CD album - Released October 7th 2016
Remastered CD album, released 2015, replete with 6 extra tracks including demo's and unreleased material.
I LOST MY FRIEND TO A VIDEO GAME
10 track CD single with handmade art packaging, limited to 100 copies only - Released Sept 1st 2014
Beyond Science And Superstition - Album [UK Version, 2013]
Limited edition version of our fourth CD album, Beyond Science And Superstition - released 5th November 2013: 14 tracks including four remixes exclusive to this release.
1. Kit Kat 2.Why So Serious? 3. Nothing To Hide 4. I Lost My Friend To A Video Game 5. Detox/Retox 6. The Death Of The Porn Queen 7. It Just Is 8. Well, I Never! 9. Out Of Sync 10. Hold On For Dear Life
11. Why So Serious? - Extended Mix 12. Kit Kat - Meow Mix by Komputer 13. I Lost My Friend To A Video Game - Z-Xtended 14. Kit Kat - 4 Fingers Mix
Beyond Science And Superstition - Album [US Version, 2013]
Also released as a CD and download in the USA on 8th October 2013 by WTII Records LLC, artwork by Mr Adam Cavill
Track listing: 1. Kit Kat 2.Why So Serious? 3. Nothing To Hide 4. I Lost My Friend To A Video Game 5. Detox/Retox 6. The Death Of The Porn Queen 7. It Just Is 8. Well, I Never! 9. Out Of Sync 10. Hold On For Dear Life
The title of the album reflects my continuing lyrical exploration of/obsession with the realities of life - how things *really* are - as opposed to how both Science and Superstition attempt, and frequently fail, to explain things in this universe we find ourselves in, often confusing or misleading us all in the process...
The stock-in-trade fiercely intense, sometimes dark, wayward elements are still present, as is the perversity and black humour, but now glowing with a new-found warmth and humanity.
With wonderful sci-fi artwork by Adam Cavill, and our collection of vintage analogue synths, samplers, digital synths, circuit-bent machines, as well as an esoteric array of other instruments, we hope we’ve managed to produce an interesting, unique album of experimental, somewhat retro-futuristic perhaps, electronic music.
The fantastic illustrations and artwork for Beyond Science And Superstition were made by Adam Cavill.
Selective Hearing - Best Of Mechanical Cabaret 2002-2012
CD album and Download, plus Deluxe Download version - Released Feb 26th 2013
Our first ever 'best of' album was released in 2013 by WTII Records as a download and CD. It features Why So Serious?, the first new Mechanical Cabaret song to be released since 2009's Damaged Goods. This was the first ever Mechanical Cabaret album to be released in North America.
If you buy the album on CD, you'll get a free downloadable 12 track album of rare or currently unavailable remixes, including Why So Serious? - 12" Extended Mix.
All the tracks included were remastered by us using analogue valve mastering EQ and compression systems, and digitized at 24bit, 96khz, to get the best quality we could. This proved particularly effective on the earlier releases such as Nothing Special, See Her Smile, Cheap and Nasty, and so on.
Click here to go to WTII Records' website where you can order your copy of Selective Hearing, and don't forget, if you order the CD, you get a free album of remixes of most of the songs on Selective Hearing, many of which are not currently available otherwise, plus a few others too.
The wonderful photography and artwork for the album is by our dear friend and brother Adam Cavill.
Track listing: 1.Nothing Special 2.See Her Smile 3.Cheap And Nasty 4.Blank Canvas 5.Disbehave 6.Don’t Murder Me I’m Drowning 7.GBH 8.Pretty Fucked Up 9.Careful, Careless 10.Ne Plus Ultra 11.In Loving Memory 12.Why So Serious?
Disco Vandalism CD Album - Released March 20th 2011 - Cat No. SOILED45RPMCD
Strictly limited to just 1,000 copies Disco Vandalism contains 12 Mechanical Cabaret tracks and remixes that are brand new, unreleased, rare or previously unavailable on CD. It includes all sorts of extended versions and remixes, as well as some mixes by other artists, all of whom we're honoured to consider as our friends - some well known, some less so, but all equally singular and excellent at making the music they make, in the unique ways that they make it.
Pay via Paypal
Inertia VS Mechanical Cabaret - Johnny, Remember Me
CD Single - Released by Cryonica Records September 10th 2010 - Cat No. CRYCD030
This very limited edition CD single was created as a tribute to the legendary UK music producer Joe Meek, the music and production of which both Inertia and Mechanical Cabaret are huge fans. Johnny, Remember Me was written by Geoff Goddard, and originally released in 1961, sung by John Leyton, and produced by Meek in his infamous Holloway Rd Recording Studio... literally just down the road from the Mechanical Cabaret studio!
Damaged Goods - CD Album - Released on Major Records Medien GmbH March 2009
£12.00 including P&P. Follow the link below to buy via Paypal.
