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.

Follow Mr Kinski’s Music Shack on Twitter

Buy First Light by Fader (CD) on Amazon

Buy the album on Vinyl

or buy the album on mp3

Visit Fader on Facebook or follow the duo on Twitter

Advertisements




Scarred For Life volume one: The 1970s By Stephen Brotherstone and Dave Lawrence

25 03 2017

OK, lets start with a confession. The 70s is my favourite decade. Its a decade that I lived through as a young ‘un (I was 10 in 1970) and saw me through to my first years as a young adult. It was the decade that provided some of the music that has seeped into my very soul, especially the mid 70s classic rock and the punk / post punk music from 77-79 that shook the establishment. So Scarred For Life volume one: The 1970s was always going to scream out READ ME, READ ME NOW. Oh and prepare to open your wallet – as you will probably find yourselves heading over to Amazon to buy lots of the DVDs and blurays of programmes you loved when you were young, or to eBay to pick up comics (old copies of Look-in) or other 70s memorabilia.

Scarred for Life Volume one: The 1970s

Scarred For Life volume one: The 1970s is a printed publication (740 black and white pages printed, with a free colour eBook version) that covers the decades weird and wonderful television (including favourites of mine such as The Tomorrow People, Sky, Survivors and A Ghost Story For Christmas), as well as a look at the changing face of UK TV culture. And that’s not all – the publication looks at board games – such as Top Trumps and Escape From Colditz, plus films and comics (including the mighty Action from 1976) as well as 70s fads and food (I had forgotten all about Horror Bags Fangs Crisps!). Oh and the array of 70s ice-lollies – no wonder I’ve spent so much money at the dentists over the years.

Scarred For Life volume one: The 1970s opens with an excellent scene-setting introduction by horror writer / historian Johnny Mains. Scarred by Television is the books first section. If you lived through the 70s, the memories are instantly sparked by the description of TV in that decade – no remote controls, tiny screens and few channels, compared to todays HD and hundreds of channels beamed into our homes through satellite / cable and on demand net based programming. On demand was not an option in the 1970s – in fact recording of programmes to watch later didn’t feature in most households until the 1980s. So TV watching was a much more communal event – everyone watched the programmes at the same time and discussed last nights viewing at school or work the next day. And if you missed the programme, or if it clashed with something else your family was watching on the homes ONE TV, that was it – no pausing, rewinding or catch-up TV. You simply missed it.

Programmes discussed in depth in the first few chapters include The Owl ServiceThe Ghosts of Motley Hall and one of my favourites, The Tomorrow People (which has a Bowie reference, fact fiends). Name that tune! The Blue And The Green Tomorrow People story has stuck with me all these years.

SkyOne of the most enjoyable parts of Scarred for Life is the coverage of the HTV series Sky. I remember watching and enjoying early episodes of this programme, but for some long forgotten reason, I never got to watch the whole of the seven part series. But I never forgot those terrifying black eyes…..

There is also a lengthy and informative section on Play For Today – including the haunting Blue Remembered Hills, which can be found on the Essential Dennis Potter boxset.

The sci-fi section of Scarred for Life includes the BBC post-plague drama Survivors. Much grittier than the (sadly cut-short after two series) more recent version starring Max Beesley, the original series lasted three seasons and went straight into my Amazon basket after reading about it in this book.

My favourite TV related section of Scarred for Life is the Gothic TV section – especially  the section on A Ghost Story For Christmas. I occasionally saw episodes during the 70s but bought the BFI DVD collection a couple of years ago due to the 2010 remake of the M. R. James story Whistle and I’ll Come to You, and dipping into this collection has become a Christmas tradition. The Scarred for Life piece goes into great detail, even mentioning the 1860s M. R. James origin of the Christmas Ghost stories that led to this wonderful BBC festive regular. I know its not Christmas as I write this review, but I think I’ll dip into the collection again this weekend. Charles Dickens is not just for Christmas, after all.

The How we used to live section discusses the way that some mainstream 70s TV dealt with race (the impact of ‘light entertainment’ shows such as The Black and White Minstrel Show and Love Thy Neighbour) and particularly the awful, lazy stereotyping in Mind Your Language. The section also discusses the “something for the Dads” casual sexism that was prevalent in Seaside Special / Top of the Pops and various sitcoms such as Doctor In The House and On The Buses. To their credit, the Scarred for Life writers don’t choose the easy “weren’t the 70s wacky” route in their discussions about these issues.

Scarred for Life takes an interesting approach to its lengthy Doctor Who section. Instead of focusing on the show and the stories, they take a fresh approach discussing what it was like being a fan of the show – writing about the Doctor Who Exhibitions and the eras Doctor Who annuals and magazines.

If, like me, you are of a certain age – the phrase “clunk click every trip” will mean you watched the multitude of public information films that ran through the decade, and they are discussed in loving detail in Scarred for Life. To this day, I’m still petrified of dumped fridges and ponds.

charleysays

The section covers with Charley Says, The Green Cross Code and the downright terrifying Joe & Petunia (the coastguard animation still haunts me). Coo-ee!

I spent many happy hours playing Escape From Colditz as a kid in the early 70s. The board game was inspired by the popular TV series, starring Robert Wagner and David McCallum, that ran for two series between 1972 and 1974. It made a change from the endless magic sets and compendium of games that I received each Christmas. So I really enjoyed the children’s games section in this publication, that also covers Top Trumps, a card based game (I recall having lots of military and vehicle based sets – mainly tanks, jets and motorbikes).

The savage cinema section is well researched. Covering films such as Soldier Blue, Straw Dogs, Dirty Harry and the Death Wish series, the writers put these films in the context of the post-Vietnam, permissive society fighting Mary Whitehouse era. Classic films such as Martin Scorcese’s Taxi Driver and Deliverance are also covered.

