Interview: John Wisniewski
Introduction: Christopher Nosnibor
It’s fair to say that Mars was a band ahead of its time. Formed in 1975, they were early to land on the No Wave noise-rock scene, and they’d called it a day before the scene really broke, and with only a handful of performances under their belts.
The history goes that Mars played live about two dozen times, and never ventured beyond Manhattan. Their first show was at CBGB’s in January 1977; their last one was at Max’s Kansas City on December 10, 1978. Their sole release during their brief existence was a seven inch single, plus a track on the influential No Wave New York compilation, produced by Brian Eno, although a live EP would emerge shortly after they called it a day, and their entire recorded output – which totalled half an hour’s music – would be released a couple of times in the mid ‘80s and in the ‘00s.
As is often the case, the legacy and influence far exceeds their brief history and scant catalogue, no doubt enhanced by the fact they never reformed. However, while most of the band’s members have disappeared from view, and both co-founder Nancy Arlen (drums) and vocalist Sumner Crane died in the early 2000s, since the end of Mars, bassist Mark Cunningham has remained active, and very much forward-facing in his musical output, most recently with solo albums Odd Songs (2020) and Blue Mystery (2023)
John Wisniewski caught up with Mark Cunningham to ask about Mars and their legacy, his recent releases, and plans for the future.
JW for AA: How did you get involved with music, Mark?
I’ve been playing since I was a kid. my uncle was a jazz drummer and he hooked me up with my first horn, and I played in the school band growing up. and as a teen I picked up guitar and bass to play in cover bands, but when I learned to really play and improvise was at college, surrounded by likeminded rock, free jazz and acid freaks studying avant-garde movements and playing all the time.
Any favorite music artists?
Lots, I grew up in the 60s, out in Jersey, and started going to shows at the Fillmore East in 68. saw a lot of the greats there, as well as little known strange psychedelic bands. I ate it all up, not discriminating too much, but of course Hendrix, The Doors, Jefferson Airplane, Zeppelin and a few others were extra special, and Electric Miles, who I first saw in 69 and showed me the future. Later at college I discovered the Velvets, Eno, Bowie and all the free jazz greats. I still followed Miles though.
When did you join MARS, and what was the idea for how MARS should sound? Did you improvise?
Mars came together in late 75, a chance meeting that led to a year of working out our own way of expression before playing shows. At first we took the Velvets as a model, even jammed on some of their songs, and from there started making our own, somewhat similar frameworks and improvising on them. But we weren’t free improv. The character of the song and lyrics always came first. This has stayed with me through all my bands, although i do play 100% free in some duos and trios dedicated to that.
Why did you want to form your own record labels?
The first and most serious venture was Hyrax Records, which I managed to make happen in 1980 to release the John Gavanti LP and a Don King cassette. In those days it was possible to get distribution in the States and we sold quite well. But it still became a hassle and an expense to keep it going. DIY labels started getting popular in the 80s, when cassette recording and reproduction got cheap and easy. And in the 90s with CDRs. So I did some of that, especially with our duo Convolution, with my partner Silvia Mestres. We put out all our albums on CDR. Of course streaming killed that off completely. Nowadays all you have to do is put it out on Bandcamp and / or use the streaming platforms, which suck but do get it out there. So I do that with the more experimental stuff which we record on the cheap.
What were audience reactions to the music of Mars?
We had a pretty loyal and very vocal fan base in the city, which you can hear on some of the live stuff I’ve curated through feeding tube records and bandcamp. We always managed to draw enough of a crowd to keep things moving, even playing once or twice a month in the same clubs, which we did in Manhattan for two years, in *77 and *78. Unfortunately we never made it out of the city. Sometimes we got on bills with some more conventional bands and a mixed crowd, which provoked some interesting reactions. When we opened for Patti Smith at CBGB Theater, we had screamers both for and against, it was great!! We certainly were extreme, but never for its own sake, for us it was always about the music.
What did you think of the No Wave New York scene?
That’s quite a question. At the time it was mainly a lot of work and fun. all of those bands worked hard to make their own music and sound. Mars rehearsed at least 5 days a week and sometime more. Something that could never happen later, when life became too expensive and distracted. So we were really a product of a time and place very special, with a lot of music and art movements sharing the same neighborhoods. It was a 70s phenomenon, which continued into the 80s but wasn’t the same as everything else was changing too quickly. It was over for us by the mid 80s, when I was working with my band Don King and started going to Europe, and in 91 I moved to Barcelona. Another thing altogether is the echo it’s had over the years, which keeps expanding, especially for Mars.
What was it like working with Brian Eno?
We got on really well. in fact we’d become quite good friends in those months he was in the city, I was living with Arto Lindsay at the time and he used to come over and listen to our records, as we had a lot of African and Asian stuff. So actually working with him was great though it was only a couple days, one for recording and the other for mixing. Recording he just let us get on with it, but then he was really hands on with the mixing, and had great ideas.
Tell us about your latest Blue Mystery album, and Odd Songs, your 2020 release? What was it like recording these albums?
Odd Songs, which came first, was half collaborations which I’d recorded over the previous few years and the other half playing everything myself, and on Blue Mystery I got deeper into that, plus it was during the Covid lockdowns, so it was really easy to spend all day working at home. Now I’m working on the third volume, Asombra7, which I’m recording at a rehearsal space I have in an arts factory in Barcelona, and some of the other residents are helping me out. Promising stuff, which I hope to finish by end of summer or so. I like taking my time and going as deep as I can, songwise and soundwise.
AA
Any future plans and projects?
I have lots of other projects already, some full time like my band Blood Quartet. which is marking 10 years now, others occasional, duos and trios with improvisers mostly. I have two recent LPs out, one, Infini with Marc Hurtado, formerly of the French industrial band Etant Donnes, the other Next, also a duo, with Jørgen Teller, a Danish experimental guitarist.
Aural Aggravation 