Practically Isolate

Practically Isolate

 

Follow link: http://soundcloud.com/neu-electrikk/practically-isolate

LISTEN

 

Please click on the link below to listen to the Neu Electrikk tracks

 

DISTRACTIONS,

HAND,

 TAPE CONVERSE

 

         http://soundcloud.com/neu-electrikk

Mandolins Yesterday

 



Dee Sebastian & Steve Sherlock - Silversound Studios, Sydenham, London



Unreleased demo recording of the track Mandolins Yesterday. Please follow the link below:-

http://soundcloud.com/neu-electrikk/mandolins-yesterday

Savage Mind

 

 

Neu Electrikk – Savage Mind: - Extract from an impromptu improvised ‘jam’. Session recorded in 1978 – Steve James Sherlock – Sax/Wasp Synth/Voice, Stefan Jadd – Guitar/Noise/Tapes/Voice, Nick Hunt – Bass guitar/Tapes, Dee Sebastian – Voice/Synth, Barry Deller – Percussion. Neu Electrikk constructed their music largely through collective spontaneous composition often sampling themselves, in the studio and editing the sounds into the music. Free form sessions were often heralded as chaotic affairs whereby the band would create and develop new ideas. The band would experiment with time signatures and instrument tunings, often the instruments were ‘prepared’ – guitars played with a copper pipe or hammered with a drum stick, a drum played inside a cardboard box. The resultant cacophonous din would somewhat veer between harmony and mayhem. The music was never intended for public consumption. Neu Electrikk frequently went off into long periods of improvisation during their live set.


Please follow link:-


http://soundcloud.com/neu-electrikk/savage-mind



 

Perspectives

Recently (2012) recordings of Neu Electrikk have surfaced. Presumed lost works - the tapes were found in a tattered box stashed away in a loft! Perpectives had been written by Stefan Jadd in 1988 as a piece of ambient/mood music to accompany Neu Electrikk as and before they took to the stage. The music was recorded at Elephant Studios, S. London and  features Jadd, Sherlock & Deller. This music has never been commercially released.

 

Please follow the link to listen:-

http://soundcloud.com/neu-electrikk/perspectives-1

 

 

HAND 1978

 

 

 

 

 

Dee Sebastian: HAND - Silversound Rehearsal Studios, Sydenham, S London.

 

Neu Electrikk - some bizzare evenings

Press advert for Some Bizzare Evenings

Wind of Satan (unreleased demo 1978)

 

 

 

Click Link:-

Wind of Satan (unreleased demo 1978)

Neu Electrikk - Cover Girl (1980 promo poster)

Neu Electrikk Cover Girl Promo Poster

Steve James Sherlock

Steve James Sherlock - Saxophone, Clarinet, Flute, Devices - Neu Electrikk

Steve James Sherlock (born: 1953 in London, United Kingdom) is a British musician and founder member of Neu Electrikk. He grew up in the south London district of Thornton Heath and played saxophone, clarinet and flute. Influenced by the sounds of his youth, jazz, soul, dub, reggae and hearing saxophonists like John Coltrane, Andy Mackay of the 70’s band Roxy Music and Davey Payne of Ian Dury and The Blockheads Sherlock went on to develop his own style of playing. This involved improvisation and experimenting with sound by processing the playing through various effects pedals.

Following his time in Neu Electrikk Steve Sherlock joined The The and contributed to the ‘Uncertain Smile’sessions ‘Three Orange Kisses From Kazan’ and ‘Waitin' For The Upturn’. He also joined Matt in various other ‘live’ versions of The The. At this time Steve also recorded various sessions with Keith Laws (unreleased) and joined forces with Matt Johnson/Colin Lloyd Tucker/ Simon Fisher Turner contributing to Deux Filles ‘Silence and Wisdom’ LP. Having received an endorsement from Matt, Steve joined Marc Almond and Annie Hogan in Marc and the Mambas. His playing features prominently on ‘Torment and Toreros‘. Steve wrote the track Narcissus with Marc Almond for the album. Steve also contributed flute to the track ‘The Hungry Years by Marc Almond and Andi Sexgang included on the 1983 compilation album ‘The Whip’.

 

Steve Parry - aka Stefan Jadd

Steve Parry - Guitars, Piano, Synth, Effects, Devices - Neu Electrikk

In 1976, Steve Parry at the age of 18 moved from Harrogate, Yorkshire to London in search of new music opportunities. Parry had played in a succession of local bands, none of whom seemed to possess any real ambition. Parry had been accepted onto a journalism/photography course but would have to wait for another year before taking up the placement. During this time Parry worked for the civil service in the Ministry of Defence. Spending the days bored and frustrated working in a dead end job, in an office full of old army types who spoke of nothing but the war and the anarchism of today’s youth proved the catalyst for change.

