Final Program was a pioneering Scottish minimal synth band formed in Stirling in 1978. They are noteworthy as a pioneering influence in the emergence of minimalist electronica synth music in Scotland.
History
Formation and early years
Formed in Stirling in 1978, the original lineup consisted of Richie Program and Anne Droid. Richie ditched his guitar and went fully electronic when EDP launched the "wasp" synthesiser. Anne had no musical background and she played bass synth. Her real name was Anne Benson\Turnbull. In 1981 the band released the instrumental 7-inch EP "Protect and Survive", which reached 19 in the Futurist chart the first pressing selling out after plays by legendary DJ John Peel. The disc now features in the "Rare Record Price Guide." The Scottish tourist board used The track Trains in their promotional video. The band continued to evolve as Anne left, with Kennie J Young joining as a vocalist, as well as Al Robertson who featured briefly before going on to form "100% Man made Fibre".
Richie and Kennie toured Scotland in the early 80's and produced a 12 track vocal demo album which was circulated as part of the vibrant "Cassette Culture" of the era. Richie Program then joined Sean Kelly and John Sharp of "Those French Girls", disbanding Final program in 1984 to form "Sean Novak" releasing one 12-inch single.
Re-emergence 2010-2016
Richie Program relocated to London in the mid 80's to become part of the wider techno music scene. However, the minimalist sound continued to be sought after and valued amongst musical cognoscenti, and in November 2010 Final Program featured alongside Depeche Mode, Soft Cell and New Order as part of a noteworthy DJ mix and playlist "SSG Special: High-Rise Living 78-86 [Part 1] – compiled by The Black Dog & Regis " released on Wednesday, 24 November 2010. "The Black Dog" stated: 'Historically, music only really gets interesting when the British get involved and this was a very British musical revolution.'
Another accolade was the inclusion of Final Program phase One in the Crispy Nuggets mix released on 8 June 2011.
Robots, Rockets, Radiation
Released on 1 October 2014, "Robots Rockets, Radiation" is a very comprehensive album, mastered by Stephan Bornhorst which provides collectors with a singular opportunity to possess the original 7-inch EP tracks plus all 12 tracks from the original vocal demo.
The collection has been described as pure and raw, yet playful analogue synth bliss including the hits "Phase One", "Automation", "Mechanic Dancing", and a vocal version of "Protect and Survive" as well as a cover version of The Stranglers "Hanging Around" and perhaps rather unexpectedly, a surprising interpretation Burt Bacharach's "Raindrops" (keep falling on my head)
Official Guide to Scottish Minimal/Synth 1979-1983
Also in 2014 Vinyl on Demand included an extensive selection of Final Program material in a massively definitive 8 record set : "Official Guide to Scottish Minimal/Synth 1979-1983" featuring Alistair Robertson and "100% Man Made Fibre"
Final Program contributed the material for the fourth 12-inch disc in the set:
LP4 FINAL PROGRAM Demos 81/82 / INTER CITY STATIC Love Amongst the Mannequins, 1981
LP4A: FINAL PROGRAM Demos & Compilation-Tracks from 1981/82 (25:16) A1 Mechanical Dancing (Demo) 3:50 A2 Phase One (Demo) 2:34 A3 Videomatic (Demo) 4:03 A4 Zero G (Demo) 3:46 A5 Don't call me lacy (Demo) 2:49 A6 Cure for Cancer 2:22 (on V/A Horrorbox, TRAX 0282) A7 Phase One 2:36 (on V/A Technodeath, TRAX1281, 1981) A8 Videophab 3:08 (on V/A Sunset Gun Audiozine No.1, 1981)
Close to the Noise Floor
In 2016 Final Program (Protect and Survive) featured alongside Human League and OMD on "Close to the Noise Floor: Formative UK Electronica 1975-1984" an immensely powerful compilation album which may come to be seen as the ultimate definitive collection of nascent Electronica.
Cherry Red records described the importance of the collection: "inspired by the DIY ethos of punk, a quiet revolution took place across the UK in the late 1970s and early 1980s. The rise of the microchip and the advent of affordable synthesisers enabled countless artists for whom guitars, drums and bass had become old hat, and in grubby bedsits, unremarkable living rooms and art school halls across the British Isles, UK electronica was born. The underground, fuelled by cassette exchanges, co-operative vinyl compilations and a thriving mail order network, quickly began to stretch the boundaries of sonic experimentation."