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Based in North London, Mechanical Cabaret is the music of Roi Robertson, accompanied by the artwork of Bruce Lovelock. Previously half of 'Nekromantik', Roi started Mechanical Cabaret in 1999 when he made his first demo CD ‘Malevolent Maladies'. He played his first live show in October that year at Gossips in Soho, London for the club night 'Electric Dreams' where a lack of actual band members but determination to play live meant he got two friends to mime on synth over the sequenced and programmed music whilst he sang. Unhappy with having to resort to employing people to mime while he sang and frustrated at the apparent lack of decent synth players around, Roi was introduced shortly after this gig to Tobi Chandler. A DJ rather than a keyboard player (at the time) Tobi accepted Roi's invitation to join him onstage at gigs to make random noises along to the music, twiddling knobs and hitting an old drum synthesizer from the 1970's which Roi had. They played a lot around London with this extremely minimal set up before Roi and Tobi were then joined by Bruce Lovelock, a visual artist and long time friend of Roi's, who Roi invited to come along to be slide show projectionist for them. Bruce would show slides of his artwork during these shows. Eventually Bruce went on to play live synthbass onstage, Tobi gradually taking up playing live lead synth whilst Roi continued on vocals, developing his voice and own style of stage performance. In 2001 they toured the UK with friends Katscan and Squid. Of particular note amongst the gigs that Mechanical Cabaret played during these early years, in April 2001 they supported Fad Gadget at his 'comeback' concert after 15 years away, at the Astoria 2 in London. Fad Gadget, a.k.a. Frank Tovey, was a major influence on not only Roi but many electronic musicians and bands since he began in 1979. In tribute to Frank who sadly passed away in 2002, Roi recorded a version of the Fad Gadget song 'I Discover Love' which he later released - it's always a popular track with audiences when performed live at their gigs.
Their song ‘Nothing Special' was picked up on by some American film-makers and used as part of the Metropolis Records soundtrack for the film ‘Gypsy 83' which saw a cinematic release stateside and gained critical acclaim, along with something of a cult following. In June 2002 Roi made his first CD ‘We Have An Agenda'. Featuring artwork by Bruce Lovelock, this album showcased the variety in style, sound and particular individuality that Roi has in his music, all with a distinctively British flavour throughout.
By 2003, Mechanical Cabaret had their very own cult following! The music had quickly spread around the world, with Roi receiving letters of support from coutries such as Germany, Italy, Russia, Japan, Australia, Africa and Brazil. At this point they played live shows with Sheep On Drugs and The Damned, and they also toured the UK again, this time supporting Sigue Sigue Sputnik along with Greenhaus. Later that year, Roi contributed lyrics and vocals to a dance track called 'Try Harder' which features on the album 'Another Life' by Greenhaus, and Steve Bellamy from Greenhaus later went on to work with Roi on the recording, engineering and production of the second Mechanical Cabaret album 'Product For Your Insecurity'.
Mechanical Cabaret were one of the very first bands to perform at the infamous Nag Nag Nag electro-pop club night in London, run by the equally infamous Jonny Slut (Specimen/ Batcave/ Atomizer) where they played to packed out audiences several times. At the end of 2003 Roi co-started a club night called Electrogogo, along with DJ's Mark Moore (S'Express) and Frankie D, held at a beautiful old venue in London's Soho called Madame JoJo's.
In 2004, whilst continuing to play live shows around London and the UK, Roi recorded the double A-sided single ‘Cheap And Nasty/See Her Smile' which eventually came out towards the end of that year on Umami Records as a 12”, 7” and CD along with a world exclusive, the Nag Nag Nag Remix of Cheap and Nasty which was the first ever official Nag Nag Nag remix released, by Jonny Slut and fellow Atomizer member & Nag DJ, Phil OK. It also offered several extra tracks, including live favourite 'Nothing In Life Thats Worth Having Will Not Be Taken Away'. This single helped considerably to raise Mechanical Cabaret's 'profile' especially around the club scene in London where it even got into the Top 10 playlist of several DJ's, including that of Mr Marc Almond!
