Ordinary people thinking for themselves and questioning things. That terrifies them and that's why everyone should be thinking for themselves, creating things themselves.
Phil: Vive la difference! I've always been contrary by nature, but that's not to be deliberately awkward and bloody-minded, it's just how I am. I think we are guided (rather than overtly brainwashed) in our views as a civilisation by the powers that be: Whether that manipulation is beneficial or malign depends on who's doing it, but it's rarely subtle. For instance, at the risk of sounding like a conspiracy theorist (lol!) I think that the gender divide between the sexes is deliberately emphasised to make us more easily targetable by companies and interests which want to part us from our money - this pigeonholing of sections of the population by demographic is often simplistic and lowbrow, it actually insults how complicated and conflicted we are as people by trying to cram us all into the same little boxes.

Nattsol: Thanks for the interview! And the last ‘free’ question – if you were to ask our readers something, what question could it be?
Alan: It would be what are you doing with your life? and are you really happy with the way you are living it? And if not, can you try to change it?

Phil: What are you doing reading about us when you could be doing something just as valid yourselves?
Questions: Pavel ‘Nattsol’ Zarutskiy
Specially for Other Voices Records

Posted On 29.01.2013

Stress

Posted On 24.11.2012

Lust For Youth

Posted On 12.10.2012

Alive and Kicking

Well, well, well. After the quite long period of silence and frustration associated with my personal and financial problems I finally found some strength and will to back to life and thrilled to announce you some details on forthcoming Other Voices products.
As you probably already know Parade Ground tape had great succsess and we got big demand for it so we decided to reissue it on CD.
Stress 'The Big Wheel' CD / LP in preparation now as well as ADN' Ckrystall CD.
The new addition to our roster and the band for which we are keeping a close eye is Soft Riot from the UK. Drawing inspiration from synthesizer-based film soundtracks of yesteryear, drones, early EBM, minimal synth, a dose of psychedelic synthpop and a heavy dose of throbbing appregiated rhythms, Soft Riot is a science-fiction heavy soundscape that narrates the listener through today’s fractured, excessive landscape with hints of black humour. CD / LP/Tape are planned for the end of this year. More soon...

Posted On 14.08.2012

Lust For Youth

Posted On 25.05.2012

The Silicon Scientist

Posted On 28.01.2012

Tobias Bernstrup vinyl edition

Tobias Bernstrup vinyl

Late 2011 we released an extra limited tape from Swedish visual and sound artist Tobias Berstrup which was a great success. Originally released just for fun and was a kind of appetizer before CD release, all cassettes were immediately sold out and people still ask for it! This gave us a great enthusiasm to go further with it. Apart from CD we prepare a special vinyl edition. LP comes on white vinyl and limited to only 300 copies worldwide. We are very much looking forward to this release as it is something really exciting and new to us.
You can pre-order your own copy right now!

Posted On 27.01.2012

Cinemascope Album Preview

Cinemascope is a Greek dark/cold/synth wave band and also the brainchild of Leo Skiadas, a well known dark alternative club / radio dj and concert promoter of the Greek underground / dark alternative scene. And even though Leo is a man with an updated music taste listening and promoting a lot of various music styles when it comes to Cinemascope his love for the wave music of the 80’s is what prevails.
So, it is not a secret that Cinemascope‘s debut album Stains of Love has it’s roots at the 80’s wave bands but a closer look shall make you feel that there is a strong connection with today’s indie music scene as well.

Posted On 25.01.2012

Back to business

Long (well very long) holiday season is finally over and we return to business. As you may know (may not) Tobias Bernstrup tape is sold out now and we await for CD verion mid February. We keep in mind every preorder you made and will ship this item to you as soon as it is released!
The Silicon Scientist release scheduled for January 2012 is delayed till very end of February or early March. Stefan promised us to finish master very soon.

Posted On 17.11.2011

New releases: Eleven Pond CD and Tobias Bernstrup extra limited cassette

We are proud to present you two new releases on Other Voices Record. First one is long awaited CD version of Bas-Relief album from Eleven Pond.



