Interview: Mic Jogwer of Pink Turns Blue

Mic Jogwer of Pink Turns Blue, photo by Daniela Vorndran

Pink Turns Blue is one of the foundational bands of modern darkwave. When the group formed in Berlin, Germany in 1985 its blend of then New Wave and dark, moodier post-punk was in line with the fusion of those elements one heard in The Cure, The Chameleons, Comsat Angels and The Sound. The group’s first two albums If Two Worlds Kiss (1987) and Meta (1988) had a spacious and dusky vibe with undertones of emotional urgency giving expression to the on the brink tensions of that decade when the world seemed in a tenuous and conflicted state. Pink Turns Blue split in 1995 for several years before coming back together in 2003 after the post-punk revival was well under way and ahead of the darkwave resurgence of the 2010s and in some ways benefited from both as a cult band that had influenced connoisseurs of adjacent styles of music. In 2019 respected experimental and more or less darkwave label Dais reissued If Two Worlds Kiss and Meta and introduced a new generation to one of the still extant legends of German post-punk. In 2021 Pink Turns Blue released its latest record TAINTED with its decidedly political content as a critique of a human civilization bringing to bear a completely and utterly inadequate response to anthropogenic climate change and the political and economic systems in place that ensure future destruction to the world we took for granted in a kind of feedback loop of escalating devastation. The future climate scientists have warned about for decades is now here. But it’s not all doom and gloom and the music of Pink Turns Blue isn’t a nihilistic analysis of world events, the new record, as with previous efforts, offers poignant personal portraits of love and loss and the life experiences and connections to others that give our existence its essential meaning beyond our utility in some economic context.

Pink Turns Blue performs at the Hi-Dive on Thursday, September 15, 2002 with Radio Scarlet and Redwing Blackbird (doors 8 p.m.) and ahead of that date we were able to pose some questions to founding vocalist/bassist/synth player Mic Jogwer via email about the band’s origins, background, the content of its music and the challenges of operation as a band from Europe in the USA.

Queen City Sounds: Before forming bands what kinds of things did you see or experience that prompted you to pursue making music? Was Rockpalast a part of your youth in getting exposed to some of the more adventurous music as well as more mainstream faire?

Mic Jogwer: I have to honest and say that my love for music began very early when I was 8 years old. And also that my first heroes were The Rubettes, Sweet, Abba and the likes.

I started with trumpet at 9 and changed to guitar at 12 (Genesis, Pink Floyd), then bass with 14 (Santana). And so on. Blues, Rock and then Punk. It wasn’t before I started Pink Turns Blue when we got compared to The Chameleons and The Sound and we got listen to those bands a lot. On Rockpalast you would not find up to date bands very often. Rather the classics. Still watched and liked it a lot.

QCS: When Pink Turns Blue was starting out in Köln you won an award from WDR. As a fledgling band in what ways do you feel that the German government and local arts groups supported music?

MJ: Definitely not. At that time, if you were a German band you had to sing and sound German. Ideally not too serious. The WDR in Cologne was a rare exemption. The was this one guy who was very much into new music and was excited to find bands that were daring enough to reach an international audience.

QCS: Early in your career you toured with Laibach. How did that come about? How did you smuggle Western studio equipment across the border?

MJ: We were lucky that our label FunFactory! released an Laibach album in Germany and also booked a tour for them. Also, we were lucky that we were the only band in its roster that Laibach were ready to take on tour with them. They didn’t like our name or our appearance but very much loved our music. Also, because were quite intrepid bigmouths they offered to produce our next 3 albums if we smuggled studio gear across the iron curtain. We nearly got caught but were lucky again and they were really impressed and started to like and support us.

QCS: I read Burning Down the Haus by Tim Mohr a few years ago and as you may know it’s an account of the punk and underground music scene in East Berlin. Did you have interactions with and/or were you familiar with artists from that scene in the early days of Pink Turns Blue? If so how did you facilitate perhaps bringing those bands over or play shows there if that was even possible before the fall of the Berlin Wall?

