Facing the Other Way Read online

  chapter 3 – 1980 (2)

  1980 Forward

  (BAD5–BAD19)

  The spirit of rebirth behind the change of name from Axis to 4AD was underlined by the need for fresh blood, given that The Fast Set, Bearz and Shox would never again record for 4AD. Sales of Bauhaus’ ‘Dark Entries’ meant that 4AD would re-press the single another three times, while Shox’s ‘No Turning Back’ was temporarily given a Beggars Banquet catalogue number (between the changeover from Axis to 4AD) for a second pressing before the band vanished. Dave Gunstone’s dream was quickly over when Ivo informed Bearz that their new demos weren’t good enough. The Fast Set would resurface, but only once, in 1981, with a second T. Rex cover, ‘King Of The Rumbling Spires’, on the first compilation of synth-pop, released by a new independent label, Some Bizzare, in 1981. But while the album’s new inductees Depeche Mode and Soft Cell were to use Some Bizzare Album as a springboard to superstardom, David Knight retired The Fast Set.* Even the revolutionary Do It Yourself opportunities of the punk and post-punk movements bred more frustrated failures and dead ends than established breakthroughs.

  Conditioned by the pre-punk era of beautiful artwork and hi-fi, Ivo also embarked on raising the quality of the packaging and sound after judging the production company that Peter Kent had employed for Axis: ‘They were among the worst-sounding vinyl I’d ever heard, in really poor-quality sleeves.’

  This spirit of rebirth was to be reinforced by 4AD’s official debut release. Ivo had been doing his round of the Beggars Banquet shops and had returned to Hogarth Road: ‘Peter was behind the counter with all of Rema-Rema. When I heard their music, I knew it was a sea change for 4AD.’

  On the seventh floor of a council-block flat overlooking the hectic thoroughfare of Kilburn in north-west London, Mark Cox not only remembers the first time he met Ivo, but the last – the pair remain friends thirty-three years on, and he is the only former 4AD musician who visits Ivo in Lamy. But then Cox knows all about staying the long course. He’s lived in this flat for three decades, and recently tackled the contents of a cupboard for the first time in two of them, where he discovered a Rema-Rema cassette that brought on a rush of nostalgia. ‘We only ever released one EP, you see,’ he sighs. One of the potentially great post-punk bands was over before it had even begun.

  Cox grew up further out, in London’s leafy and stiflingly conservative suburb of Ruislip, near the famous public school of Harrow. Cox himself ditched his educational opportunities at another public school in the area, snubbing the exam that could have led to university qualification. Two weeks into an apprenticeship in carpentry and joinery, he was on tour with Siouxsie and the Banshees, American punks The Heartbreakers, and Harrow’s own punk ingénues The Models.

  At school, Cox had found himself at odds with his schoolmates’ preference for hard rock, preferring Seventies funk and Jamaican dub, and like most every proto-punk, Bowie and Roxy Music. While fending off the attention of bullies for his skinhead haircut, he had bravely ventured into the still-underground society of London’s gay nightlife, whose liberated clubbers had thrown the nascent punk scene a vital lifeline. ‘You could wear different clothes, dye your hair and wear make-up there,’ Cox recalls. ‘And everyone was having a good time.’

  Cox first met Susan Ballion, the newly christened Siouxsie Sioux, at Bangs nightclub, and seen, up close, John Lydon/Johnny Rotten at Club Louise. But he’d actually befriended Marco Pirroni, who’d played guitar in the impromptu stage debut of the original Banshees and then started The Models with singer Cliff Fox, bassist Mick Allen and drummer Terry Day. Cox was employed as The Models’ roadie – he owned a car while the rest of the gang couldn’t even drive – and even occasionally become a fifth Model on stage, in his words, ‘making noise on a synthesiser over their pretty songs’.

  Released in 1977, the band’s sole single ‘Freeze’ was poppy enough, but its bristling, scuffed energy was far from pretty. There was evidently more ambition than two-minute bites such as ‘Freeze’. As Cox recalls, ‘Marco showed me you didn’t need to go to college for ten years to play music. I discovered Eno and his exploration of sound. I became interested in rhythm, frequency and vibration.’

  When Mick Allen introduced his friend Gary Asquith to the gang, Cox recalls that The Models split into two camps, ‘and one was Mick, Gary, Marco and me’. Though they didn’t know it at the time, they’d become Rema-Rema.