And the second one is tape version of Tobias Bernstrup's Sing My Body Electric album. Tape comes with two bonus tracks and strictly limited to 50 copies worldwide!

Posted On 15.09.2011

Out Now

indians in moscow

Indians In Moscow limited edition CD available now directly from our site. Thank you to all fans around the globe for being so patient! Special thank you goes to those who had faith in us and pre-ordered this album before its release date! You know who you are. Keep on supporting indie scene!

Posted On 06.09.2011

An Interview with Stuart Walton of Indians in Moscow

Well, Indians In Moscow CD is almost ready and for you, yet unknown with this fantastic band here's some story...

Hello Stuart, please tell us where are you all came from? What's your background?  What music inspired you in your teenage years?

We’re all from a small town on the East Yorkshire coast, called Hornsea. A place of Victorian seaside whimsy, fish and chips and amusement arcades and that pretty much influenced us as much as Bowie, Eno and Tubeway Army. When we got together in 1981, synthesisers had become cheaper and quite a few bands began appearing brandishing Moogs instead of guitars, particularly in the north of England, The Human League, Cabaret Voltaire, OMD etc, and we ended up being part of that. 

Was Indians in Moscow your first band? 

  No, I played guitar in a New Wave/Pop band, which I joined when still at school; we released a single but never got anywhere.

How did you meet the other band members? 

  We’re all from the same town so we all knew each other, but were all in different bands. At that time there was  A vibrant music scene in the area and it seemed like everyone was in a band. I bought an old synth from Pete (Riches) when he upgraded to the ARP Odyssey, The Gibson Les Paul of synthesisers, and after tinkering for a bit gave up the guitar. Pete and Adele (Nozedar) were in a band which wasn’t really happening, so I got together with them to start something new, which after a couple of personnel and name changes, became Indians in Moscow.

Where did the name come from? Why Indians, why in Moscow? ))) 

  It came from the song of the same name. It has to do with confusion, displacement, and being at odds with the world. Apparently. There’s no particular relevance to Indians or Moscow, I guess it just sounded good.

Do you remember the first show? 

  I do, I even have a tape of it! We supported International Rescue in the seaside town of Bridlington; it was a short set consisting of all the songs we’d written thus far. We were never the greatest live band and even though we were only one fingered synth players, that one finger, though playing the right notes, had the unfortunate tendency to not necessarily play them in the right order. The curse of Butterfinger as it was known. I have quite a few live recordings and I’m now compiling the best versions for release, butterfingers notwithstanding. There’s a number of songs we played live that were never recorded. 

Some of your songs have strange lyrics, well at least for pop band. What were the inspirations for your lyrics? 

  That’s probably a question for Adele, she wrote all the band’s lyrics. We wanted to steer clear of typical song subjects, less girl meets boy and more girl meets dead priest and kills father. Here’s a quote from one of our old press releases: INDIANS IN MOSCOW create music for modern savages. “We don’t write love songs” says Adele, the band’s lyricist  “it sounds somehow insincere, I prefer not to soothe people’s emotions by indulging in Cliché, but to excite their imagination by encouraging them to dream”
So there you have it. Though we often wondered what went on at planet Adele… 



Indians In Moscow released just one full-length LP with the original line up and then split up shortly afterwards. Can you tell us what happened?

  The crux of it was essentially management interference. Almost as soon as we secured management we were getting pressured into having a guitarist in the band which myself and Pete in particular where dead against. We weren’t averse to using guitars (I played guitar on a number of our recordings) it was just that we felt it was down to us whether we wanted to include a guitar part or not. When you have a full time member then guitar gets added to everything. We had many arguments about this over many months, and eventually relented and got someone in for the 84 tour. Apart from Jack Pelter (On which I played guitar) all the other guitar parts on the album were added after we had split up. I personally dislike most of it, because coupled with the big clattering drum machines (also added afterwards) it significantly changed our sound and now makes the whole thing sound dated. I much prefer our original versions (on the ‘Don’t Bite Me There! Album) which have a lightness of touch and still sound fresh today.