Disbehave - CD EP - Released on Major Records Medien GmbH December 14th 2007
1. Disbehave - Remix
2. Disbehave - Mesh ASBO Mix - Remixed by Mesh
3. When We Go, We Go Together - Lupin & Tonks Version
4. Disbekomputer - Remixed by Komputer
5. Disbehave - Katscan Disco Beaver Mix - Remixed by Martin Katscan
6. Disbehave - Komputer, do what!? - Remixed by Komputer
7. Disbehave - Yellow Mama Remix - Executed by Lowpulse
£5.00 inc P+P. Buy CD via Paypal below
Komputer 'Like A Bird' - Mechanical Cabaret Remix
7" Single & Download - Released on Mute Records Sept 25th 2007
Previous Releases and some words written by other people about our music...
Careful, Careless Single
Released January 2010 on Major Records Medien GmbH
1. Careful Careless
2. Careful Careless - Fur Coat, No Knickers Mix
3. Nothing Special - 2009 Remake
4. GBH - Melodramatic Version
5. Pretty Fucked Up - Size Zero Mix
6. Desperate But Not Serious (Originally by Adam Ant)
Reviews of Careful Careless
Wenngleich die neue Mechanical Cabaret Single "Careful, Careless" auf der MySpace Seite der Band erst für 2010 angekündigt ist, so scheint Major Records, das deutsche Label des britischen Projektes dann doch schneller mit der Veröffentlichung gewesen zu sein.
Damaged Goods Album
Released 20th March 2009 on Major Records Medien GmbH
Reviews of 'Damaged Goods'
Roi Robertson lässt sein mechanisches Kabarett zum dritten Mal tanzen. Und wie schon auf dem Vorgänger “Product For Your Insecurity” präsentiert er auch auf seinem neuen Werk “Damaged Goods” eine extravagante Mischung aus eingängigem Synthie-Pop mit 80er Jahre-Attitüde und pulsierenden Electroclash.
Dass sich seit dem letzten Album musikalisch einiges bei dem sympathischen Briten getan hat, wird schon mit dem Opener “Pretty Fucked Up” deutlich. Treibende Synthesizer-Sequenzen mit einem Basslauf der an alte EBM Klassiker erinnert und ein leicht arrogant wirkender Gesang machen von Anfang an klar, dass “Damaged Goods” mehr als nur seichten Stoff zu bieten hat.
Mit “My Sex Life” folgt dann allerdings ein klassischer Synthiepop-Song, der Retroelemente mit modernen Soundspielereien vereint und so den Brückenschlag zwischen 80er Jahre Pop á la Depeche Mode und der Gegenwart vollzieht. Roi beweist auch mit “Careful, Careless” und dem wunderschönen “Lost and Found” ähnliches Geschick, so dass zwischen den clublastigeren Songs wie z.b. der Single “GBH” oder “Subtract” stets eine harmonische Basis geschaffen wird.
Abgerundet wird das Album durch die unkonventionelle und verschrobene Ballade “Only Ever Now“, bei der schräge Akkordeonklänge und der wehleidige Gesang von Roi das Soundbild dominieren, das als Grundgerüst für eine Art Klagelied über das Leben und seine (möglichen) Laster dient.
Insgesamt ist das dritte Album von Mechanical Cabaret wesentlich kantiger und auch experimenteller ausgefallen, so dass man es durchaus auch als eine Art “cut off” zur dominierenden Musiklandschaft verstehen kann. Gleichzeitig wächst es aber mit jedem Durchlauf und präsentiert sich im Vergleich zu seinen Vorgängern von einer erfrischend anderen Seite, wobei die Handschrift von Roi stets hörbar bleibt. Wer es gerne mal ein wenig extravaganter mag, der ist hier an der richtigen Adresse und bekommt ein solides und gutes Album, das stellenweise eine gewisse kompositorische Nähe zu mesh hat.
'I can't tell you just how excited I was upon hearing Mechanical Cabaret's third album. I've always had an unclear but deep connection with Roi Robertson's alter ego project and found much to like in the 2002 debut We Have An Agenda and its follow-up Product For Your Insecurity. After both of those, Robertson faced a major artistic challenge - did he have the muster to take his talents onto the next level and really deliver on the promise he's clearly shown so far; or was my faith misguided and Mechanical Cabaret destined to a workmanlike circuit of London club nights and cult-only following? It's with a heady mixture of elation and relief that Damaged Goods confirms the first of the two postulations was correct. One can now just recommend an album to anyone with a taste for the sardonic, darker side of life.
Having replaced the modern instrumentation with a raft of analogue synths, a short-wave radio, and other more old-school paraphernalia was the first inspired step forward. Then ratchet up the hard work on the songwriting side using ambition and risk, and combine those with a voice that has now reached a whole new standard and a potentially potent mix is achieved. On Only Ever Now we get to hear just how far Robertson has come in terms of vocal agility and delivery. Suddenly the similarities with Depeche Mode's Martin Gore are startling. Think I Want You Now from the Mode's classic 1998 album Music For The Masses and you won't be far off. There's the deranged hurdy gurdy stomp of Tabloid Species, the early Front 242 melody of Lost And Found, and the satisfying wordsmithing on Ne Plus Ultra and more. Lyrically this is undoubtedly the best we've yet heard - what was at times unsubtle has matured into a more biting delivery.