  The divisive problem was Cliff Fox: ‘He just wanted to be David Bowie,’ says Asquith, ‘which had become a real problem.’ As Fox pursued his own path, abruptly terminated by a fatal heroin overdose, the remaining four friends combined for a minimal, chugging and quintessentially post-punk tour de force titled ‘Rema-Rema’, named after the Rema machine manufacturers in Poland: ‘It sounded industrial, like Throbbing Gristle,’ Cox explains. Rema-Rema became the band’s name too, signifying the shift from the simple punk dynamics of The Models.

  ‘Marco wanted to go places, do things,’ says Gary Asquith. ‘It moved fast for everyone.’ Another north London resident, living in Kentish Town, adjacent to the more famous swirl of Camden Town, Asquith still comes across as the same ‘larger-than-life, livewire, I’m-tough Cockney’ that Mick Harvey of The Birthday Party recalls. Asquith admits that he and Mick Allen were typical teen rebels. ‘But no knife crime!’ he claims. ‘And no drugs either – though there were later. But at first, it was food! After rehearsals, we’d descend on Marco’s parents’ house, who being Italians, always stocked the fridge.’

  Suitably fuelled, Rema-Rema quickly abandoned the drum machine that was being adopted by every synth-pop band and advertised for a human drummer. Dorothy Prior, known as Max, added Velvet Underground-style metronomic thump to Rema-Rema’s coarse energy, as well as becoming Marco’s girlfriend. With Mick Allen now singing, the band’s demos had drawn interest from the major-affiliated progressive label Charisma, keen to update and rebrand, but the label baulked at Allen’s lyric on the track ‘Entry’, ‘and you fucked just like Jesus Christ’.

  Cox says that Rema-Rema – already a fragile coalition – even considered splitting up, but Peter Kent saw the band play and immediately suggested they release a record on 4AD. Four tracks, two studio and two live, were proposed for a twelve-inch EP, Wheel In The Roses. Ivo devised a catalogue system to differentiate between releases: the prefix AD was for a seven-inch single, BAD for a twelve-inch, CAD for an album, and the numbering would identify the year. As the label prepared for the EP, Rema-Rema supported Throbbing Gristle and Cabaret Voltaire at London’s basement club underneath the YMCA, but their ‘big moment’, according to Asquith, had been supporting Siouxsie and the Banshees and The Human League at London’s art deco palace The Rainbow Theatre; David Bowie was at the side of the stage to watch The Human League, but Asquith says it felt like the bar had been raised and Rema-Rema could garner the same kind of press appreciation as the others. The only problem was that Marco left the band before Wheel In The Roses was even released, and the remaining members were beginning to doubt whether they would continue without him.

  Pirroni had been seduced by an offer from the equally ambitious Stuart Goddard who, as Adam Ant, had lost his original backing band to Malcolm McLaren’s new project, Bow Wow Wow (former Models drummer Terry Day was also to join the new Ants). Pirroni remained supportive enough to attend a band meeting with Beggars Banquet, where Ivo recalls Nick Austin insisting anything 4AD signed had also to sign to Beggars’ publishing wing, and for at least five years. ‘This for a band that was no longer together! It was very surreal.’

  No deal was struck, but 4AD still released Wheel In The Roses: ‘It still stands out from that era,’ Ivo reckons. ‘Hearing Marco’s rockist guitar, wailing and screeching, but with very controlled feedback, over something that was so post-punk, was very unusual. It carried forward the idea that this little thing Peter and I had started would really mean something.’

  Wheel In The Roses sounded something like a gang out of A Clockwork Orange ex
pressing itself through music. The opening 35 seconds of gleeful howls and screams prefaced the menacing crawl of ‘Feedback Song’, a combative mood that extended through a pounding ‘Instrumental’ and a live take of ‘Rema-Rema’. A second live song, ‘Fond Affections’, showed a startlingly tender and melodic streak, though the mood was undeniably eerie. The EP’s sleeve image was equally layered: a 1949 photo of two imposing Nuban tribesmen in Sudan taken by British photographer George Rodger that Mick Allen had doctored by drawing a tiny red rose between one of the men’s fingers.

  Despite Rema-Rema’s short-lived promise, Ivo felt he’d learnt a valuable lesson. ‘I understood punk much more after meeting Rema-Rema. They were real individuals, not aggressive, but they’d get in your face and argue their point. They believed in themselves, so you supported that even more than their music. Those people deserved support.’

