Our series of previews of the Mute Short Circuit Festival ends with an interview with label founder Daniel Miller on his philosophy, becoming indie again after splitting with EMI… and why Kraftwerk weren’t on the fiddle when they sold him a broken synth. PLUS! Daniel’s Quietus Mix featuring NON, Plastikman, Steve Reich and… twinkle

And so we come to the end of our Quietus previews of this weekend’s Short Circuit. After we’ve spoken to Carter Tutti, explored the favourite albums of Andy Bell and Alan Wilder, delved into the present and future of The Residents, and listened to the music selected by Renegade Soundwave, it felt only right and proper to go to the main man, the head honcho – Mute boss Daniel Miller. When we last spoke with Miller around the time of the BBC Synth Britannia programme, he was in the middle of negotiating the departure of Mute from EMI. Now, 18 months later, Mute once again functions as an independent label, operating from offices down in Hammersmith. Incidentally, when I first visited the new HQ, the staff were complaining about all the drilling which, from a label who pioneered industrial music, seemed a bit rich. There can be few labels who’d be able to put on a bill as diverse as Mute have at Short Circuit. I’ve always been fascinated by the breadth of their catalogue, from the Bad Seeds to Erasure, Liars to Diamanda Galas, Robert Rental to Apparat, and it’s this that they’re celebrating this weekend. Here, Daniel Miller tells us about the departure from EMI, his philosophy in running the label, and what happened to the synth he bought off Kraftwerk.

So Daniel, how is it being a fully independent label again?

Daniel Miller: If feels really good. We were with EMI for eight years, and most of that time was very good, but because of what was going on at EMI and with the industry in general it was a bit tricky towards the end. We still have a relationship with EMI, and we’re on good terms with them, there are some very good people working there. I’m independent as a label, Mute as a name is still owned by EMI but we license it from them, but the company is an independent company. I’m not good at working the system, and I like to make decisions and act on them quickly, and that’s hard in any big organisation, and quite frustrating, and that made me feel that I couldn’t do some of the things that I really wanted to do. It feels like a bit of a weight off my shoulder now.

In the current climate, do you think it’s better for independent labels because you’re more adaptable?

DM: I think you can respond more quickly simply because there are fewer people to have to sign off on things. Most independent labels are between one and 20 people, and the vast majority are run by the people who own them so you can make decisions quickly. They might not be the right decisions, but at least you can make them quickly and respond quickly. You don’t have a corporate chain of bureaucracy to go through.

Does it feel good being down in Hammersmith with the label, publishing and studio all together?

DM: It feels like we’re really one company again. We were separately physically from the publishing for a while, but we then worked together very closely on a lot of projects. The label and publishing obviously require very different skills, but we pool them across the board for all our artists, whether they’re published by Mute or not, or recorded by Mute or not. The studio was a real piece of luck, it was already there and owned by someone else, but they weren’t really using it, so we’re renting it off them on a long-term basis and we have exclusive use. It was always a big part of Mute in the past, especially when we were in our Harrow Road premises, to have a studio in the building. I very much like having artists around, to have them close, and interacting with people at the label, I can pop in and say hullo, it’s a very informal way of working.

Like a Mute family?

DM: Yes with all the pros and cons of families I suppose. Maybe it’s a family, whatever you want to call it, it’s a group of people moving in the same direction trying to achieve the same things.

Have you been working with any artists in the studio recently?

DM: Not recently, I did do a lot of collaboration with artists in the studio in the early days. I had no real experience in the studio at all, I just had slightly more than they did so I became by default a co-producer and collaborator. I enjoyed that for a while and worked with a lot of the artists, but I don’t really enjoy producing records, I think it’s a real skill and requires a lot of patience that I just don’t have. I enjoy being in the studio and mucking around with sounds, but not on a full-time basis.

I like what Angus said last week in the piece Liars did for us, how your only comment on They Were Wrong So We Drowned was ‘can you turn up the vocals?’