The writers also delve briefly into the “When Animals Attack” late 70s film genre, mentioning Grizzly, but sadly no mention of one of my  (corny) favourites from the era – Day of the Animals. I saw Day of the Animals as a double-bill (what a great concept, bring it back!) at the cinema in 1977 with a great film called The Car, with James Brolin being pursued through the desert by a seemingly driverless Lincoln Continental (The Car is mentioned further on in Scarred for Life).

Another well-written section of the book are chapters given over to covering some of the satanic / possession films of the 70s. Covering less obvious choices, such as Dennis Potters Brimstone and Treacle (not to be confused with the later film version starring Sting) as well as the sort of films you would expect, Rosemary’s Baby, The Omen and The Exorcist, the writing is often focused on the public’s perception of the films rather than plot synopses, which is a fresh take on these much-discussed classic horror films.

I also found the folk-horror section interesting – as its a sub-genre I know little about, so feel inclined to explore further.

The Pop Movie Turns Dark covers the trio of pop films That’ll Be The Day, Stardust and Slade in Flame. I’ve never seen the Slade film but love the two David Essex films. I didn’t realise that That’ll Be The Day is based on Harry Nilsson’s song 1941, so thanks for that pop-quiz nugget, Scarred for Life.

thatll-be-the-day

The sections on 70s books and comics is the section I was looking forward to the most, and it did not disappoint. I bought several pre-ban issues of Action – I wish I’d kept them, as it was a ground-breaking comic that is covered in depth in this publication. And I had forgotten all about the Pan Book of Horror Stories – that turned me onto the work of Edgar Allen Poe and Bram Stoker among others. I was also a big fan of the early James Herbert books – The Rats is discussed in Scarred for Life, but my favourite was The Fog. I’ve still got my original copy and it still scares me to death. Its a shame there is not more coverage of James Herbert – he may not be regarded as being a writer in the same class as Stephen King in horror writing circles, but his books were extremely popular in the 70s and 80s for the very good reason that they were terrifying.

Scarred by… food. Horror themed ice-lollies (Lyons Maid Red Devils & Haunted House), Smiths Horror Bags crisps (I can taste them now!) and Golden Wonder Kung Fueys (bacon and mushroom corn balls mnnnn) are all on the menu in Scarred for Life. Oh how I miss the 70s.

There is an interesting chapter on UFO imagery used in 70s music, including Boston, ELO, The Stranglers and a fair bit about David Bowie‘s apparent fascination with aliens. The sections ends with the top 10 UFO songs of the 70s. I won’t give it away – buy Scarred for Life and see for yourself.

Scarred for Life is a great read for anyone who lived through the decade, or for anyone in love with the music, TV and films that poured out of this amazing period. The TV series Life on Mars gave a great flavour of the 70s, so if you loved that show, Scarred for Life will paint an even fuller picture of the decade. I am really looking forward to the next volume, that will cover the 80s. I can’t wait to read about the nuclear paranoia of that decade, especially the mighty Threads.

You can buy Scarred for Life Volume one – the 70s now as a 740 page perfect-bound paperback (the printed version comes with details of how to obtain the colour e-book version as part of your purchase).





Jeff Lynne’s ELO – Alone In The Universe

10 11 2015

aloneintheuniverseAlone in the Universe is the first album of new material released by Jeff Lynne under the ELO banner since 2001’s Zoom. The opening track When I Was a Boy sets the stall out straight away. The descending bassline and strings let you know that you are listening to the classic ELO sound.

Love and Rain lifts the tempo, and along with the majority of this album, would not have sounded out-of-place blasting out of your FM radio back in 1977/78. And that’s fine by me – I wouldn’t expect a 2015 ELO album to sound like its of the here and now. That would be just plain odd.

Alone in the Universe works well as it delivers what you would expect – well-crafted pop songs that last around the 3 minute mark.

When the Night Comes serves up the albums first classic Lynne chorus, and the song is underpinned by a late 70s / early 80s reggae infused bass and guitar line.

The Sun Will Shine on You is one of the album’s strongest songs. It packs in more hooks in the first minute than the majority of current albums. The bass and synth are especially effective on this stand-out track.

Lynne likes to throw 50s rockers onto most of his albums, and Ain’t It a Drag has its roots in the era of Buddy Holly and Duane Eddy. But whilst the arrangement of Ain’t It a Drag pays homage to Lynne’s youth, the song is more Tom Petty than Roy Orbison, and it is not locked into just one era.

However the bossa-nova beat of I’m Leaving You IS pure Roy Orbison, and feels more Travelling Wilbury’s than ELO, and is the only slight misstep for me on the album.

Jeff Lynne

Earworm alert! You will probably think that you have already heard One Step at a Time, even if you haven’t heard the song on Spotify, as it draws heavily from the classic ELO sound and feels instantly familiar. As you would expect, the production values are high on Alone in the Universe.

Alone in the Universe feels like a early to mid-70s track, and whilst lyrically Lynne goes all Ground control to Major Tom on us, I really think the arrangement on this final track is a notch above the other tracks and makes you return to the song more than others on the album.

Alone in the Universe does not break new ground by any means, but thankfully its not one of those returns that makes you wish the artist had remained away from the recording studio. Its an album full of very good pop songs, and it sounds just like you would expect an ELO album to sound. It’s also free of excess – coming in at under 40 minutes and so leaves you wanting more.

So if you were a fan back in the 70s and 80s, there is plenty for you to enjoy on Alone in the Universe. Welcome back ELO.

Buy Alone in the Universe on CD from Amazon

Buy Live in Hyde Park bluray from Amazon

Buy The Classic Albums Collection on Amazon








%d bloggers like this: