Steven Wilson – To The Bone

22 08 2017

Cover by Lasse HoileTo The Bone is Steven Wilson’s fifth solo album, and was released on 19th August 2017.

Over the past few months Steven has released a handful of To The Bone‘s tracks as the modern equivalent of singles, to stream on your platform of choice. A lot of the interviews and PR have talked up the ‘pop’ aspect of the album, whilst the SW / prog forums have seen many a fan having a hissy fit about the direction the music has taken – especially with the ELO / ABBA leanings of Permanating.

As with all good albums, hearing tracks in isolation away from the whole album listening experience does not always tell the whole story (please excuse the Kate Bush pun).

To The Bone is essentially a rock / pop album,  inspired by the music of Tears For Fears, Talk Talk, Peter Gabriel, Songs of Faith and Devotion era Depeche Mode and Kate Bush. So not pop in the modern day sense, but one of pops golden eras, when songs were often experimental, bold and bright.

Another key influence to me is the variety of the music that filled the charts in the late 70s and early 80s. The charts would be populated by artists as diverse as the prog-punk of The Stranglers, next to the electronic pop of The Buggles, alongside the metal of Rainbow’s Since You’ve Been Gone or the AOR of Sailing from Christopher Cross. This mixture of very accessible music drawing from varied genres seems to have seeped into this album. The music still contains the Wilson DNA that has run through his work from no-man through to Lightbulb Sun and up to Hand. Cannot. Erase, so it’s not a total reinvention, more a re-focussing using a slightly more colourful musical palette.

One of the most enjoyable aspects of the album to me is that SW performs so much more of the music (especially guitar) than on recent albums. The other big plus is the bluray 5.1 mix, which has to be heard to be believed. The bluray comes with the (now soldout) deluxe edition, and can also be bought as a standalone disc.

Photo by Lasse Hoile

The title track opens the album, and contains the first performance from one of the albums key contributors, Mark Feltham. I presume SW knows Mark’s playing from The The and Talk Talk whereas I have been a fan of his work from the late 70s / early 80s new wave / r & b of Nine Below Zero, who I saw live in hot, sweaty London venues as a teenager countless times. Mark delivers some emotive performances on several songs on To The Bone. Former Mansun leader, and now solo artist, Paul Draper adds some Oberheim sequences to this fine opening track.

Nowhere Now also introduces another aspect of this album – referencing other songs on the record. For example, a little bit of Permanating seeps into the bridge of Nowhere Now. The end section is pure Pete Townshend (All the Best Cowboys Have Chinese Eyes especially) and The Who, and its clear early on that the rock elements on To The Bone are more classic than progressive.

Pariah is my favourite Wilson / Ninet Tayeb collaboration to date. By the way, if you get the chance, listen to Ninet’s Paper Parachute album, especially the wonderful Child. Pariah is one of those timeless songs that could have been released at any point in the past 40 years, and would still sound fresh.

I’m a big fan of the guitar sound on To The Bone. The Same Asylum As Before has some huge guitar lines that simply burst out of the speakers, topped by the wonderful harmonies that were deployed so effectively on Lightbulb Sun. This song sounds a million dollars in 5.1.

Refuge is fast becoming my favourite song on the album. Mark Feltham delivers a heart-breaking harmonica performance, and Adam Holzman, my favourite Wilson keyboard player, adds exquisite solina strings and Hammond work. I can’t wait to hear this song live at The Royal Albert Hall in the spring. There is a real Ashes to Ashes referencing synth line at the end that cuts right through the mix. It’s a wonderful example of the light and shade, the power and restraint that breathes life into these songs.

Permanating is the one song on the album that has really generated the most discussion amongst fans. I will just sum it up by saying that it’s the sort of song that I can remember blasting out of my FM radio in 1979. No static at all.

Its certainly not everyone’s cup of tea, and is my least favourite track on the album, but it does make me smile (especially the video), and that cannot be a bad thing in these troubled times. Permanating works well at this point in the album, the unbridled joy of the song sits in stark contrast to what follows.

