Sparks in a Dark Room is the second studio album by Dutch experimental electronicpost-punk/ultra band Minny Pops. After signing to Factory Benelux in 1982 following their "noisy" and "goofy" debut album Different Measures, Drastic Movement (1979), the band settled into a new, less aggressive sound featuring influences of industrial music and funk. Recording Sparks in a Dark Room in late 1981, the band headed for a more clinical and clean sound. Considered a high point of the ultra movement, the record features cold, electronic tones and darkly humorous lyrics from lead singer and songwriter Wally van Middendorp.
Electronic music is music that employs electronic musical instruments, digital instruments and circuitry-based music technology. In general, a distinction can be made between sound produced using electromechanical means, and that produced using electronics only. Electromechanical instruments include mechanical elements, such as strings, hammers, and so on, and electric elements, such as magnetic pickups, power amplifiers and loudspeakers. Examples of electromechanical sound producing devices include the telharmonium, Hammond organ, and the electric guitar, which are typically made loud enough for performers and audiences to hear with an instrument amplifier and speaker cabinet. Pure electronic instruments do not have vibrating strings, hammers, or other sound-producing mechanisms. Devices such as the theremin, synthesizer, and computer can produce electronic sounds.
Post-punk is a broad type of rock music that emerged from the punk movement of the 1970s, in which artists departed from the simplicity and traditionalism of punk rock to adopt a variety of avant-garde sensibilities and diverse influences. Inspired by punk's energy and DIY ethic but determined to break from rock cliches, artists experimented with sources including electronic music and black styles like dub, funk, and disco; novel recording and production techniques; and ideas from art and politics, including critical theory, modernist art, cinema and literature. These communities produced independent record labels, visual art, multimedia performances and fanzines.
Ultra was a Dutch post-punk movement of the early 1980s.
Released by Factory Benelux in May 1982, the album was not a commercial success, being an underground album, but its critical standing, initially overlooked, became increasingly positive over the years. The album has since been regarded as a lost classic. Uncut described it as an "under-the-radar-masterpiece" whilst Careless Talk said it "places Minny Pops squarely within the realm of an early 80s interface that pitched accessible pop conveniences and electronic experimentation in the same arena."[5] Today it is considered part of the origins of dark wave and industrial dance music. The album was remastered and re-released in March 2003 by LTM with numerous bonus tracks, and by Factory Benelux in March 2014 with even more bonus material, namely a live album recorded at the Melkweg in 2012.
Uncut magazine, trademarked as UNCUT, is a monthly publication based in London. It is available across the English-speaking world, and focuses on music, but also includes film and books sections. A DVD magazine under the Uncut brand was published quarterly from 2005 to 2006.
Dark wave or darkwave is a music genre that emerged from the new wave and post-punk movement of the late 1970s. Dark wave compositions are largely based on minor key tonality and introspective lyrics, and have been perceived as being dark, romantic, and bleak, with an undertone of sorrow. Common features include the use of chordophones such as electric and acoustic guitar, violin, and piano, as well as electronic instruments such as synthesizer, sampler, and drum machine. The genre embraces a range of styles including cold wave, ethereal wave, gothic rock, neoclassical dark wave, and neofolk.
LTM Recordings is a British independent record label founded in 1983, and best known for reissues of artists and music from 1978 to the present day, as well as modern classical and avant-garde composition. The label is based in Norfolk, England, and is curated by James Nice.
Background
Minny Pops were formed in Amsterdam in 1978 by vocalist Wally Van Middendorp. The band took their name from the primitive Korgdrum machine which propelled their austere, post-punk rhythms and provocative live performances.[1] The band made their recording debut in 1979 on the label Plurex, operated by van Middendorp himself.[6] The three-track seven-inch single contained "Kojak," on which Van Middendorp impersonated Telly Savalas' TV character of the same name with lines like "If you make more money, you make fewer friends."[6] Later on in the year, the band released their debut album Drastic Measures, Drastic Movement, showcasing the band's "lean, mechanical sketches and abrasive noise diversions."[6]Brainwashed called it "a bizarre mix of noise, new wave, synth pop, and Yello-like cabaret goofiness. It is one of the most genuinely tweaked documents of DIY electro-pop, a record which to this day causes heads to be scratched in satisfying bewilderment."[7]
Amsterdam is the capital and most populous city of the Netherlands, with a population of 866,737 within the city proper, 1,380,872 in the urban area, and 2,410,960 in the metropolitan area. Amsterdam is in the province of North Holland. Amsterdam is colloquially referred to as the "Venice of the North" due to its large number of canals which are a UNESCO World Heritage Site.