MJ: No, sorry. Until 1989 it was impossible to get in touch with any of this East Germany bands. The first contacts were made in the late 90s. Some of them became famous in different formations (Rammstein) others vanished. And yes, we know some of them but there never was a common scene.

QCS: People who weren’t there might assume you were part of a scene and friendly with the likes of Xmal Deutschland, Malaria! and Einstürzende Neubauten. Did you feel like you had a sense of community with other German bands? How did that look for you in terms of operating and touring and supporting one another? If not, why do you think not?

MJ: We had a strong bond with Einstürzende Neubauten, because they were daring and innovative. We also had a loose relationship to Nick Cave and the Bad Seeds (then living in Hamburg and Berlin) and Gun Club, The Sisters Of Mercy, again because they were based and working in Hamburg and Berlin were spent a lot of our time. The relationship was more like: we are the kids and they were the grown-ups.

QCS: Pink Turns Blue split in about 1995 and reunited in 2003 before the resurgence of a fairly widespread interest in post-punk and “darkwave.” Did the “post-punk revival” of around the turn of the century play a role in helping to relaunch the band?

MJ: The relaunch was more like a short romance with your ex-wife. The post-punk revival brought a lot of fresh and very talented musicians and many of them liked Pink Turns Blue very much. Then we became the “originals” (the old guys), and they were happy to have us around. So we got invited to many festivals and tours where we met quite a few of them and were both impressed and encouraged to write new songs that were our version of the post post-punk.

QCS: Dais Records reissued If Two Worlds Kiss and Meta. How did it come about that you connected with Dais and what ideas were presented to you to approve making those records available again for potential new fans?

MJ: Drab Majesty was supporting us in Barcelona and mentioned that their label surely would be interested in signing us. So we got in touch with Gibby [Miller] and proposed that they released our first two albums as vinyl to support our US tour in 2019. We also planned to co-release TAINTED but Covid and the vinyl production disaster made everything too difficult. Hopefully, when everything kind of has come back to normal we can follow up on this.

QCS: Some people may be surprised by some of the very direct political content of Tainted but that’s been part of your music since early on. But in those lyrics there is both a challenge and a personal touch. Why do you feel it is important to address issues of climate change, inequality, global conflict in terms that seem so immediate and grounded?

MJ: Well, I think that topics like climate change and equality have become a really important issue for everyone. The last 5 years and especially the Covid years have put most of us in a state of disarray. And if you write songs that describe the world as you see and feel it it is only natural that those topics find their way into your songs. I guess – at least for us – those times where you were singing about your first drug experiences and feeling like an outsider as a young white male university student are over. Well, hopefully.

QCS: German artists have had a tough time touring for a variety of reasons. What might be helpful in facilitating this in the future other than imponderables like the world coming to its collective senses and addressing the aforementioned with reason and compassion? Are there practical things that maybe people can do to ease your journey touring North America?

MJ: I guess I have no idea. I guess we Europeans have our own insanity to get on top of. Not a good position to give advice to others. What I find encouraging is that many Americans and Europeans are able to make jokes about themselves. Wish it would be more of them. Still hoping that we all can inspire each other to try harder.

Short Takes #2: August 2018

This is the latest installment of our periodical records review column with the featured album being Them Are Us Too’s posthumous swan song Amends out on Dais Records.

Them Are Us Too, Amends, Dais Records

Them Are Us Too – Amends – Dais Records

Them Are Us Too’s gift to its listeners is a nearly unmatched ability to distill all the pain, disappointment and sadness of a lifetime of unrequited love and rejection by others, by society and ourselves into soaring melodies that sublimate those feelings into ethereal shadows that can no longer overwhelm us even if they can still haunt us. Amends may be the final record from the band due to the tragic death of guitarist Cash Askew in the 2016 Ghost Ship fire. But the music’s power to take gentle yet strong rhythms and couple them with intertwining melodies, luminescent and melancholy, as a vehicle for honoring genuine emotional expression is a testament to the duo’s enduring alchemical ability to soothe the spirit.