We seemed to be having quite a few disagreements with the managers, particularly over the way Adele was being treated differently to the rest of us, doing solo photo shoots, solo interviews, being taken to gigs separately etc, nothing necessarily wrong with that, but when there’s a lack of communication, resentments can build up. Eventually it all came to a head and the managers, instead of valuing the unique blend of personalities that go into making a successful band and trying to smooth things over, thought they could just get rid of me Pete and Rich, put a new band round Adele and carry on where we left off. Unfortunately it doesn’t work like that and the whole thing tanked.

It’s a great shame really because the material we were coming up with before we split was easily the best stuff we wrote. We’d have made a stonking second album. At least we still have demos of some of it.

The UK gave birth to many creative artists over the years. Some of them became popular Worldwide, some (unfortunately) not. Do you remember some of those bands from the 80s and can you recommend any to those who’ve just discovered this scene? 

  There was a lot of great bands around then, some of whom are still around today but I would check out early albums by The Human League, Blancmange, Cabaret Voltaire, Thomas Dolby, Tubeway Army (Gary Numan) and OMD, as well as artists like Family Fodder, Devo, Wire, Music for Pleasure, Punishment of Luxury, Kissing the Pink, Soft Cell, and especially my favourites, Cardiacs and Frank Zappa.

Anyone seriously into electronic music should also check out Walter Carlos and Tomita. They made incredible electronic albums of classical music in the 1970’s. Tomita’s version of ‘Pictures at an Exhibition’ by Mussorgsky is my favourite ever album and influenced me a lot when we started Indians in Moscow

International Rescue and fellow Hornsea band, The Vets have reformed and are worth tracking down on facebook. The Vets guitarist Neil was in Indians for a while.

How do you feel about the new wave of the new wave of the new wave? )))) I mean all that renewed interest in early 80s music 

  There’s nothing wrong with going back and discovering great music from the past. Everything goes round in cycles but I haven’t really paid that much attention to the new wave of 80’s influenced artists except perhaps, Gary Le Strange.

What music are you listening to nowadays? 

  I listen to a wide variety of stuff from Punk and new wave to country music, 70’s Prog Rock and Glitch Electronica. You can find great music in any genre. There are only really two types of music: Good Music and Bad Music.  

  Can you tell us about your current musical project and plans for the near future?

I’m now in a band called The Bloogs, in which I play guitar as well as record and produce. It’s about as far from the Indians sound as you can get as it doesn’t feature synths, drum machines or strange lady vocalists. It’s classic British Pop/Rock in the tradition of The Who, Blur, Beatles, Keiser Chiefs and Cockney Rebel. I’m really enjoying rocking out for a change instead of having to program beats. We have a single out called ‘Sideways’
I’m also preparing more Indians in Moscow stuff for release. As well as an album of demos and odd recordings, I’m also compiling a live album in the Frank Zappa tradition of editing, enhancing, segueing and overdubbing, to create a ‘virtual’ Indians in Moscow concert and there’ll also be hopefully, a remix album.
The bottom of the barrel will then have been well and truly scraped.

Posted On 24.08.2011

Shop updates

Now we are glad to offer you some great vinyls from Dark Entries Records (US). Stock is limited, so act fast!

Posted On 23.08.2011

The Silicon Scientist "Windows on the World" album teaser

Posted On 19.08.2011

An Interview with Jeff Gallea of Eleven Pond

In anticipation of the CD version of Eleven Pond's Bas Relief cult album we offer you recent Jeff's interview for the Grave Jubes zine

Nattsol: Greetings, Jeff! First question is traditional for "Grave Jibes" - please, introduce yourself in the way you like.
Jeff: Hello GraveJibes, I'm Jeff from Eleven Pond. We were a mid 80's post-punk dark-wave band out of Upstate New York. Thanks for writing to me Nattso! I'm in Los Angeles on my mac at a beach cafe watching surfer girls... and you're somewhere over in Russia? OK. Cool.

