In 1981, Cabaret Voltaire released their fourth vinyl album, Red Mecca. The album did not produce any singles but the album did reach the #1 spot on the U.K. indie albums chart.
Plasticity (1992). Re-emerging with a much more original sound after their 1990 house album, Kirk and Mallinder for the most part rely on abstract electro-inspired ambient-techno with extended voice-over samples for Plasticity. It certainly wasn't the first time CV had remade themselves without losing elements of their past work (even re-sampling a passage originally recorded over ten years earlier on "Soul Vine [70 Billion People]"), and Plasticity was an excellent reworking of the house blueprint into the growing fringe of techno not necessarily produced for the dancefloor. The tribal flourishes of "Deep Time" and the obvious signal track "Inside the Electronic Revolution" showcase the duo as continuing visionaries…
The band formed in Sheffield in 1973 and experimented widely with sound creation and processing. These early experiments are documented on the triple album CD set Methodology (Mute 2002). They eventually turned to live performance. In one incident, Mallinder was hospitalised with a chipped backbone after the band had objects thrown at them. However the arrival of punk rock brought a more accepting audience for their industrial, electronic sound and they were championed by Sheffield punk fanzine Gunrubber edited by Paul Bower of local band. In 1978, Cabaret Voltaire signed to Rough Trade Records. With Rough Trade they released several acclaimed musically experimental singles and EPs, including Extended Play, "Nag Nag Nag" and "Three Mantras", and albums such as The Voice of America in 1980, and Red Mecca in 1981.
Code is an album by British electronic band Cabaret Voltaire. The track "Don't Argue" was released as a single, as was "Here To Go". Recorded at Western Works, Sheffield in 1986. Mixed at Red Bus Studios, London (February and March 1987).
This two-CD set, with the entire second CD taken up by only two tracks, "Project 80" and "Exterminating Angel (Outro)," was released in 1994. The curious credit "composed, programmed, arranged, and sonically orchestrated by Richard H. Kirk" subordinated singer/bassist/co-founder Stephen Mallinder to a supporting role and left longtime Cabaret Voltaire fans wondering how equal the duo's partnership had ever been. THE CONVERSATION sounds remarkably like Cabaret Voltaire's early-to-mid-'80s work. The presence of more "normal" industrial-dance elements, prevalent in the band's work since 1987's CODE,are downplayed in favor of trance-inducing extended drones overlaid with manipulated sounds and voices. "Brutal But Clean" and the fascinating "Harmonic Parallel" are particularly impressive. Either would have fit comfortably on Cabaret Voltaire's best earlier albums, THE CRACKDOWN and MICROPHONIES.