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Andonis Michaelides (Greek: Αντώνης Μιχαηλίδης; 24 July 1958 – 4 January 2011), better known as Mick Karn, was a Greek Cypriot musician who rose to fame as the bassist for the art rock and new wave band Japan. His distinctive fretless bass guitar sound and melodic playing style were a trademark of the band's sound.

Early life

[edit]

Karn was born Andonis Michaelides in Nicosia on 24 July 1958. When he was three, his Greek Cypriot parents moved with him to London, where he grew up. In his youth, he began playing mouth organ at the age of seven and violin at the age of eleven, before he took up playing bassoon for the school orchestra. As a bassoon player he performed with the London Schools Symphony Orchestra in a concert in October 1972 which was broadcast by Radio 4. However, when his bassoon was stolen and his school refused to buy him a new one, he bought a bass guitar for £5 from a school friend. At school he became friends with David Sylvian and his younger brother Steve. As an escape from their south London environment, they began to play music together, and in June 1974 they made their first public performance.[1]

Career

[edit]

Japan

[edit]
Japan in Toronto, 24 November 1979
Main article: Japan (band)

Initially with Karn as lead vocalist, their band christened themselves Japan in 1974. Joined by keyboardist Richard Barbieri and guitarist Rob Dean the following year, they signed a recording contract with German disco label Hansa in 1977, with which they recorded three studio albums and became an alternative glam rock outfit in the mould of David Bowie, T.Rex, and The New York Dolls.[citation needed] They switched to Virgin Records to record their subsequent albums Gentlemen Take Polaroids and Tin Drum.[2]

As the band started to achieve commercial success with the release of Tin Drum and specifically the single "Ghosts", which reached the top five in 1982, tensions and personality conflicts between band members arose. Tin Drum was to be the band's final studio album. Long-simmering differences among the band members came to a head when Karn's girlfriend, photographer Yuka Fujii, moved in with Sylvian, and the individual members forged ahead with their own projects.[3][4] Karn said in an interview that as tensions with their record company had abated following Japan's commercial success, band members began focusing on personal differences rather than on the common enemy.[5]

Session work and solo projects

[edit]

Karn played bass guitar and saxophone on Gary Numan's 1981 No.6 hit "She's Got Claws" and other tracks on its parent No.3 hit album, Dance.[6] In November 1982, Karn released his first solo album, Titles, just as Japan had announced their split. In 1982, Karn wrote some material with Michael Finbarr Murphy, guitarist and writer for Heatwave, Alan Murphy of Level 42, and Diana Ross, among others.[citation needed] They played some low-key gigs around London during the summer of 1982, and then went their separate ways. That same year, Karn appeared on The Old Grey Whistle Test along with Angie Bowie, former wife of David Bowie.[7] In 1982 he also contributed saxophone playing on three tracks on the Swedish band Lustans Lakejer's album En plats i solen, produced by Richard Barbieri.[8] Although Karn submitted an album's worth of demos to Virgin Records as a more pop-oriented follow-up to his debut solo album Titles, the record label declined to fund the record and it was abandoned.[9] In 1983, he collaborated with Midge Ure on the UK top 40 single "After a Fashion", and in 1984, he formed Dalis Car with Peter Murphy. The duo released one album, The Waking Hour, in late 1984.[10]

Karn also contributed to recordings by other artists, playing bass guitar on Bill Nelson's Chimera mini-LP on "Glow World" as well as "Heads We're Dancing" from Kate Bush's The Sensual World and with Joan Armatrading.[11]

In the 1990s, he worked with artist David Torn, Andy Rinehart and a number of Japanese musicians, and formed the multinational new wave band, NiNa. Later on, he worked as a solo artist. He played at least one concert with Pete Townshend that featured an all-star line-up, including Phil Collins and Midge Ure.[12]

Also in the 1990s, he started the Medium Productions label along with Steve Jansen and Richard Barbieri, two of his former fellow Japan members,[11] and Debi Zornes (label management and artist co-ordination). In 2006, the MK Music imprint was established by Karn, Zornes and Mike Trenery; and beginning with 2006's Three Part Species, all releases, including an autobiography, have the MK Music logo on them.[citation needed]