DM: I remember listening to it and thinking ‘well it defines itself, it’s such a great-sounding record’. You couldn’t really muck about with it because if you took one element away or pushed another the whole thing would fall apart.

Speaking of the A&R side of things, last time we spoke you said ‘I am the only person who likes everything on Mute’. Is that still your guiding philosophy?

DM: It was like that for a long time. I still have to love everything that’s on Mute, that goes without saying. But I don’t pick everything and we don’t sign that much. If one of our A&R people really loves something I really interrogate them to find out exactly how much they really like it, but I’m happy to go with their feeling on it. I still have to really like it, but there’s a difference between really liking something and having the passion to live that life for God-knows how many years with the artist.

It’s interesting looking at the evolution of Mute from a purely electronic label to suddenly having The Birthday Party, and then how it changed subsequently.

DM: When Mute started it was just after punk. Punk did inspire a lot of people to do things that they might not have done before, and it opened people’s minds, so it was a very important moment. But for me musically, things had sped up but not really moved on. Punk had done a really good job of killing stuff off, but it didn’t do a good job of saying what was going to come next. I’d been a big fan of electronic music before punk and I though that it could be a distillation of what punk is all about because it’s much easier to do. Synths had come down in price so you had a choice, where before the only option was the guitar bass drums set-up. Bands like Depeche, who came along later, were a result of that economic story. Music started to drift backwards with new wavey stuff, so I in the early days, I was ideological about it being electronic. But then I saw the Birthday Party, and that reminded me that other instrumentation can be amazing in the right hands.

With the internet making music from all over the world so available, and not just illegally, we’re in a fragmented time that feels quite post-ideological. How do you react to that?

DM: I think it is, I think it’s brilliant. As a label or a listener you can only deal with so much at one time. There’s a lot of diversity now, it’s opened up people’s access to music, and I think the internet has brought a lot more to music than it has taken away. It’s often blamed for a lot, but it’s given people so many opportunities. I’m not saying we’ve gone totally that way, we’re not a world music label now or anything, but in terms of Mute’s brief we’ve been broadening it out. The most important thing for me right now is not the genre of music. After the first wave of electronic artists we signed, it’s been more about the originality. If you’re original in whatever you do, be that ten minute country songs or making techno records, that’s what interests me, and people who have something to say, and might say it over a long period of time. That could be anyone, be it Apparat or Josh T. Pearson.

I wanted to ask about the new artists. Had you known Apparat for a while?

DM: I spend quite a lot of time in Berlin, it’s like my second home, I have a place there. Apparat was a partner in Shitkatapult, which is now run by Marco Haas who also goes under the name T. Raumschmiere. I knew Apparat for a long time, and they played me this album a few months ago and I fell in love with it straight away.

Over the years interviewing Mute artists, they’ve all been full of praise for the freedom they get, and the support. Is it harder to offer that level of support and freedom as the industry has become more difficult?

DM: I don’t think so. I work with artists because I think they can do great things, and I have to believe in that. So the creative side of it, when they start to make a record, we’ve talked about it and we know what the process is going to be, so we just let them get on with it. I like the process to be natural, I don’t really think about it.

So to this weekend. How did Short Circuit come about?

DM: They approached us, and we grabbed it with all our hands. All the artists have been brilliant, they’ve all been really excited about it. A lot of people are off-cycle, and it’s not just another date on their tour, they’ve had to put a lot of extra effort in and I really appreciate that. I can’t wait to see everybody really, it’ll be nice to catch up with some of the artists. Obviously there’ll be complaints about the dressing room not being right or things not being on riders, but generally speaking it’s going to be a lot of fun.

It’s really good it’s not a nostalgia fest, you’ve got things like the Nik Void and Carter Tutti collaboration, SCUM playing and so on.

DM: Yes, it’s not supposed to be a back to the 80s nostalgia tour. Mute was a 70s label not an 80s label, we’ve got Boyd, NON, he was there at the start, and we’ve got him playing, all the way through to the new artists. I wouldn’t have done this as a nostalgia thing, it’s about where we’re at and where we’re going.

