David Sylvian "Alchemy: An Index of Possibilities" (1985)

Alchemy: An Index of Possibilities, ep
release date: Dec. 14, 1985
format: digital (2006 reissue)
[album rate: 3,5 / 5] [3,38]
producer: David Sylvian, Nigel Walker, Steve Nye
label: Virgin Records - nationality: England, UK

Tracklist: "Words With the Shaman" (tracks 1-3): 1. "Part 1: Ancient Evening" - 2. "Part 2: Incantation" - 3. "Part 3: Awakening (Songs From the Treetops)" - 4. "Preparations for a Journey" - 5. "The Stigma of Childhood (Kin)" - 6. "A Brief Conversation Ending in Divorce" - 7. "Steel Cathedrals"

Studio album by David Sylvian originally released as a 5-track ep consisting of the 3-track ep Words With the Shaman (Dec. 5, 1985) as the first three tracks with the addition of two new compositions, tracks #4 and 7. Sylvian and Nigel Walker produced the first three tracks, and Sylvian alone produced the two new songs (tracks #4 and ¤7). The original 5-track ep had a running time at just under 37 mins, whereas the 2003 remaster was expanded with another two additional compositions, track #5 (pro. by Sylvian) and track #6 (pro. by Sylvian and Steve Nye), which raised the running time to more than 48 mins. The remastered bonus tracks edition is the only version I know of. Words With the Shaman is music written by Sylvian and (trumpeter) Jon Hassell (track #3 also with Steve Jansen). Tracks #4-6 are written by Sylvian alone, and #7 is co-written by Ryuichi Sakamoto with whom Sylvian released their first collaboration single "Bamboo Houses" in 1982 and later he contributed on Sakamoto's acclaimed soundtrack album Merry Christmas, Mr. Lawrence (1983) by adding lead vocals to "Forbidden Colours". The two newest compositions (#5 and #6) are clearly of a more experimental and ambient art pop style compared to the other tracks, but the whole album really functions fine as a whole and feature a number of prominent artists. Aside from Sylvian's brother Steve Jansen on drums and percussion, Holger Czukay handles radio and dictaphone. and Jon Hassell adds trumpet to Sylvian's keyboards and guitars. On "Steel Cathedrals", Ryuichi Sakamoto plays piano and strings, Kenny Wheeler flugelhorn, and Robert Fripp guitar. All tracks are instrumental and it's not difficult to understand the reason to reissue the album in 2003 as it was probably intended as a mere experimental release in '85 just after Sylvian's solo debut, which signalled something else. The style is evidently diverse from the two albums it splits. Secrets of the Beehive (1986) was a great album but also more in a natural progression from the debut, whereas this more resembles his later works and side-projects.
All in all a highly original and interesting listen.
[ allmusic.com 3,5 / 5 stars ]

Coldplay "Mylo Xyloto" (2011)

Mylo Xyloto
release date: Oct. 24, 2011
format: digital
[album rate: 2,5 / 5]

Track highlights: 2. "Hurts Like Heaven" - 3. "Paradise" - 4. "Charlie Brown" - 7. "Every Teardrop Is a Waterfall" - 13. "Don't Let It Break Your Heart"

5th studio album by Coldplay after the live album LeftRightLeftRightLeft (2009). Again, a whole world counted downwards to this release as the release of a new iPhöne. I.just.never got that. They are capable of making one or two fine pop songs every now and then but as original musical artists, I really do not appreciate their sound or style. It works mighty all right as background noise. No one gets alarmed or upset. In fact it's more like supermarket muzak, and how funny it is that Mr. muzak himself, Brian Eno played a part in the production seat on this one.
To me, this is when mainstream music becomes really really indifferent.
[ allmusic.com, Rolling Stone 3,5 / 5, The Guardian 3 / 5, NME 2,5 / 5 stars ]

Coldplay "Viva la Vida or Death and All His Friends" (2008)

Viva la Vida or Death and All His Friends
release date: Jun. 16, 2008
format: digital
[album rate: 2,5 / 5]

Track highlights: 3. "Lost!" (3,5 / 5) - 7. "Viva la vida" (3,5 / 5) - 10. "Death and All His Friends / The Escapist" (3 / 5)

