Saturday, May 1, 2021

The Grid

                                            singles column, summer 1990, melody maker

The Grid
Melody Maker, July 7 1990
by Simon Reynolds

The Grid

The Observer, 30 September 1990

by Simon Reynolds

This summer, The Grid released 'Floatation', a single that perfectly captured the New Age mood that has pervaded club culture in 1990. 'Floatation' combined deep exhalations, submarine sonar blips, waves lapping the shore, with the mellow, moonwalking groove that has dominated dancefloors all year.

Like a session in a flotation tank, the track was designed to soothe your soul, lower your metabolic rate, and leave you feeling "centered".

Despite being a big success in the clubs, it narrowly missed being a chart hit, because it was too long for radio play. "We want to promote the idea of music that's not limited to a three-minute pop format," explained Richard Norris, The Grid's conceptualist and a former music journalist, "music that's not focused particularly on the lyrics, that you can use functionally, as a soundtrack to your life. The Grid has more in common with Pink Floyd or Brian Eno."

Norris sees encouraging signs of a willingness to experiment in the UK dance scene. "This year, it's seemed like there's more people like us involved, introducing all these art-rock elements. Dance music is a lot like dub reggae at the moment, in its use of space and weird effects. We've always been more interested in head music than music that makes your body move. But I think the good thing now is that those two things are being integrated."

Norris is taking that fusion even further with plans for a future album, The Origins Of Dance. It's a collaboration with the guru of psychedelia, Timothy Leary, and Fraser Clarke from the psychedelic magazine Evolution. "Fraser taped Leary reciting a speech at the Cafe Largo, which has been a beatnik enclave in San Francisco from the Fifties," Norris said.

"The speech itself was 20 years old, and is a Leary manifesto about the psychedelic powers of dance. We composed a techno-mantra backing for his recitation. Later, we met up with Leary in Amsterdam [he's still banned from the UK] and he gave it his seal of approval. He described it as 'hi-tech paganism'.

"Leary is a very impressive figure. He's in his seventies, but seems very aware and open-minded. He's totally hip to what's going on in house music, how it relates to the trance-dance idea that goes back to the earliest origins of music. And he liked the fact that acid house was a working-class phenomenon, whereas the counter-culture had been a bit bourgeois."

Norris's partner in The Grid is David Ball, the techno-boffin half of electro-pop duo Soft Cell. Norris and Ball are busy remixing and reworking Soft Cell's early Eighties classics, such as 'Tainted Love' and 'Memorabilia', in order to reintroduce them into the contemporary dance scene.

They are also producing some of ex-Soft Cell singer Mark Almond's new songs, composing music for Japanese TV commercials and soundtracks for Columbia Pictures.

The Grid's debut album, Electric Head, reflects these interests, ranging from ambient music to the "tacky disco" of the current chart-bound single, 'A Beat Called Love'.

"The Grid is a kind of reaction against theory and conceptualism," said Norris. We're neither trying to be ironic, nor make serious statements. We like to do throwaway, superficial, crass pop songs like 'A Beat Called Love', as well as atmospheric pieces like 'Floatation'. In both cases, we're not trying to 'say' anything. It's not the text that's important, it's the sensual textures of the sound."

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