Relocating to London, Parry answered a musician’s wanted advert placed by Derek Morris in the Melody Maker. At a similar time Parry answered an advert placed by Matt Johnson in the NME requesting musicians into The Velvet Underground/Syd Barrett. Having contacted Matt he discovered there had been a somewhat limited response to the advert. Parry enquired with Matt what instruments he played and equipment he used - this included a guitar/amp setup purchased from Woolworths, a Crumer Electronic Keyboard and an assortment of other borrowed musical instruments left behind in the basement of his father Eddies’ pub.

Johnson did send Parry a copy of his cassette demo 'See without Being Seen' recorded in the cellar of his parents pub. The music Parry found interesting, Matt had written all the music and played all instruments himself. The cassette came in a cover designed by Matt copied on a Xerox machine.  Parry thought ‘See without Being Seen’ an ambitious, impressive work for a 15-16 yr old. Parry considered Matt essentially a solo act and found it difficult imagining them being in a band together. Matt Johnson and Parry kept in touch informing each other of each other’s activities. Letters to each other would contain the names and addresses of key contacts, people like Genesis P-Orridge of the band Throbbing Gristle, people who could potentially help the cause. Concurrently Parry had been in contact with Derek Morris and Steve Sherlock and due to the practicalities of living closer to one another they decided to form a band.

Matt later contacted Parry when he discovered Keith Laws, appearing keen for them all to get together and introduce Laws to him.  Parry remembers having Keith around seemed to give Matt greater self-confidence. Together they would formulate ideas, take to the stage and perform as a live act, as a duo they would both develop the idea of what was to become The The.  At the time Matt was working at De-Wolfe music studios in Soho and this gave him the opportunity to record backing tracks to which he and Laws would later improvise. Parry was present at all of The The’s early performances. The The first gig was at the Africa Centre, nr London’s Covent Garden, the event being memorable for having an African/Caribbean evening taking place at the same time in the basement. As The The played upstairs, the throb of African music permeated up through the floor. Parry liked the abstract, experimental sound of early The The, the music being a stimulating hybrid of electronic drum beats, effected guitar, a wasp synthesizer, slabs of noise and distorted vocals. Parry did join The The on stage and played guitar on just the one occasion – The Anarchist Ball – Metropolitan Warehouse. This event followed a frustrating day spent in SGS studios in south London recording the track that was to become ‘Untitled’ as later featured on ‘The Some Bizzare Album’. In the company of an uncooperative, unprofessional engineer, Parry, Johnson and Laws struggled to make themselves understood. This situation Parry found especially embarrassing having recommended the studio to Johnson/Laws and booked the studio for them. Amid the chaos Parry found himself sharing the studio control room listening to the rant of the engineer while attempting to salvage the situation. Parry recalls making a musical contribution in the form of hand claps and maybe some fuzz guitar. At the end of the recording session the engineer scrawled obscenities on the tape reel box - "The Bollock Dance" - Parry took the master tape home with him then a few months later he received a request from Laws asking him about the whereabouts of the master tape. They wanted the track for a forthcoming compilation - Some Bizzare Album. Sadly when the Some Bizzare Album materialised no credit is given for Parrys contribution to 'Untitled'. 'Untitled' remains an interesting artefact in the early career of Matt Johnson / The The. 

   

Neu Electrikk and The The shared management, record-label, gigs and personnel. Following the demise of Neu Electrikk Steve Sherlock effectively went on to join The The and with Johnson both contributed to Marc and the Mambas.



Photocopied Gig Poster given to Steve Parry by Matt Johnson for early The The gig

Dee Sebastian

Dee Sebastian - born: Derek Anthony Morris - vocalist, guitar player, author, poet, enigma

Derek Anthony Morris aka Derek Morris or Dee Sebastian was a singer/songwriter who resided in Peckham, South London, UK. The son of a military serviceman Derek’s childhood had been spent on a succession of military bases in West Germany. The family later moved to the United Kingdom. Interested in literature, poetry, film, music and performance arts Derek formed the band Electra Vogue in 1976 with Steve Sherlock on saxophone and electronics and himself on guitar and vocals. In 1977 guitarist Steve Parry joined the band having seen an advert in the NME/Melody Maker calling for musicians into The Velvets/Experimentation to form a band. Steve Parry suggested the band change its name to Neu Electric (new electronic music) and this later became the more kraut rock sounding Neu Electrikk. Rehearsals were later held to recruit other musicians and resulted in Barry Deller/Della becoming the drummer/percussionist and Nick Hunt join on Bass Guitar.