And you’re bridging with Raster-Noton too via the Sound Halo loop, that’s really interesting.

DM: I’m a big fan of Raster-Noton. We decided to do this loop that’s going to run overnight, nearly everybody made a contribution to that. It’s an hour long, and that’s going to play overnight and in various parts of the venue as well. Also I’m really pleased with the Dirty Electronics project. The Roundhouse does great work with local kids, and 20 or 30 of them are all going to build a synth, and then do a performance.

And finally, have you got your Kraftwerk synth fixed?

DM: The vocoder? It doesn’t really work. I get sounds out of it, it’s a shame really because somebody spent a lot of time trying to fix it up. I bought it knowing that it didn’t work, so the Kraftwerk boys didn’t go wide on me or anything. They said it never worked properly – it was built for them but it never got finished because they ran out of money. But it’s a beautiful thing and I see it every morning when I have my breakfast.

Source: The Quietus

On Friday 13 May, Moby (DJ set) and Richie Hawtin (Minus, Berlin – with visuals by Ali Demirel) join a line up that features rare UK live performances from Recoil (Alan Wilder), Nitzer Ebb, Richard H. Kirk, CARTER TUTTI with Nik Void, NON (Boyd Rice), The Balanescu Quartet and Komputer plus live sets from key German electronic music figures Pole, T. Raumschmiere, Thomas Fehlmann and Thomas Brinkmann. Mute’s founder, Daniel Miller will perform a DJ set.

On Saturday 14 May, Depeche Mode’s Martin L. Gore and Andy ‘Fletch’ Fletcher have confirmed DJ sets, while Josh T. Pearson plays an exclusive set of his favourite songs by Mute artists. These announcements add to a bill that already boasts an exclusive performance by Erasure who will be joined on the night by very special guests. Also performing live will be The Residents, Laibach, Liars plus recent Mute signings Big Deal, S.C.U.M Beth Jeans Houghton and Poppy & The Jezebels. Maps and Polly Scattergood will perform a unique collaboration interpreting each other’s songs whilst Simon Fisher Turner will collaborate with Mira Calix. Also appearing are James Brooks and Peter Gregson plus a special guest performance from Alison Moyet. Other DJs on the night will be Danny Briottet (Renegade Soundwave) and Irmin Schmidt (Can) & Kumo (Jono Podmore) who will play The Sound Of Can – Can Archives Special.

Saturday 14 will also include a program of talks and films, alongside live performances throughout the afternoon. Talks confirmed so far include Stefan Betke (aka Pole) with ‘An Introduction into the science of Mastering’ and veteran producer and long time Mute collaborator Gareth Jones (Depeche Mode, Erasure and Liars) will talk about his work with the label. Films include the 2009 Mark Stewart documentary ‘On/Off’ and an exclusive Nick Cave & The Bad Seeds film by Iain Forsyth & Jane Pollard. More to be announced.

A series of installations will be running across the Short Circuit festival. Berlin based synth boutique Schneiders Buero will build a unique carousel where visitors can play with new modular and hardware synths. Flies, Guys and Choirs is an audio/visual installation by Irmin Schmidt & Kumo that will transform the sounds of people within the public space in to the bizarre and beautiful. Felix’s Machines (Felix Thorn) will be exhibiting one of his music making sculptures.

In collaboration with Mute, Dirty Electronics Workshop will design a special analogue electronic instrument for the festival. Young members of the Roundhouse studios will take part in the workshop, each building the instrument then performing it at the Roundhouse. A limited edition of the instrument will be on sale during the Short Circuit festival.

Short Circuit presents Mute is a 2 day incident which will feature performances and unique collaborations from Mute artists past, present and future alongside DJs, talks, workshops, screenings and installations. A celebration of Mute’s unique and influential work as a label and publisher, the occasion will see all of the Roundhouse’s public spaces open together for the first time.

