Richard H. Kirk

Richard H. Kirk

Real Name:
Richard Harold Kirk
Born in Sheffield on 21 March 1956, Cabaret Voltaire member Richard H. Kirk released his first album "Disposable Half-Truths" in 1980, and since then he developed a solo career parallel to the band until its dissolution in 1994, featuring a fusion of diverse styles music genres from dance-orientated Techno and House to Experimental Electronica and Ambient.
In Groups:

Richard H. Kirk Discography Tracks


Richard H. Kirk Disposable Half-Truths (Album) Industrial Records UK 1980 Sell This Version
Richard H. Kirk Time High Fiction (Album) Doublevision UK 1983 Sell This Version
Richard H. Kirk Black Jesus Voice (Album) Rough Trade UK 1986 Sell This Version
Richard H. Kirk Ugly Spirit (Album) Rough Trade UK 1986 Sell This Version
Peter Hope & Richard H. Kirk Peter Hope & Richard H. Kirk - Hoodoo Talk (Album) Native Records UK 1987 Sell This Version
Richard H. Kirk Virtual State (Album) Warp Records, Warp Records, Intone, Intone UK 1994 Sell This Version
Richard H Kirk* The Number Of Magic (Album) Warp Records, Intone Germany 1995 Sell This Version
IRREG 4 CD Richard H. Kirk Knowledge Through Science(CD, Album, Ltd) Blast First IRREG 4 CD UK 1998 Sell This Version
Richard H. Kirk Darkness At Noon (Album) Touch UK 1999 Sell This Version
Tone 12 Richard H. Kirk LoopStatic (Amine ß Ring Modulations)(CD, Album) Touch Tone 12 UK 2000 Sell This Version
Richard H. Kirk TWAT v4.0: The War Against Terror (Album) Intone UK 2003 Sell This Version
INTONECD06 Richard H. Kirk Feat. Pat Riot (2) Richard H. Kirk Feat. Pat Riot (2) - Meets The Truck Bombers Of Suburbia Uptown Vol. 1(CD, Album) Intone INTONECD06 UK 2004 Sell This Version
Richard H. Kirk URP VOL 4 Expreso_Elektro_Congo Intone UK 2005
SJR LP/CD 130 Sandoz A/K/A Richard Kirk* Sandoz A/K/A Richard Kirk* - Live In The Earth: Sandoz In Dub (Chapter 2)(CDr, Promo) Soul Jazz Records SJR LP/CD 130 UK 2006 Sell This Version
Richard H Kirk* Sonic Reflections (Unreleased Soundtrack Project 1994) Intone UK 2009
Richard H. Kirk Reality Is Opposite (Album) Intone 2011
Richard H Kirk* Dasein (Album) Intone UK 2017 Sell This Version

Singles & EPs

Peter Hope, Richard H. Kirk Peter Hope, Richard H. Kirk - Leather Hands Doublevision UK 1985 Sell This Version
RTT 199 Richard H. Kirk Hipnotic(12") Rough Trade RTT 199 UK 1986 Sell This Version
12NTV 36 Peter Hope & Richard H. Kirk Peter Hope & Richard H. Kirk - Surgeons / N.O.(12") Native Records 12NTV 36 UK 1988 Sell This Version
Richard H. Kirk Virtual State Warp Records UK 1994 Sell This Version
Tone 12-12 Richard H. Kirk LoopStatic (Amine ß Ring Modulations)(12") Touch Tone 12-12 UK 2000 Sell This Version
12KIRK6 Richard H Kirk* Detonate / Reworks EP(12", EP) The Grey Area 12KIRK6 UK 2004 Sell This Version
DUSTV009 Richard H. Kirk Fear (No Evil)(12", EP) Dust Science Recordings DUSTV009 UK 2006 Sell This Version
Richard H Kirk* Neuroscience EP (EP) Intone UK 2009

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February 9, 2017
edited 3 months ago
With all due respect for Richard Kirk, I must admit that there's lots of his stuff I just don't relate to - he is definitely in his own universe for a long time now, and while musically speaking some of it does sound amazing, I am a bit sad he for one decided to resurrect Cabaret Voltaire. There is something about it that is just too broken now to be taken for real, despite Richard's strong DNA in most of the Cabs' post-70s work. And Kirk himself being an icon, his own name already stands solid an institution, and should have left the (living) legend to rest.

And comparing what all three members are doing separately for years, personally I do feel much closer to what Stephen Mallinder was/is doing on his own, be it solo work or with Wrangler, or Chris Watson with his field recordings. Unlike Kirk, Mallinder and Watson happen to be more reasoned with their approach to sound/music (or say, they give their work time, not being "megalomaniac" like Kirk prefers to be).