4th studio album by Coldplay. At this point I had sort of lost interest in the band. Expectations to what they do and say are at hysterically high, and people worship the band like it was The Fab Four reincarnated, but what they're good at, besides performing live, is to make one or two fine sing-a-long 'pop' tracks that will sell the new album, and "Viva la vida" did that on this one. Once again, they have changed the sound slightly. There are more strings and horns here than on their previous albums. I think, the band and the album is highly overrated. Whenever I hear the band on the radio, an urge to switch channel always makes me decide if I should let them play or not, and that really can't be good. To my ears, this might as well be somebody else. The lead singer is Chris Martin but I have simply stopped paying attention.
[ allmusic.com 4 / 5, The Guardian, The Los Angeles Times 3 / 5 stars ]

Coldplay "X&Y" (2005)

X&Y
release date: Jun. 6, 2005
format: digital
[album rate: 3,5 / 5] [3,32]
producer: Coldplay; Ken Nelson; Danton Supple
label: Parlophone - nationality. England, UK

Track highlights: 1. "Square One" - 4. "Fix You" - 5. "Talk" (4 / 5) - 7. "Speed of Sound" (4 / 5) - 10. "Hardest Part"

3rd studio album by Coldplay, which in some ways even betters the 2002 album, but overall it's also a somewhat superficial release, despite some really fine tracks. To me, this is at the core of what they do so well: they repeat their well-known recipe, and add wider arrangements, but it's also an album that sounds more like Travis than any of their other albums. With this, Coldplay became one of the biggest bands around, playing concerts on filled stadiums all over the globe selling albums like hardly anyone else on the entire planet. I fully acknowledge the musical qualities of Coldplay's music, but imho, it's really only just above the mediocre as it's completely grey like a day with no colours. I rate it higher simply because it's neatly composed and arranged, and it appeals to great many people, and then it doesn't really sound distasteful - I just don't like the album all that much and I'm actually closer at handing it 3 than he added half star. This is the kind of music that both appeals to your five-year-old kid, your teenage daughter, your mom and dad, and your grannies. Kids and adults listen to it at school, at work, at the mall when shopping - it's music you cannot escape. And still, I won't recommend it. For me, this is the kind of music I avoided when as a teenager. Back then, it was music by the likes of Kim Wilde, Phil Collins, Pat Benatar... Music for the masses.
[ allmusic.com 4 / 5, The Guardian, Rolling Stone 3 / 5 stars ]

Coldplay "A Rush of Blood to the Head" (2002)

A Rush of Blood to the Head
release date: Aug. 26, 2002
format: cd
[album rate: 3,5 / 5] [3,62]
producer: Ken Nelson, Coldplay
label: Parlophone - nationality: England, UK

Track highlights: 1. "Politik" - 2. "In My Place" - 4. "The Scientist" (4 / 5) - 5. "Clocks" (4 / 5) - 6. "Daylight"

2nd studio album by Coldplay. Despite all the hype and fine reviews the band received after the debut, this is a better album than the debut. In fact, overall I find this their best album ever. It's not that the style or appeal is all that different on this one, but I think it has more nerve and simply better and more original compositions. The album also surpassed the debut in sales and went as high as number #7 on a list encompassing the 20 best-selling albums ever in the UK, and the band harvested even more first prizes at the Grammy Awards and Brit Awards in 2003. The album is included on a number of best of albums of all time and like the debut also in "1001 Albums You Must Hear Before You Die". Well, I can only say that I understand why so many people like Coldplay's music. It doesn't do much harm and you can play it to gran parents, uncles and aunts (they love it!), and your kids, and everyone find it just nice. For me, it's too slick, too nice. I think, I had the same feeling about Elton John in the late 70s and early 80s. Not that I didn't like his music, he made some great songs, I just never thought about buying any of it 'cause I wouldn't play it anyway. And that's how it is with these guys. They do make great songs, but boy, don't radio stations just play 'em all over, and all the time. And the songs aren't all that different. I don't really get all the fuss. It's quality music but so mainstream and harmonic that it's nearly (background / elevator) muzak.
[ allmusic.com, The Guardian, Q Magazine, Rolling Stone 4 / 5 stars ]

Coldplay "Parachutes" (2000)

Parachutes [debut]
release date: Jul. 10, 2000
format: cd
[album rate: 3,5 / 5] [3,42]
producer: Ken Nelson, Coldplay
label: Parlophone - nationality: England, UK

Track highlights: 1. "Don't Panic" (official video) - 2. "Shiver" - 5. "Yellow" (4 / 5) - 6. "Trouble"

Studio album debut by Coldplay. All songs are credited the band consisting of Chris Martin on vocals, acoustic guitar, and keyboards, Jonny Buckland on guitar, and backing vocals, Guy Berryman on bass, and with Will Champion on drums and percussion. The music is primarily pop / rock but there are bits of alt. rock and a distinct element of britpop on this one.
The album rocketed its way to the top of the UK albums chart list and the band won a Grammy for Best Alternative Album in 2001 as well as winning the Brit Awards also in 2001. The album is enlisted in "1001 Albums You Must Hear Before You Die", and it's been registered as the twelve best-selling album ever released in Britain.
Yes, it's undoubtedly fine and I also found the album interesting, though not really great. I find it too slick, too anonymous and somewhat generic in the long run, and I hear too many familiar artists in their music: Travis, Radiohead, U2, but not when they were aspiring to be themselves. It's just something for everyone, and Coldplay are easily favourites of whole families. It's neither too noisy, too hard, too odd, or too provocative an album that would stir up anything. Not that music has to but this is like a band trying so hard to be liked by everyone.
[ allmusic.com, Q Magazine 4 / 5, Rolling Stone 3,5 / 5 stars ]

Bruce Springsteen "Born in the U.S.A." (1984)

Born in the U.S.A.
release date: Jun. 4, 1984
format: vinyl / cd (2010 reissue)
[album rate: 3,5 / 5] [3,46]
producer: Jon Landau, Chuck Plotkin, Bruce Springsteen, Steven Van Zandt
label: Sony Music - nationality: USA

7th studio album by Bruce Springsteen originally released on Columbia Records. After the naked folk and singer / songwriter solo album Nebraska he really put energy back into the music with his so far best selling album. It's a return to the blue print that produced his breakthrough album, Born to Run and instead of continuing with his combo of narrational style as heard on The River, he combines the sing-a-long pop / rock anthems with rock & roll.
I received the album as a Christmas present from my older brother, who knew I enjoyed his Nebraska album. I was mildly surprised but sort of enjoyed it... somewhat. Fact is, I never really liked it near as much as his older albums. To me, this is over-the-top American mainstream, and I find that it's stuck in the same song throughout the whole album. The drums are almost ruining the album [80s producer-syndrome, I know], but yes, it has its moments. The title track... I can hardly sit through it. I think, you have to be American to enjoy that. And apart from running much in the same pitch and the same 1-2-3-4 rhythm [and yes, I know The Ramones never did much else], another striking annoyance is that I hear older songs popping up. When playing "No Surrender" and "Glory Days" I keep hearing too many analogies to greater songs like "Badlands/Racing in the Street/Streets of Fire".
The album is Springsteen's fourth - and in my mind least deserved - to be enlisted in "1001 Albums You Must Hear Before You Die".
[ allmusic.com, Rolling Stone Album Guide 5 / 5 ]

Blondie "Autoamerican" (1980)

Autoamerican
release date: Nov. 1980
format: cd
[album rate: 3 / 5] [2,86]
producer: Mike Chapman
label: Chrysalis Records - nationality: USA

Track highlights: 4. "The Tide Is High" - 5. "Angels on the Balcony" - 8. "Rapture" - 11. "Walk Like Me"

5th studio album by Blondie is the third consecutive album produced by Mike Chapman. Like its predecessor Eat to the Beat (1979) was a step down compared to Parallel Lines (1978), this is another (big) step down. 1980 was a difficult year for many artists in that respect that no one had the slightest idea of what direction new music styles like punk rock, post-punk, and new wave would take music in the new decade, and Blondie here proves unable to show any direction. The album only contains one fine composition. The album contains a vast variety of genres and styles making it the most unclear album by the band. Generally, it's more laid back with jazz pop, reggae, and funk-inspired music, tracks inspired by pop standards, as well as bits of new wave. I never really liked the album, and I'm closer at handing it 2,5 and sometimes even 2 'cause it's basically a mess. Still, the album made it to number #3 on the UK album charts list, number #7 in the US, and the single "The Tide Is High" secured the band another top of the charts hit single in both the UK and the US as well as in a number of countries.
[ allmusic.com 3 / 5, Rolling Stone 1 / 5 stars ]

Matt Johnson / The The "Burning Blue Soul" (1981)