The German electronic label Raster-Noton have confirmed a line up for the opening night of 2011’s Short Circuit – Thursday 12 May – and a specially created sound piece will link the Raster-Noton and Mute events. The Raster-Noton / Mute Sound Halo will consist of sound loops created by artists from both labels and will play overnight from 12 May to link the two events.

The line up for Raster-Noton’s event features the premiere of Ryuichi Sakamoto and Alva Noto’s new piece, plus performances from Anne James Chaton, Grischa Lichtenberger, Atom TM, Byetone and Mark Fell. Tickets are onsale now.

Tickets are available from www.roundhouse.org.uk/short-circuit.

Fri 13 May – £30 (6pm-1am)
Sat 14 May – £45 (12pm-12am)
Fri & Sat – £65
Limited Premium Ticket – SOLD OUT

Age: 16+

Friday May 13, 2011
Live
Richie Hawtin (Minus, Berlin) with visuals by Ali Demirel
Recoil
Nitzer Ebb
Richard H. Kirk
Carter Tutti with Nik Void
NON
The Balanescu Quartet
Pole
T. Raumschmiere
Thomas Fehlmann
Thomas Brinkmann
Komputer

DJ
Daniel Miller
Moby

Saturday May 14, 2011
Live
Erasure & Special Guests
The Residents
Laibach
Liars
Josh T. Pearson plays Mute Songs
Alison Moyet (Special Guest)
Maps & Polly Scattergood
S.C.U.M.
Beth Jeans Houghton
Poppy & The Jezebels
Simon Fisher Turner & Mira Calix
Big Deal
James Brooks
Peter Gregson

DJ
Martin Gore
Andrew Fletcher
Danny Briottet
Irmin Schmidt & Kumo play The Sound Of Can – Can Archives Special

Workshop
Dirty Electronics

Films
Mark Stewart ‘On/Off’
Nick Cave & The Bad Seeds film by Iain Forsyth & Jane Pollard
more to be announced

Talks
Gareth Jones ‘Producing Mute Artists’
Stefan Betke ‘An Introduction Into The Science Of Mastering’
more to be announced

Installations – 13 + 14 May
Schneiders Beuro
Flies, Guys & Choirs
Felix’s Machines

Source: Mute

John Freeman looks back at the album which saw Martin Gore find his voice against a backdrop of inter-band tension.

According to his family, Martin Gore was a shy, introverted child. But that was then. By his mid-twenties, he had taken to wearing rubber fetish gear and singing ‘A Question Of Lust’ (containing the couplet “My weaknesses / You know each and every one”) to hundreds of thousands of people with his band Depeche Mode. It’s always the quiet ones…

Artistically, Gore had come a long way by 1986. Black Celebration is a fine and kinky record that signaled a transition in Depeche Mode’s career; they became darker, sonically more adventurous and sweetly subversive. “If you call yourself a pop band,” remarked Gore at the time, “you can get away with a lot more.” It was the record on which Gore’s burgeoning writing skills thrust him deeper into the epicentre of an already successful group. He provided lead vocals on (an unprecedented) four tracks, including the angst-infected ‘World Full Of Nothing’ and the fabulous dirge of ‘A Question Of Lust’. But more than that, Black Celebration was perhaps a turning point for the band in the UK. While America seemed to already ‘get’ Depeche Mode (they succeeded as a new-wave pop band who could also fit snugly next to REM on a college radio playlist), they still possessed the whiff of ‘guilty pleasure’ in their home country. Black Celebration winkled a legion of Mode fans out of the closet.

Five years earlier, Depeche Mode had lost their principal songwriter, Vince Clarke. As one of Britain’s most prolific hit-makers, Clarke’s were big shoes to fill – he already had written the synth-pop classics ‘New Life’ and ‘Just Can’t Get Enough’ for the Mode, and would go on to further success with Yazoo, The Assembly and Erasure. Gore stepped up to take the main writing duties and if, perhaps, it took him a couple of albums to truly find a groove, Black Celebration was the point that the Basildon quartet became very, very interesting.