Nattsol: I know you and your "Eleven Pond" bandmates were inspired by 4AD and Factory whereas the USA are formost known by the deathrock scene. So could you describe this "dark punk" atmosphere in the USA of the 80's?
Jeff: The punk/dark-wave/new-wave scene in New York City back in the 80's was amazing! So much great music and style coming out of NYC in the 80's!!!... But I lived in a shitty little city (town) called Rochester NY about 6 hours from NYC. We lived in the shadow of the creative big apple NYC. Our little scene was heavily influenced by the NYC+London scene. Yet we tried to create our own identity. The scene was filled with mostly beginner punk/new wave/dark wave/psycho punk bands. Lots of very young cute girls and boys came out to see this scene at night. There were about 2 or 3 clubs letting this type of music go on stage. The drinking age was 18 but the clubs also let in 16 and 17 year olds. They let us play late into the night. And the police left us alone because the club owners paid off the cops. The weekend scene was filled with car sex, booze, speed pills, cocaine and late night breakfast. Yes, it was a bit wild, but also very innocent. There was no Aids disease yet... kids didn't carry guns... People were more forgiving. If you were a nerd or a disco girl or a rock+roll guy or a blues dude, you were still welcome in our scene. We just wanted to play live. We didn't care who showed up. We were pissed off about growing up in such a creative void and we just wanted our songs to be heard.

Nattsol: How have you become a musician yourself? I know you were a leader of the band, called "Red Violet Red", - could you tell me about this band? And did you have earlier projects?
Jeff: My parents forced me to play piano as a kid! Hahaha! Funny shit. But I wanted to be a guitarist. In time I taught myself guitar, bass, synthesizer and sound engineering. The bands I formed that ended up making records or cassettes with GAME HEN RECORDS were: THE OBSERVERS ( 7" single 1984) was a psycho-surf punk band that I sang and played guitar, influenced by the Cramps. RED VIOLET RED ( 8 song cassette release in 1985, and a 12" single released in 1985) a synth wave band influenced by Tears For Fears and The The. SPACE TRIO ( 6 song cassette release in 1985, 4 song 12" EP in 1985) the downtempo dark-wave experimental noise duo of Dan Brumley+ myself. influenced by 4AD records. ELEVEN POND ( 11 song 12" LP called "Bas Relief" released in 1986, the reissued by Dark Entries in 2009, and an unreleased 2nd album called "Assemblage" that is sitting on the shelf in my living room waiting for a label to release it!!!) Eleven POnd was influenced by 4AD, New Order, Joy Division, The Smiths... Original vinyl copies of the RED VIOLET RED 12" sell on eBay for about $500... and original vinyl copies of ELEVEN POND~Bas Relief sell for about $900!!! Crazy how the record collectors are now.

Nattsol: And apart from the recent re-release, is there anything of your bands to be found nowadays?
Jeff: ELEVEN POND got so close to 'the golden ring' that when the band fell apart, I fell apart emotionally. We had so many great gigs, the video for the song 'Portugal' was on MTV, it looked so good for us... Then it all caved in... So I took a 23 break from music. No bands. Nothing. I just did art. Then in 2009 people started emailing me about how to find the 'Bas Relief' vinyl LP? That got me going. I started playing music again. So I asked a pretty Russian girl named Evgenia that I met at the LACMA art gallery if she wanted to sing in a band? She was singing with her iPod on, and she had a really great voice. She was open to trying. So in 48 hours we recorded 2 songs and made a 2 videos as a band called FEMKA PROJECT. Our sound was dark synth-pop. We were loosly styled after the Russian band EMPLOSIA: http://www.youtube.com/watch?v=T_-h6RrIYHg , http://www.youtube.com/watch?v=68dCiCh3TF4 ...but Evgenia had to leave the USA for visa reasons. She lives in Moscow now. After she left I was excited to do music again, so I posted an internet ad for a female singer and started working with a control freak named Carol. We recorded 5 songs and made 4 videos, but Carol was such a nightmare to work with, so we broke up. http://www.youtube.com/watch?v=oCbshSLk2Bs http://www.youtube.com/watch?v=jzodfYPSzI8&feature=related ...Now I've reformed ELEVEN POND and am preparing for a solo show in many cities that I have been invited to play in. I changed the sound a bit since I'm solo. I'm going for a dark synth/dance feel with a strong minimal-wave sound. In the future I hope to find a guitarist who can also sing. I'm looking in many different cities. Then I'll set up gigs in those cities and play live. It's not normal, but its a creative way to keep it fresh for me. I have no interest on doing some 6 month 'tour' on the road with 4 or 5 smelly guys living in a tour bus. I'm way too old for that crap. I'm looking for a cool guitarist in Brooklyn, San Francisco, London, Moscow, Berlin and Tokyo.