Richard grew technically strong, but idea-wise he seems to be stuck ever since the early 90s, when his work was more easily traceable in terms of "projects" - in the meantime, however, it turned into one too many pseudonyms, with most of his recent (past twenty years) stuff raising very little interest in me. To put it frankly, most of it sounds tedious.

But when it clicks, it is beyond rewarding. To start with, his late 70s/early 80s solo experiments might appeal the most, due to techno-modesty and its relative potential on par with his parent group. On the other hand, what Kirk and Peter Hope did on "Hoodoo Talk" - such a landmark collaboration, the one I regard and greet with utmost respect, especially due to Peter Hope's strong presence there, that without doubt breathed fresh air into something that, despite my endless love for the Cabs themselves, became a bit worn out in their own frame during the 1985-87 era; "Black Jesus Voice" and "Ugly Spirit" are enjoyable as such, but you can tell there's not much happening apart from sounding like leftovers from the Cabs, despite being credited to Kirk alone.

Sweet Exorcist is one of his brilliant excursions into something else at the time when Cabaret Voltaire felt tired and exhausted, plus that amazing masterpiece solo album of his called "Virtual State" from 1993. Without doubt his finest piece of work, conceptually strong and consistent, the album simply insists on repeated listening. As Sandoz, he released also a beautiful techno-collection called "Intensely Radioactive" that is intensely recommended to anyone remotely interested. A dozen few more intriguing bits have appeared scattered via Touch compilations... as for the complete picture, it's impossible to catch him by the tail, the verdict being Kirk indulging himself in a hodge-podge soundplay.


April 21, 2015
edited over 2 years ago
"What can you say" is that Kirk is the eyebrow-plucking auteur's auteur, evidence of his essential auteurism being available from any viewed angle despite the parallax of unconverging style and idiom that runs angularly through his compositional domain.
Somehow as different as his Sahara-by-way-of-Sheffield Reed playing of the early industro-bop is from his latterday airless pushbutton monikers, there is a consistent sonic world whose pulses and timbres are signature in their ingredient. KIRK'S TONALITY is one of the most Bizarre and placeless I have ever known, apparently ur-atonal or maybe seminally multitonal, meaning he doesn't so much ignore musical key as obselytize it entirely. In my Factory-Records-centric youth I collected the sound and picture releases of CABARET VOLTAIRE exhaustively until I found a copy of "Black Jesus Voice" and the "Martyrs of Palestine" 12" single and realized that Mallinder's dopey amorphous bass and vocals were hindering more than helping; Kirk needs no one but a good drug dealer and his trusty mixing desk at Western Works.
WHY Kirk is so damn good is almost impossible to prove; much of what he does as a rule, is, as a rule, an example of poor music-making in other hands. He is a champion of the 'Unattended Mixing Desk with a Sequencer going Full-Boor' methodology common to all styles prefixed "Euro-" on the islands or continentally; HOW does he invert this into an attribute? Because his loops are Aggressively repetetiv without being Repetitious as they are in the default EDM template...there's an op-art mentality at play in which if one steps back from the picture, or listens to the entire side, one may experience a telescoping sense of parts relating to whole; first the bricks, then a brick wall, then the wall itself is seen to be a single brick again. Across the years of monastic output one can isolate unbroken arcs of musical agenda; a sincere trancemaking intent and an uncanny ability to source sounds and notes incomparably ALIEN, summarized by the sunburned amphetamine-hangover of Kirk's amoral just-back-from-Spain mien.


April 21, 2004
What can you say? The history of electronic music wouldn't be complete without a paragraph or two about this guy.

For any serious student of electronica, you could do a lot worse than to pick up the early Cabaret Voltaire stuff. His style is generally to build the tracks gradually, using a lot of classic Detroit-ish melodies and straightforward percussion programming, while using strange sounds and catchy hooks and vocal (often left-leaning politically) vocal samples. His seminal releases mostly occurred on the Warp label ("Reality Net" makes my personal all time Top Ten electronic tracks, which is on "Artificial Intelligence II".) Sandoz' "Digital Lifeforms" is pretty much a classic in the early 90's IDM genre, as is Cabaret Voltaire's "International Language." If you like industrial dub (think the better On-U Sound stuff) you would be remiss not to own Sandoz’ “Chant to Jah”. To be honest, I don’t think any of his releases are bad, although as stated, some are only okey-doke (e.g., Sandoz’ “Every Man Got Dreaming.”)

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