In 2001, Karn began to work with Gota Yashiki, Vivian Hsu, Masahide Sakuma, and Masami Tsuchiya in the band The d.e.p., or doggy eels project.[13] That same year he worked with Paul Wong on his Yellow Paul Wong release. Karn left London in 2004 to live in Cyprus with his wife and son, financially enabling himself to keep working as a musician/artist. In 2009, Karn also released his autobiography, entitled Japan & Self Existence, available through his website and Lulu. This details his music career, his interest in sculpture and painting, his childhood, relationships and family.[citation needed]

On 30 August 2010, Peter Murphy disclosed via a video message (subsequently removed/hidden) on his personal Facebook profile that he would be reuniting with Karn for a week in London, perhaps in November, to begin writing and recording for a second Dalis Car album. Murphy also added that this would be the first time the two had seen each other since 1983.[14] The project was cut short, however, as Karn had recently been diagnosed with cancer.[15][circular reference] After his death, five of the tracks they did record were released on 5 April 2012 as an EP entitled InGladAloneness.[16] The tracks were mixed by Steve Jansen and mastered by Pieter Snapper in Istanbul, while the artwork for the EP was created by Thomas Bak with a painting by Jarosław Kukowski.

Musical style

[edit]

Karn was essentially a self-taught musician, stating, "I rely very much on my ears. If it sounds as if it's the right thing, then I'll keep it—even if it may not be."[17] His first musical instrument was bassoon, with which he attended and passed an LSSO audition. After his bassoon was stolen from him, he purchased a bass guitar for £5. It was then he joined up with David Batt (Sylvian), who played acoustic guitar.[18]

Although Karn was principally Japan's bassist, he also played all the wind instruments, including the saxophone; on Tin Drum, he played the Chinese suona (credited as "dida") for the authentic oriental sound. Karn's use of the fretless bass guitar, a relatively unusual instrument in modern popular music, produces a distinctive sound and playing style, which makes his playing immediately recognisable.[11]

Karn played an aluminium-neck Travis Bean bass on all Japan albums up to Gentlemen Take Polaroids. In 1981, he moved on to Wal basses, purchasing two Mark I instruments, one with rare African tulipwood facings, the other a cherry solid-body. Karn recorded Japan's last studio album Tin Drum with the Wal and had continued to use these, along with a headless Klein K Bass.[citation needed]

Personal life

[edit]

Karn had two diplomas in psychotherapy from a West London college, entitling him to call himself "Member of the Associated Stress Consultants, Psychotherapy, and Regression & Hypno-analysis".[19]

Illness and death

[edit]

In June 2010, Karn announced on his website that he had been diagnosed with advanced-stage cancer, although the specific type of cancer was not mentioned. Although singer Peter Murphy said during an interview that Karn was suffering terminal brain cancer, this has not been confirmed.[20] According to David Torn, Karn's cancer had already metastasised, and he was undergoing chemotherapy.[21] The website announcement stated that Karn had been struggling financially for some time and appealed for donations to help pay for his medical care and provide financial assistance for his family. Moreover, several people Karn had worked with, in particular Midge Ure,[21] Porcupine Tree,[20] and Masami Tsuchiya,[13] announced concerts in support of the appeal. According to a website update, dated 3 September 2010, the funds raised by the appeal enabled Karn and his family to move back to London, where Karn received treatment.[20] However, the cancer had spread beyond the possibility of treatment, and he died at his home in London on 4 January 2011.[22][23][24]

Discography

[edit]

Albums

[edit]

For albums with Japan (and Rain Tree Crow) see Japan discography.