Nattsol: Were there some goth/wave bands you kept in touch or shared the stage with, at the time?
Jeff: Back in the 80's ELEVEN POND played with a wide variety of bands. We played opening shows for Kajagoogoo, Modern English, The Jam, Love And Rockets... We drank and did drugs back stage with Iggy Pop, Adam Ant, Joey Ramone, Dave Gahan... Recently a few older 80's guys have moved to LA and I've spent time with them chatting over coffee (no drugs or alcohol anymore) like Martin Gore from Depeche Mode (he lives 2 hours north of me in Santa Barbara), Billy Idol up in the LA canyons, Daniel Ash from Love And Rockets (he's a DJ here in LA). They are all so normal now!

Nattsol: Ok, May be you can recall some particular stories/situations/meetings which happened on your musical way and which can reflect the atmosphere of the time?
Jeff: The 80's goth/dark wave/new wave scene wasn't so labeled. There was a lot of crossover in the crowd. And most of the best alternative music was happening at gay bars. So the scene was a real mix of weirdo's who liked to watch, gays who craved attention, yuppies looking to do coke at dive bars, punks looking to get drunk and act insane, and goths who at the time were more shoe-gazers than what the modern goth is now... and everyone got along. I remember doing a show in Buffalo and Cher and her boyfriend (some magician) came to the punk club and saw the 2nd half of our show. The crowd gave her a mixed reception... the gay guys loved her, the goth/dark wavers ignored her, and the punks threw beer at her untill she left. When she walked to her limo, her boyfriend slipped on the ice and threatened to sue the club. The crowd outside just ignored them. I think the 80's crowds knew they were the main attraction and didn't want some lame-ass celebrity steeling the attention.

Nattsol: You told that now you perform alone, but who were the musicians of the original Eleven Pond line-up? And why had it happened that you broke up with them and didn't invite to take a part in the reunion?
Jeff: James Tabbi- lead vocals, lyrics writing and melodica (James owns a giant electronics company now that supplies the army with technical missile parts) Dan Brumley- synthesizers (Dan lives in the woods with no internet) Jack Schaeffer- lead guitar (Jack owns a bagel shop and baked bread at 5 am every day) Tim Masik- live drums (Tim is a comedian in New York City) me [Jeff Gallea]- I wrote all the music and played bass and bass synthesizer. I invited James to be a part of the reunion, but he is a company man with children. ELEVEN POND was basically him and I. The other guys helped to form the sound.



Nattsol: You had several projects, and still, consider Eleven Pond as the most important for you. Why?
Jeff: ELEVEN POND was a magical band. We were way ahead of our time for Upstate New York. The songs were amazing. The melodies were so memorable. The lyrics were beautiful poetry. Because the raw talent was all there, no one in the band was any less than amazing... I had been writing songs for 5 years and had a huge collection of new-wave synth-pop music to choose from, James was in his vocal prime and was very confident and very handsome, Jack Schaeffer was a classically trained guitarist (I went to high school with Jack) who could play any style and never made mistakes, Dan was a trumpet player/synthesizer wizard (I went to art school with Dan) who could create any electronic sound, and Tim was a live electronic drummer who was still in high school and loved our band. I couldn't recreate that combination of people if I had a million dollars to do it. It just happened by accident. Every other project I've worked on before, or after, always had it's limitations... ELEVEN POND had no limits... only our egos.