The thumping bass synths and cracking higher melodies have all the qualities of early Mute 7" but there is a weightier sound to many of the tracks, and although the compositions are universally more mature and complex this is never at the expense of the characteristic Mechanical Cabaret style or wit. More than anything though, this time it's how Robertson has brought together all the skills necessary to produce a work that really stands up to detailed scrutiny. (One suspects a proud Fad Gadget is looking down on Robertson with knowing affection.) There's still room for further development, but until the next time, this will do very nicely thank you.' 8/10
'Roi Robertson aka Mechanical Cabaret released 2 albums on his own label (Soiled Records) before he got signed to Major Records. After an EP he now launches his 1st full length on the German label and the least I can say is that 'Damaged Goods' is a rather consistent piece of electro-pop. Mechanical Cabaret brings a rougher version of what we're used to hearing when listening to synth-pop. I don't want to go to far in possible comparisons with Depeche Mode - but it remains a reference in the style - and Mechanical Cabaret brings a harder and definitely more brutal version of this kind of synth-pop. Some songs were merged with EBM elements, which work quite efficient on the debut cut 'Pretty Fucked Up'. Next comes the more poppy and yet powerful 'My Sex Life' with pretty erotic-minded lyrics (especially referring to the last verse). This harder side of 'Damaged Goods' works really well on 'Careful, Careless', which is one of my favourites here and on 'GBH' (released as digital cds). What I really appreciate with this musician is that he doesn't simply emulate other formations, but really strives for a personal sound injecting extra power and EBM elements where necessary. Sometimes it works, but in a few other cases it leaves me a little bit sceptical. It doesn't take away that he brings all main ingredients of good synth-pop together. So you also get the more melancholic touch emerging from the 'Ne Plus Ultra' track. This is for sure a cool synth-pop piece in the sadder vein of the style. As a last item, I want to mention that the lyrics from this project are quite artistic in their form. Most of the subjects aren't especially happy, but the content makes sense! Mechanical Cabaret will always remain a kind of alien in synth-pop land, but this new chapter sounds original and well conceived!'
Roi Robertson ist endlich mit dem dritten Album seines Projektes Mechanical Cabaret zurück. Nachdem der sympathsche Brite im Jahr 2006 mit seinem Album "Product For Your Insecurity" bereits für mächtig viel postives Aufsehen in der Elektroszene sorgte und auch im Rahmen der damaligen "elektrisch!" Tour viel Lob und neue Fans für sich verbuchen konnte, erscheint nun "Damaged Goods" das musikalische Ergebnis von über einem Jahr Arbeit bei Major Records.
Es stimmt nicht immer aber oft. Wenn ich diverse Promos geschickt bekomme weiß ich ja nie was sich dahinter verbringt, also nehme ich automatisch die Band, deren Name mir am besten gefällt und auch diesmal lag ich richtig, denn „Mechanical cabaret“ hat doch was. Und die Musik des Ein-Mann Projektes Roi Robertson passt dazu auch ganz gut. Allerdings ist das hier nicht ganz einfach zu beschreiben, denn normaler Elektro-Pop ist das nicht, dazu sind einige Strukturen und Melodien doch etwas zu strange und an manchen Stellen bewusst etwas disharmonisch gehalten. Fast in jedem Song ist immer eine schräge Ecke eingebaut, was das ganze aber irgendwie symphatisch gestaltet. Leider habe ich hier eine falsche Tracklist, denn das was der gute Mann da von sich gibt passt nicht zu den Titeln – zumindest nicht deren Reihenfolge. Daher kann ich nur sagen, dass mir besonders „Careful careless“ und „Pretty fucked up“ (geht ab wie Sau) gefallen und zudem alle Songs die etwas schneller zur Sache gehen, aber nie in ganz harte Gefilde abdriften. Der gute Roi hat mit Sicherheit sehr viele CDs von Soft Cell und Heaven 17 im Schrank, denn sein Gesangsstil erinnert schon frappierend an Marc Almond und Glenn Gregory. Aber das passt erstaunlicherweise sehr gut zur Musik. Interessante CD, die aber eher den Oldschool Schwarzen gefällt denn den Cyberleutchen. Den Herrn sollte man im Auge behalten.<//font>25.02.09
Chucky, Streetclip TV
Released 20th March 2009 on Major Records Medien GmbH
Released December 14th 2007 on Major Records Medien GmbH
Released March 2008 on Major Records
Featuring Mechanical Cabaret 'See Her Smile' - Radiophonic Mix, Full length
Released January 2007 on Major Records
Features the following tracks:
Product For Your Insecurity
Released April 1st 2006
*by Frank Tovey/Fad Gadget
Reviews of '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".
"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.
"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."
"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
"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, DSO/ Dark Star Org
Cheap And Nasty/See Her Smile
Released February 2005
A-Side: Cheap And Nasty
AA-Side: See Her Smile 7" Cut
Reviews of '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.'
'Surly, savvy, viciously spikey synth-pop; really rather good'
'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, DSO/ Dark Star Org
We Have An Agenda
Released June 2002
'We Have An Agenda' reviwed by Rob Dyer, DSO/Dark Star Org
"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
|roi has an agenda|