Solo albums

[edit]
Album title Release year Record label UK
Titles 1982 Virgin No.74[10]
Dreams of Reason Produce Monsters 1987 Virgin No.89[10]
Bestial Cluster 1993 CMP
The Tooth Mother 1995 CMP
Each Eye a Path 2001 Medium
Each Path a Remix 2003 Medium
More Better Different 2004 Invisible Hands
Love's Glove EP 2005 MK
Three Part Species 2006 MK
The Concrete Twin 2009 MK

Collaborative albums

[edit]
Album title Artist Release year Record label UK
Dance with Gary Numan and others 1981 Beggars Banquet
A Place in the Sun (original title En plats i solen) with Lustans Lakejer, Richard Barbieri on three tracks 1982 Stranded Rekords
Chimera with Bill Nelson on "Glow World" 1983 Mercury No.30[25]
The Waking Hour as Dalis Car with Peter Murphy 1984 Beggars Banquet No.84[10]
The Sensual World with Kate Bush on "Heads We're Dancing" 1989 EMI
Lonely Universe with Michael White, Michel Lambert, David Torn, Mick Karn 1990 CMP
Beginning to Melt as Jansen-Barbieri-Karn 1993 Medium UK
Polytown as David Torn, Mick Karn, Terry Bozzio 1994 CMP
Seed EP Jansen-Barbieri-Karn 1994 Medium UK
Truth? with Sugizo 1997 Cross
Liquid Glass with Yoshihiro Hanno 1998 Medium
-ism Jansen-Barbieri-Karn 2000 Medium UK
Timelines by Stefano Panunzi with Gavin Harrison, on five tracks 2005 RES
Endless by Fjieri, with Barbieri-Harrison-Bowness, as guest on two tracks 2009 Forward Music
A Rose by Stefano Panunzi, as guest on two tracks 2009 Emerald
InGladAloneness EP by Dalis Car 2011 MK

Compilation albums

[edit]
  • The Mick Karn Collector's Edition (CMP, 1996)
  • Selected (MK, 2007)

Singles

[edit]
  • "Sensitive" (Virgin, 1982) – UK No. 98[26]
  • "After a Fashion" (1983) – with Midge Ure, UK No. 39[10]
  • "Buoy" (Virgin, 1987) featuring David Sylvian, UK No. 63[10]
  • "Of & About" (MK, 2006)

Written works

[edit]
  • Japan & Self Existence publisher: MK Music. Biography, covering his life from 1958 to 2006.

References

[edit]

Footnotes

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Mick Karn

View on Grokipedia
from Grokipedia
Mick Karn (born Andonis Michaelides; 24 July 1958 – 4 January 2011) was a British musician of Greek Cypriot origin, renowned for his innovative playing and multi-instrumental contributions to the new wave and band Japan. Born in , , he moved to at age three and grew up in south-east , where he initially trained classically on and , joining the London Schools Symphony Orchestra before switching to after his bassoon was stolen. Karn co-founded Japan in 1974 with schoolmates David Sylvian (vocals), Steve Jansen (drums), Richard Barbieri (keyboards), and later Rob Dean (guitar), evolving from glam rock influences in their debut album Adolescent Sex (1978) to sophisticated art rock on later works like Quiet Life (1979), Gentlemen Take Polaroids (1980), and Tin Drum (1981), which included the UK top-five single "Ghosts." His distinctive, fluid bass lines—often evoking lead guitar melodies—and use of wind instruments such as saxophone, clarinet, and the Chinese suona defined the band's exotic, atmospheric sound, helping them achieve cult status before disbanding at the height of fame after the live album Oil on Canvas (1983). Beyond , Karn pursued a prolific solo career, releasing eight albums starting with Titles (1982), and formed the short-lived supergroup with Bauhaus singer Peter Murphy, yielding the album The Waking Hour (1984). He collaborated with artists including , , , and , while the Japan lineup briefly reunited as for a self-titled album in 1991. A self-taught sculptor and , Karn also published his autobiography Japan & Self Existence in 2009, reflecting on his personal and professional life. Diagnosed with advanced cancer in 2010, he died at his home in on 4 2011, survived by his wife Kyoko and son Metis.

Early life

Childhood and family

Mick Karn was born Andonis Michaelides on July 24, 1958, in , , to a Greek Cypriot . In late October 1961, at the age of three, he emigrated with his of five—including his parents and two siblings—to , , where they settled in the south-east of the city. His early years were shaped by exposure to diverse cultures, particularly Middle Eastern music through his mother's listening habits.

