NYC based Ike Yard crept up from the ashes of Post Punk to emerge on the forefront of the No Wave scene of the 1980s. Immediately notable for being one of the first American bands to sign with Factory Records, the band drew heavily on post punk influences as well as early krautrock to shape a unique sound that was ahead of their time.
The industrial/electronic outfit was quick to disband in 1983, leaving us with baited breath for 25 years. Now back together with the original lineup (sans Fred), Stuart Argabright, Michael Diekmann and Kenneth Compton were able to catch up with EV’s Courtney Rafuse to answer some questions. You’ll be seeing a new track from these guys on our next compilation, set to drop next Spring.

You guys are considered to be pioneers of post punk/no wave. Taking you back to 1979, did you have a feeling you were doing something innovative and exciting when Ike Yard began?

Stuart: Each session we did experiments generating pulses, and staying within certain parameters into works we could all feed into. Some of the most exciting times were simply the second or two after recording some unique combination of sounds.

Michael: Definitely – as soon as the four of us rehearsed together for the first time, I felt it that there were possibilities toward making music that reached beyond what was being done in NYC at the time. When we started, No Wave was essentially finished; I think that there was an influence particularly in regards to tearing the elements of rock and roll down to a molecular level and recombining them into something new, but with the energy of rock: post-rock I suppose.

Prior to our uniting as Ike Yard, there was already a desire on our parts to create something new; I had been a fan of Stuart’s prior band, the Futants, and stylistically, they were outside of what was happening in NYC at the time – and primarily being a synth and drums outfit, they were closer to what was happening in Europe. Also Fred Szymanski and I had come out of an academic electronic music background, and were pushing earlier that year to form a group that would draw from that experience. Members of Ike Yard were also fans of the Neue Deutsche Welle music of that period, and certainly the big 4 of German ‘70’s electronic music: Kraftwerk, Can, Neu and Cluster, as well as of Bowie/Eno’s Berlin period.

Being one of the first American groups to record for Factory Records, what was it like being part of such a prolific label so early on? How did the opportunity present itself?

Stuart: Michel Duval’s Belgian Crepsecule family were close with Factory and so it was after the Night After Night EP that we got word we could do a record for Factory Records America. Tony Wilson came by to visit as we recorded. He popped his head in as we were doing something in the control room.

Michael: As you might expect, we had been fans of Factory records from their inception; I was absolutely blown away by the two Joy Division songs on Factory’s initial release, the double 7” “A Factory Sampler.” Ike Yard had been picked up by the Belgian indie label Crepuscule for the “Night After Night” EP, a label we had discovered when they released the 7” of “Shack Up” by A Certain Ratio – in conjunction with Factory. I was also impressed with their 1980 compilation cassette, “From Brussels With Love,” which included an esoteric line-up and a surprising mixture of musical styles.

We sent a demo cassette to Crepuscule and a few months later we were recording the EP for them. That record was released in November of 1981
– the same time that New Order was scheduled to play their first big show in NYC since their initial foray as a trio in 1980, playing smaller venues like Tier 3 and Hurrah’s. We were tapped to open for them, which despite the technical issues, was an exhilarating experience. Again in February 1982 we were asked to open for Section 25 for two shows (The Peppermint Lounge in Manhattan and Maxwell’s in Hoboken, NJ). Soon after that we
were scheduled by Factory to record an LP on their new US label, Factory America. We worked with Michael Shamberg, the US rep, during this
period; Tony Wilson made a visit to the studio during the mixing sessions. We were finishing “Loss” when he arrived.

Do you have some vivid memories of playing with other Factory bands that really stand out?

Stuart: We are in the process of transferring old master tapes for the Factory album reissue. Last night, we found the tape that was of the show with New Order 11/81. The Factory NY – Blind Dates ( Ruth Polsky ) produced New Order / Ike Yard show was the first show at Ukrainian National Home. The group struggled with the sound – the soundman mixing the drum machine out during a piece. We improvised. The mix got better once Peter Hook stepped in to help. Michael and Kenneth have other memories of it too i’m sure.