1993 reissue

Burning Blue Soul [debut]
release date: Aug. 1981
format: digital (1993 reissue)
[album rate: 3 / 5] [3,16]
producer: Matt Johnson, Ivo Watts-Russell
label: 4AD Records - nationality: England, UK

Track highlights: 2. "Song Without an Ending" - 4. "Icing Up" - 6. "Out of Control" - 8. "Delirious" - 9. "The River Flows East in Spring" - 10. "Another Boy Drowning"

Studio album debut by Matt Johnson mainly produced by himself and assisted by 4AD-co-founder Watts Russell (on tracks #2, #4-8, #10), by BC [Bruce Clifford] Gilbert & G [Graham] Lewis (on tracks #3 & #9), and by Pete Maben (track #1). The album was originally released as an album by Matt Johnson - first reissued in 1983 with a different cover. The first two issues of the album bore his name whereas all later releases were issued under the moniker The The as requested by Johnson himself. In '93 it was reissued as a The The release with a new cover (artwork by Andy Dog, aka Andrew Johnson), which is the only version I'm familiar with.
The music is psychedelic, or neo-psychedelic post-punk. I guess, not many pop / rock albums with an experimental style could avoid the label post-punk in 1981, but this is definitely in the experimental end of rock.
I first became aware of the album in the late 80s and after having noticed the music by The The. This isn't close to many other contemporary releases, and it actually contains clear industrial elements without being labelled as such - I guess, the most appropriate label would be psychedelic and yet without sounding like anything from the 60s. It's not really a huge favourite of mine but it sure is more than just of keen interest, and one can clearly find some characteristic ideas, bits and pieces that should later blossom on succeeding albums.

1983 reissue		1981 original cover

Jesus Couldn't Drum "Beat the Dog" / "Suzie" (1985) (single)

Beat the Dog / Suzie, 7'' flexi single
release date: 1985
format: vinyl (single-sided flexi - LMF 004)
[single rate: 2,5 / 5] [2,66]
producer: Brian Pugsley
label: Lost Moment Records - nationality: England, UK

Tracklist: A) 1. "Beat the Dog" - 2. "Suzie"

Single release by Jesus Couldn't Drum consisting of Jonathan 'Staines' Lemon and Peter 'Pengwyn' Williams is a 7'' flexi single distributed with the purchase of an unknown music magazine.

R.E.M. "Eponymous" (1988)

Eponymous (compilation)
release date: Oct. 2, 1988
format: vinyl (ILP 463147 1) / digital
[album rate: 3,5 / 5]
producer: various
label: I.R.S. Records - nationality: USA

2nd compilation album but the first best of album by R.E.M. released on I.R.S. Records just one month before their first release on the band's new label, Warner Bros. The A-side of the vinyl issue is labelled 'Early' and its B-side 'Late' [a somewhat obscure decision as the last track on the A-side and the first on the B-side are from the same album].
The album is a fine collection of songs for someone not acquainted with the band, but for a fan, it's not only a redundant album but it also feels like an extremely insufficient release with 12 tracks only. On the positive side, three of the tracks are in alternate versions compared to previous album releases, and one track "Romance" hasn't previously been released on any studio releases, except the soundtrack album for the movie "Made in Heaven" (1987); however, the purchase soon felt more like a rather pointless one.

Annika Åkjær

~ ~ ~

Annika Åkjær is a Danish 'singer / songwriter' born in 1982. Her musical universe is closely related to that of Swedish Lisa Ekdahl and Norwegian Ane Brun.  

~ ~ ~

Gangway "The Twist" (1984)

The Twist [debut]
release date: Nov. 1984
format: vinyl (Irmg. 10) / cd (1993 re-issue)
[album rate: 3,5 / 5] [3,58]
producer: Gangway
label: Irmgardz... - nationality: Denmark

Track highlights: A) 1. "Yellow" (4 / 5) - 4. "Everything We've Ever Had" (4 / 5) - 5. "What?" - - B) 1. "The Loneliest Being" - 2. "Violence, Easter and Christmas" - 3. "On the Roof" - 4. "Call Up" (Danish Live Aid '85)

[ video by Irmgardz... ]

Studio debut album by Danish band Gangway originally released on Irmgardz... and reissued by Genlyd in 1993. The band was formed in 1982, and had some changes in its line-up but at the point of this release Gangway is: Henrik Balling on guitars, keyboards and vocals, Allan Jensen on lead vocals and bass, Jan Christensen on drums, and with Gorm Ravn-Jonsen on 'miscellaneous' (credit notes on the back cover). The band was a blow of fresh air, and something that was noticed internationally, and also in Britain. The band was more or less put in the same category as The Smiths who had only just released its debut album.