AZALiA_SNAiL, NEON_RESiSTANCE, Silber (US)/Thokei Tapes (Germany)

AZALiA SNAiL – NEON RESiSTANCE – Silber (US)/Thokei Tapes (Germany)

Pretty much impossible to say when this album was written and recorded post-1980. Its sensibility and aesthetic points to 80s and 90s synth pop. The guitar on “Celeste (Can You Feel It)” sounds like something out of a more ambitious New Wave band but set inside a song that could have come out in the past 10 years among artists tapping into 80s pop sounds to capture a sense of nostalgia. But NEON RESiSTANCE isn’t mining nostalgia. It is doing something more interesting and meta by using an older set of musical parameters and sounds with modern production to evoke a personal style of songwriting that looks forward as many bands of the 80s seemed to be doing but avoiding getting that all wrong by really giving the songs an unusual emotional dimensionality and nuance with nostalgia-tinged melodies as relatable self-reflection and not self-obsession. Sonically it’s difficult to compare this multi-faceted pop record to much of anything else but perhaps Nina Hagen’s 1982 experimental rock/New Wave masterpiece NunSexMonkRock. There was little like that then, there’s little like this now and every track is worth your time.

bios+a+ic – Vaccine – Symbolic Insight

bios+a+ic – Vaccine – Symbolic Insight

Wesley Davis seems to generate his albums around themes that express the essence of ideas that have taken up residence in his imagination. 2015’s cloudLanD has an airy, drifty feel suggesting a sense of space and peace. Vaccine’s claustrophobic drones and repeating circular phrases spawn others that intersect in ominous, dissonant patterns suggestive of one set of sounds mutually infecting another to produce a third sound that’s darker with descending tones. Not an anti-vax abstraction, but more a comment on not trusting corporations and moneyed interests to provide a cure. In that way, it’s a bit of a cyberpunk ambient album but one that doesn’t make the dystopia seem kinda cool.

CURTA, End of Future Park, self-released

CURTA – End of Future Park – self-released

Jake Danna minces no words in his critique of American culture in general and his local community in particular. From the self-appointed expertise on all things and the lives of other people due to the internet and social media (“Ghost Milk”) to the limitations of bravado to dignify one’s life and art (“Prop Comic”) and the poisonous, self-eroding qualities of unreigned-in/unexamined cynicism (“I’m Still Cool, Right? (feat. WC Tank), Danna’s observations are a cogent assessment of the root ills of modern America’s writhing cultural anomy beyond platitudes of left and right. 4Digit’s production as further brought into detail by ManMadeMadMan’s mastering is what shines just as brightly. The beats, the streaming details of sound to accent the mood, tone and texture, the vibrant atmospheres and the masterful flow of melodies to suit the moment are not subtle so much as fully integrated and you get a to take in 4Digit’s imaginative composition with the 26+ minute closing track, “The Life of 4Digit Vol. 1.”

Daisy Mortem, La vie c’est mort, self-released

Daisy Mortem – La vie c’est mort – We Are Vicious

An always engaging listen akin to an unlikely and thus refreshing synthesis of B-52s, Lords of Acid and breakcore, La vie c’est mort from Bordeaux, France’s Daisy Mortem is a sort of decadent industrial dance pop. A lot of American industrial dance groups fall back too much on mediocre 90s EBM. On this EP, Daisy Mortem taps more into mid-80s New Wave’s melodramatic emotionalism but using the sound palette of modern electronic dance music to craft songs with a giant sonic imprint. Imagine the curiously compelling upbeat and alien quality of Classix Nouveaux minus the schlock and with a sprinkling of influence from Sparks and Fad Gadget. If Fellini had lived to make a movie about Bohemian New York City in the 80s, he would have done well to have tapped Daisy Mortem to score the soundtrack because this band is that exact vibe—bombastic, lush and brimming with vitality.