Blank Tapes is a stripped back arrangement with just SW, Ninet Tayeb and Adam Holzman.

“Nothing is left but the blank tapes in your car”

It is short and simple and leaves you wanting more, as the dark tale of terror living next door that is People Who Eat Darkness kicks in. I love Craig Blundell’s performance on this track, and the almost Dr Feelgood / Wilko Johnson clipped guitar playing from SW is awe-inspiring.

Song of I features Sophie Hunger on co-vocals. The most outright piece of electronica on the album, its a song of addiction and possession. I know I keep harping on about this, but PLAY THIS SONG LOUD IN 5.1. The hidden in the stereo mix vocal elements and sequencers counter playing with the live strings are a joy to hear in the 5.1 mix.

“I give it up, I give it all up”

The subject matter of Detonation is pretty much self-explanatory. Another piece of mainly dark electronica that soon mutates into a full band performance. An album highlight, with my favourite instrumental passage being the breakdown as the signature 80s conga percussion, Roland Orzabel-alike rhythm guitar and bass line that I was sure was Nick Beggs but isn’t sees out the track.

Album closer Song of Unborn features the recent SW band minus Mr Beggs and has the album’s strongest, and most direct, lyrics. The arrangement is given a deeper emotional edge by the use of a choral section provided by Synergy Vocals.

“Now the time that is gone doesn’t matter to anyone”

It’s the nearest to the sound of recent albums, and a reminder that SW does album closing songs so well.

So there is much to enjoy on To The Bone, but I really would recommend the 5.1 mix, which is available on blu-ray. The deluxe edition, which is now sadly unavailable, also contains some very good unreleased songs (particularly A Door Marked Summer and Ask Me Nicely) and alternative mixes as well as a hardback book with some great pictures and detailed background to the creation of To The Bone. So if you can track down a copy, it will be a worthwhile purchase.

I hope you enjoy the album.

Buy To The Bone on CD from Amazon

Buy To The Bone vinyl on Amazon

Buy To The Bone [Blu-ray] on Amazon





Tim Bowness – Songs From The Ghost Light

14 08 2017

Songs-from-the-Ghost-Light

Songs From The Ghost Light is a companion release to Tim Bowness’s Inside Out label albums, Abandoned Dancehall Dreams (2014), Stupid Things That Mean The World (2015) and this years wonderful Lost In The Ghost Light.

The 34 minute mini-album is available in limited quantities on CD & vinyl from Burning Shed, and as a download from Tim’s Bandcamp page.

Stupid Things That Mean The World (chamber version) is a stark re-imagining of the 2015 track. Stripped of the albums guitar and drums, piano and strings underpin the vocals, which have a dollop of extra reverb added, making this version a very different beast. A disturbing alternative synth line adds tension to the middle section of the song.

The live version of The Warm-Up Man Forever (the studio version appears on Abandoned Dancehall Dreams) features a stunning drum performance from Andrew Booker and a wonderful Experiment IV-like guitar line from Michael Bearpark. As an advert for the Tim Bowness live shows, the non-studio cuts on Songs From The Ghost Light do their job.

No Longer The One is a reworked, much less proggy version of the Henry Fool rarity Pills in the Afternoon. A more expansive guitar line and a richer arrangement and production take one of Tim’s finest hidden pieces to new heights. Its my favourite track on this mini-album.

Some T-bo trivia – No Longer The One was lyrically altered to work with the Moonshot / Jeff Harrison story. Expect an angry tweet from the ageing old Putin worhsipping Moonshotter soon!

Once A Record is a mutated piece of mellotron madness built from The Great Electric Teenage Dream. Whispers, off-kilter and digitally twisted vocals and dark electronics bubble under the surface of a track that would not have sounded out-of-place on David Bowie’s 1. Outside.

Next up is a live version of The Great Electric Teenage Dream. The version on Songs From The Ghost Light is faithful to the times I have heard the song live at recent Bowness shows. Its a powerful performance, with brutal guitar lines.