Korg Inc., founded as Keio Electronic Laboratories, is a Japanese multinational corporation that manufactures electronic musical instruments, audio processors and guitar pedals, recording equipment, and electronic tuners. Under the Vox brand name, they also manufacture guitar amplifiers and electric guitars.
A drum machine is an electronic musical instrument that creates percussion. Drum machines may imitate drum kits or other percussion instruments, or produce unique sounds. Most modern drum machines allow users to program their own rhythms. Drum machines may create sounds using analog synthesis or play prerecorded samples.
Their earliest releases on Plurex and praise visa word of mouth lead to a record deal with independent post-punk record label Factory Records of Manchester, England, who gave the band the opportunity to work with Martin Hannett, producer of Joy Division and later early New Order.[1] They subsequently became the first Dutch band to record a Peel Session for radio DJ John Peel's BBC Radio 1] show.[1] After a handful of gigs in support of Joy Division and the release of a live EP, Minny Pops had officially joined the label, but during 1981 and 1982, bounced between Factory proper and Factory's secondary Factory Benelux division, run in Belgium.[6] According to Brainwashed, "as the group's members acquired careers as record label executives (at Boudisque, Play it Again Sam, etc.), the music that they produced became more accessible, the noise nearly vanished, and recognizable industrial-funk genre trappings emerged."[7] Subsequently, in their new musical style, they recorded their second album shortly after the deal with Benelux.
Word of mouth or viva voce, is the passing of information from person to person using oral communication, which could be as simple as telling someone the time of day. Storytelling is a common form of word-of-mouth communication where one person tells others a story about a real event or something made up. Oral tradition is cultural material and traditions transmitted by word of mouth through successive generations. Storytelling and oral tradition are forms of word of mouth that play important roles in folklore and mythology. Another example of oral communication is oral history—the recording, preservation and interpretation of historical information, based on the personal experiences and opinions of the speaker. Oral history preservation is the field that deals with the care and upkeep of oral history materials collected by word of mouth, whatever format they may be in.
Factory Records was a Manchester-based British independent record label, started in 1978 by Tony Wilson and Alan Erasmus, which featured several prominent musical acts on its roster such as Joy Division, New Order, A Certain Ratio, the Durutti Column, Happy Mondays, Northside, and (briefly) Orchestral Manoeuvres in the Dark and James. Like the 4AD label, Factory Records used a creative team which gave the label and the artists recording for it a particular sound and image. The label employed a unique cataloguing system that gave a number not just to its musical releases, but to artwork and other objects.
Manchester is a major city and metropolitan borough in Greater Manchester, England, with a population of 545,500 as of 2017. It lies within the United Kingdom's second-most populous urban area, with a population of 2.7 million, and third-most populous metropolitan area, with a population of 3.3 million. It is fringed by the Cheshire Plain to the south, the Pennines to the north and east, and an arc of towns with which it forms a continuous conurbation. The local authority for the city is Manchester City Council.
Recording and musical style
"The Minny Pops were right in league with Joy Division, The Normal and Cabaret Voltaire. Sparks in a Dark Room is another uniquely electronic album to add to the canon of great music being offered up in the early 80s. They combine pulsing electronics with insistent, bass guitar, guitar noises out of the PiL songbook (when indeed guitar is even used) and keyboard melodies borrowed from sci-fi soundtracks straight from Tangerine Dream. This sound was all imbued with Wally's disembodied, remote, droning lead vocals - singing lyrics which are window dressing to the over all feel."
The album was recorded by and self-produced by the band in late 1981.[3] Recorded without a guitarist, Sparks in a Dark Room is therefore often said to sound unusually polished and layered,[1] and has been described as a "lavish extension" of its predecessor, opting for a cleaner and more clinical synth-focused side[9] and containing a "Cabaret Voltaire pulse and Wally van Middendorp's tongue-in-cheek dark monologues."[10] According to the magazine Oor, Sparks in a Dark Room was "the modest high point of the Ultra-revival, the avant-garde postpunk movement of which Amsterdam was the center and Minny Pops the pioneers."[11] The journalist described the album as more normal than its predecessor, and shows Middentrop "attempting actual singing," saying "the vibe became moody, and the sound (with its synth carpets in minor) merged nicely with Factory."[1] The album was described by one critic as showing the band at the peak of being "creators of driving modern electronic dance music, redolent of DAF, Simple Minds and Moroder-era Sparks"[3] whilst another said the album's "smooth sequencers and motorik rhythms [are] often redolent of Moroder, Kraftwerk and Cabaret Voltaire."[1] The album is also said to exemplify the cold wave movement of the era,[2] whilst the work of Hannett "presides over" the album.[12]
Cabaret Voltaire are an English music group formed in Sheffield in 1973 and initially composed of Stephen Mallinder, Richard H. Kirk, and Chris Watson. The group was named after the Cabaret Voltaire, the Zürich nightclub that served as a centre for the early Dada movement.