Mechanical Cabaret started getting some major support slots in 2005, playing with the legendary Suicide, Doug McCarthy (Nitzer Ebb), Mesh, T. Raumschmiere and even Karl Bartos of Kraftwerk. During this time, Roi was working on material for the second Mechanical Cabaret album which was to come to light in spring 2006 when he finally released the ‘Product For Your Insecurity' CD in April that year.
Along with the new album came an offer from electro-pop legends Mesh to support them on their European Tour that spring, promoting their excellent new album 'We Collide'. Certainly an opportunity not to be missed, Roi jumped at the chance to play with them, playing shows in Germany, Austria, Switzerland and Poland. Thankfully it paid off well and they went down a storm with the audiences around these countries, making many new fans along the way. They also attracted the interest of Ingo and Corinna from Conzoom Promotions, who promote both Erasure and Client in Germany, who offered to promote the band over there too. They promptly put together a German language Mechanical Cabaret website and started spreading the word about Mechanical Cabaret around the country which, it turned out, was shortly to contribute to a very welcome outcome...
In 2006 Roi was asked to remix 'See Her Smile' for the 5th edition of the hugely popular compilation CD series called Advanced Electronics. Roi's 'Radiophonic Mix(edit)' of what has become practically the Mechanical Cabaret anthem amongst their fans was released that autumn.
To bring the year to a close, Mechanical Cabaret went on to headline a huge annual party in Milan, Italy, based on the music of Depeche Mode (another big influence on Roi's musical output) as part of the promotion for Bright Lights/Dark Room, a compilation released on Cryonica Records of Depeche Mode B-side cover versions. It features the Mechanical Cabaret recording of a Depeche Mode song called 'Set Me Free', the B-side of their single Master and Servant from 1984. The gig went incredibly well, the band ending up playing to over 2,000 people, the most they'd ever played to at this point; Roi even got the crowd singing along at the top of their voices to a surprise cover version of DM's 'A Question Of Time' which turned out to be very helpful of them when Roi's *microphone came unplugged at one point whilst he was singing!
In January 2007 they finished off the European tour with Mesh in Germany also playing with Client on the UK dates. Roi remixed the Mesh track ‘Step By Step' from their ‘We Collide' album and also ‘Xerox Machine' by Client, for the compilation CD Elektrisch! 2 which came out in February that year. Also during 2007 they went on to play with Apoptygma Berserk and Covenant in London, and they toured the UK with the wonderful Canadian Electro-Industrial innovators Front Line Assembly too. Roi remixed the song Like A Bird from the album 'Synthetik' by long standing Mute Records' artists Komputer (formerly known as I Start Counting and Fortran 5), which was released in September 2007 by Mute as a 7" single and is also as a download from iTunes and the like. This year brought with it enough extra good fortune to mean that Roi has now, after 7 years of countless gigs, self financed releases and many ups and downs, ended up signing to a record label in Germany, Hamburg based Major Records, home also to Ladytron and IAMX! In November 2007 Roi recorded a cover version of 'When Do I Get To Sing My Way?' by one of his all time favourite bands Sparks, for a compilation album of Sparks covers which is now on general release. The compilation is called 'Rainbow Over The Freeway' and is in aid of The Rainbow Trust children's charity, who provide practical and emotional support to families who have a child with life-threatening or terminal illness. It also features Dead Kennedys' Jello Biafra, The Autons and Imbeciles and the Poison Umbrella, amongst many others. Mechanical Cabaret headlined the official release party for this album at Madame JoJo's on November 29th. Also in 2007 Tobi upped sticks and moved his life to Milan in Italy. He's doing music himself now, and the best of British/Italian luck to him too! On December 14th 2007 Major Records released the EP/single of the Mechanical Cabaret song ‘Disbehave' from 'Product For Your Insecurity'. Containing 40 minutes of music and featuring 6 remixes of the title track, plus a new recording Roi has made of 'When We Go, We Go Together' one of the most popular songs from 'We Have An Agenda', this is available as a Limited Edition CD and also as a download from iTunes as well. It spent a whole month in the DAC (Deutsche Alternative Chart) reaching number 11.