The polar opposite is The Sweetest Bitter Pill (chamber version). I prefer this take to the version previously released in 2014. Strings and mid-70s sounding lead synth lines push the songs melody to the fore.

The final live song is Abandoned Dancehall Dreams Dancing For You. One of Tim’s saddest songs of nostalgia and regret, Dancing For You is presented here in a moving live performance. A fine synth solo from Stephen Bennett drives the song to its conclusion.

Giancarlo Erra (Nosound/Memories Of Machines) contributes piano to the album’s closing track Lost In The Ghost Light (giallo), as well as mixing and mastering the album. Kit Watkins adds flute and ‘Heartbeat’ percussion to the discordant re-birth of what was already the most menacing piece on this years wonderful Lost In The Ghost Light album.

“Is there more?”

No Longer The One, The Sweetest Bitter Pill (chamber version) and Lost In The Ghost Light (giallo) actually surpass their original incarnations as far as I am concerned. Songs From The Ghost Light works well as a companion to Tim’s successful Inside Out era albums, making you return to the originals whilst working well as an album in its own right.

Stupid Things That Mean The World (chamber version)
The Warm-Up Man Forever (live)
No Longer The One
Once A Record
The Great Electric Teenage Dream (live)
The Sweetest Bitter Pill (chamber version)
Dancing For You (live)
Lost In The Ghost Light (giallo)

Buy the CD and vinyl from Burning Shed

Buy the Download from Tim’s Bandcamp page





CousteauX – by CousteauX

22 07 2017

CousteauxCousteau were a London-based band who released three albums between 1999 and 2005. Their most well-known song was The Last Good Day of the Year from their debut album. After success in the UK, Italy and the US, the band went their separate ways in 2006. Singer Liam McKahey reunited with song-writer Davey Ray Moor in 2015 as CousteauX, and they release their first album in over 10 years in September 2017.

CousteauX opens with Memory is a Weapon, and instantly the years roll away. This is the music of the debut album with added pathos and a much richer, fuller production. I loved Liam’s two solo album’s, but team him up with Davey Ray Moor and something magical happens. The yearning backing vocals and simple piano motif over the insistent bass-line delivers a powerful and direct opening.

This Might Be Love rides on a bluesey acoustic guitar riff and a meandering synth line. One of the darker songs on the album, it has a real Americana feel to it, and breaks new ground for the band.

Track 3 is my favourite song on the album. Burma features an emotional acoustic bass and piano line, and for the first time I can really see the Bowie comparison with Liam’s vocals. Think Wild is The Wind and Bowie’s rich baritone from the Station To Station era. Burma is a song with wonderfully evocative lyrics, and one of Liam’s finest vocals.

“Go my love steady, just be upstairs ready, my angel”

I’m sure this will soon become a fan favourite. The arrangement evolves in an unforced and natural way as the song progresses.

After the beauty of Burma comes the darkness of The Innermost Light. A sleazy, razor-sharp performance that features Carl Barat (The Libertines / Dirty Pretty
Things), The Innermost Light is a future spaghetti western theme tune in the waiting. It makes you want to kick open the bar door and spit in the sawdust. Or maybe that’s just me.

Maybe You is a less tense affair. Arriving at the mid-point of the album, Maybe You is the sort of stripped back ballad that the band deliver so well. The upright bass is phenomenal, and reminds me of the playing of Danny Thompson and his work with John Martyn.

Portobello Serenade has the feel of a 1950s / 60s Soho, with its hazy jazz percussion and trumpet. Thin Red Lines switches the tempo up a gear and shifts forward a few decades, with an almost glam-rock / T-Rex feel to the jagged guitars and soulful backing vocals.