Martin Gore was undergoing an intense period of personal change in 1985-86. He had moved to Berlin, and enjoyed the freedom and creativity of the art scene. He experimented in fashion – with a particular penchant for women’s clothes – and was intrigued by sex clubs and the S&M scene. He could be wildly foppish – claiming to be inspired by “Camus, Kafka and Brecht” – but was rooted in the mind-numbing nature of the everyday struggle. He was keen that Black Celebration was not seen as a self-indulgent, depressive record – the title track itself being a call to rejoice the end of another humdrum day.

And it is not to say that Gore hadn’t been pivotal to the evolution of Depeche Mode during the intervening years that followed Clarke’s departure. Both 1983’s Construction Time Again and the following year’s Some Great Reward generated more hits and strengthened their fanbase in Europe and America. However, even the big singles suffered from clunky sixth-form poetry (see ‘People Are People’ and ‘Everything Counts’) or mildly embarrassing displays of sexuality, as on the clumsy S&M metaphors of ‘Master And Servant’. While Gore’s writing, coupled with keyboardist Alan Wilder’s increasing influence, had taken the band away from their fluffy electro-pop beginnings, there was still an ungainliness about the Depeche Mode sound.

Black Celebration saw Depeche Mode step out of their ‘gangly teenager’ phase, even though the album was created in an extremely difficult period for the band. By late 1985, the newly-married Dave Gahan was sober and judgmental of Gore’s hedonistic Berlin lifestyle. The stop-gap single ‘It’s Called A Heart’ had been a weak offering and the band were unsure of their next musical step. When record company suits began to vet Gore’s embryonic new material, he “freaked out” and disappeared for a week, holing up with an old school exchange friend in rural northern Germany, complaining that “the business did my head right in.” Gahan would later state that if Depeche Mode were ever to have split up “it would have been at the end of 1985.”

The method of recording Black Celebration also shoveled on extra pressure. The album was produced by Mute’s Daniel Miller and Gareth Jones (who had worked with the band on previous albums) and recorded at London’s Westside studios and at Hansa in Berlin. Miller – inspired by German film director Werner Herzog’s idea of ‘living the art’ – suggested recording in one continuous session spanning four months, with no days off. While this undoubtedly added to the intense, claustrophobic feel to the songs, it left Jones emotionally shattered – “I’d never do anything like that again,” he would later remark. Also, Alan Wilder was becoming progressively more proficient as the ‘studio techno-bod’ and began to muscle in on the role previously taken by Miller and Jones. Four months, no break, toes being trodden on – sounds like one long party.

The lead single for Black Celebration was ‘Stripped’. It’s an ominous and intriguing pop song – the lines “You’re breathing in fumes / I taste when we kiss” exude the opaque carnality typical of Gore’s lyrical style at that time. Sonically, ‘Stripped’ relies on the heavy use of samples to generate its metallic jaggedness – the song starts with a sample of the ignition from Gahan’s Porsche, while the backbone of the track is the splutter of an idling motorbike.

Wilder’s all-consuming and often tortuous quest for samples did create the Bladerunner-meets-techno vibe on the superb ‘Fly On The Windscreen – Final’. While Gahan intones that “Death is everywhere,” the song squelches, burps and bleeps like a Synclavier set to apocalyptic mode. Sampling guru DJ Shadow quotes Black Celebration as one of his favourite ever albums, claiming the band gave him his “interest in synth music.” Depeche Mode’s influence on electronic dance music is, perhaps, hugely underrated.

Arguably the best song on Black Celebration is the track that relies least on studio alchemy. ‘A Question Of Lust’ sees Martin Gore’s growing lyrical confidence explore the covert paranoia of sexual relationships. Over a distinctly conventional melody, Gore reveals his vulnerabilities – “I need to drink / More than you seem to think / Before I’m anyone’s.” It’s a beautifully constructed song – Melody Maker called it the band’s “greatest moment.”