The Twist showcases the same type of melancholic jangle pop as The Smiths, Aztec Camera or Everything But the Girl but also uphold a touch of jazz-pop / lounge elements and bits of sophisti-pop, which would be more accentuated later on. It's not really a very coherent album and it points to many sources of inspiration such as post-punk bands like The Cure, Siouxsie and the Banshees, as well as new stylistic approaches of jangle pop. Tracks like "What?" and "On the Roof" are more experimental neo-psychedelic and sounds as if taken from The Glove's debut Blue Sunshine (1983), whereas "Call Up" could have been included on an album by ska revival band Madness. Henrik Balling is credited all words & music except "Yellow" written by Allan Jensen, and along the way, Balling would prove to be the band's main songwriter and composer.

Despite the obvious strong inspiration from other British artists, I really see this as their visionary debut and also their best album for years, although, they gained more popularity with the successor Sitting in the Park (1986). In retrospect, I consider The Twist their overall third-best album.

Recommended.

Gorillaz "The Fall" (2010)

The Fall
release date: Dec. 25, 2010
format: digital
[album rate: 3 / 5] [3,18]
producer: Gorillaz, Stephen Sedgwick
label: Parlophone - nationality: England, UK

Track highlights: 2. "Revolving Doors" - 3. "HillBilly Man" - 4. "Detroit" - 9. "The Snake in Dallas" - 10. "Amarillo" - 13. "Bobby in Phoenix" (feat. Bobby Womack)

4th studio album by Gorillaz [read: Damon Albarn] released only 7 months after Plastic Beach is an album, which actually showcases a much bolder change of style than one might expect. Albarn experiments, and here he has (luckily) left much of the experimental hip hop universe and instead digged into glitch pop, minimal house and electropop. Except from the two The Clash members Mick Jones (track #3) and Paul Simonon (track #12), and Bobby Womack (track #13), the vast crowd of featuring guest performers are as good as stripped down to Damon Albarn, who has composed, played and sang most of the tracks on his own.
Apparently, the entire album was recorded and mixed on Albarn's iPad during the American leg of the Escape to Plastic Beach World Tour (and more specifically the tracks were recorded from Oct. 3 to Nov. 2, 2010). Some critics point to the quick recording and production time when referring to the album as "outtakes" from Plastic Beach. Others just ignore it for being a commercial stunt. I think, they're both wrong, and it does contain fine music.
My first impression was an album of lesser interest than Plastic Beach and Demon Days, but most of all it really comes out as a document of Albarn's musicality - his interest for incorporating and playing with new styles in his broad musical universe, and, I think he has found a tone of his own. The thing is, with Albarn one has to come to terms with being confronted with new music, new influences, and in the end The Fall simply is more than just some sketches without being truly essential.
[ allmusic.com, The Guardian 3 / 5, Rolling Stone 3,5 / 5 stars ]

Neil Young "Comes a Time" (1978)

Comes a Time
release date: Sep. 29, 1978
format: cd (1993 reissue)
[album rate: 3,5 / 5] [3,63]
producer: Neil Young; Tim Mulligan; Ben Keith; David Briggs
label: Reprise Records, Germany - nationality: Canada

Track highlights: 1. "Goin' Back" (3,5 / 5) - 3. "Look Out for My Love" - 4. "Lotta Love" (3,5 / 5) - 5. "Peace of Mind" (4,5 / 5) - 6. "Human Highway" (3,5 / 5) - 7. "Already One" (4,5 / 5)

9th studio album by Neil Young is a solo release, and often when he's on his own, he turns to his roots of country and folk, and that's not my preferable cup 'o tea. The singer / songwriter folk songs are the best but there's simply too much Hank Williams in some of the weaker tracks - e.g. "Human Highway" and "Field of Opportunity" for my liking. Having said that, it's also a return to the "golden days" of his first solo albums and the album could easily be a natural follower to Harvest (1972), and it do contain some truly great songs. Crazy Horse feature on tracks #3 and #4 (produced by David Briggs) and there's plenty of artists helping out on this, although, it sounds rather quiet.
[ allmusic.com 4,5 / 5, Rolling Stone 5 / 5 stars ]

The Smiths "Hatful of Hollow" (1984)