  To that end, Ivo hired Chris Carr, a freelance PR who was promoting bands such as Siouxsie and the Banshees and The Cure, to work on the Rema-Rema EP. Carr says he doesn’t recall any reviews in the music press, which was disappointing for a record of such steely adventure, but without a band, what were its chances? But Carr says he was keen to continue working with Ivo. ‘He wasn’t remotely interested in what the majors were doing, only in developing the punk ethos, where punk meets art, and not for commercial gain. But it was hard to finance records at that time and Ivo would release demos if they were good enough. Though you could only keep releasing records if they got reviews.’

  By comparison, Peter Kent had more old-fashioned ambitions: ‘I wanted to be commercial,’ he says. ‘To have money to spend on bands.’ It would have been very interesting if, as Kent claims, Duran Duran – soon to become costumed New Romantic flagwavers alongside Spandau Ballet and Adam Ant – had been available. ‘We nearly signed them,’ says Kent. ‘I played their demo to Ivo, who really liked it, but they’d just signed to EMI.’

  Ivo denies ever having heard any Duran demos, but says that journalist Pete Makowski (who had commissioned Ivo to write two album reviews for the weekly music paper Sounds before Axis/4AD had begun) had played him demos by The Psychedelic Furs. ‘I liked it, but the band had already signed to CBS,’ he says. Looking back, the Furs and Duran’s ambitions would have clashed with 4AD’s developing ethos. Much more aligned was a young band that could combine the commercial aspirations that Kent sought with the musical spirit that Ivo understood.

  The Lepers were a down-the-line punk band from Colchester in Essex fronted by singer Robbie Grey (who called himself Jack Midnight) and guitarist Gary McDowell (a.k.a. Justin Sane). Bassist Wiggs and drummer Civvy were soon respectively replaced by Mick Conroy and Richard Brown, but they’d already changed the band name to Modern English before Stephen Walker arrived, whose keyboards accelerated the shift to post-punk. ‘Punk’s fire had gone out, so we started listening more to Wire and Joy Division,’ says Grey. ‘Ivo could see what could become of us with a bit of development.’

  Wire and Joy Division were two of the best, and most creative, bands to provide an alternative to punk rock’s single-speed, two-chord setting. London-based Wire were punk’s most artfully oblique outsiders, yet they also wrote clever, melodic pop songs. Manchester’s Joy Division had transcended their punk roots as Warsaw and taken on a more rhythmic and haunting shape, embodied by its enigmatic, troubled singer Ian Curtis. Post-punk was a sea of possibilities.

  With a sense of adventure, Modern English had followed Mick Conroy’s older brother Ray to London where he was squatting in Notting Hill Gate, near Rough Trade’s offices. Grey describes a time of sleeping bags in the basement, meagre unemployment benefit, suppers of discarded vegetables from the street market, and bleeding gums as the price they had to pay, but out of it came the debut single ‘Drowning Man’ on the band’s own label, Limp. A Wire-like hauteur over a blatant Joy Division pulse was too slavish a copy, but after Peter Kent had booked Modern English to support Bauhaus at central London’s Rock Garden in March 1980, he and Ivo saw just enough reason to commission another single.

  ‘Their demo had stood out, but initially, Modern English weren’t great live,’ recalls Ivo. ‘They couldn’t win over an audience like Bauhaus, who were fantastic on stage. And like Bauhaus, the British music press didn’t enjoy Modern English. Coming from Colchester, they weren’t necessarily considered cool but they weren’t, thank God, the kind to hang out with journalists anyway. The first time I saw Gary, he had a huge stegosaurus haircut!’

  The band’s 4AD debut ‘Swans On Glass’ was a lashing version of the Wire model of nervous punk-pop. Ivo’s faith in Modern English highlighted the gulf between his intuitive belief in raw talent and Beggars Banquet’s nose for commerce. ‘Martin [Mills] might not have seen what Ivo saw,’ says Conroy. ‘We were still pretty ropey then. The Lurkers, for example, had songs. We just had bits of music stuck together.’

  Nevertheless, Beggars Banquet still wanted to sign the band to a long-term label and publishing deals. But unlike Rema-Rema, Modern English shared Mills and Nick Austin’s commercial instinct: ‘A five-year contract gave us the chance to grow,’ says Grey.