Early musical training

Karn's early musical training began in childhood with classical studies, including mastering the violin at age 11, followed by woodwind instruments, particularly the bassoon and clarinet, which provided a foundation in classical technique and breath control. These pursuits were part of his broader exposure to music at school, where he developed an affinity for melodic expression on double-reed and single-reed instruments. At the age of 14, Karn performed with the London Schools Symphony Orchestra as a bassoonist, having successfully auditioned for the ensemble despite his relatively informal preparation. This experience marked a significant early performance milestone, allowing him to apply his woodwind skills in a professional youth orchestra setting. In his mid-teens, following the theft of his bassoon, Karn shifted to self-taught exploration of the bass guitar and saxophone. He purchased a second-hand electric bass for £5 and, seeking to replicate the continuous pitch nuances of the bassoon, removed its frets to create a fretless instrument.

Career

Time with Japan

Mick Karn co-founded the band in 1974 in alongside school friends (vocals and guitar), (drums), and (keyboards), initially as an after-school project for the teenage musicians. The group began rehearsing in basements and garages, drawing early inspiration from acts. Karn, whose real name was Andonis Michaelides, brought his budding skills on and woodwinds to the lineup, helping shape the band's experimental sound from the outset. Over the late 1970s, evolved from an abrasive style—influenced by and —into a sophisticated and new wave ensemble, incorporating electronic elements, rhythms, and global influences. Karn played a pivotal role in this transformation, primarily on guitar, which provided the band's signature fluid, melodic lines, while also contributing , , and to add textural depth and exotic timbres. His early training on and other woodwinds enabled this versatile approach, allowing seamless integration of bass grooves with horn-like melodies. The band's breakthrough came with their later albums on : Quiet Life (1979), which blended and ; Gentlemen Take Polaroids (1980), emphasizing atmospheric ; and Tin Drum (1981), their most commercially oriented release exploring Asian musical motifs. Tin Drum yielded the hit single "Ghosts," which reached No. 5 on the charts and became Japan's biggest success, noted for its minimalist arrangement and haunting melody. Karn's contributions to songwriting and arrangements were integral, particularly his intricate lines in tracks like "Visions of China," where his playing evoked ceremonial rhythms and drove the song's dynamic shifts. Despite rising popularity—Tin Drum peaked at No. 12 in the UK and the band enjoyed strong fan support in Europe and their namesake country, including sold-out tours—internal tensions, especially between Karn and Sylvian over creative directions, led to Japan's disbandment in December 1982 following their final "Sons of Pioneers" tour in Japan. The split occurred at the height of their commercial momentum, with nine UK Top 40 singles and growing international acclaim, as members sought individual paths amid personal and artistic conflicts.

Solo career

Karn's solo career began with the release of his debut Titles in November 1982, coinciding with the announcement of Japan's disbandment. The record fused experimental elements of , rock, and , drawing on influences from Asian, Indian, Middle Eastern, and Mediterranean traditions alongside contemporary electronic sounds. Building on the techniques refined during his tenure with , Karn's independent output highlighted his multi-instrumentalism across , , and assorted winds, often incorporating electronic textures for innovative sonic landscapes. Subsequent releases, such as Dreams of Reason Produce Monsters in , delved into introspective themes with ritualistic rhythms and atmospheric production, featuring sparse vocals on tracks like "." Over the following decades, Karn maintained a steady pace of releases, including Bestial Cluster (1993), The Tooth Mother (1995), Each Eye a Path (2001, reissued in 2009), More Better Different (2004), Three Part Species (2006), and The Concrete Twin (2009), alongside EPs and compilations such as Each Path a Remix (2002), Love's Glove (2005), Of & About (2006), and Selected (2007). These works consistently emphasized themes of introspection and technical experimentation, blending organic instrumentation with electronic manipulation to create evocative, mood-driven compositions. In total, Karn produced eight solo albums from 1982 to 2009, underscoring his evolution as a versatile artist beyond band constraints.