Nattsol: So, correct me if I'm wrong, but Eleven Pond has two studio albums (one of which hasn't been released so far) and the videoclip. What can you tell about these works?
Jeff: We recorded the two ELEVEN POND albums in an abandoned swimming pool in Rochester called The Hamster Cage. The video was made by an unknown film student at the Rochester Institute Of Technology. We were just following the standard path most bands followed... record an album, make a music video of the hit song.

Nattsol: How did Eleven Pond split?
Jeff: James Tabbi and I didn't see eye-to-eye for our future. I wanted to move to NYC and do more synth-pop songs. James wanted to more IMB and industrial style songs. Then I opened a dance club called Club Zero so I started to put my creative energy into the dance club. Also one other ELEVEN POND band member had married a Sex Dominatrixes and didn't know it. They divorced and it affected his happiness.

Nattsol: What do you think about the re-release of "Bas Relief" by "Dark Entries"? How did it happen that it's reissued now?
Jeff: The reissue is great! Josh Cheon from Dark Entries did a fantastic job at getting a wonderful package together. He got a good engineer to remaster the original tapes, we did a silkscreened cover together ion San Francisco, and he put good energy into blogs and promotion. He found me by his friends blog that posted Bas Relief and wrote about ELEVEN POND. We hooked up and I liked him , so I decided to let him reissue the songs. The rest is history :)

Nattsol: Had you really been silent as musicians during all those years after the split? Actually, it's a bit hard to believe in it.
Jeff: It's true. I played bass in a few rock bands just to keep my bass playing skills up to date, but yes, I gave up songwriting and playing my original music for about 22 or 23 years. I was just so disappointed. I just turned my back on it. I have lots of musician friends and they always need bass players. So I just bounced around from band to band. The last ridiculous hipster rock band I was in before I started to take music serious again was a rock-a-billy band called The Cocktail Shakers. SO idiotic. I eventually got kicked out of the band for not having any tattoos and verbally torturing the lead guitarist who actually thought rock-a-billy was going to come back?! I guess most musicians are idealistic and blind to their own ridiculousness.

Nattsol: Have you been aware of the dark scene after the quit of Eleven Pond? Comparing the original post-punk and minimal synth with the contemporary ones, what can you say?
Jeff: Yes, I started going to goth clubs, dark wave clubs, new wave clubs and synth-pop clubs back in the 80's and I haven't stopped. I didn't go to that many punk shows because I liked dating girls. And the 80's and 90's punk scene in the USA had no girls! Well a few, but they were rough at best. I tended to chase the model types. They hated punk, so I also stayed away. The new dark wave and minimal synth coming out is really great! It's a mix of new style, new singers and 80's synth tones. People just dig 80's synths and drum computers.

Nattsol: Does the reformed Eleven Pond have some results to tell about?
Jeff: Yes, I have written 10 new songs for an album and I'm recording them. But I'm not sure what path to take? I could release the 1987 recordings as a separate album called "ASSEMBLAGE" (the idea for our 2nd release before we broke up) ... or put 5 songs from "ASSEMBLAGE" on the A-side, and 5 songs from the new material on the B-side? I was going to c/embedall the new release "QUARTER DECADE" because it has been almost 25 years since I played in the original ELEVEN POND.

Nattsol: What's common and different between old and new Eleven Pond?
Jeff: I an writing and performing a more minimal-synth, dark/wave sound. I sound similar to the songs Watching Trees and Ignorant Father, but not like the song Moving Nowhere. And I sound very different from the Assemblage songs! They sound like Art OF Noise. The new ELEVEN POND sounds more like Martial Cantarel or very early Human League.