  Ivo: ‘Long-term contracts were unnecessary, but Peter and I were just two employees for Beggars Banquet Limited, trading as 4AD. But I learnt quickly, and up to 1988, Modern English was the last band we signed long term without doing one or two one-offs with the artist first. Martin could see that even without deals, Bauhaus had immediately started making money for us.’

  Bauhaus’ quotient of gothic camp was turned down several notches by its second single for 4AD. ‘Terror Couple Kills Colonel’ showed a stripped-down restraint for a similarly curt lyric inspired by newspaper headlines about the German terrorist unit Red Army Faction. It wasn’t as successful as ‘Dark Entries’, reaching 5 in the independent chart and not hanging around for as long; if the press didn’t like goth, there was a swell of public support for the sound. The band played a thirty-date tour and retired to record their debut album, confident enough to produce it themselves.

  As Ivo began to mentor Modern English, so Peter Kent’s relationship with Bauhaus strengthened when he became the band’s tour manager.† ‘Peter was charming and witty with great taste, though we discovered he had a very fragile ego,’ David J recalls. ‘Ivo was very interesting too, with sartorial style. He wore exquisite shirts buttoned up to the top, and you’d discover how knowledgeable he was about music, and what good taste he had as well. To me, he was the ultimate hipster.’

  The next arrival at 4AD didn’t seem like an obvious fit for either Ivo or Kent, though it was the latter who introduced In Camera, surely the toughest, bleakest sound on 4AD, that came from one of the toughest, bleakest parts of 1980 London.

  In Camera’s singer, David Scinto, sits in the downstairs bar of nineteenth-century art nouveau landmark the Theatre Royal in Stratford, one of the few survivors of the regeneration that has swept through this part of London’s East End. The Olympic Games of 2012 was held only a few minutes away, where former barren stretches of land used to be. But other landmarks have been wiped away, or buried, in the name of modernisation and the area’s former industrial working-class heart has been re-clad in shopping-centre glass and steel. ‘It’s no longer the Stratford I knew,’ says Scinto.

  Scinto cuts a burly stature now, but during In Camera’s time, he was a lean, intense figure, who called himself David Steiner after James Coburn’s character Sergeant Rolf Steiner in Sam Peckinpah’s torrid war movie Cross of Iron. He’s more than a movie buff, he’s a bona fide screenwriter, having co-written two acclaimed films, Sexy Beast and 44 Inch Chest, that psychologically dissected a particularly East End kind of gangster. ‘I keep trying music, and acting too, but I always come back to writing,’ he says. ‘Always have done, since I was a kid.’

  Born to Maltese immigrants, Scinto was captivated by funk, soul and soundtracks, from Mission Impossible to Ennio Morricone’s work. ‘But then punk did to me what it did to others, a complete inspiration. I f
ear my options without punk could have been unbearable. Just before punk hit, I was fifteen, and my friend and I were going to rob a shop. I had a replica pistol, but as we walked towards the shop, a police car stopped right outside, so we just kept on walking and then bolted.’

  From the Sex Pistols through to his post-punk rebirth fronting Public Image Limited, John Lydon – ‘for his courage, and how he spoke what I thought’ – was Scinto’s key inspiration. ‘Siouxsie was important too. But the first band I loved was The Pop Group. They pricked my social conscience. They instigated thought, which people are afraid to do nowadays; we’re all bullied into behaving.’

  At school, Scinto began to articulate his conscience with two school friends, but both fell by the wayside as In Camera’s line-up initially gelled around bassist Pete Moore, drummer Derwin and guitarist Andrew Gray.

  In a pub overlooking the Thames, this time in Bermondsey on the south side of the river, the diminutive figure of Andrew Gray sups a beer next to his much taller and imposing friend and former bandmate Michael Allen, of Models and Rema-Rema fame. The pair was to unite in 1983, alongside Mark Cox, in the band The Wolfgang Press; but in 1980, Gray was experimenting at home with his guitar, seeking potential bandmates that also valued feeling over proficiency.

  Like Scinto (the two were born just two days apart), Gray grew up primarily as a soul and funk fan, but he appreciated theme tunes too: he cites the sensual wah-wah lick of ‘Theme From Shaft’ as his gateway to making his own music. ‘But the first time I heard a guitar through loud amplifiers, that was it,’ Gray recalls. And Berlin-era Bowie, punk and post-punk changed the way he approached the guitar.