‘I think a paranoid is someone who’s in possession of all the facts.’ Mark Stewart, 1996

In another terrible year for musician deaths, one of 2023’s most surprising and least welcome was the passing of post-punk pioneer Mark Stewart in April, of undisclosed causes.

Indeed it is almost uncanny, considering how full of life he seemed onstage last year during On-U Sound Records’ 40th anniversary rave-up at London’s Forum. And the fact that 2022 also saw one of his best ever collaborations, with KK Null.

His music and friendship helped pave the way for his Bristol mates Tricky, Gary Clail and Massive Attack, and his influence is detectable in such acts as Sleaford Mods and LCD Soundsystem.

I saw Mark live five or six times. His presentation was sometimes hilarious, sometimes disturbing, always thrilling. He would shamble onstage, often with a shopping bag of beers in tow, before exploding into action, a man with a lot on his mind. The fact that he was often playing with one of the slickest/funkiest American rhythm sections in history (Skip McDonald/Doug Wimbish/Keith LeBlanc) was a brilliant dichotomy.

He was interested in everything from the Dead Sea Scrolls to CIA Mind Control to the Gemstone Files and Operation Gladio. His thing was information – who controls it and how/why they conceal it.

The teenage, beanpole, 6’6” Mark – resplendent in zoot suit and brothel creepers – was a regular sight at clubs and gigs in mid-1970s Bristol as part of the Funk Army. After his first band The Pop Group split up, he pursued mad mash-ups of sound, sometimes using Walkmans to create his collages, plundering scary ‘50s sci-fi voices and even TV ads.

He gave good album title: Learning To Cope With Cowardice. As The Veneer Of Democracy Starts To Fade. He was never interested in slick, ‘funky’ beats – even his ‘band’ album, 1990’s Metatron, with Wimbish, McDonald and LeBlanc, is distinctly uneasy listening.

By 1996’s Control Data, the music world had finally caught up with him, the album’s mix of techno, dub and house more commercial than usual. But the extraordinary ‘Simulacra’, ‘Red Zone’ and ‘Digital Justice’ to this day sound unlike anything else. This trend continued through his occasional records of the noughties, particularly the excellent Edit (2009).

His vocals were generally low in the mix. You had to strain to hear his lyrics. Why? He claimed it was the influence of dub and funk. ‘So it’s not like making a f**king speech’, he told Simon Reynolds. But his words were often brilliant, as funny and peculiar as Mark E Smith or Morrissey. Check out ‘The Lunatics Have Taken Over The Asylum’, ‘Low Life, High Places’ or The Pop Group’s ‘Citizen Zombie’ (You’ve got that brainwashed look of an alien abductee/Maybe your mind has been wiped clean’).

Mark also made a lot of impact writing for other acts – Tackhead, Gary Clail, Living Colour (‘Sacred Ground’), Audio Active (‘Happy Shopper’). But I’ll always remember him passing the time of day with my brother in the audience immediately after the Forum gig last April. He always said his fans were just as interesting as the musicians onstage – another legacy of punk.

Farewell to a brilliant one-off.