Way more than just a
remix or a remake.
By Blurt Staff
Cabaret Voltaire’s Johnny
YesNo – Redux box set drops via Mute on November 15. It will feature the
original 1982 classic slice of “Sheffield Film Noir,” Johnny YesNo, alongside a new re-imagining of the film plus 140
minutes of bonus material and 2 CDs including exclusive Cabaret Voltaire tracks
and new Cabaret Voltaire mixes for the film by Richard H. Kirk.
Directed by fledgling director Peter Care with a cast of
unknown actors, Johnny YesNo — originally
released on Cabaret Voltaire’s video label, Double Vision — became an instant
cult hit on the independent film circuit helped in no small part by its
hallucinatory soundtrack by electronic pioneers Cabaret Voltaire.
Johnny YesNo – Redux reunites
the Cabs with Care almost 30 years later with a completely new cast, a
relocation to LA and an entirely new soundtrack remixed by Kirk.
Peter Care and Cabaret Voltaire worked together again with
the video for “Sensoria” (1984), which became the most requested independent
music video on MTV. Care also directed music videos for Clock DVA, Depeche
Mode, R.E.M. and Bruce Springsteen. More recently, in 2005, Care received
a Lifetime Achievement Award for his music videos from the Music
Video Production Association and also directed an episode of
the HBO Series, Six Feet Under.
According to Mute:
Johnny YesNo – Redux goes deep into the structure
of Peter Care’s original film and the Cabaret Voltaire tracks used in
connection with it. What emerges is as much a juxtaposition of times and places
as sights and sounds. The tale changes in the retelling, but that change now
seems to be taking place on a molecular level. Richard H Kirk has reconfigured
the film’s soundtrack, giving the proceedings an ominous sense of something
slowly sliding into view from afar, glimpsed out of the corner of the eye.
Johnny Yesno film represents a split reality:
a moment of transition that simultaneously reaches into the past while at the
same time hinting at what might be to come.
Cabaret Voltaire knew that the way to handle this
audiovisual divide was simply to embrace it: allow the senses to become caught
up in the seemingly random connections between what is seen and what is heard.
The resultant scrambling of impressions was often hallucinatory in effect.