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Freak Yourself

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We've been shaking it with Stephen Mallinder.

Graham and Carney have enjoyed the pleasure of the musician, writer, artist, teacher and doctor's company.  Down at Hotel Pelirocco we've been speaking to Mal about his relationship with Wire and music.

Through the ’70s and ’80s, Cabaret Voltaire were an adventurous group sitting at a cross-section of avant-garde electronic explorations and warped pop sensibilities that made them hard to define — and very influential.  Since the solo release of “Pow Wow” in 1982, Mallinder continued his pioneering work with Cabaret Voltaire, as well as recording and touring with his electro projects Wrangler, Creep Show, Hey, Rube, Kula, and Cobby & Mallinder.  In 1994, founding member Stephen Mallinder left Cabaret Voltaire.  In addition to his non-stop schedule in electronic music, his professional life as a journalist, broadcaster, producer and now a professor of Digital Music & Sound Art at the University of Brighton, has lead Mallinder to a unique point in his career. 

Mal is a clever clogs.  He has published numerous academic papers, and gained his PhD in music and popular culture from Murdoch University in Australia in 2011 with his thesis Movement: Journey of the Beat.  He now lives in Brighton which is where we caught up with him this weekend.

As part of Cabaret Voltaire he has had video work exhibited at MoMA (New York) and with Wrangler in the Turbines (Tate Modern, 2010).


Cabaret Voltaire 'We will not allow any dancing...' In the brief respite after punk's first rush wore off and before Saturday Night Disco Fever properly set in, a number of groups, among them Cabaret Voltaire, Throbbing GristleThe Pop Group, and 23 Skidoo, emerged from the shadows to occupy the middle ground. Though their tenure was mostly kept deliberately short, their impact was profound.

In Cabaret Voltaire's case, their early training as media guerillas vested them with the mobility to slip in and out of the mainstream earshot almost at will.  As yet to be properly pinned down, they've sustained a campaign of civil and dancehall disobedience through more than 15 years.  Filtering influences as diverse as StockhausenCan, early Roxy MusicVelvet Underground and James Brown through various tape and electronic devices, they have in turn infiltrated all manner of heresies and subversions into the often conservative territory of dance music.