Indeed, lyrically, Gore seemed at his best when exploring the more desperate elements of relationships and the tension between sex, trust and love. He claimed that “70 per cent of my songs are about sex,” and the assertion seems to hold for Black Celebration, be it the promise of one last shag before obliteration on ‘Fly On The Windscreen – Final’ or the hopelessness of “She doesn’t trust him / But he will do” on the deceptively corrupt ‘World Full Of Nothing’. However, Gore struggled when his words veered away love and lust. The soap-boxing on ‘New Dress’ – which rallies against the nation’s obsession with Princess Diana’s latest fashion statement, set amid a backdrop of shocking news headlines (“Girl, 13, attacked with knife”) – was delivered with the subtlety of a sonic boom.

The final single from _Black Celebration was ‘A Question Of Time’. It is a fairly standard Depeche dance chugger (although apparently about a predatory male trying to corrupt a minor) and is more notable for its promotional video. It was the first time the band had worked with Dutch photographer Anton Corbijn (who had previously thought they were “sissies” and only agreed to the project because it allowed him to film in America). Corbijn would go onto produce many of Depeche Mode’s promo videos, including those for ‘Personal Jesus’ and the iconic ‘Enjoy The Silence’.

Black Celebration elevated Depeche Mode to arena-tour status in the UK, while cementing their popularity in America (where they partied their way through a 29-date tour). It also began the trio of career-defining albums including 1987’s Music For The Masses and the crossover, stadium-filler Violator (1990). This run of form perhaps captures the band’s musical zenith, before their subsequent output became bogged-down and fractured by Dave Gahan’s spiraling drug use. Martin Gore was central to this period of creative highs – the quiet, introspective boy had developed into a brutally honest and sonically expansive musician.

Source: The Quietus

Born from a radio show, Back To The Phuture is a cross platform event which aims to showcase the past, present and future of electronica. Mixing legends with unknowns, the organisers have unveiled a series of special shows.

Taking place at venues in Manchester and London, Back To The Phuture mixes standard live shows with online broadcasts and more. Firming up details of the line up, the team have confirmed an appearance from Daniel Miller.

The founder of Mute Records, Miller is one of the most important people in the evolution of independent music. Recording music under the name of The Normal, his debut single ‘Warm Leatherette’ was famously covered by Grace Jones.

With Mute regaining its independence, Daniel Miller is returning to his roots. Agreeing to take part in Back To The Phuture the label boss is set to play a special DJ set at London venue The Troxy on April 2nd.

“I’m so happy to be welcoming Daniel Miller and Mirrors to the line up for the Troxy”, says Back To The Phuture creator Mark Jones.

“Their synthfluential sonics will open up the experience even more. Oh, and I called Daniel at the Mute offices asking for guest list to Depeche Mode’s European tour in 1983 and he sorted me right out. So if you need any names added Daniel, just shout!”

Elsewhere on the bill, Back To The Phuture have announced appearances from Gary Numan, Recoil, Motor, Mark Jones, Mirrors and more.

Tickets are on sale now.

Back To The Phuture have confirmed the following shows:

April 1st, 2011 at the Manchester Academy
April 2n, 2011 at the Troxy in London

Source: Clash Music

Mute host 2 days – 13th + 14th May 2011 – at London’s historic Roundhouse as part of the annual Short Circuit Electronic Music Festival and announce the first details of the artists to be involved, with further announcements to follow in the coming weeks.

The 2 day incident will feature performances and unique collaborations from Mute artists past, present and future alongside DJs, talks, workshops, screenings and installations. A celebration of Mute’s unique and influential work as a label and publisher, the occasion will see all of the Roundhouse’s public spaces open together for the first time.

Friday 13th May (6pm-1am) will feature rare UK live performances from Recoil, Nitzer Ebb, Richard H. Kirk, Carter Tutti with Nik Void, NON (Boyd Rice), The Balanescu Quartet and Komputer, plus live sets from key German electronic music figures Pole, T. Raumschmiere, Thomas Fehlmann and Thomas Brinkmann. Mute’s founder, Daniel Miller, will also perform a DJ set.