Nattsol: And what about the plans of the project for the nearest future?
Jeff: I want to film a documentary about the minimal synth scene in the USA and Europe. I hope to play live shows in as many countries as I can, and film other minimal artists while I'm there. The minimal scene is where my head is at. I listen to synth music all day! Nothing else.

Nattsol: Thanks for the interview, Jeff! Any final words?
Jeff: Thanks for the interview Nattsol. It was fun to recollect about the old band!... but also a bit sad. I came to realize in the late 80's I was living in a small group of like-minded musicians who were influenced by this amazing scene in NYC and Europe, but it never really caught on in Rochester or other medium sized US cities? So we lived in our small 'bubble' and we played to small crowds in small clubs. But what the lack of live show opportunities did give us was the chance to write and record a huge collection of music! My greatest memories are of writing that music and hearing James put his haunting lyrics to it. Wonderful times! Some day I hope to release all the old songs from 1987 (10 songs) and the new songs (about 12). Although I really don't care if I can't get my synth music out there to people. I've lived with music isolation for 23 years. Life goes on.

Questions: Pall 'Nattsol' Zarutskiy
Grave Jibes Fanzine

Posted On 10.08.2011

An Interview with Martin Bowes of Attrition

Last month Attrition released their "The Truth In Dark Corners" live album via Other Voices. Shortly after that we asked Martin some questions...

OV: You just released live album "The Truth In Dark Corners". Can you tell us about the idea behind this album?

MB: Well i had been searching through old tapes i had up in the attic here at home... i was compiling an album of really early rare material for a vinyl only realease on German label Vinyl on Demand... the search uncovered recordings of 5 shows from our 1985 tour of Holland... with two unreleased songs and really different, early versions of the tracks that later became the second attrition album, "Smiling, at the hypogoner club"....and as i was always getting requests for music from this period i decided it was worth compiling an album from all this material.... it should be out there you know... not left in my attic...

OV: Looking back, early Attrition's music were strange and raw mix of minimal synth, post punk and industrial. What music inspired you ?

MB: We were inspired by a mix of punk and post punk... guitars and electronics.... from Cabaret Voltair to Joy Division to Siouxsie and magazine and P.I.L... later getting into more experimental music... but punk inspired us to pick up instruments...none of us could play...we just needed to do that... we had things to say....

OV: Album contains some previously unreleased songs, why didn't you release it before?

MB: Well the 2 unreleased tracks... The aftermath, and In the attic... never made it onto the Hypogonder club album... and after that the line up changed drastically.... so they kind of got lost.... and had never been recorded properly so didnt even make rarities albums later on.... i had pretty much forgotten about them so it was a nice surprise to find them on these tapes... took me back to memories of our studio in London in 85... we shared it with the Legendary Pink Dots.... it was a time of a lot of belief in all of us.... of hopes and plans..... :)

OV: By the way, please tell us about album title, is there something special about this name?

MB: "The truth in dark corners"....it is a line from the poem "My eyes" from the Hypogonder club album.... actually written by Marianne...it always meant a lot to me.... maybe it summarises what we have always been about...looking for the truth....

OV: Sleeve notes are by Justin Mitchell of Cold Spring Records, can tell us about your friendship?

MB: We go back a long long way.... i first met Justin at a show we did in his hometown, Northampton, in 1985... and we kept in vague contact... he then got into promoting and started his label... he booked us to play his "Pushing against the wire" festival in northampton in '92... along with the Pink Dots/In the Nursery/Meat beat manifesto etc...which was an amazing event... we lost touch for a while after that but for the last 10 years we have been the best of friends.... we live nearby and you can often find us drinking in an old medieval pub in Coventry... :)



OV: There's a strong dark element to most of your work. What inspires you?

MB: I am inspired purely by life... by the people their actions and events and interactions in my own life....that can be arts but is more likely to be personal actions.... so in that way attrition is pretty much autobigraphical.... but it is as much internal thinking as it is external influences....

