The Living Legends

Performer: Cabaret Voltaire
Engineer: Cabaret Voltaire
Distributor: Caroline Distribution

Notes: Cabaret Voltaire: Richard H. Kirk, Stephen Mallinder, Christopher Watson. Producers include: Cabaret Voltaire, Geoff Travis, Mayo Thompson. Recorded between 1975 and 1981. Originally released on Rough Trade Records. All tracks have been digitally remastered. If one needs a starting place to discover how an obscure trio of Sheffield sound experimentalists became one of the founders of industrial/EBM music, not to mention a whole range of artists interested in pushing the boundaries of recorded sound, The Living Legends is it. Conveniently collecting the series of singles the classic trio line-up released on Rough Trade Records, Legends makes for astonishing listening even today, alien now as it was then, and perhaps even more so. Compiled in more or less chronological order with a few exceptions, the tracks range from the quietly mysterious to astonishing, in-your-face sonics. The earliest single, "Do the Mussolini," and its various B-sides initially cast the band as gloomy, dour figures interested in fooling around with tape machines, rhythm boxes and a sense of echo that always made them sound like they were recording in the deep bowels of the earth. The Velvet Underground's "Here She Comes Now" gets an intriguing revamp here, Kirk's guitar buzzing the main riff in the background. After that, things really kick in with the groundbreaking "Nag Nag Nag," brilliantly coproduced by Rough Trade boss Geoff Travis and Red Krayola bandleader Mayo Thompson. Mallinder's abstract aggression as his electronically treated voice roars the title line is breathtaking enough, but the combination of heavily treated guitar and keyboard noise over the basic but effective rhythm pulse adds to the fantastic effect. Many other standouts follow from here, including the lengthy drone/groove of "Walls of Jerico" and the near-clinical push of "Second Too Late," with a gripping duet between a distanced Mallinder vocal and an upfront, vocodered and dead sounding voice. The sense of how the Cabs used everything from the more chaotic end of Krautrock to dub techniques surfaces throughout, capturing the sense of how they at once synthesized past approaches and created new ones. ~ Ned Raggett

Building on the template provided by the early-'70s krautrock movement, Britain's Richard H. Kirk and his cohorts charted an electronic course through industrial dissonance, indie dance, creepy ambient, and film soundtracks. Able to work in a variety of styles but with common themes, Cabaret Voltaire built up a large, consistently interesting body of work.

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