The Damned, Evil Spirits, Search and Destroy/Spinefarm Records

The Damned – Evil Spirits – Search and Destroy/Spinefarm Records

Easily The Damned’s best record since Machine Gun Etiquette. But it would be more honest to say it’s the band’s best record since it’s debut. Most bands more than forty years into their career are creatively treading water. The Damned apparently found some juice in their collective imagination to write an album in the classic style of writing a cohesive record of quality material beginning to end. Most bands write a record this vibrant early in their careers. “We’re So Nice” rocks harder than but has a similarly deft orchestration of melody and harmony one might expect out of The Zombies. It should come as no surprise that Tony Visconti, one of the minds behind shaping the best Bowie records, was on board for Evil Spirits. But even the most brilliant production can’t make up for subpar songwriting. Even if you didn’t know this was The Damned, so many of these songs are striking and timeless. “Shadow Evocation” is like a long lost cousin to something The Moody Blues might have written in the 60s—a windswept, imagination stirring mini-epic. What makes Evil Spirits such a remarkable album is that The Damned prove track to track that they know that if they relied on only one trick, one tempo, one songwriting style they’d bore themselves as much as us and that should count for something in any band much less one that could easily skate along on the laurels of its older classic material. The Damned have create what should in time be considered new classics with this record.

Frog Eyes, Violent Psalms, Paper Bag Records

Frog Eyes – Violent Psalms – Paper Bag Records

For its final record, Frog Eyes has refined its raw noir Americana sound to a place of great clarity that brings the conflicted emotions into sharp focus. Carey Mercer still sounds like he’s shaken by the force of emotion even as he delivers his words with the confidence and quaver of a Bryan Ferry. With this album, more than previous Frog Eyes releases, each song sounds like a room, an environment, a psychological space Mercer enters with immediate, cogent commentary. At times, as with “Idea Man,” the music feels like the modern equivalent of an early-to-mid-70s Genesis record with the elegance of sonic detail, mysteriousness and grandeur. Maybe Mercer wasn’t listening to a steady diet of The Lamb Lies Down On Broadway or Foxtrot but this Frog Eyes swan song resonates with the artistic ambition and exploring the possibilities of one’s own songwriting and reach as a musician.

Immersion, Sleepless, swim~

Immersion – Sleepless – swim~ 

Somewhere in England there’s a high tech train station going to the places where it sounds like Boards of Canada songs take place and this is the gentle effervescent music to put you in the mood to be in a place of peace and disconnect from the rough and tumble everyday world. The cycling tones of “Off Grid” seem aimed to help you reprogram your brain to check out of the ambient anomy that comes with life in the twenty-first century and take a trip through a languidly melodic soundscape for nearly fifty minutes before being dropped off in a beautiful place out in the country.

The Milk Blossoms – Dry Heave the Heavenly – self-released

The Milk Blossoms – Dry Heave the Heavenly – self-released

With heartbreaking imagery throughout, this second album from The Milk Blossoms quickly becomes impossible to resist in drawing you in to tender yet intense emotional experiences that might be off putting to those with an aversion to psychological intimacy at this deep a level. But The Milk Blossoms never seem off putting. The band bares its alchemy of words and sounds with a brave openness borne of knowing you’re speaking truth or at least your truth—a quality that never goes out of style and which can never but completely duplicated as something idiosyncratic to the artist in question. The Milk Blossoms make pop music the way some people make something special for a loved one—with great attention to detail and with a care and affection and without expectation of anything in return. Was this written in an old lighthouse? A treehouse? A cottage in the woods waiting for the winter to thaw? Probably not but it has the feel of taking time out in isolation to allow the nuances and strength of feeling to emerge and find their perfect expression.

Oryx, Stolen Absolution, Midnite Collective/Graven Earth

Oryx – Stolen Absolution – Midnite Collective/Graven Earth

This is the sound of the world around us crumbling and eroding and our inability or unwillingness to reverse course. Like the manifestation of Derrick Jensen’s Endgame. Oryx could have pummeled us with some doom-y deathgrind but there is simply a greater diversity of musical ideas here than all of that. The dynamics, for one, while often insistent, leave enough space so that the crushing avalanche of sound hits harder. It also means that, unlike some bands in the realm of extreme metal, Oryx’s songs never truly feel same-y. Across this album the duo pushes the boundaries of what the music can be by fully integrating brutal sonics with atmosphere. Stolen Absolution’s long stretches feel like an intense journey but none that leave you worn out for having taken them.