Roi is currently writing and recording, whilst Bruce has his paintbox and pencils out, working hard on what will soon become a brand new Mechanical Cabaret album, to be released on Major in 2008.
--------------------------------------------------------------------------------------------------- Read an Interview with Roi, by Rob Dyer for Dark Star Organisation Product For Your Insecurity "Brand New 11 track album from these hard working UK electro-punk stars - ''Product For Your Insecurity'' sees the barbed black wit of Mechanical Cabaret in full effect delivering infectious songs full of dark undercurrents, brooding synth lines and Electro-Glam synth-stomping dance floor beats". MetropolisOnline (http://www.industrialmusic.com)
"This is a somewhat dark synthpop album, with an edgy sound, though not necessarily "industrial". The vocals are dramatic, and the synths standing out as a sharp, dark element in the music. There seems to be a somewhat retro tint to the flavor of the songs, though Mechanical Cabaret definitely appeals to the modern audience, as if Gary Numan or Marc Almond were to push into a more danceable modern sound. Mauri, A Different Drum (http://www.chaindlk.com)
"Interessante spannungsgeladene Basslines, verspielte Meldienbögen und die Stimme von Mechanical Cabaret Frontmann Roi Robertson prägen die insgesamt elf Tracks des Albums und drücken ihnen einen frischen und bemerkenswert unabhängigen Stempel auf. .... Product For Your Insecurity ist nach meinem Dafürhalten einer der elektronischen Geheimtipps des Jahres 2006 und darf schlichtweg in keiner CD Sammlung fehlen." Re-Flexion.com (http://www.poponaut.de)
"A superb, very British-sounding album that mixes dark synthpop and electro with a unique approach to music-making that ultimately defies accurate labeling. Four years ago, We Have an Agenda introduced Roi Robertson's brand of sleazy, trashy, pumping electro to an expectant crowd that, fired up by many superb high-energy gigs, were more than ready to take the unique Mechanical Cabaret sound to their hearts. Fast Forward four years and we have the long-awaited and much anticipated follow-up, again released on Roi's own Soiled label, on our hands. In comparison to the debut, the trashiness has been toned down somewhat, being replaced by a more varied and polished style, and while I'd hesitate to call it more mature, that is actually how it feels. A number of tracks should have wider appeal among the more traditionally-minded electro fans in mainland Europe (and particularly Germany, who, so I've heard, have trouble relating to anything which cant be easily pigeonholed). Among them, the danceable "I Don't Know Where You've Been," "It Will All Come Back 2 U" with its dark and, sadly very topical, lyrics, and the dynamic closer, "Each Day You Die a Little Bit More." While this may or may not have been Roi's intention, it can't have done him any harm on his recent European jaunt supporting Mesh. In fact, the opening of "Disbehave" is a dead ringer for the beginning of VNV Nation's "Joy." While Roi's unmistakable vocals soon reclaim the piece, proving to be a most dynamic track, this is one of a number of tracks that any electroclash or synthpop fans should enjoy, along with "Alter Me" and "Give It to Me," the latter of which initially impresses through its EBM-strength sequencing. For all that, aided in places by live cohorts Bruce and Tobi, Roi still manages to stamp his mark on the album, not only through his vocals but with the lyrics which are, by turns, dark, witty, defiant, and, in the case of "Cheap and Nasty," devastatingly acerbic and sarcastic. However, by sounding all the more laconic and detached, the devastating character assassination that forms the basis of the bouncy synthpop opener, "See Her Smile" is all the more effective while the spoken voice that sits atop the beats and minimalist background of "Blank Canvas" is reminiscent of John Foxx. Similarly, "I Discover Love" pays appropriate tribute to the late Frank Tovey, resurrecting the "clanging" sounds of yore whilst retaining the relative accessibility of the newer material. The highlight, however, comes in the form of the epic and masterful "Don't Murder Me, I'm Drowning," where he takes his music into a totally different realm, sounding majestic and stately and yet somehow tragic (I can easily imagine him performing this, singing his heart out, in a disused music hall). Roi puts in a superb vocal performance as he opens his heart to reveal his innermost feelings that are usually hidden beneath the laconic veneer. As good as it is, however, it's just one superb track on an album that's full of them. It certainly surpassed my expectations and it's good to see this talented artist showing what he's made of and scaling new musical heights". Carl Jenkinson, ReGen Magazine (http://www.regenmag.com)