“Only the mystery remains”

Shelter is an oddity on the album but oh what a lovely oddity! It’s almost the bands take on modern r ‘n’ b production. A minimal programmed drum pattern on top of Art of Noise (Moments In Love) like backing vocals and a lovely Rhodes piano melody explores new territory for the band. I look forward to more experimentation like this on future CousteauX albums.

cousteaux band

The penultimate track, Seasons Of You is the nearest we get to the classic Cousteau sound of old. Its a joyful, breezy track that lifts the mood before the album’s closing song, the mean and goddamn moody as hell F***ing In Joy and Sorrow.

“I’m in love but I’m grieving”

The hi-hat and toms percussion that underpin a stark organ / guitar backdrop propels the brutally honest and direct lyric of lust, hurt and regret.

This is music made for the night. Switch off the lights, pour yourself some whisky on the rocks and let the music take over.

As a long-time fan of the band, who I have only seen live once (a memorable, packed and sweaty early 90s gig in Blackheath) – I was intrigued as to what a modern day Cousteau would bring us. I’m overjoyed to report that the core of what made this band so special is still intact. *That* voice and the quality song-writing and performances, combined with a brave stretching of the bands template, mean that the 2017 version known as CousteauX has delivered an emotionally satisfying and stylistically varied album that stands up to repeated listening. At times, its far from easy listening, but stick with it and you will find so much to savour in these deep, rich and often dark songs.

Welcome back Cousteaux. You have been missed, stay around a little longer this time….

Cousteaux is released on 1 September 2017.

Order the Cousteaux CD from Amazon

Order the Cousteaux vinyl LP from Amazon





Blancmange – Happy Families / Mange Tout / Believe You Me

9 07 2017

Edsel Records are re-releasing the first three Blancmange albums on 4 August 2017, as the limited edition Blanc Tapes boxset and as three individual deluxe editions . The 2017 editions include a remastered version of the original album, plus b-sides, extended versions, remixes, demos, BBC Radio One sessions and three BBC In Concert performances.

Blancmange-Happy-FamiliesHappy Families (1982) was the first Blancmange album. The remastering on all three re-issues is really well done. No brick-wall remastering here – the music has never sounded as good as it does with these Edel re-issues.

From the Talking Heads like funk of album opener I Can’t Explain, through to singles Feel Me, God’s Kitchen and probably Blancmange’s most well-known track Living On The Ceiling, Happy Families is a wonderful early 80s album.

Disc 1 of Happy Families includes the 7″ and original version of Waves, as well as the extended version of Living On The Ceiling, the 12″ mix of God’s Kitchen and the 12″ instrumental of Feel Me.

Disc 2 is a mixture of demos and my favourite extended version from this period, the Feel Me [extended 12″ version], that features some great guitar work from guitarist David Rhodes (Kate Bush / Peter Gabriel). The demos show a glimpse of a much less polished Blancmange – closer to the starker more experimental work of Cabaret Voltaire and early Human League.

Disc 3 is made up of Radio 1 session tracks from February 1982 (John Peel) and June 1982 (David Jensen) and a concert recorded at the BBC’s Paris Theatre in November of 1982. The highlights of this disc are two rare Blancmange songs – the OMD-like I Would and the dark electronica of Running Thin.

Blancmange-Mange-ToutMange Tout (1984) was another commercial success – and contains the singles Don’t Tell Me, Blind Vision (my favourite Blancmange single), and a fine cover of Abba’s The Day Before You Came.

Other stand-out tracks on Mange Tout include Game Above My Head (CD1 includes a wonderful 7 minute version), the frenetic All Things Are Nice and the dark, glitchy Martin Ware (Heaven 17) demo of Blind Vision.

If you look beyond the pure-pop of the singles, there is a real feel of mid-80s experimental dance, along with a David Byrne influence that I did not pick up on at the time.

CD2 highlights the experimental side of Blancmange, with a mixture of demos and extended versions, the highlight being a very different version of All Things Are Nice. CD3 has a 4 song Kid Jensen session and 12 tracks from a Radio 1 In Concert recorded at Hammersmith Palais.

