Paul Gallotta gets the low-down on Re-Flex

Judging from the charts, 1984 girls (and boys) just want to have fun. Every decade has its trends, and the current flavour of the month is synthesized, dance-oriented rock. Of course, in the 70s they called it disco, and dance-oriented rock (or "DOR", its music industry alias) certainly does share some of disco's more odious qualities — its lyrical vapidness, for starters.

Makes one long for the '60s, doesn't it, when song lyrics encompassed the world beyond the dance floor. And when the message was in the hands of the Beatles or Bob Dylan or Marvin Gaye, the results were rarely dreary dogma. Many of today's new-music acts probably think 'social consciousness' means keeping tabs on upcoming soirees.

Which is why a band like Re-Flex attracts so much attention. They seek to provide intelligent entertainment while still appealing to the growing new-music audience. The band was founded by keyboardist Paul Fishman, who was looking for some London musicians with ideas as diverse as his own. Producer Nick Lome introduced Fishman to a lead vocalist/guitarist who went by the name of Baxter and who most recently had played in a group with Robin Scott (M of "Pop Muzik" fame). After experimenting with several line-ups, Fishman and Baxter settled on drummer Roland Vaughn Kerridge, and they began playing small pubs. "It was good for us," recalls Kerridge, "to go out and play for ten guys who were just there to drink beer". But not that good, according to Fishman: "It isn't something I'd like to repeat, thank you very much."

After further development, Re-Flex made a crucial line-up change. Nigel Ross Scott, recommended by Thomas Dolby, became the new bass player, and computers were incorporated into their sound. In 1983, they came to the attention of EMI, which released their debut album, The Politics of Dancing, produced by John Punter (Roxy Music, Japan).

The themes on the album range from alienation to paranoia, and on 'Hit Line', they spit venom at a likely target — meaningless dance music: 'Keep it simple/It's down to the beat/another cliche/just makes the song complete.'

"The lyrics to 'Hit Line' are quite sarcastic," admits Fishman. "We're saying that we participate, but we observe and can be quite critical about it. There's a sense of humour we try to incorporate into everything we do."

Re-Flex also try to set themselves apart from other synthesizer-dominated dance bands. "Our music is dance oriented, but that's where we separate our directions," Fishman insists. "One of my biggest criticisms of the majority of dance music is that lyrically it says absolutely nothing and generally goes about insulting people's intelligence. If you are going to write song lyrics, you should try to put over something that's at least interesting for people to listen to and read." There's no denying that the title cut is a hit, but do the dancing masses appreciate the extra effort put into the lyrics? The keyboardist, who writes the bulk of Re-Flex's material, would like to think so. "People are so used to mindless dross that when they come across something with a bit more value to it, they're taken aback. But we've really had a strong response, showing that people have actually noticed what we're saying." Kerridge agrees; "People hear the song on the radio a few times and notice the melody and the beat, but the lyrics are another level for them to go to."

Re-Flex's musical influences are diverse: Baxter is song oriented and a devoted Beatles fan, Kerridge has been involved with jazz fusion, Scott's always been a rocker, and Fishman, jokes Roland, "enjoys throwing fridges across auditoriums." Fishman was originally a Beatles fan but was soon attracted to the electronic music of Stockhausen, Terry Riley and John Cage. In college he became heavily interested in systemics and such avant-gardists as Phillip Glass and Steve Reich.

"People are so used to mindless dross that when they come across something with a bit more value to it, they are taken aback. But we've had a really strong response, showing that people have actually noticed what we're saying."

Interestingly Paul writes his songs without an instrument. "I'm very old-fashioned as a composer," he explains. "I believe very strongly that when writing music, it should come from the head and not be based upon cliches — what comes most easily to your hands to play. Therefore, you don't put instrumental technique in the way of actually trying to write." Instead, he carries a tape recorder everywhere and sings ideas into it. "I read music and could do it in that form," he says, "but for me it's a lot closer to capture the spark when it happens and work it out later."

With computers being so vital to their sound, Re-Flex are eager to discuss their equipment. The only conventional drum Kerridge uses is a snare. He has a pair of Paiste 10" hi-hats and a 16" crash cymbal, also from Paiste. He uses a standard Simmons SDS5 — two toms, a bass drum and a snare. "In addition to that, I have an early Simmons, an SDS7, which is like a 4-channel effects synthesizer modified to give me one channel that is user-programmable and can store an 8 x 8 matrix of sound." Kerridge also employs a Linn Drum, but plans on abandoning it in favour of a digital kit.

Baxter owns two guitars made by Giffen, an English guitar builder whose clientele include Jeff Beck, Eric Clapton and Pete Townshend. He uses Seymour Duncan pick-ups in the main position and a Bartolini knife-edge-type on the bridge. He is currently using a Vox AC30 and a Roland Jazz Chorus, but the success of 'The Politics of Dancing' is paying for a new pair of Marshall 412s.

Fishman may be a computer and keyboard enthusiast but he tries to keep his set-up simple. "I use the same equipment on stage as in the studio. I'm not one of those keyboardists who love everything they can get their hands on." His set-up consists of an OB8 used in conjunction with a DX7. He also has a customized Prophet 5, made up of parts lifted from all the other keyboards he had around at the time, including a Yamaha pitch strip, Oberheim pitch bend and customized software.

"I try to take an instrument and find ways of personalizing it," he explains. "I want the instrument to do what I want, rather than what the manufacturer wants it to do. "

Paul's 'pride and joy' is a PPG 2.3 digital keyboard. "There's something about the sound of it that is just so unique, so right, that I use it for all my digital sound generation."

Scott is presently playing a new and improved Strata-type headless bass.

As Re-Flex develop, they hope to sustain a rapport with their audience. "We make a statement," says Paul. "We put it out there and the interpretation is up to the beholders. We just hope they'll still understand what we're talking about."