CABARET VOLTAIRE - Final US Tour | Granada Theater | Dallas, TX

Cabaret Voltaire's Final Tour!
By the early 1970s, Chris Watson of Sheffield, England, began experimenting with electronic devices to make "music without musical instruments." Inspired by Brian Eno of Roxy Music, and helped along by his work as a telephone engineer, Watson's experimentation with tape loops evolved to include custom-built kit oscillators obtained by mail order by the time he met fellow Sheffield local and Eno devotee Richard Kirk. Kirk and Watson began exploring the intersection of technology and music, producing tapes loops to generate sound collages and unusual sound structures. Kirk began to add traditional instrumentation, including clarinet and guitar. In late 1973, they brought in Kirk's friend Stephen Mallinder to provide vocals and bass guitar.[4] Some of these early experiments were first documented on the Industrial Records cassette 1974-1976 (1980), then later on the triple album CD set Methodology '74/'78: The Attic Tapes (Mute 2002).
The band eventually turned to live performance, often sharing the bill with Joy Division,[5] though much of their earliest public performance tended more towards being unconventional and provocative stunts rather than conventional shows. The trio would deploy to various parts of Sheffield with their portable tape recorders and play their experimental compositions in places as diverse as public toilets and on the streets from loudspeakers on the top of a friend's van. This raucous and punkish attitude followed the band onstage to great effect; their first live concert in May 1975 ended in a fight between the band and the audience that sent Mallinder to hospital.[4] In another incident, Mallinder was hospitalised with a chipped backbone after objects were thrown at the band. However, the arrival of punk rock brought a more accepting audience for their industrial, electronic sound and they were championed by Sheffield punk fanzine Gunrubber edited by Paul Bower of local band 2.3.[6]
In 1977, Watson financed the establishment of the band's own recording studio on the second floor of a building called the Western Works on Portobello Street in Sheffield. The "Western Works" studio served as the band's studio for many years as well as providing a social gathering spot for the local Sheffield scene. Western Works produced some of the earliest recordings of pioneering local bands including Clock DVA, the Human League, and New Order.[4]