Blancmange-Believe-You-MeThe final 80s Blancmange CD was Believe You Me (1985). The least successful of the original albums, it doesn’t quite have the freshness of the first two albums, but is still a fine album containing some strong songs, including opener Lose Your Love and one of the bands best songs, Why Don’t They Leave Things Alone? 

Listening to this album now, especially songs such as M Diver (Alternate Dream) [demo] from the second disc, I think its clear that had the band continued, they could have found a second wind in the late 80s / early 90s amongst the likes of the psychedelic pop / dance of The Beloved and S’Express.

CD2 contains a mixture of interesting demos and extended / single edits, the highlights of which are the wonderful re-invention of Why Don’t They Leave Things Alone? as I Can See It [7″ single version] and the lovely, respectful cover of Glen Campbell’s Gentle On My MindRiver Of Life [demo] is a bluesy synth workout that points to Neil Arthurs most recent project, the boldly electronic First Light album by Fader.

CD3 is made up of a late 1985 Janice Long session and a BBC In Concert recorded at the Hammersmith Odeon in late 1986. The highlight of this show is a superb version of Blind Vision (the final song in the set, but introduced as the first song in the set!). Not sure if that was a Spinal Tap moment or something to do with the CD sequencing, but its an enjoyable live show. Hello Cleveland!

blancmange-2017

The three 2017 remastered deluxe editions will appeal to Blancmange fans, and anyone who loved the electronic music of the 80s. The albums have been lovingly remastered and contain fascinating glimpses into the development of the bands songs.

Blancmange return with a new album Unfurnished Rooms in the Autumn of 2017, sadly without Stephen Luscombe but featuring guitarist David Rhodes.

Buy The Blanc Tapes Box set, Deluxe Edition on CD

Buy Happy Families (Deluxe Edition) on CD

Buy Mange Tout Deluxe Edition on CD

Buy Believe You Me Deluxe Edition on CD





Public Service Broadcasting – Every Valley

8 07 2017

Every ValleyEvery Valley is the third album from Public Service Broadcasting, and the follow up to 2015’s acclaimed The Race for Space.

The first thing that strikes you about the album is the musical palette – for the most-part, the heavy electronics are less obvious, so the result is a much more guitar-driven album than its predecessor.

Recorded in southern Wales (Ebbw Vale), Every Valley is centered around the Welsh mining industry, particularly coal mining. The album subtly touches on the obvious politics (on the track All Out) – so it does not detract from the story of massive economic and social change. Yes, I know these changes were mainly a result of politics, but honing in on the miners strike and the huge upheaval instigated by the Conservative Government in the mid-80s would have made this a less personal album, and taken away from the very real emotion in the words and music.

The buzzing of strings usher in the opening title track, and what a beautiful way to start the album. A sampled reading from the deep, warm tones of Richard Burton sit atop a wonderful drum pattern, softly evolving guitar lines and delicious strings. The production on this album is a massive step up from The Race for Space.

The Pit has Fleetwood Mac Tusk meets Running Up That Hill inspired dry drums. A bubbling synth runs alongside blasts of solo orchestral instrumentation and beautifully chorused guitar. Its a richly rewarding piece of music.

An old 70s coal-board advert prefaces People Will Always Need Coal, the most electronic track on the album. I love the 1980 Talking Heads-like groove on this song.

“There’s more to mining than dust and dirt”

Progress features Tracyanne Campbell from Camera Obscura on lead vocals, and whilst it is a rare positive lyric, it also acts as a way of making the forthcoming songs of decay and destruction feel even more sombre.

All Out is the section of the album that directly deals with the miners strike. Angry crowds underpin the brutal guitars, as the samples tell the story of men and women who just wanted to go to work, to do their jobs, to support their families. Its at this point that you realise that this album is more than a document about a time, and a place, and an industry that is long since destroyed. Its an album about the disconnect and the simmering discontent of the world we live in now. History is repeating itself.

James Dean Bradfield from Manic Street Preachers lends his vocals to Turn No More. Its a strong performance, and I like the fact that the music is quite restrained at times, which makes the message so much more powerful.