Playing with Section 25 twice was good, the shows were hot. Someone said something after the Maxwells show about the group sounding like “dinosaurs having sex’”.

Michael: Of course, playing the show at the Ukrainian National Home with New Order in 1981 was significant, but we also really enjoyed the two
shows we did with Section 25 – an affable bunch of guys. The gigs were fun, and Ike Yard was pushing forward musically at that time, well beyond what we had played at the New Order show.

New York in the 80s was such an energetic cluster of excitement and inspiration. What was it like for you guys then?

Stuart: The period I’m thinking of – roughly end of 70′s to around 1984 was some kind of phase period – waves and explosion of subcultures into mainstream culture. Of course, built on all the works of so many from the years and decades before. Our world(s) expanded in many directions simultaneously. Kenneth and I were there the first nights at the Mudd Club, Tr3, and Danceteria 1 & 2. Nocturnal adventures leading to many late mornings home. We are grateful for all the help from everyone along the way … The band would jam down in Bradley & Kristian Hoffman’s $3 an hour rehearsal space downstairs on Grand Street and friends would stop by. We shared a room in the Music Building with Circus Mort for some months, with Madonna’s studio on the same floor a few doors away.

Michael: The downtown cultural scene was vibrant; the music and art worlds were changing rapidly then – and the rents were cheap. It seemed as if there was some event happening nearly every night – whether a gig, an opening, a film screening. We were all working in other media in addition to music at that time – as did many of our contemporaries.

Kenneth: I think that the period we were emerging from musically actually started in 75 or 76 with the punk rock scene which sort of heralded the end of the Big Rock Band era of the early 70s. The Damned, The Clash, the Sex pistols and others coming out of England. In NY, the New York Dolls, Blondie, Television, the Ramones. There was a big punk rock scene in NYC but everything was moving so fast and by 77 Punk was over and it was Talking Heads and the new wave scene. By the time we were recording our second record This intensely vibrant underground scene in NYC was already dissolving. After that it was the Hardcore era, Reaganism and yuppies. I know a lot of good music came out of the 80s but I feel we were most heavily influenced by the years leading up to that decade.

People are always so skeptical and judgmental when bands reform, worrying that it could never be the same. However, all of your recent efforts have been met with applause. Were you worried about the reactions after such a hiatus?

Stuart: While we didn’t ever talk about getting back together, once we did it was clear we could continue and possibly move forward.
We have been lucky, fortunate in the way things happened in zones where things flow.

Michael: We have our own standards, and if the music just wasn’t happening when we reformed, we wouldn’t have continued. We knew that we weren’t just going out to play the older material, but to push forward with new music – nonetheless, music that would meet the aesthetic criteria of what we would expect Ike Yard to produce based upon its history.

Kenneth: No. I think it was a fairly organic process. There was some talk about what Ike Yard might mean to other people and how diverging from that might not be what’s expected but ultimately we reformed to create new music. I think this next record actually feels even more “Ike Yard” than the last although its quite different from where we were 30 years ago. How could it not be?

Are you surprised to see how your early recordings have stood the test of time so well? I mean, ‘Loss’ (1982) still sounds so fresh.

Stuart: There is some surprise at being able to reissue the Factory album in 2012. Dan Selzer’s 2006 Acute release really put us on the map. And “Loss” is a piece we didn’t do many times – but born some techno variant that is up there with anything released in 1982. Every cut on that album had something — NCR, Half A God, Cherish 8!

Michael: By the time we recorded the Factory album, we had moved musically further away from post-punk into uncharted territory. In addition, we were working with newer technology (at the time) which forced us to focus on how this gear (drum machines, sequencers, synths, processing, etc.) interacted – which was quite different from playing traditional rock instruments – and therefore avoided many of the typical hierarchies or structures that those instruments generated. Also, we were familiar with contemporary non-rock experimental / electronic music, so we had an ear to what could be accomplished – and searched for the unexpected answers.