Hatful of Hollow (compilation)
release date: Nov. 12, 1984
format: vinyl (ROUGH 76) / cd
[album rate: 4 / 5]
producer: John Porter, The Smiths, Roger Pusey, Dale 'Buffin' Griffin
label: Rough Trade Records - nationality: England, UK

Tracklist: A) 1. "William, It Was Really Nothing" (5 / 5) - 2. "What Difference Does It Make?" (4,5 / 5) - 3. "These Things Take Time" - 4. "This Charming Man" (5 / 5) - 5. "How Soon Is Now?" (4 / 5) - 6. "Handsome Devil" - 7. "Hand in Glove" (4 / 5) - 8. "Still Ill" (4 / 5)
B) 1. "Heaven Knows I'm Miserable Now" (5 / 5) - 2. "This Night Has Opened My Eyes" (4 / 5) - 3. "You've Got Everything Now" (4 / 5) - 4. "Accept Yourself" - 5. "Girl Afraid" (4 / 5) - 6. "Back to the Old House" (4 / 5) - 7. "Reel Around the Fountain" (4 / 5) - 8. "Please, Please, Please Let Me Get What I Want" (5 / 5)

Compilation album by The Smiths, and a sort of a strange release. It's the band's second album out but instead of a new studio release they send out a compilation album... I mean, how many bands release that after just one studio album? [I think The Beatles did, actually]. Anyway, this album was issued only 9 months after the debut and only 3 months before sending out a second studio album with brand new material. Hatful of Hollow contains the band's singles with B-sides and alternate recordings from John Peel sessions on BBC 1, but it's partly a clever record company decision, as the band had faced great success with their singles following the album debut. Another aspect is that Morrissey and Marr didn't fully appreciate the production sound by John porter on the debut, and they wanted the songs recorded in better versions.
The singles "Heaven Knows I'm Miserable Now" / "Suffer Little Children", and "William, It Was Really Nothing" / "How Soon Is Now?" both fared rather well and had only one song on the debut album. So, in that way this album is not 'just' an ordinary compilation of tracks you already know of.
Highly recommendable.
[ allmusic.com, Uncut, Select 5 / 5, Rolling Stone, Q Magazine 3 / 5 stars ]

The The

~ ~ ~

The The: formed in London, UK, 1979 by Matt Johnson (born Aug. 15, 1961 in London). Over the years several members have been included in The The but Johnson is the only founder and consistent member behind the name. Band members: Matt Johnson (vocals, guitar, keyboards), Keith Laws (keyboards, 1979-81), Steve Sherlock (saxophone, 1979-81), Tom Johnston (bass, 1980), 'Triash' Peter Ashworth (drums, 1980), Simon Turner (guitar, vocals, 1981), Colin Lloyd Tucker (guitar, vocals, 1981), Johnny Marr (guitar, harmonica, 1988-94), James Eller (bass, 1988-94), Dave Palmer (drums, 1988-94), D.C. Collard (keyboards, 1991-97), Keith Joyner (guitar, backing vocals, 1993-94), Jared Nickerson (bass, 1993-94), Gail Ann 'Hollywood' Dorsey (bass, 1994-96), Eric Schermerhorn (guitar, 1995-2002), Brian MacLeod (drums, 1995-97). Most of these members are more or less handpicked musicians that Matt has worked with on different occasions. In the years from 1988-94 The The consisted of a quartet that has been the most stable band featuring Matt Johnson, Johnny Marr (of The Smiths), James Eller, and Dave Palmer. Johnson released his solo debut album Burning Blue Soul in 1981 under his own name, however, in '93 it was re-issued as a release by The The, apparently, suggested by Johnson himself, so that all his album releases could be found under the band name. His older brother Andrew (aka Andy Dog) has made the cover art for several of the releases (singles, eps, studio albums). They are easy to point out as they are all painted in a very unique way with heavy use of colors, thick strokes, and a cartoonist expressionist style. Stylistically, The The has released music which covers many styles and genres but the main styles are neo-psychedelic rock and experimental pop / rock inspired by old school art rock and psychedelic rock artists like The Velvet Underground and Syd Barrett (of Pink Floyd), and more contemporary artists like The Residents and Throbbing Gristle. From the first releases Matt Johnson / The The has progressed towards more mainstream pop / rock releases of pop soul and blues rock elements but since the successful Dusk in '93, Johnson has experimented with his music, e.g. releasing the country homage to Hank Williams Hanky Panky in '95, the experimental and neo-psychedelic art rock release NakedSelf in 2000 (his latest studio album to date). Since then, he has withdrawn from the public eye and concentrated on studio projects for art installations, soundtrack albums for feature movies and documentaries, founded his own label Cinéola [also hosting podcast series with Johnson as host], and he has expanded his musical styles with ambient and minimalism.