Every Valley is a chronicle of the men and women of the mining community. They Gave Me A Lamp is a beautiful piece, from the perspective of the women in the communities, and features members of the Derbyshire trio Haiku Salut.

You + Me is a departure on the album. A jazzy, live sounding performance that features a Welsh / English duet between Lisa Jen Brown and PSB’s J Willgoose Esq. The aching strings of the end section are one of the album’s highlights.

The drum pattern is almost an exact copy of David Bowie’s Five Years, so I hope I am forgiven for being confused when Soul Love is not the next song on the album.

Mother Of The Village brings the story towards its bitter conclusion, and reminds me a little of the wonderful Mogwai soundtrack to Les Revenants (The Returned).

“And you begin to realise what you mean by the death of a village”

As the album drawws to an end, the desperate state of the communities is now apparent, with empty pubs and disappearing shops. The Beaufort Male Choir close the album, with the moving Take Me Home.

“Take me home.. let me sing again..”

Every Valley is shaping up to be a much more satisfying album than The Race for Space, which I loved at the time, but don’t find myself returning to as much. This album has a deep emotional core that will keep drawing you back to the stories and the songs that live in Every Valley.

Every Valley (CD)

Every Valley (vinyl)





Date Stamp – the 80s (part1)

30 06 2017

Date Stamp – the 80s is the first in a series of blog posts attached to Spotify playlists I will be putting together, alongside my regular reviews of new releases.

sign o the times

The playlists will be a mixture of the familiar and lesser known songs, that I hope will shine the light on artists that you might not be familiar with. I would love to read your comments about the tracks I have chosen – please feel free to follow my playlists and share them.

I hope you enjoy listening to part 1 of my 80s Spotify playlist.

My Date Stamp – the 80s (part 1) playlist opens up with Duran Duran’s Save A Prayer, from the Rio album. The synth lines alone lead to its inclusion in this playlist. Save A Prayer was released in August 1982.

Next up is the only 12″ mix in the playlist. A brilliant Laurie Latham production, and one of my favourite extended versions from the 80s. Released in March 1983, Come Back and Stay can be found on the No Parlez album, and contains one of Pino Palladino’s most memorable bass-lines.

N_networkIt was difficult to choose just one Prince song for this playlist, and I know future playlists will include other songs from the Purple maestro, but I kept coming back to the Sign O The Times album, and particularly the power-pop of I Could Never Take The Place Of Your Man, included here in its full album length.

The video for this track was a mainstay on Night Network, the late night weekend ITV show that preceded 24 hour TV.  I Could Never Take The Place Of Your Man was released as a single in November 1987.

Mothers Talk was the first single from the second Tears For Fears album Songs From The Big Chair. The single was released in August 1984, with the album following in February 1985. Fairlight stabs, heavy sequenced synths and 80s nuclear paranoia drive this powerful song. The Roland Orzabal guitar riff on Mothers Talk is one of his best. The song may be synth and sampler heavy, but the guitar work (and the delayed and distorted bass and percussion in the outro) make this a standout track on the album.

If you are feeling flush, a deluxe edition of the album was released in 2014. You can read my review here.

wilderTiny Children from the second Teardrop Explodes album Wilder (1981) is one of the bands most commercial pieces.

Released as a single in June 1982, it sat comfortably with the other pop songs released that year, but as with all great pop music, scratch a little deeper below the surface and you will find much to savour.

“Oh no, I’m not sure
Not anymore”

A Secret Wish was the debut album by German band Propaganda. The album was released by ZTT Records in 1985, and was produced by Stephen Lipson with Trevor Horn. p:Machinery is my favourite track on the album, and one of the finest mid-80s singles. I love the percussion and crisp synths, and lead vocalist Claudia Brücken is still releasing new music.