Promoting their sound as ‘Surreal Modern Music’ performances were often heralded as chaotic, musical happenings, 4 minute songs often became 30 minutes of free improvisation. The band would take to the stage to the sound of industrial hammers, bird song, Frank Sinatra and John Cage. The band quickly established a cult following. John Peel became a supporter of the band and played Neu Electrikk regularly on his BBC radio show.

Derek supported his musical endeavours by working as a printer/plate maker for various London publications. Towards the end of Neu Electrikk Dee Sebastian secured a solo music publishing deal with Sparta Florida Publishing. Having assembled a band of musicians that included Jak Airport aka Jack Stafford of the band X-Ray Spex he recorded material under the concept, ’The face of a decade sessions’. Unable to secure a solo record deal Derek retreated from the music scene. Additionally Parry left London to live in Yorkshire to work on more abstract music projects. Around 1983 following interest from a major independent record label Parry, Sherlock and Morris, attempted to reform Neu Electrikk. After several abortive recording sessions in a studio in Yorkshire the project was abandoned, Sherlock and Parry utilizing the studio time to work on material together.

Derek, ever the enigma, is believed to be working under a different name as either a poet, author or designer somewhere in England. His name turning up from time to time....................?

45 Revolutions (Featuring an article on Neu Electrikk)

45 Revolutions - (1976/1979) - Volume 1, UK/Ireland [Hardcover]

By:-Mario Panciera

Product details

Hardcover: 1173 pages

ISBN-10: 889559200X

ISBN-13: 978-8895592008

Product Dimensions: 24.8 x 17.1 x 6.4 cm

This book has been described as the best Punk/Post Punk Discography book of past 20+ years, being an essential reference for both the seasoned collector and eager neophyte. This superb, meticulously researched edition features an article on Neu Electrikk and features pictures of the Lust of Berlin 7” single cover. I thoroughly recommend this incredible work - it’s something I return to time and time again. Published by the Italian book publisher Hurdy Gurdy further information can be obtained from:-

http://www.hurdygurdy.it/45_adv.pdf

Note:- copies can turn up on Amazon or Ebay -

Neu Electrikk/Steve Parry Interview

"The Ability to Self Combust"

Extensive interview with Neu Electrikk guitarist Steve Parry (Stefan Jadd) published in SALT (Issue Ten)
The interview was carried out in 2011 by Kevin McCaighy and is notably the most comprehensive article written about the history of the band.

To purchase this zine contact the editor/publisher

kevinmccaighy@yahoo.com

Neu Electrikk - Surreal Modern Music (Artbook Published)

Neu Electrikk - Surreal Modern Music is an artbook edition comprising an essay by Vivian Johns about the history of the band and unpublished photos/images of the band. Neu Electrikk is a post-punk band formed in London in 1978. With little information having surfaced over the years Neu Electrikk remains an enigma. This petite yet concise history in words and images is a real collector’s edition.

The book can be purchased from the following bookstore:-

http://www.blurb.co.uk/bookstore/detail/3039407?redirect=true

Neu Electrikk

 

The story of Neu Electrikk is only one tributary amongst a great wave of untold tales that have gone unheralded amid the recent spate of post-punk recollections. Contrary to what Simon Reynolds may have you believe, the history of that era is still in the process of being written. Neu Electrikk were a group of young men in the mid to late 1970s to be galvanized by a combination of the first stirrings of punk and their own personal creative desires, who sought and found in each-other an energy and spirit that propelled their music forward in a breathless, unheeding rush. Their output during those tumultuous years was slim: just two 7” singles and compilation appearance in three years. Six tracks over seventeen minutes. Not a lot to go on, you might think, but they reveal so much - the influences fighting for space alongside flurries of invention and experimentation that drift onto a distinctive, hard won ground. The instruments are at odds; their vicious edges vie for supremacy, imbuing each track with a rather becoming tension, as befitting the austere times in which they were created. A voice steps forward unafraid of exoticism and seduction, a romantic trace within the prevailing chill of sexless gloom. This is band that existed and then was over, that triumphed amid collapse, that dreamed and made those dreams real, for however brief a moment. Neu Electrikk is a band that deserves to be remembered.

(Kevin McCaighy - Salt 2012)