Kenneth: If you think Loss sounds fresh then check out the Regis remix out on vinyl.

25 years is a huge stretch of time. Your sounds and vocal stylings are quite different now. How would you say you’ve evolved as a band/individually since your debut EP in ’81 with Disque du Crepuscule to your 2011 release with Desire Records?

Stuart: We were together mainly between 1980 – 1982 , a lot happened in 2 years. Still experimenting with song forms, synthesis, electric guitar & bass, 3 or 4 basses running together, multiple beats. We are well into writing & programming for the 2013 album. This one draws from 1982 as I found unused lyrics for “Slaves Of Janet” and also “Go” that felt like they still resonated for use now . The sonic takes in past, present into future and is probably it’s own evolution. We will be playing the new songs on the upcoming fall UK & Europe tour.

Michael: First of all, we all continued to make music during that time, and I think we individually persisted to search for new sounds, new structures, new sensations, and to expand our knowledge.

Industrial, experimental, post-punk, jazz punk, drone, krautrock, primal funk, sci fi Miles Davis — Obviously all of the genres you get pinned with are open to interpretation.. But how would best describe your sound?

Stuart: Electro with intention, directions. I don’t see a lot of nostalgia in the sound. Each piece exploring what we could do. Trying to keep moving.

Michael: A list of contradictions: rarified yet expansive, searching yet certain of the consequences. Musically, it’s all about pushing the boundaries of rhythm and timbre.

Kenneth: I think its a unique sound. I can name a few obvious influences. Joy Division, DAF, Der Plan.

Electronic music has become so ubiquitous since the 80′s, spanning from punk to hip-hop. What are your thoughts on “electronic” music these days?

Stuart: It’s a flow. Fun to see artists like John Foxx enjoying his time. It wasn’t always easy to get equipment, set up and do ‘Electronic music’.
We have seen see the ‘means of production’ grow out of the hands of what used to be powerful ‘ Record Labels’ – that’s how you made records- you made a deal, you could go into The Studio.

Michael: The Brits and the Germans seem to be producing the most consistently interesting stuff: Raime, Shackleton, Demdike Stare, Monolake, although Tim Hecker places the Canadians in good company.

And finally, for fun, what are you guys listening to right now?

Stuart: Lately i’ve been immersed in finding artists to play with IY on the upcoming tour. Hearing Linea Aspera through a post by Jen Ellerson led us to ask them to join our first London show on 9/29. We have also been getting the Factory lp mixes back. The first two are Regis‘ striking new “Loss” version, then also Monoton’s dub, club and KB remixes.

Back in March, Xeno & Oaklander and IY both played this Fad Gadget /Frank Tovey event by Mute and Envoy where they did a great “Lady Shave”.

We play with them again 9/7 NYC. Luis & the Soft Moon stand way out and operate n their own zone. On rotation i’ve got Horrid Red , Demdike Stare , Tim Hecker , Kuedo . Goitia / Deitz Raime , Sandwell District , Pop ambient t/ Kompakt , Sakamoto, no tempo piano musics and Fin De Siecle.

Michael: I’ve been listening to the new Monolake CD “Ghosts”, the new Liars, “WIXIW”, Tim Hecker’s “Ravedeath 1972”, Stravinsky’s ballet “Agon” conducted by Tilson-Thomas, and an older ‘60’s trance music playlist I enjoy when traveling that includes Terry Riley’s “Rainbow in Curved Air”, John Fahey’s “A Raga Called Pat”, Alice Coltrane’s “Atomic Peace”, Gabor Szabo’s “Space’ and Andrew Hill’s “Judgement.”

Ike Yard perform in NYC this weekend with Xeno & Oaklander and Led Er Est, followed by a tour in Europe. They are also in the process of recording a new LP, more information to come in 2013…