Cabaret Voltaire
Formed in Sheffield, Yorkshire, England, in 1974, and named after the Dadaist collective, this experimental, innovative electronic-dance group consisted of Stephen Mallinder (bass/lead vocals), Richard H. Kirk (guitar/wind instruments) and Chris Watson (electronics and tapes). Influenced by Can and Brian Eno, the group strived to avoid the confines of traditional pop music and the trio's early appearances veered towards performance art. This attitude initially attracted the attention of Factory Records and the group contributed two tracks to the Manchester label's 1978 double EP, A FACTORY SAMPLE. They eventually signed to Rough Trade Records that same year, producing the EXTENDED PLAY EP which confirmed the band's experimental stance, although Nag, Nag, Nag (1979) was a head-on rush of distorted guitar with a driving beat. The trio continued to break new ground, using sampled ‘noise’, cut-up techniques and tape loops. Often viewed as inaccessible, in the ensuing years Cabaret Voltaire released the UK Independent Top 10 singles Silent Command (1979), Three Mantras and Seconds Too Late (both 1980). Their 1979 debut album, MIX UP, was followed by a more conventional offering, THE VOICE OF AMERICA. After LIVE AT THE YMCA 27.10.79, the group widened their horizons, with video and collaborative work, including outings on the Belgian label, Les Disques du Crépescule and two Industrial label cassettes, CABARET VOLTAIRE 1974-76 (their early recordings) and Kirk's solo DISPOSABLE HALF TRUTHS. In 1981, the group's prolific out-put was increased by the morbid but successful RED MECCA and by another cassette, LIVE AT THE LYCEUM. Watson left in October 1981 to work in television and later resurfaced in the Hafler Trio. In 1982 Eric Random was recruited on guitar for a Solidarity benefit concert, performing under the name Pressure Company. The year also saw the release of 2 x 45, Temperature Drop, plus the Japanese live album HAI! and a solo set from Mallinder, POW WOW. Departing from Rough Trade in 1983, whilst also releasing Fools Game on Les Disques du Crépescule and Yashar on Factory, the group signed a joint deal with Some Bizarre/ Virgin Records. The first fruits of this move, Just Fascination and The Crackdown confirmed Cabaret Voltaire's new approach and signalled a drastic shift towards rhythmic dance sounds (assisted by Soft Cell, later Grid keyboard player, Dave Ball's presence). Yet another label entered the frame when Doublevision released the film soundtrack JOHNNY YESNO. Kirk's double set, TIME HIGH FICTION, came at the end of this productive year. Aside from a compilation video, TV WIPEOUT, 1984 was a quiet year, until Sensoria (Some Bizarre) ripped the dance charts apart, setting the tone for much of Cabaret Voltaire's subsequent work, including James Brown, both featuring on MICRO-PHONIES, and I Want You (1985). In between, the pair concentrated on the video GASOLINE IN YOUR EYE, paralleled by the similarly-titled, double 12-inch Drinking Gasoline. The critically acclaimed THE COVENANT, THE SWORD AND THE ARM OF THE LORD, echoed the group's earlier phase. Kirk's solo work continued apace in 1986 with BLACK JESUS VOICE, and a mini-album, UGLY SPIRIT, plus a project with the Box's Peter Hope resulting in HOODOO TALK in 1987. By July 1987 the duo had transferred to EMI/ Parlophone, debuting with Don't Argue. As with the follow-up releases, Here To Go and Code, its sound introduced a more commercial dance slant, lacking the pair's earlier, experimental approach. In 1988, Mallinder collaborated with Dave Ball and Mark Brydon, collectively known as Love Street, releasing Galaxy. A new Cabaret Voltaire single, Hypnotised (1989), reflected their visit to the house music capital, Chicago. Kirk's Test One (1990), issued under the guise of Sweet Exorcist, was pure acid house. The group continued this style with Keep On and GROOVY, LAID BACK AND NASTY. In the meantime, Mute Records methodically reissued the band's early back catalogue on CD. Leaving EMI, Cabaret Voltaire returned to Les Disques du Crépescule for What Is Real (1991), followed by the well-received BODY AND SOUL. This only consolidated Cabaret Voltaire's pivotal role in hi-tech dance music, which they have helped develop over a decade and a half.