The avant-garde are people or works that are experimental, radical, or unorthodox with respect to art, culture, or society. It may be characterized by nontraditional, aesthetic innovation and initial unacceptability, and it may offer a critique of the relationship between producer and consumer.
Electronic dance music (EDM), also known as dance music, club music, or simply dance, is a broad range of percussive electronic music genres made largely for nightclubs, raves and festivals. It is generally produced for playback by disc jockeys who create seamless selections of tracks, called a mix by segueing from one recording to another. EDM producers also perform their music live in a concert or festival setting in what is sometimes called a live PA.
"Dream", "Tracking", "Trance" and "A Feeling" all contain motorik rhythms whilst "Black Eye" and "Vital" are described as "eerie, twilit essays."[3] All feature van Middendorp's literary, darkly humorous lyrics and ironic "Gregorian" vocal style.[3] "A Feeling", pointed out by Gull Buy as a highlight,[8] features a "post-Wire like (Colin Newman solo material etc.) melody", whilst the ninth track "Experience" possesses an ambience that has been compared with Gary Numan's best work, "but with completely different results thanks to the Minny Pops vocal style."[8] The album's lyrics are darkly humorous, a departure from the decisively bleak lyrics of their contemporaries,[1] and are often used to compel the songs to a "pulsing electronic climax."[8] Every so often lyrics can be heard, such as in "Crack": "This is a new religion....for people who had it all...for people who lost it all."[8]
Motorik is the 4/4 beat often used by, and heavily associated with, krautrock bands. Coined by music journalists, the term is German for "motor skill". The motorik beat was pioneered by Jaki Liebezeit, drummer with German experimental rock band Can. Klaus Dinger of Neu!, another early pioneer of motorik, later called it the "Apache beat".
Gregorian chant is the central tradition of Western plainchant, a form of monophonic, unaccompanied sacred song in Latin of the Roman Catholic Church. Gregorian chant developed mainly in western and central Europe during the 9th and 10th centuries, with later additions and redactions. Although popular legend credits Pope Gregory I with inventing Gregorian chant, scholars believe that it arose from a later Carolingian synthesis of Roman chant and Gallican chant.
Wire are an English rock band, formed in London in October 1976 by Colin Newman, Graham Lewis, Bruce Gilbert (guitar) and Robert Gotobed (drums). They were originally associated with the punk rock scene, appearing on The Roxy London WC2 album, and were later central to the development of post-punk, with their debut album Pink Flag was influential for hardcore punk.
Release
In 2014, the album was re-released with a live disc recorded in 2012 at the Melkweg in Amsterdam.
Sparks in a Dark Room was originally released on LP by Belgian label Factory Benelux in May 1982 in Europe, their only album released on the label before returning to Plurex for their subsequent album Poste Restante (1983).[1] It was not a commercial success, and no singles were released from it. On 27 January 2003, post-punk reissue label LTM remastered and re-released the album on CD–the first time it was available on the format–with eleven bonus tracks, which include the non-album singles "Time" and "Een Kus", as well as unreleased demo tracks and an EP by instrumental splinter project Smalts.[13]
On 24 March 2014, Factory Benelux (by then run by James Nice of LTM) remastered and re-released the album as an expansive double CD set, the first disc containing the same track listing as the LTM edition whilst the bonus disc features an entire live performance of thirteen songs recorded at the Melkweg in Amsterdam on 7 April 2012 as part of the band's 30th anniversary tour, with original members Wally Van Middendorp, Wim Dekker and Pieter Mulder augmented by guitarist Mark Ritsema.[1] On 30 April 2014, Factory Benelux also this edition as a double LP, with the exception of the bonus material on the first disc.[14] The LP re-issue was printed on black, blue or orange vinyl with only 500 copies pressed.[15]
Although mostly overlooked upon its initial release, Sparks in a Dark Room had become increasingly noted over time, and critical acclaim greeted the album upon its original 2003 reissue.[20]Uncut said "the cold menace of the album sounds remarkably fresh 20 years on, bearing favourable comparisons with contemporaries such as Simple Minds and Tubeway Army as well as the current crop of analogue pretenders."[21]Muzik called it a "fascinating" album and quipped "if you can keep a straight face whilst listening to Interpol, you'll love it."[22]Q called the band "the Interpol of their day" and said the album has "aged surprisingly well".[23]Careless Talk said that the album "places Minny Pops squarely within the realm of an early 80s interface that pitched accessible pop conveniences and electronic experimentation in the same arena."[24] Patrick of Gullbuy stated "The Minny Pops had reached their peak by this point in their career and were able to put their all into the album" and called it "another uniquely electronic album to add to the canon of great music being offered up in the early 80s."[8]The Quietus called the album "excellent."[12] A reviewer for Brainwashed commented on the album's uniqueness, saying:
"If you're aware of the music happening in Belgium in the early 1980s (particularly Siglo XX, the Neon Judgement, and A Blaze Colour) then the gloomy monotone grooves of Sparks in a Dark Room will immediately sound familiar. But there's something different here; on Sparks, there exists an implacable note of self-awareness and humor which seperates[sic] the album from those by other practitioners of the style. Tunes like "A Feeling" and "Night Visit" are perversely catchy, with lyrics that tend toward self-effacing. I like that. The humor, however subtle, offsets the otherwise overbearing gloom."[7]
"For a scene dominated by po-faced dullards, Minny Pops are welcome light relief. Although too eccentric to make sense of their regular comparisons to Interpol, this lavish expansion of their second album from 1982 is a good starting point, thanks to its Cabaret Voltaire pulse and Wally van Middendorp's tongue-in-cheek dark monologues."