"I have an irrepressible liking for Mechanical Cabaret's Roi Robertson. He often appears as a parallel universe version of myself. Sort of what I might have been if only circumstances had taken a fateful different tangent at some point. That's the only way I can explain how his songwriting gets inside my head the way it does. Even from his Nekromantik days I picked up on his unique combination of styles and influences. The resulting sound occupies a peculiar space between real darkness and emotion crushing despair and a joy for life and optimism that suggests no boundaries. It can be a slightly schizophrenic affair. This duality is ever more present in Mechanical Cabaret's work and this second album showcases that spectrum in exciting style. The album balances dancefloor stompers like Blank Canvas with more reflective pieces like It Will All Come Back To You; and whilst the balance is often a little too uneasy it does mean there's plenty of unpredictable variety. Lyrically, this is as witty, wry and poetic as ever; Robertson just gets better and better on that front. Steve (Greenhaus) Bellamy's co-production on Disbehave bears the distinctive touch of his main project, whilst reworked, stronger versions of the last A-A side single tracks Cheap and Nasty and See Her Smile both get a reprise here, but already they feel quite distant from some of the newer material. Songs like the clever John Barry-isms of Don't Murder Me I'm Drowning and the brilliant, exhilirating Each Day You Die A Little Bit More convincingly rise above expectations, firmly establishing Robertson as a thrilling and passionate songwriter with a range beyond the reach of many of his contemporaries. They prove there's a lot more to Mechanical Cabaret than immediately meets the eye. If the style could be honed more towards these two songs then this would be unreservedly essential (and could see Robertson's star really rocket)". 7/10 Rob Dyer, Dark Star Org (http://dso.co.uk)
We Have An Agenda "Take a dash of Punk ethic, chuck in a substantial measure of odd pop glamour, a sprinkling of bleeping electronics and shake vigorously in the style of the late Fad Gadget and the resulting saucy cocktail is called Mechanical Cabaret. Based around singer, songwriter (and former Nekromantik member) Roi and accompanied by percussionist and bleep controller Tobi, and stained panties image maker Bruce, Mechanical Cabaret are not the ideal first date to take home to meet your Mum. Roi's south(*North actually!-Roi) London delivery gives the brilliant lyrics a heartfelt and honest personal dimension that transcends cliche and predictability and results instead in some of the finest gender-bending dark pop the planet has seen in years. Unlike so many that take to music these days simply because they've got an ego and some equipment through which they inflict it on an unsuspecting public, Mechanical Cabaret has, as the title to this debut album suggests, something worth saying. What's more, they deliver it with a blend of brutally frank and decidedly English black humour that (despite passing similarities to early Soft Cell) sets this apart from any potential contenders. Sometimes unnerving, this experience staggers from simple dancefloor fillers to more contemplative ballads. The more enterprising stuff tends to appear in the slower tracks like Horripilations, yet the superb melody line found on Devoid recalls those moving instrumentals of early Depeche Mode, whilst Mein Fuhrer and Sterili Zed are influenced by EBM, and Let's Have Some Fun chucks in a "You're gonna get your fuckin' head kicked in." Quadrophenia sample into a song that sounds like an outtake from the heavy side of Ministry's Twitch album. The