Collaborations and session work

Karn formed the short-lived supergroup Dali's Car with Bauhaus vocalist Peter Murphy in 1984, releasing the album The Waking Hour that year, where Karn handled bass, saxophone, keyboards, and guitar alongside Murphy's vocals. In the 1980s and 1990s, Karn collaborated with former Japan bandmates Richard Barbieri and Steve Jansen under the moniker JBK (Jansen/Barbieri/Karn), producing instrumental albums that blended ambient, art rock, and electronic elements; their releases included Beginning to Melt (1993), the EP Seed (1994), and Ism (1999). Karn contributed fretless bass and saxophone to Gary Numan's 1981 album Dance, influencing its experimental new wave sound, and provided uncredited fretless bass on two tracks—"We Take Mystery (Religion)" and "The 1930s Rust"—from Numan's 1982 release I, Assassin. On Kate Bush's 1982 album The Dreaming, Karn played bass on the track "Houdini," adding his distinctive fluid style to the record's avant-garde production. Karn provided bass on all tracks of Joan Armatrading's 1984 album Square the Circle. Karn worked with Japanese musician Masami Tsuchiya on the 1982 album Rice Music, contributing bass to several tracks amid a lineup featuring and other guests, bridging new wave and J-rock aesthetics. In 1990, Karn participated in the Rain Tree Crow project—a reunion of Japan's core members under a new name—co-writing and performing on the track "Every Colour You Are" for their self-titled album, released in 1991 after sessions spanning 1989–1990. Throughout the 1990s and 2000s, Karn engaged in freelance session work, including contributions to and experimental projects such as the 2001 compilation Japanese Cross, where he collaborated with Tsuchiya on "Experience -1999" and with D-kiku on "," exploring fusion and ambient textures.

Musical style

Karn was renowned for his innovative and dexterous playing on the guitar, creating fluid, melodic lines that often evoked melodies with a subtle sense of space and intelligence. His technique drew influences from , particularly . A , Karn was proficient on various wind instruments, including , , and the Chinese , which he used to contribute to Japan's exotic and atmospheric sound. He originally trained classically on and before switching to . Karn's style with Japan evolved from influences in their early work to a minimalist approach on later albums. In his solo career, he explored eclectic hybrids blending expansive rock with Middle Eastern elements from his Cypriot heritage.

Other artistic pursuits

Sculpture

Mick Karn began his sculpting career as a self-taught artist in the , developing his skills in clay and other media concurrently with his musical pursuits. Initially working with self-hardening clay, he transitioned to more conventional clay in the mid-1980s, allowing for larger and more malleable pieces that expanded his exploration of form. This parallel artistic practice highlighted Karn's multifaceted creativity, as he balanced the temporal demands of music and without formal training in the . A significant milestone in Karn's sculptural work was his major exhibition at the Hamilton Gallery in London in 1982, where he showcased a collection of his pieces to critical acclaim. Notable works from this exhibition included Satchmo, Mask of Confidence, and Does Grey Matter?, which demonstrated his evolving technical proficiency and imaginative approach. The event, documented in a dedicated brochure, marked a public recognition of his visual artistry beyond music. Karn's sculptures often explored themes of the human form, emotion, and abstraction, reflecting deep personal introspection and a contemplative engagement with the body's expressive potential. He viewed sculpture and music as complementary opposites, both occupying his time in ways that fostered creative equilibrium. Only a few pieces from his oeuvre survive today, with many sold, destroyed, or lost, underscoring the ephemeral nature of his sculptural legacy.

Photography

Karn was also a self-taught , though details of his photographic work are limited in . Some accounts describe his engagement in as part of his broader artistic interests, complementing his sculptural pursuits.

Acting and film appearances

Mick Karn ventured into with minor roles that often overlapped with his musical background, reflecting his broader performative and visual artistic interests. In 1982, he appeared as a musician in Michelangelo Antonioni's Identification of a Woman, a subtle cameo that capitalized on his rising profile in Europe amid Japan's growing international success following tours across the continent. Karn's other notable film involvement came in the 1990 90-minute television film Women in Tropical Places, where he took on a supporting role as a musician (bassist), tied to his performative persona, though details of the character remain limited in available records. These sparse acting credits underscore Karn's reluctance to pursue a full-fledged career in film or theater, instead channeling his creative energies primarily into music and sculpture, with no documented major stage or screen commitments beyond these instances.

