The irrepressible Kanga covers Gary Numan’s classic, “Metal.” We’re afraid of the liquid engineers, too.
When Gary Numan first toured Canada in 1980, he stumbled across an eccentric and remarkable performer called Nash the Slash. Numan promptly ditched the support act booked for his tour and took Nash in their place. In short order, Nash was in England, signed to the Dindisc label alongside Martha and the Muffins. His output was produced by Steve Hillage and Bill Nelson, and he appeared on a Smash Hits flexi with label-mates OMD. Nash performed live with Numan at his “farewell” concert and played violin on his single, “She’s Got Claws.”
Artoffact, the Canadian industrial and electronic label, have now re-issued several Nash the Slash releases. The series starts with the first solo Nash the Slash release, Bedside Companion. A four track EP, Bedside Companion reveals Nash’s prog rock roots. The outstanding track on this release, “Blind Windows,” marks the birth of the ambient trance style that is the missing link between Steve Hillage’s solo material and the sound that he later developed for The Orb and System 7. The four songs are presented at the intended speed and 1/3 slower, reflecting the happy accident that occurred when Toronto DJ, Dave Marsden, mistook the 45 rpm 12″ for a 33 1/3 album: Nash realised that the instrumentals could be played at different speeds with equally interesting results.
Marsden’s oversight helped to inspire the release in 1981 of Decomposing, the first album designed to be played at any speed on a conventional record player. Essential for any Nash fan’s collection, and including the magnificent “Womble,” Decomposing is not part of the current Artoffact series. Instead, we have Dreams and Nightmares, the second Nash the Slash release, which collected recordings as diverse as a soundtrack to Un chien andolou and music for late night television. Essentially a compilation of tracks recorded to four-track, this is the kind of material that eccentric electronic artists recorded in their bedrooms in the 1970s and circulated on cassette tape through the Contact List for Electronic Music, but Nash was already a step ahead in releasing vinyl through his own label, Cut-Throat Records.
A surprise is the inclusion in this series of Hammersmith Holocaust, a reproduction of one of Nash’s rarer recordings. Lifted from the sound board at a support show for Numan in 1980, it begins with “Wolf,” in which Nash uses a motif from Prokofiev, stretched and distorted over simple bass patterns. A cover of “Smoke on the Water,” rewritten as “Dopes on the Water,” plays with Deep Purple’s classic tale of jazz venue immolation. “Children of the Night,” the title track for the Hillage-produced album that would follow the show, starts with an ambient intro that signposts the template that The Orb later lift for “Blue Room.” Nash is in full stride during a cover of The Who’s “Baba O’Riley” that also strays into ambient trance territory, before a nitro-fuelled version of “Danger Zone” wraps proceedings.
Things really get interesting with the reissue of Children of the Night, Nash’s sole album for Dindisc. Recorded at Britannia Row, the London studio owned by Pink Floyd where New Order created “Blue Monday,” the album has cover artwork by Martyn Atkins, who also worked with Joy Division and Depeche Mode. In the studio, Hillage, who was getting ready to produce Simple Minds’ legendary Sons and Fascination, was supported by engineer Michael Johnson, who also worked on some of Joy Division and New Order’s best-known recordings. The result was an alternative classic, packed with essential tracks like “In a Glass Eye” and “Reactor No. 2;” but, even with the inclusion of a jukebox-friendly remake of Jan and Dean’s “Dead Man’s Curve,” the commercial success of those other artists eluded Nash, who returned to Canada and revived his Cut-Throat imprint. Always ahead of his time, his next album would feature input from the Martha and the Muffins producer, Daniel Lanois.
When Nash died in 2014 from a heart attack, the tributes were led by Gary Numan. Numan has contributed liner notes to Hammersmith Holocaust that re-tell the story of how he met Nash, as well as his feelings about working with Jeff Plewman, the man beneath the bandages. Even if Nash’s absence leaves a hole in the heart of alternative music, the material assembled in these recordings lives on.
We hardly knew Jeff Plewman, the man behind the bandages. Nash the Slash, on the other hand, had a global following. In his top hat and suit, Nash was a silent film star in an age of noise; widely appreciated for his misuse of electrified violins and mandolins. Fed through effects pedals and played over drum machines and keyboards, Nash’s instruments yielded shrieks and drones that could mute a banshee or echo Prokofiev.
Gary Numan stumbled across Nash in a Toronto nightclub and immediately dropped his scheduled support act. Nash accompanied him on tour, gaining exposure, a UK record deal and even a place on a Smash Hit flexidisc (alongside OMD); however, unlike Canadian label-mates, Martha & The Muffins, Nash failed to achieve commercial success in the UK. Dindisc, the Branson-funded label run by Carol Wilson, promoted Nash as a post-punk novelty act, playing on his horror-film imagery and clever covers of songs by The Rolling Stones and Jan & Dean. Frustrated by the lack of appreciation for his inventive original material, Nash returned to Canada.
From his base in Toronto, Nash released records on the Cut-throat imprint. The label’s distinctive logo included a skull, and one of the eye sockets was positioned over the spindle hole on Cut-throat releases. Listening to a Nash album therefore required listeners to impale the skull and rotate it around the violated socket. That dark sense of humour and his attention to detail were constant features of Nash’s work, whether in songs like “Vincent’s Crows” or in the production of a Nash the Slash comic book.
Nash played to packed arenas and small clubs. He warmed up for The Who but also for The Spoons. He toured with Iggy Pop and played along to silent films in local cinemas. He composed albums that could be played at any speed and practically invented the sound of The Orb and System 7 with “Blind Windows” in 1978.
He retired from music in 2012, leaving a note charting his accomplishments and lamenting the consequences of file-sharing:
A journalist once asked me to describe a typical Nash the Slash fan. I replied, ‘They just get it’. They get my references to Ray Bradbury, Boris Karloff, and even my opening quote from Hitchhiker’s Guide to the Galaxy. It was my intention to shock, but not offend.
Nash had a full stage name – Nashville Thebodiah Slasher – but his family and friends knew him as Jeff. His passing last weekend leaves a hole in the heart of alternative music.
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