“I meet with John White (U.V’s continuous driving force since the founding of the band) in the live room whilst Intercom Set start with their opening number. Having shared a stage with them back in September whilst playing at Tickhill’s ‘T-Fest’, I have been exposed to John’s ambitions during live performances, to keep moving forward with new material, and this night was to be no exception. “We’ll not be playing any of the old favourites tonight” he said, but I was happy to see songs like ‘I Dream’ and ‘Turkey Bones’ making appearances as I checked the set list I’d obtained to help me keep a track of the gig. It was also said that a brand new, never-before heard song titled ‘Made of Stone’ would also be performed on this night.”

“John White has been UV POP since the 80s, and he’s gone from being a gaunt youth hunched over a guitar with only backing tapes behind him to being in a full band that has his wife as a member, but he’s never stopped. The first two LPs go for over $100 on Discogs, but John doesn’t see any of that—he’s just a humble boy from the small mining town of Doncaster who repairs guitars, eats weird stuff and plays what he wants how he wants to studio audiences in his kitchen. Sacred Bones reissued the first UV POP 7” from 1982, and will be reissuing the first LP, No Songs Tomorrow, early this year. This interview by Howe Strange. Follow the permanent link below to get the full interview as it appeared in the magazine. http://larecord.com/interviews/2012/01/09/uv-pop-an-aggressive-reaction%e2%80%94i-like-that”

“UV Pop ist das 1981 von John K. White gegründete Musikprojekt, das sich seither von der »Ein-Mann-plus-Revox«-Besetzung zur »Comeback«-Band ausgewachsen hat. Die Entwicklung von UV Pop lässt sich etappenweise mit dem »Sound of Sheffield« nachzeichnen: in der Frühphase treibt das Elektronikexperiment wie bei Cabaret Voltaire (Produzenten der ersten UV Pop Single), wenn auch überwiegend in melancholischen Tönen. John K. White schreibt damals Hitsongs für die Wave-Fangemeinde von heute (»No Songs Tomorrow«, »Sleep Don't Talk« 1982/83). Später heißen die Stationen John Peel und Artery (White als Tour-Gitarrist), und der Sound tendiert Mitte der Achtziger in Richtung eines geerdeteren Postpunk-Songwritings mit Gitarrendominanz (»Serious« 1986), vergleichbar den Comsat Angels oder Monochrome Set. Diesem historisch essentiellen Szenebeitrag nahm man sich bei Genetic Music in Form dieses LP/EP-Rereleases auf CD an. Eine wichtige Wiederentdeckung für die alternative Musikwe”

“Here’s a slice of future-pop from the past in the shape of a bumper CD of reissued material from the north of England’s early-’80s indie pop oracles UV POP. A few tracks in and this is sounding like some kind of middle ground between REM and Spandau Ballet. Totally slick tunes with nostalgically melancholy melodies. ‘Feels Like Winter’ sounds more than a little like The Smiths. The Bendy Baby Man LP is followed here by the Anyone For Me EP, where they seem to take more of a David Bowie/Psychedelic Furs/early Cure sort of approach to their slightly goth-tinged pop. People who wish music still sounded like that will be delighted to be able to pick up this disc full of music from back when music did sound like that.”

“UV-Pop Eine Gitarre, ein Saxophon, Revoxbandmaschinen und ein hagerer junger Mann.Ein sonnenbrandverheißendes Buchstabenkürzel vor dem PØP, das so ganz und gar nicht zu der blassen und knochigen Erscheinung von John White passen will. Klänge und Visionen mit einer Ausstrahlung, die trotz der eingesetzten Technik den ´human touch´ nicht vermissen lassen.Von einer bekannten englischen Musikzeitung wurde U.V. PØP Anfang dieses Jahrzehnts als ´die Ein-Mann-Band der Achtziger´ bezeichnet. Dre lange Jahre mußte John White warten. Jetzt könnte die Prophezeiung an Realität gewinnen. U.V. PØP ist eine erneute Entdeckung wert. ”

“SOME PEOPLE want to fill the world with manic synth experimentation John White is one of these people, John White is U.V. PØP, and No Songs Tomorrow is yet another endearingly simple garage-synth album, yet another record influenced by early Cabaret Voltaire and all those people in greatcoats who used to live in the North of England and make grainy videos. Side two of this album subscribes most clearly to those roots; tracks like Sleep Don´t Talk and Arcade Fun are as similar to the first three Cabs singles as chips are to French fried potatoes. Other tracks on side two remind of PiL circa Metal Box, but the real appeal of these tracks is the home-made sparseness of a man and his Revox. Side one is reminiscent of Space Oddity and The Cure´s 17 Seconds simultaneously. If the second side of No Songs Tomorrow was an EP, it would be a fair old chunk of industrial fun.”

“John White is the mastermind behind UV PØP, a Yorkshireman with a whipcord body and a casque of oily black hair. Onstage he looks vaguely out of control, as if he might suddenly launch into an aimless destructive charge, knocking over mikes and amps. Musically he has one or two things going for him, not the least of which is his talent as a songwriter. His material is intense and challenging, not exactly experimental but certainly pretty unconventional. ‘Have Fun Kiddies’, ‘Sleep Don’t Talk’ and ‘Commitment’ are all quite startling sound collages, heavy and uncompromising. White acts them out to a pre-recorded backing tape, slashing at an oversized guitar and spitting out the lyrics with concentrated venom. A powerful, often nerve-racking performance. Only ‘Arcade Fun’ fails to generate any real excitement largely due to White’s pained vocals. Still, his android music shows considerable promise.”

“ULTRA-VIOLENT PØP! A scatter of geometrical patterns on a slide-screen, flashing like thousand-volt blueprints referencing from the white heat of Charlie Parker to the cool of electric power-lines and the precision of sharp angled ferrocrete overpasses. Guitar in brittle runs, like rolling naked on broken bottles. U.V. PØP is extreme, is intense, is mesmeric. He´s evolved a one-man show that makes Bill Nelson´s conceptually similar solo art-attacks seem bland and safe. His ´Sleep don´t talk´ reduces lyrical content down to an impressionistic Burroughs looped echo, a circular motif tracking through infinite repetitions; while ´Commitment´ dispenses with lyric entirely, cannibalising speech instead into musique concrete slabs of weirdness. U.V. PØP shove the intelligent manipulation of noise to the limits, a brainstorm for all senses.”