Fade To Grey by Visage is one of the oldest tracks in this playlist. The single (the bands second) was released in 1980. The song was promoted by one of  Kevin Godley and Lol Creme’s earliest videos.

lexicon of loveThe title song of this playlist is Date Stamp by ABC, from their debut album, Lexicon of Love. I’ve gone for one of the less-well known ABC songs, but its my favourite track from the album. It hits all the marks for me – great backing vocals, a stunning bass-line and some of Martin Fry’s finest lyrics.

“Looking for the girl who meets
supply with demand”

Lexicon of Love was released in June 1982.

Another lesser-known track is up next. Here Comes a Raincloud is from the second China Crisis album, Working with Fire and Steel. A fine ballad with a wonderful arrangement and beautiful production (from Mike Howlett).  The (real not synthesised) strings on this track still sound beautiful. A piece of pop magic from the Liverpudlians.

I’ve included the 10″ version of Orchestral Manoeuvres in the Dark‘s Messages in my playlist. Another mighty Mike Howlett production. I love the hard sequences and the ever evolving bassline in this single from 1980.

I’m sure other Thomas Dolby tracks will feature in subsequent playlists, but I chose Airwaves as I think its a song that’s often overlooked. That chorus!

Airwaves features on the 1982 The Golden Age of Wireless album – I can recommend the excellent collectors edition.

I never tire of hearing Absolute by Scritti Politti. The mixture of sugar-sweet vocals and hard-beats hits the spot for me, even to this day. This Arif Mardin produced single from the bands period working in New York arrived smack bang in the middle of the 80s, and can be found on the album Cupid & Psyche 85.

A little journey back into the less-familiar for the next track on my playlist. Unless is from the debut Pale Fountains album Pacific Street, which was released in 1984. The slow-building percussion and reverb-laden synth mix with some heart-wrenching strings and an unexpected sequenced synth line towards the end of the song.

The band turned up the guitars for their final studio album, …From Across the Kitchen Table in 1986, before splitting, with vocalist Mick Head forming the band Shack, who have existed in various incarnations from 1987 to date.

44426-cafe-bleuI loved the early to mid-period Style Council singles and I’ve included the single edit of one of my favourites in this playlist. As with the previous track, some wonderfully detailed 80s percussion underpins My Ever Changing Moods. The song includes a typically great Paul Weller lyric and one of his best guitar performances from this era.

“The hush before the silence,
the winds after the blast”

My Ever Changing Moods was released in 1984 and can be found on Greatest Hits (this single version) or on their debut studio album Cafe Bleu.

Prefab Sprout’s Goodbye Lucille #1 (known as Johnny Johnny when released as a single) is a highlight of the bands second album Steve McQueen, which was released in 1985. The production by Thomas Dolby results in a timeless sounding album. Just listen to the intro – such wonderful separation between the layers of guitars.

Lloyd Cole and the Commotions released their debut album Rattlesnakes in 1984, and its release was preceded by the single Forest Fire in August 1984. The album was recorded in John Foxx’s The Garden studios in East London. I’ve always loved the simple but very emotive guitar solo that pushes the song to its conclusion.

Lloyd Cole has always been known as a great wordsmith, and Forest Fire and its lyrics of wild love and lust are an absolute joy.

“I believe in love, I’ll believe in anything”

I’ve included the title track from Deacon Blue’s debut album, Raintown, in this playlist. A fine production from Jon Kelly (who also worked with Chris Rea, Kate Bush and Prefab Sprout). Raintown is a strong late 80s albums, and its worth tracking down the 2012 Edsel reissue.

Primarily known for his signature song Wonderful Life, the late Colin Vearncombe’s Black have left us with a rich catalogue of  songs. My favourite track from the debut album Wonderful Life is the torch-song Paradise. The album was re-issued as a two disc deluxe edition in 2013. Which I didn’t know about until writing this blog – so over to Amazon I go.