Written works

Mick Karn's primary literary contribution is his Japan and Self Existence, self-published through on September 10, 2009. The 388-page volume offers a personal exploration of his life as a and , spanning more than 30 years of experiences and reflections. Available in English and Japanese editions, it was distributed via platforms including , the , and Amazon Japan. The book's non-chronological structure features self-contained chapters that weave together a progressive narrative, blending elements of humor, sadness, and introspective depth. It details the formation and dissolution of the band , the brief reformation as , and the ensuing public disputes, while also addressing challenges in his solo career, childhood recollections, and pivotal personal relationships that influenced his creative path. Karn uses the autobiography to reveal candid insights into his personal struggles, romantic entanglements, and artistic motivations, highlighting the psychological underpinnings of his drive to create and amid adversity. These themes of self-examination and resilience parallel the introspective qualities evident in his visual artworks. Beyond this major work, Karn's other writings were limited, with no extensive record of formal contributions to magazines or periodicals.

Personal life

Karn was married to and had one son, Metis. In 2004, he left to live in with his family.

Illness and death

In June 2010, Karn announced that he had been diagnosed with advanced-stage cancer, though the specific type was not disclosed. Having relocated to in 2004, he returned to for treatment and launched a public appeal for financial assistance to cover medical costs, which received support from fellow musicians. Karn died peacefully at 4:30 pm on 4 January 2011 at his home in , aged 52, surrounded by family and friends. He was survived by his wife, , and their son, Metis.

Legacy

Karn's pioneering use of the guitar, characterized by fluid slides, bends, and melodic lines akin to , revolutionized the instrument's role in rock and . Self-taught after adapting techniques from his classical training on and , he elevated the bass from a rhythmic foundation to a prominent melodic voice, influencing a generation of bassists including and . His contributions to Japan's sound helped pioneer the New Romantic aesthetic, impacting bands such as and shaping post-punk's evolution toward sophisticated . Collaborations with artists like and further extended his reach into electronic and pop genres. Following his death, Karn's work has received ongoing posthumous recognition. In , music publications and online communities analyzed his bass lines in tracks like "Visions of China" from Tin Drum (1981), hailing him as an underrated genius of fretless playing. Annual tributes on his birthday (24 July) and death anniversary (4 January) continue as of 2025, with fans and musicians such as commemorating his legacy on platforms like and .

Discography

Solo albums

Mick Karn's solo discography spans from 1982 to 2009, encompassing studio albums, EPs, and compilations primarily released through major labels in his early career and his own MK Music imprint later on. These works highlight his multi-instrumental prowess, particularly on , and his shift toward more experimental, rock and electronic influences building on his Japan-era style. Most were self-produced, with occasional guest contributions from collaborators like and former bandmates.
AlbumYearLabelNotes
Titles1982Virgin RecordsDebut solo album; self-produced by Karn, who played bass, saxophone, keyboards, percussion, mellotron, and African flute; guests include Steve Jansen (congas, cymbals), Richard Barbieri (keyboards), and Masami Tsuchiya (guitar).
Dreams of Reason Produce Monsters1987Virgin RecordsSecond studio album; co-produced by Karn and Steve Nye; features guest vocals by David Sylvian on "Buoy," guitar by David Torn, and trumpet by Mark Isham; explores darker, ritualistic themes.
Bestial Cluster1993CMP RecordsSelf-produced; guest contributions from David Torn on guitar and treatments; emphasizes jazz fusion and abstract soundscapes with eight tracks.
The Tooth Mother1995CMP RecordsSelf-produced; includes guests David Torn (guitar) and Terry Bozzio (drums); comprises eight experimental tracks blending rock and electronic elements.
Each Eye a Path2001Medium ProductionsSelf-produced; ten tracks featuring Karn's compositions with diverse influences; no major guest musicians noted.
Each Path a Remix2002Medium ProductionsRemix album of Each Eye a Path material; self-produced; includes eight tracks remixed by artists like David Torn.
More Better Different2004Invisible HandsSelf-produced; nine tracks showcasing eclectic styles; no prominent guests listed.
Love's Glove (EP)2005MK MusicSelf-produced EP; four tracks including "Mustard Grapes"; focuses on intimate, minimalist arrangements.
Of & About (EP)2006MK MusicSelf-produced EP; three tracks exploring abstract themes; released alongside other MK Music output.
Three Part Species2006MK MusicStudio album with ten original tracks; self-produced and mixed by Karn; blends electronic and rock elements.
Selected2007MK MusicCompilation of twelve tracks spanning Karn's solo career; self-curated; includes rarities like "Lunette."
The Concrete Twin2009MK MusicFinal studio album; self-produced; ten tracks reflecting mature experimentalism; released shortly before his death.
Several of Karn's early solo albums saw reissues in expanded formats, including in 2016 by Kscope with bonus tracks, through labels like Kscope and Burning Shed, preserving his independent output.