sinister fairground whirlings of Meat Closet and the brilliant A Slapdash Affair are simultaneously evocative and affecting; and the stunning opening twenty seconds of Is Normal Abnormal prove that there is still plenty to get excited about in English electronic music. The entire thing is done with (deliberately) rudimentary sounding but effective electronics that not only suit the sensibilities at work but seem entirely appropriate for an album shot through with British electronic music history whilst simultaneously and ingeniously injecting a contemporary experimentalism. The deeper, more serious currents, both musically and conceptually, are especially inventive and rewarding and what really define this album. Though I suspect many will simply take We Have An Agenda on face value which would be a shame. Delightfully tasteful artwork too. An exciting and intelligent, talent-driven debut that should, if there is any adventurous taste left amongst the buying public, put Mechanical Cabaret distinctively on the world musical map. I look forward to wearing the distasteful merchandise that I hope is due to follow. 7/10 Rob Dyer, Dark Star Org (http://www.dso.co.uk)
Cheap And Nasty EP "the debut single from mechanical cabaret is a riot of synth-punk sleaze. 'cheap and nasty' combines a spiky, filthy groove with grinding, rusty old analogue synth sounds and a damning takedown of all that's fake in the club scene and life in general. it comes across like a council estate version of soft cell. the 12" features a nag nag nag remix by atomizer" Rough Trade Records
'Surly, savvy, viciously spikey synth-pop; really rather good' Mixmag Magazine
"It's been three years since Mechanical Cabaret's sleazy debut album We Have an Agenda. Three long years. Thankfully, the wait for more material is over with the release of this terrific six-track maxi single. The basic electronics return but the production has certainly improved in the intervening years. There are two versions of the two title tracks and, unusually, the extended versions are as good as if not better than the original shorter cuts. Proving that there's more than meets the eye to their writing ability, Nothing In Life That's Worth Having Will Not Be Taken Away sounds vaguely like Babyland but the MechCab trademark theatricality remains distinctive throughout, whilst the euphoric Berliner Mix of Siegessaule is tailor made for some dark and dingy Berlin dive. Oh yeah, and you must let that track six run for while after its finished. If you do you'll be treated to a hidden dessert: the most wonderful and heart-rending piece of music Mechanical Cabaret have ever written. Imagine Danny Elfman's score for Tim Burton's Edward Scissorhands, feel the lump rise in your throat and the tears well up in your eyes. Beautiful". 7/10 Rob Dyer, Dark Star Org (http://www.dso.co.uk)-'Cheap And Nasty' EP
"If Marilyn Manson deals in arousal, Mechanical Cabaret are pure penetration" Vision Thing Website
"Rock/Pop" Tesco Extra Website (They have encapsulated our sound to a tee, don't you feel?!!)
Live Reviews "Mechanical Cabaret seem to have staked out their stylistic territory half way between Marc Almond and Iggy Pop - not, it must be said, an area where there's a great deal of competition. But while sleazoid electronica is what you might call an area of selective appeal, the good news is that Mechanical Cabaret, with their squelch 'n' grind rhythms and low life lyrics, instantly find themselves number one in a field of one. Frontman Roi looms over the audience with good-humoured licentiousness, and delivers songs like 'Cheap And Nasty' and 'Disbehave' with a relish that suggests he's entirely happy not to be on the side of the angels. The electronic backing - sounding heavier and beefier tonight than at previous Mechanical Cabaret gigs I've seen - rumbles away in the engine room, and it all hangs together rather well. Mechanical Cabaret have just released new album, and it does seem as if this has got the band fuelled up and ready to...well, not rock, exactly - what does a sleazoid electronica band do? Ooze, maybe. Yes, Mechanical Cabaret are definitely ready to ooze. Uncle Nemesis, Nemesis To Go (http://www.nemesis.to)-Live Review 4/03/06
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