 

Peach Kelli Pop, Gentle Leader, Mint Records

Peach Kelli Pop – Gentle Leader – Mint Records

Featuring what might be the album cover of the year for richness of content alone, Gentle Leader is ten songs in the noise pop vein. Upbeat, irreverent, bordering-on-twee-but-confident, Peach Kelli Pop’s songs have great melodic vocal harmonies and wide ranging rhythms. Closing track “Skylight” reveals the band’s experimental guitar edge hinted at earlier in the record confirming that Peach Kelli Pop has more to offer than the exquisite pop gems that have been a large part of its recorded catalog to date.

Sugar Candy Mountain, Do Right, self-released

Sugar Candy Mountain – Do Right – self-released

The retro-futurist sonic flourishes across this album are reminiscent of a sunny Laurel Canyon psych Broadcast in a pop moment. Or perhaps like Death & Vanilla in that the melodies are nostalgic but the undertones and rhythms suggest a grounding outside the English-speaking music world. As the songs on the album fuzz and incandesce one wonders if the band watched a whole lot of reruns of The Ed Sullivan Show and nailed the vibe and the aesthetic when old Ed had on the hippest guests that didn’t have to compromise and could just shine on a program where the evils of the modern music industry weren’t so firmly in place to insidiously influence and water down popular music into the lowest common denominator product, rather when taste makers had taste and a sense of adventure. Do Right may be retro and couched in a sense of nostalgia but the details on album closer “Do You Know The Place,” and throughout the record, those qualities sound surprisingly fresh at a time when looking back four or five decades and more for inspiration is so played out.

Synth_Drone collective, Tone Science, Symbolic Insight

Synth_Drone collective – Tone Science – Symbolic Insight

The track names on this album from Denver based synth supergroup Synth-Drone collective suggest a collective telling of life in some far flung future akin to Larry Niven’s Tales of Known Space but with the dark cloak of a minimalist, existentialist Tarkovsky science fiction film like Stalker. The name of the album doesn’t spell out but hints at the scientists of the time depicted in this album searching in earnest for the real science equivalent of the mythical first sound, the teleological ground zero vibration, that launched the universe into dynamic life because it has been discovered that the universe is dying and the only thing that can reverse the process is to discover the appropriate wavelengths to stop the impending doom of all and everything. Except someone in the scientific community knows it’s all for naught and just another attempt by sentient beings to interfere with the natural order of things with the hubristic notion that mortals can fix anything if they set their minds to it when in fact by our temporal nature and perspective we can never known enough to impact everything. Which is a downer but in the case of this album, it’s a beautifully compelling, drone-driven soundscape of a time when humans and other intelligent creatures have to learn to accept the inevitable.

Wye Oak, The Louder I Call the Faster It Runs, Merge Records

Wye Oak – The Louder I Call, the Faster It Runs – Merge Records

There’s always been a bit of a cinematic quality to Wye Oak’s music and one might perhaps clumsily say the new album is to If Children what Fargo is to Blood Simple—not massively better but more sophisticated, more intentionally stylized with its newfound skill set and sonic palette. The melding of acoustic instruments and electronic production is so complete that the band seems to effortlessly bring to bear tones, rhythms, textures, melodies and atmospheres to craft songs as experiences. Wye Oak hasn’t ditched classic songwriting methods and models, it’s just taken those structures and filled them out with rich content. But what does Wye Oak have to say this time around? Refreshingly the band asks more questions than providing a set perspective. At a time when too many bold-yet-curiously-vapid-and-trite statements are made in the public sphere, it’s asking thoughtful questions and pondering issues about life and the world without a sense of one’s own certainty as a nod to the fact that we can’t know everything while not discrediting our own thoughts and feelings that makes this record remarkable. The title suggests chasing after goals while those goals we are encouraged to think of as ends in themselves become elusive and we are forced to really think about what it is we’re all on about and if the chase is worth it in the end. Because of that, The Louder I Call, the Faster It Runs really is the kind of record that needs to be out in the world questioning the dominant paradigm not with firebrand skepticism but compassionate curiosity for ourselves and others.