When I caught up with David Potts, he was in the thick of tour prep — “just finishing up the last bit of packing,” as he put it. Within hours, he’d be flying out to Europe and then across the Atlantic for a run of U.S. dates with Peter Hook & The Light, performing Joy Division’s Unknown Pleasures and Closer to devoted crowds across the States. “We leave tomorrow morning for Europe first, then over to the U.S. – I think there are 12 shows out there, including places like Buffalo and St. Louis that we’ve not done before. It’s a bit different from the usual stops, which is nice.”
But before boarding the plane, Potts was more than happy to talk about another project close to his heart — Music for Pleasure, the debut album by Monaco, the band he co-founded with Peter Hook after their time together in Revenge. Now, over 25 years since its original release, the record is finally getting the reissue treatment it deserves — newly pressed to vinyl, remastered and expanded with a run of B-sides and remixes that dig deeper into the band’s short but shining legacy.
“Yeah, Music on Vinyl got in touch,” Potts explains. “They wanted to do a proper reissue – coloured vinyl, gatefold sleeves, some extra material. We didn’t even have a vinyl copy ourselves at the time – I don’t think it even came out on vinyl in the UK originally, so it’s really nice to see it being treated properly now.”
The approach from the label came as something of a surprise. “It was, yeah. It’s been about 25 years now since Music for Pleasure, so it’s a nice reminder. I hadn’t listened to it in decades – you don’t really sit around listening to your own records once they’re out. But I’ve gone back to it now, and you think, yeah, that actually was a really good record.”
Monaco’s story began in the early ‘90s, during Potts’ days working in a recording studio. “Yeah, I joined a studio to learn how to be an engineer, and Hooky was in there working on Revenge. The guitarist at the time was stuck on something, and I helped out. Next thing I knew, I was being asked to join. So I started as more of a session player for Revenge, and eventually started writing with Hooky. Monaco came out of that – Revenge was the trial run in a way, Monaco was where we got serious.”
Revenge had its charm, but Monaco marked a shift in tone — not just in sound, but in purpose. “It was great. Revenge was a lot of fun – musically maybe not as strong, but we had a brilliant time. Monaco was more serious for me, because I was writing more. It did well too, especially in the States.”
The band’s writing process was instinctive and flexible, often alternating between solo writing and collaborative jamming. “A bit of both. Some tracks, like Blue, I wrote at home and just brought in finished. Others, like What Do You Want From Me?, came out of jamming. We’d mess around in the studio for days sometimes. It was quite a natural process.”
That spontaneity paid off — What Do You Want From Me? became a standout hit and remains Monaco’s best-known single to this day. “Yeah, in quite a few places. You find out years later how far it reached. I remember being in a bar in Greece and it came on. Another time, I was in South America and someone on a bus started grilling me about what I did. I mentioned Monaco and the whole bus started singing it. Completely surreal.”
The Music for Pleasure reissue includes a range of bonus tracks, from fan-favourite B-sides to remixes that reflect the era’s club culture. Potts had some say in what made the cut. “Somewhat. There were loads of remixes of Sweet Lips, enough to fill two CDs. I always liked Shattered, and Bicycle Thief is another B-side I’m fond of. A few remixes couldn’t be included due to licensing issues. We pretty much used everything else we could find.”
Listening back now, Potts sees both Monaco albums through a lens of hard-earned perspective. “Yeah, I think Music for Pleasure still sounds great. It’s pop song after pop song, but it works. The second album (Monaco) was more experimental in places – we were trying new things, and it was a bit harder to finish. By that time, things were changing – indie was coming in, boy bands were everywhere – and our relationship was a bit strained. It was the tail end of Monaco.”
There’s no denying that Monaco existed in the shadow of New Order — something Potts was always aware of. “We didn’t shy away from the comparisons or the sound – I think my voice being in a similar range to Bernard’s made the comparisons inevitable. Some people thought we were leaning into that sound. But it didn’t bother us. It just ran its course. By the second album, things got a bit tense, and we needed a break.”
Still, fans haven’t forgotten. In fact, there were once plans to bring Monaco back to the stage — plans that were sadly derailed by the pandemic. “We were asked to do a short Monaco set at a festival a few years ago, but it got cancelled because of Covid. We’d even started rehearsing. Then it just didn’t happen again. We did record one new track for an Ian Curtis tribute with an orchestra, but other than that, it’s been busy with The Light.”
In between tours and collaborations, Potts has also found time for solo work — though it’s flown under the radar. “I put out a couple of solo albums – The Red Tree and The Blue Tree. I spent a lot of time on them, but between that and Hooky’s schedule, it’s hard to find time. I’ve got a young daughter now too, so it’s full-on. But it’s all up on Bandcamp if anyone wants to check it out.”
As for standout tracks from the Monaco years, Potts doesn’t hesitate. “Happy Jack – I always really liked that one. But to be honest, I think the whole first album holds up well. Even the B-sides, like Bicycle Thief and Shattered, are strong. The second album has a few tracks I’m less into, but there are some great, more experimental moments too – like A Life Apart. That’s one I’m really proud of.”
With the Music for Pleasure reissue set to drop on June 20, Monaco is finally getting a second moment in the sun. And while a reunion isn’t on the calendar just yet, or even gigs as Monaco, Potts doesn’t rule it out entirely.
You never know – maybe one day.