OV: Do you have/had side projects?

MB: Very rarely... i have contributed to other bands occasionally... nowadays i often get asked to do that.... but as a non musician my contribution...apart from my voice... is more in the music production side... and i am doing that more and more.... so they are kind of side projects..depending on how you look at things :)

OV: You are the part of the legend called darkwave. Can you name us some bands from 80s to recommend to youngsters?

MB: Well the bands from England from the start like Cabaret Voltaire and Clock Dva and then a little later The Legendary Pink dots and In the Nursery and Portion Control and Psychic Tv and Chris n Cosey.... oh i can go on and on.... and most of these people are still making vital music today 30 years later.... which is impressive... but i believe they are all true artists...it was never about POP

OV: How do you feel about the renewed interest in early 80s music?

MB: Its a good thing. It happens to all eras a generation on.... from the original fans revisiting their youth and the new ones just discovering it.....and it means some of the lost music is found again.... which i think is important. Just remember the present is more important. that's all...

OV: Do you have other occupation beside Attrition?

MB: I was teaching music technology for 16 years but have recently stopped doing that....the education system here in the UK is falling apart.... but i may well be starting something privately in the near future... and i have finally decided to open up my studio to producing and mastering other bands.... something i never had time for before.... so actually i am busier than ever these days....

OV: From an early 80s Attrition appears to us as the beast with many faces: post punk, industrial, ebm, neo classical, dark ambient. Are you going to move towards new territories? What about dubstep or witch house? ;-)

MB: I have no pre-determined plans to move towards any territories in particular...i just work as i need to and explore anything i need to.... so i cannot say.... i do enjoy some dubstep... some of it is not so very far away from the early industrial sounds...but with something fresh about it.... i dont know what witch house is :)

OV: What are your future plans?

MB: Well i am finishing our long awaited new album.... maybe taking too long with it but it suits me to take my time these days so thats what i am doing in amongst all the shows and production for other bands... it will be worth the wait... "The unraveller of angels" will be with us very soon indeed.... and after that....well we shall see.... there is a lot more of attrition to be unravelled yet... :)

Thanks Oleg....
Martin Bowes, Coventry, England, 2011

Posted On 02.08.2011

Shop updates

A few new distro items from such labels as Manic Depression, Cold Spring, Projekt, Spittle and Wave Records just added to our shop. Check them out!


Posted On 20.07.2011

New face in our roster: In My Rosary

In My Rosary, a highly regarded band within the international wave, gothic, and neofolk scenes. A collection of early recordings is planned for release via Other Voices Records, for now please take this little piece as an appetizer.

Posted On 17.07.2011

Attrition "The Truth in Dark Corners" out now!

Standing in the attic... lost and found...
"The Truth in dark corners" is a treasure....
Restored by Martin Bowes from recently re-discovered live cassette recordings of the 1985 tours of Holland and the UK....
This album Including two never before released songs from ATTRITION's "Smiling, at the Hypogonder club" period - "In the attic" and "The aftermath"... plus a rare vocal version of the track "The wrecking ground", and radically different earlier versions of many tracks from that album... "Smiling, at the Hypongonder club" was ATTRITION's second album proper and was seen by many as a classic darkwave / industrial record.... The Truth in dark corners" is the perfect accompaniement....
The cover artwork includes rare photographs and sleeve notes by long time friend and fan Justin Mitchel of Cold Spring records...

Posted On 15.07.2011

Official Venus In Furs "Delta" album teaser

Posted On 25.06.2011

In-brief: Eleven Pond

Legendary US based post-punk/minimal synth band Eleven Pond signed with Other Voices! Everyone's favorite album Bas Relief (originally released on LP in 1986) will be released for the very first time on cd!

Posted On 20.06.2011

Tobias Bernstrup news

Tobias Bernstrup is currently in the studio working on stuff for "Sing my Body Electric" album for Other Voices. As we have just learnt it will include new version of Videodrome featuring Pascal Languirand of Trans-X on vocals!!!

 

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