Ho, ho, ho… ld the phone. That’s not Saint Nick but longstanding musical innovator and local DIY scene advocate Adrian Flanagan (of Moonlandingz and International Teachers of Pop infamy), who, instead of a sleigh filled with wholesome gifts, will soon be arriving on his travelator to deliver an album that’s positively chock-a-block with enticing electro-pop bangers.
‘Step on My Travelator: The Imagined Career Trajectory of Superstar DJ & Dance Pop Producer, Melvin Harris’ is the snappily titled debut from Adrian’s latest project Acid Klaus, a concept album following the story of fictional DJ Melvin Harris and, true to form, combining infectious synthpop stylings, thumping beats built for dancefloors and some intriguing collabs with established and rising talent into a relentlessly groovy package.
With a launch at Yellow Arch taking place this Friday, we heard from the main man himself about the driving forces behind all things Acid Klaus.
For those unfamiliar with Acid Klaus, how would you sum up this project?
Acid Klaus is like a beautiful yacht that I am the captain of, and whilst sailing through this crippled earth’s many oceans (and passing through its many ports and bars), I occasionally pick up a dashing collaborator to write a song with me. We will then go back to the yacht, have a cheeky eggnog, maybe a white wine spritzer, and it is then that I will get them to slip on some headphones and stand betwixt a microphone and a quill, before pressing play on a fresh and banging tune I call ‘Excalibur’.
Over the last two decades, you’ve embarked on a wide range of often eccentric, always innovative synth-based adventures which have seen you collaborating with everyone from Phil Oakey to Lias Saoudi. What are some of the key lessons you’ve learned on your sonic travels?
I agree. I have indeed tread – nay, carved – many paths that weren’t even there. I’ve made legends of legends and shone a bright light on many a midnight minstrel and delirious yet sensitive underdog. Some took that generous gift and ran with it; others chose to swing forever more from mine dusty and threadbare coattails, like broken fleas on an aged panther. What have I learnt? Hide your synth collection and lock up your tin foil!
What else has been formative in moulding the artist you are today?
Being born a genuine freak. Blindness. Broken bones. Chronic pain and fatigue. Adverse poverty. Eternal grief. A diseased intestine. Broken trust. Village gossips. Immense bitterness. And the introduction of pomegranate seeds to salads! Other than that, I’m pretty much a self-made artist.
The debut album, Step on My Travelator: The Imagined Career Trajectory of Superstar DJ & Dance Pop Producer, Melvin Harris, features some interesting collabs including Richard Hawley, Maxine Peake and Maria Uzor. What are the attributes required for someone to be invited onto an Acid Klaus record?
Mr Hawley has a tiny part on my record, playing a beautiful yet wonky bit of lap steel guitar for me. However, that specific track and the rest of the album for me is more about the new artists like Hannah Hu, Soft Focus, Lieselot Elzinga and Welsh language songwriter Cat Rin. Sure, I understand why people always hone in on the ‘names’ and I also understand that the names help shine a light on the new artists and the project in general, but I do and will always find that line of questioning insulting to those like Hannah whose voices and talent fucking soar like an eagle across the sky. These are the things that shouldn’t be overlooked on the record; these are your Patsy Clines, your Stevie Nicks, your Ari Ups, your Cate Le Bons, etc, of tomorrow. What are the attributes I look for? A bit of individuality and character, a breathtaking talent – and some fucking balls!
With that in mind, who else would you love to get onto an Acid Klaus record?
Alex Turner, Elon Musk, Jane McDonald, Charles Manson, the cast of the hit musical Chitty Chitty Bang Bang! I’m joking! I don’t know really; my collaborators tend to come to me via more underground and psychic channels.
The album is an age-old cautionary tale about being careful about what you wish for and the cliche of how it ALWAYS ends. I find it remarkable how many intelligent and sensitive people still fall for the cliches of the ‘Rock & Roll Dream’.
Backed with your signature crunching beats and deliciously mucky electro-pop stylings, the record is a concept album following the ill-fated fortunes of fictional DJ Melvin Harris. Where did the idea for Melvin and his story come from?
In many ways, I am Melvin. This hapless heroic moron of Electro Pop, not of these times, who has no self-confidence, who sometimes drinks heavily to garner confidence in order to exist in close proximity to other humans. Who ends up walking this tightrope of being incredibly witty and charming or sometimes – just sometimes – being a bit of an obnoxious bellend showing off, misreading the room and looking a bit of a dinosaur! So, he then spends his time apologising to people – he’s not really a twat because twats don’t apologise – he’s just a bit odd and shy and uses alcohol to overcome his crushing self-loathing, depression and shyness in order to become a bit of what he thinks will make him more acceptable and noticeable to his peers – a bit of an ‘edge lord’! But the thing is, in reality, he’s not really an edge lord; he’s really just very sweet, kindhearted, warm and would give you the hat off his head (OK, maybe not that). He then redeems himself by doing something kind for his community and musically remarkable, which again stirs jealousy with small elements of the townsfolk, so he goes back to being hated and judged again. I feel sorry for Melvin, as it must be very hard for him being on this eternal and very viscous roundabout! The album is an age-old cautionary tale about being careful with what you wish for and how it ALWAYS ends. I find it remarkable how many intelligent and sensitive people still fall for the clichés of the ‘Rock & Roll Dream’. But, like life itself, I’ve never known a happy ending!
You’re heading to Yellow Arch Studios for a hometown gig on 18th November. How does an Acid Klaus live performance tend to pan out?
That’s a good question, as it’s still very new and has not really established itself properly as a live entity. I was meant to do my first Acid Klaus show back in July, a late-night slot at Standon Calling festival. En route down we had a tire blow out on the motorway, so then we spent two hours on the motorway in the dark. We made the festival site with an hour to spare, and it was at that point the promoters told me: “Bad news. The show’s off and the whole stage has had to be shut down!” Some band invited half the audience onto a small wooden stage in this 450-cap faux saloon and the stage collapsed. Thankfully no one was hurt. When we finally got to do our first live show it was in Liverpool at a little day-long festival a few weeks ago. Our set got stopped halfway in and the crowd locked in this basement with us, as someone had got stabbed in the club upstairs and there was now a man with a knife on the loose. The police shut down the roads outside and locked hundreds of clubbers in the building. We had the crowd sat about on the stage and backstage smoking fags and having a drink with us. 15 minutes later, still locked in, we went back on and did a few more songs. I’d be happy if people just come down to Yellow Arch on the 18th and have some beers – the looser you are to limber up and have a dance, the better. Musically, it’s jackin’ and poppin’ so it’s ideal for street dancing too! If it can just be a little less like Altamont or Woodstock ‘99, I’ll be happy!
Step on My Travelator: The Imagined Career Trajectory of Superstar DJ & Dance Pop Producer, Melvin Harris is out on Friday 18th November. Acid Klaus will perform live at Yellow Arch to launch the album, supported by Jellyskin. DJ Melvin Harris will also be DJing between the bands. Tickets here: www.yellowarch.com/event/acid-klaus
