Sudeten Creche are starting their European tour in April. Some of the confirmations are still going through but here are the set venues so far.
City Date Venue Other bands
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London 8th Apr(TBC) (TBC) Daybed
Paris 15th Apr Belushi’s Thieves of Silence, villa piegée
Antwerp 16th Apr (TBC) Somnambulist, Daybed
Hamburg (TBC) (TBC) Das Institut
Berlin 21st Apr King Kong Sixth June
Vienna 23rd Apr FLUC None
I also did an interview for igloomag.com with Mark Warner and Paul Carlin recently.
Here it is http://igloomag.com/profiles/sudeten-creche-synchronized-soundscapes
And below:
Igloo :: So how did the group meet in the first place? Was Sudeten Creche an idea from the get go? Where did the band’s name come from?
MW :: We met at School in 1976 but did not form Sudeten Creche until 1981 when we met again at College. I think the name idea came from Paul’s brother, who had spent time in Berlin in the late ’70′s. The Sudetenland had been a topic in my 20th Century history class at school, so I knew some of the political references. We have always liked names that are a combination of the innocent and the sinister and it appealed to me because of this.
PC :: Yes, school then college – the idea was very experimental to start with. For example, we used to mix in shortwave radio interference with synths and drum machines (I remember one track being called the ‘TEAC Explodes’). it was quite industrial in the early days – some influences from TG and Cabaret Voltaire there. It was in 1982 I first recall a melody being added to the mix.
Igloo :: What did you guys do between Kindergarten in ’83 and Wounds in 2008′? After nearly 25 years, why did you return to music and releasing?
MW :: Sudeten Creche was one on many projects we worked on. Some other projects that Paul and I worked on together were This Collaboration and World Gone Mad, some of which involved others. We also did independent projects as well. In the mid to late 1990′s our careers also took us to different parts of the world and I was involved with a number of other bands during this time. in 2005/6 we found ourselves both back in the UK. Returning was not how we saw it. We just continued what we had already started.
PC :: I was involved in various music projects. Shortly after Kindergarten I was asked by Illuminated records if I would join Kan Kan for their European tour, supporting Simple Minds. Sadly that got called off ahead of the tour starting, for personal reasons within the band. I then went on to do some music production work, including producing a song that renowned songwriter Andy Hill had penned, for a new act on the Razzmatazz roster (simply called Julie). After that I took a long break from music, only really starting again in 1990 – and again working with Mark.
Igloo :: What was your equipment set up back in ’83? Does it differ much to what you are using now?
MW :: Yes it differs a lot. Circa 1982 Paul had a Casio CT202 and an Akai D4000 reel to reel and a small Akai mixing desk plus a selection of guitars and amps. Also a Soundmaster SR88 drum box. We borrowed some equipment like a 1978 EDP Wasp. Around 1983 Paul acquired an MS10. Then in 1984 Paul bought an Allen and Heath 12/8/2 desk and a Tascam 8 Track with DBx units, which we used during the mid to late ’80′s. I bought an Alesis HR16 around 1984/5 and started to experiment with Midi. We still have most of these although now we use a combination of original equipment, like the Casio 202, Korg MS10 but also have more modern items as well like Novation Super Nova, Korg M1 and MS2000. Now we record using a combinations of an Akai DPS16, PC based and Logic. The first sequencers we had were written using Basic on Vic 20′s and Commodore 64′s but now we use software Midi sequencers like Anvil Studio/Reaper and Logic which are networked via Motu MTP/AV’s. This allows the transport controls of many devices to be synchronized which helps a lot. Although we still play a lot of things “by hand” we now use software midi sequencers for complex patterns rather than arpegiators or CV gate.
PC :: Yeah – what he said… 
Igloo :: Do you think electronic music today is different to when you guys were first releasing? If so, how has it changed?
MW :: Yes, of course. Recent years have seen an explosion in retrospective labeling of the genre into sub-genres which didn’t exist in 1981. Technology has enabled people with laptops to make music and then find and audience via the internet and this is a great step forward. Fewer people are needed to take an idea from concept to an audience. The quality of the average recording can now equal that of a 1980′s Studio if the person recording understands the technology and the process. However the downside to this maybe that, without the input of studio engineers, producers and others, ideas do not get developed to their full potential but then they are not diluted either. Certainly everyone we worked with in the 1980′s enhanced our work beneficially.
PC :: I think it is different. I think it’s hard to compare electronic music today with that of the great innovators of the ’70s and early ’80s; Tangerine Dream, Kraftwerk, Harmonia and others. Synth and electronic music is so much more accessible now. I see these early guys as true masters of their art.
Igloo :: Why do you think the tracks and sound of 1980s synthesizer music still draws a following?
MW :: For me the key synth sound is the deep rich bass sounds that fill and underpin a song in such an emotive…
The rest is at http://igloomag.com/profiles/sudeten-creche-synchronized-soundscapes