Many critics consider the album to be a lost classic within popular music; Uncut referred to the album as "an under-the-radar masterpiece".[25]Whisperin' and Hollerin' said the album was "a real lost electropop classic from a time when minimal synth-pop crossovers were rightly lauded as being pioneering. Minny Pops established a firm identity as purveyors of fine, hypnotic Euro trance pop, and SIADR is a lost classic of a kind".[26]Other Music stated "Pristine bleakness. Take this opportunity to hear the misery missed,"[27] whilst Gullbuy said the album "paints a vivid picture of this lost Dutch band."[28] Peter Heselmans Peek-a-boo Magazine, who rated it nine stars out of ten, said "Sparks in a Dark Room is really a classic, and a must have for every lover of minimal synthpop. The gloomy monotone grooves of the Minny Pops will take you back to the early days of minimal pop. Some very catch tracks, like Night Visit will carry you away, even with a spark of humor. So if you want to investigate the origins of industrial dance or darkwave, select Sparks In a Dark Room for your listening pleasure. I did, and as a former lover from VPRO’s Radio Nome and Spleen broadcasts I really enjoyed this album."[4]
The bonus material on the 2014 re-release was critically acclaimed, with critics feeling the songs made great appendages to the album. Oor stated "the Melkweg live recording from 2012 - whoa, it's really something. With the rhythm box/drum computer again on board the whole thing sounds far more radical. The band of 2012 (according to the Minny Pops concept, including two members not part of the original setting) is to the point, and Wally's declamations sound urgent. He even announces some tracks with their catalogue number - a privilege courtesy only of the Factory family tree."[29]Classic Pop were also very favourable, commenting that the Melkweg recording was a "brutal live album from their 30th anniversary tour in 2012, which replaces drums with a drum machine while adding a guitarist whose changing style adds to the theatrical doom."[30]
Track listing
All songs written by Minny Pops.
"Mountain" – 3:19
"A Feeling" – 3:19
"Tracking" – 2:51
"Crack" – 2:26
"Vital" – 2:40
"Blue Roses" – 2:38
"Black Eye" – 3:23
"Wong" – 4:00
"Experience" – 3:32
"Dream" – 2:09
"Night Visit" – 3:08
"Trance" – 1:57
Bonus tracks (2003 and 2014)
"Time" – 3:44
"Lights" – 3:29
"Een Kus" – 3:56
"Son" – 2:53
"Secret Story (Demo)" – 3:12
"Schitterende Ogen (Demo)" – 2:44
"Time (Demo)" – 4:28
"Werktitel # 7" – 2:21
"Werktitel # 5" – 3:33
"Werktitel # 1" – 5:57
"Werktitel # 8" – 2:09
Tracks 20–23 performed by Smalts
Bonus disc (2014)
Amsterdam Melkweg 7/4/2012
"Kogel" – 4:33
"Blue Roses" – 3:07
"Tracking" – 4:15
"Vital" – 3:34
"Goddess" – 4:01
"Dolphin's Spurt" – 3:35
"Mountain" – 5:10
"Wong" – 6:33
"Secret Story" – 4:23
"Time – 4:32
"Trance" – 2:50
"Mental" – 7:31
"Son" –3:21
Personnel
Wally van Middendorp – vocals, drum machine
Wim Dekker – keyboards
Pieter Mulder – guitar
Produced by Minny Pops
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