Confirmed for Saturday 14th May (12pm-12am) is an exclusive performance by Erasure who will be joined by very special guests. Also performing live will be The Residents, Laibach, Liars, recent Mute signings Big Deal and S.C.U.M, Poppy & The Jezebels, Simon Fisher Turner collaborating with Mira Calix, James Brooks, Peter Gregson plus a special guest performance from Alison Moyet. DJing on the night will be Danny Briottet (Renegade Soundwave) and Irmin Schmidt (Can) & Kumo (Jono Podmore) who will play The Sound Of Can – CAN ARCHIVES SPECIAL, previewing newly discovered music set for release in September.

Saturday 14th will also include a program of talks and films, alongside live performances throughout the afternoon. Talks confirmed so far include Stefan Betke (aka Pole) with ‘An Introduction into the science of Mastering’ and veteran producer and long time Mute collaborator Gareth Jones (Depeche Mode, Erasure and Liars) will talk about his work with the label. Films include the 2009 Mark Stewart documentary ‘On/Off’ and an exclusive Nick Cave & The Bad Seeds film by Iain Forsyth & Jane Pollard.

A series of installations will be running across the Short Circuit festival. Berlin based synth boutique Schneiders Buero will build a unique carousel where visitors can play with new modular and hardware synths. Flies, Guys and Choirs is an audio/visual installation by Irmin Schmidt & Kumo that will transform the sounds of people within the public space in to the bizarre and beautiful. Felix’s Machines (Felix Thorn) will be exhibiting one of his music making sculptures.

Tickets are available from http://www.roundhouse.org.uk/short-circuit-presents-mute / 0844 482 8008 and are priced as follows:

Fri 13 May – £30 (6pm-1am)
Sat 14 May – £45 (12pm-12am)
Fri & Sat – £65 – SOLD OUT
Limited Premium Ticket – SOLD OUT

All events are 14+, 16 and under should be accompanied by an adult.

The German electronic label Raster-Noton have confirmed a line up for the opening night of 2011’s Short Circuit – Thursday 12th May – and a specially created sound piece will link the Raster-Noton and Mute events. The Raster-Noton / Mute Sound Halo will consist of sound loops created by artists from both labels and will play overnight from 12th May to link the two events.

The line up for Raster-Noton’s event features the premiere of Ryuichi Sakamoto and Alva Noto’s new piece, plus performances from Anne James Chaton, Grischa Lichtenberger, Atom TM, Byetone and Mark Fell (snd). Tickets are onsale from today.

The line up so far with further announcements to be made in the coming weeks.

Friday May 13, 2011
Live
Recoil
Nitzer Ebb
Richie Hawtin
Richard H. Kirk
Carter Tutti with Nik Void
NON
The Balanescu Quartet
Pole
T. Raumschmiere
Thomas Fehlmann
Thomas Brinkmann
Komputer

DJ
Daniel Miller
Moby

Saturday May 14, 2011
Live
Erasure & Special Guests
The Residents
Laibach
Liars
Alison Moyet (Special Guest)
Maps & Polly Scattergood
S.C.U.M.
Beth Jeans Houghton
Poppy & The Jezebels
Simon Fisher Turner & Mira Calix
Big Deal
James Brooks
Peter Gregson

DJ
Danny Briottet
Irmin Schmidt & Kumo play The Sound Of Can – Can Archives Special

Films
Mark Stewart ‘On/Off’
Nick Cave & The Bad Seeds film by Iain Forsyth & Jane Pollard
more to be announced

Talks
Gareth Jones ‘Producing Mute Artists’
Stefan Betke ‘An Introduction Into The Science Of Mastering’
more to be announced

Installations – 13 + 14 May
Schneiders Beuro
Flies, Guys & Choirs
Felix’s Machines

Source: Mute