“Life should never feel small”

I’ve included one of Thomas Lang’s less well-known songs in this playlist. Thomas delivers a heartfelt version of Jacques Brel’s powerful anti-war (and song of loss) Sons of.  The song was often a highlight of Lang’s live shows in the late 80s, early 90s. Sons of is available on Scallywag Jaz and More – the Best of…

“Sons of the great or sons unknown
All were children like your own”

age of plasticMy playlist ends with Elstree by The Buggles. Taken from their first album The Age of Plastic from 1980,  the haunting Elstree features some lovely piano and a convincing minimoog oboe emulation from Geoff Downes.

The Buggles only released one further album, Adventures in Modern Recording in 1981. The past few years have seen rumours of new Buggles music, which would please me greatly, as I am a big fan of most of Trevor Horn and Geoff Downes work.

Ok, Elstree ends with the words “Cut”, and so does this playlist. I hope you enjoyed listening to all of the songs, and maybe you’ve discovered some music you were not aware of. Feel free to leave a comment below, and I hope to return to the 80s for another serving of the familiar and the unknown in the next few months.

The next playlists will be two collections of Alternative Jewels – one of older songs and one made up of some of my more recent favourites. Follow the Music Shack on Twitter to find out when they will be available.

To be informed of new posts, along with music tweets, please follow the Music Shack on Twitter @MkMusicshack.





Fader – First Light

22 06 2017

FaderFader are Neil Arthur (Blancmange) and Benge (John Foxx & The Maths / Gazelle Twin). They have released their debut album, First Light, on Blanc Check Records.

First Light is a dark, simmering electronic album. The music sits somewhere between Cabaret Voltaire and early (pre-The Garden) John Foxx. And that’s a good place to be.

3D Carpets is driven by analogue synths and minimalist percussion, with a chorus that soaks into your brain. I don’t have a clue what Neil Arthur’s lyrics are about on a lot of the songs – but I love the images they conjure up,  they paint a picture that is open to personal interpretation. Its good to use your 21st century imagination.

Check The Power has a tense, paranoid vocal delivery from Arthur, and some fine, deep bass synth lines from Benge.

“You better go back”

I love the way the synths sound so dirty,  not like VST / emulations, the duo clearly use authentic machines.

There is a real depth to these meaty sounds. Way Out is a case in point – the sweeping synths shift from deep low to brighter high notes. At times I struggle to believe that this album was recorded in 2017, not 1979.

“Caught in the moment of doubt”

The title track continues the edgy feel, with Arthur shouting about “Catholic converters” and “Resume the search at break of day”. The track First Light reminds me a lot of John Foxx, have a listen below.

The marching percussion and thick synths on Wonderland conjure up memories of early OMD and very early Human League / Heaven 17. Over the first few album listening sessions, I grew to appreciate the stream of consciousness, quite dystopian lyrics. There is also a lot of humour on display here.

Liverpool Brick is a wonderful, beatless song. The sparse but melodic instrumentation works really well with the lo-fi recording of the vocals. Liverpool Brick also contains my favourite lyrics on the album. Like the track, the lyrics are very direct (in stark contrast to the rest of the album).

A Trip To The Coast delivers one of the most memorable songs on the album. A real mood of melancholy and lost, fading memories permeate throughout my favourite track, which will surely appeal to the Stranger Things generation. I hope A Trip To The Coast is used to promote First Light, as I think it will be a favourite with a lot of people. Put this song on your SoundCloud, Fader!

The album closes with another album highlight, Launderette. Apparently a “very British take on the solitary mood of Edward Hopper’s Nighthawks” (a print of which sits on my home studio wall, fact-fiends). Such a moving piece, with a metronomic delayed vocal delivered over a dark, simple synth-scape, and a throbbing low hum.

“In silence and silver, Ikea blue bag.
Washing away the stain, on our rags”

Nighthawks_by_Edward_Hopper

First Light is a fine debut release from Fader, and a must-buy for fans of late 70s, early 80s electronic music. I hope its the first of many releases from the electronic duo, as there are clearly lots of places left for Arthur and Benge to explore.

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Buy First Light by Fader (CD) on Amazon

Buy the album on Vinyl

or buy the album on mp3

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