Collaborative albums

Mick Karn contributed to a number of collaborative , often as a key and in projects with former Japan members and other musicians from the new wave and scenes. These works highlighted his distinctive style and experimental approach, blending with diverse influences from ambient to . One notable collaboration was with Peter Murphy, formerly of Bauhaus, forming the duo Dalis Car. Their album The Waking Hour, released in 1984 by Virgin Records, featured Karn on bass, saxophone, and clarinet, alongside Murphy's vocals, producing a fusion of gothic rock and art pop elements. A posthumous EP, InGladAloneness (2012, Kscope), featured five tracks including "Artemis Rise," mixing gothic and art rock elements. In the 1990s, Karn reunited with Japan alumni Richard Barbieri and Steve Jansen for the instrumental trio Jansen/Barbieri/Karn (JBK). Their debut album Beginning to Melt, issued in 1993 on Medium Records, explored ambient and jazz fusion territories, with Karn providing bass, saxes, and didgeridoo across tracks like "First Impression" and "Buoy." The group followed with the EP Seed in 1994, featuring remixes and new material such as "In the Black of Desire," and the full-length Ism in 1999, which incorporated electronic and world music textures. A live recording, Playing in a Room with People, was released in 2001, capturing their improvisational performances. A posthumous EP of session outtakes, Breakable Moons, was released in 2016. Karn also played a prominent role in the 1991 reunion project , a collaborative effort with , , and . The self-titled album, released by , marked a one-off return to collective creativity post-Japan, with Karn contributing bass and woodwinds to atmospheric pieces like "Every Colour You Are" and "Black Water." Additionally, Karn provided bass throughout Gary Numan's 1981 album , released by , infusing the record with his elastic fretless lines on tracks including "Crash" and "Boys Like Us." He repeated this collaboration on Numan's follow-up I, Assassin in 1982, enhancing songs like "White Boys Gothic" and "I Die: You Die" with similar stylistic flair.

Singles

Mick Karn's singles discography encompasses releases from his solo career, prominent contributions to Japan (where his bass and saxophone work were central), and collaborative projects. These singles often highlighted his innovative fretless bass and woodwind playing, achieving varying degrees of chart success primarily in the UK. Key solo singles include "Sensitive" (1982), backed by "The Sound of Waves" on the B-side, which peaked at No. 98 on the UK Singles Chart. Another notable release was "After a Fashion" (1983), a collaboration with Midge Ure, reaching No. 39 in the UK. In 1987, "Buoy," featuring vocals by David Sylvian, charted at No. 63. From his time with Japan, singles showcasing Karn's signature bass and saxophone lines include "Quiet Life" (1979), which peaked at No. 19 in the UK, and "Ghosts" (1982) from Tin Drum, achieving No. 5. Other examples are "Visions of China" (1981) at No. 32 and "Cantonese Boy" (1982) at No. 24. In collaborations, Dali's Car (with Peter Murphy) released "The Judgement Is the Mirror" (1984) from The Waking Hour, which reached No. 66 on the UK Singles Chart.

References

  1. https://www.theguardian.com/music/2011/jan/05/mick-karn-obituary
  2. https://www.bbc.co.uk/news/entertainment-arts-12118209
  3. https://www.theguardian.com/music/2011/jan/05/japan-bassist-mick-karn-dies
  4. https://beyondchron.org/bassist-mick-karn-1958-2011/
  5. https://www.independent.co.uk/news/obituaries/mick-karn-innovative-bass-player-with-the-esoteric-early-80s-band-japan-2179198.html
  6. https://www.innerviews.org/inner/karn-1
  7. https://www.allaboutjazz.com/musicians/mick-karn
  8. https://www.lifeintokyo.net/biography.html
  9. https://www.classicpopmag.com/features/the-lowdown-japan-and-david-sylvian/
  10. https://rockandrollglobe.com/glam/quiet-life-at-40-how-japan-traded-glam-rags-for-the-new-romantic-crown/
  11. https://dorseteye.com/japan-the-enigmatic-pioneers-of-art-rock/
  12. https://www.progarchives.com/artist.asp?id=3208
  13. https://www.classicpopmag.com/features/classic-album/making-japan-tin-drum/
  14. https://www.allmusic.com/album/titles-mw0000196042
  15. https://www.fondsound.com/mick-karn-titles-1982/
  16. https://en.apoplife.nl/mick-karn-titles/
  17. http://www.discog.info/mick-karn.html
  18. https://www.allmusic.com/album/dreams-of-reason-produce-monsters-mw0000194434
  19. https://mickkarn.net/discography
  20. https://www.discogs.com/artist/45127-Mick-Karn
  21. https://archive.beggars.com/artists/dalis-car/
  22. https://www.discogs.com/artist/151278-JansenBarbieriKarn
  23. https://www.discogs.com/master/69457-Gary-Numan-Dance
  24. https://www.muzines.co.uk/articles/gary-numan/6219
  25. http://gaffa.org/dreaming/tsw_rev1.html
  26. https://www.allmusic.com/album/square-the-circle-mw0000196096
  27. https://postpunkmonk.com/2021/07/08/record-review-masami-tsuchiya-rice-music-uk-lp/
  28. https://www.musicfolio.com/modernrock/rtc.html
  29. https://www.mediumproductions.co.uk/mickkarn.asp
  30. https://mickkarn.net/sculpture
  31. https://www.ebay.co.uk/itm/266834316820
  32. https://www.imdb.com/title/tt0084116/
  33. https://www.imdb.com/title/tt0309077/
  34. https://www.lulu.com/shop/mick-karn/japan-and-self-existence/paperback/product-5538416.html
  35. https://mickkarn.net/autobiography
  36. https://www.anthonyreynolds.net/pages/mick_karn-japan_and_self_existence.htm
  37. https://www.the-independent.com/news/obituaries/mick-karn-innovative-bassplayer-with-the-esoteric-earlyeighties-band-japan-2179198.html
  38. https://www.guitarworld.com/features/mick-karn-archive-interview
  39. https://postpunkmonk.com/2010/06/24/mick-karn-of-japan/
  40. https://www.notreble.com/buzz/2024/01/23/the-genius-of-bassist-mick-karn/
  41. https://www.reddit.com/r/stevenwilson/comments/18yi1ju/honoring_the_late_mick_karn_who_passed_away_13/
  42. https://www.facebook.com/slicingupeyeballs/posts/remembering-the-brilliant-artist-and-bassist-mick-karn-of-japan-dalis-car-rain-t/1206761558157797/
  43. https://www.discogs.com/release/2170058-Mick-Karn-Titles
  44. https://www.discogs.com/master/131677-Mick-Karn-Dreams-Of-Reason-Produce-Monsters
  45. https://www.discogs.com/release/734392-Mick-Karn-Three-Part-Species
  46. https://burningshed.com/store/mickkarn
  47. https://www.discogs.com/master/433669-Dalis-Car-InGladAloneness
  48. http://www.discog.info/japan-jbk.html
  49. https://www.officialcharts.com/artist/18675/japan/
  50. https://www.discogs.com/master/131674-Mick-Karn-Sensitive
  51. https://www.officialcharts.com/songs/mick-karn-sensitive/
  52. https://www.officialcharts.com/songs/midge-ure-and-mick-karn-after-a-fashion/
  53. https://www.discogs.com/master/131675-Mick-Karn-Featuring-David-Sylvian-Buoy
  54. https://www.officialcharts.com/songs/mick-karn-buoy/
  55. https://www.discogs.com/artist/23036-Japan
  56. https://www.officialcharts.com/songs/japan-ghosts/
  57. https://www.discogs.com/release/1572927-Dalis-Car-The-Judgement-Is-The-Mirror
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