~ ~ ~

Orchestral Manoeuvres in the Dark "Organisation" (1980)

Organisation
release date: Oct. 24, 1980
format: vinyl (1982 reissue) / reissue - DID 6) / cd (2005 remaster)
[album rate: 4 / 5] [4,18]
producer: OMD and Mike Howlett
label: Virgin / Dindisc - nationality: England, UK

Tracklist: 1. "Enola Gay" (5 / 5) - 2. "2nd Thought" (4 / 5) - 3. "VCL XI" (4 / 5) - 4. "Motion and Heart" (3 / 5) - 5. "Statues" (3 / 5) - 6. "The Misunderstanding" (4,5 / 5) - 7. "The More I See You" - 8. "Promise" - 9. "Stanlow"

2nd album by Orchestral Manoeuvres in the Dark released on Dindisc (sublabel of Virgin) only 8 months following the debut album, which had been Andy McCluskey and Paul Humphrey's project, but for this they have included drummer Malcolm Holmes as full-time member of the band.
This was the first album I heard with the band. At the time of its release, I was somewhat sceptical. I liked the synthpop and pop-elements, although, it was quite a new mix, and it felt very strange to someone who loved the energy and 'up-yours'-attitude of the contemporary punk rock. So my hesitation was really just a matter of not compromising myself by admitting to like something too attached to the contemporary popular culture. Anyway, I soon found that OMD was too extravagant, too modern, and perhaps to art pop-styled to fully attract a mere pop audience. Besides, I didn't care much what other people thought, and the band soon became another favourite of mine. "Enola Gay" was the hit single at the time but the album really contains so many great tracks. "VCL XI" ('VCL 11') was actually the name of the band (taken from an electrical diagram on the back-cover of Radio-Aktivität, 1975, by Kraftwerk) before choosing the longer name that eventually was abbreviated to just OMD. This early album is one of the band's best ever. On this one will find the original sound, a new wave and synthpop style that is anything than the hardrockin' attitude of other artists. The style is a mix of influences. Their biggest source of inspiration is Kraftwerk, which comes through in the more instrumental electronic parts, and even more so on Dazzle Ships (1983). The German band never mixed traditional instruments, bass, drums, and vocal arrangements like OMD, and with Organisation they became themselves the biggest source for other synthpop and electronic artists to follow in Britain, and also contemporary synthpop artists are hard to imagine without a link to OMD.

I first purchased a 'black cover' reissue (probably from 1986). Since then, I have tried to get hold of an original issue - I purchased one filed as an original 1980-issue, only to realise it's actually a 1982-reissue with the original grey cover.
[ allmusic.com, Q Magazine 4 / 5 stars ]

org. 'grey' Dindisc cover
with a bonus 7'' ep

The Style Council "Money-Go-Round (Parts 1+2)" (1983) (single)

own scan

Money-Go-Round (Parts 1+2), 7'' single
release date: May 1983
format: vinyl (TSC2)
[single rate: 2,5 / 5] [2,66]
producer: Peter Wilson and Paul Weller
label: Polydor Records - nationality: England, UK

Tracklist: A) "Money-Go-Round (Part 1)" - - B) "Money-Go-Round (Part 2)"

2nd single release by The Style Council. The single is included in a slightly altered "Club Mix" version on the band's first ep Introducing the Style Council. Following the single "Speak Like a Child" this is a different kinda style, and definitely not something one would associate with The Jam. It's jazz pop and funk (!) without the soul element, and really not my cup of tea.

Red House Painters "Red House Painters" (1) (1993)

Red House Painters (1)
release date: May 24, 1993
format: cd
[album rate: 4 / 5] [3,78]
producer: Mark Kozelek
label: 4AD Records - nationality: USA

Tracklist: 1. "Grace Cathedral Park" - 2. "Down Through" - 3. "Katy Song" (4 / 5) - 4. "Mistress" - 5. "Things Mean a Lot" - 6. "Funhouse" - 7. "Take Me Out" - 8. "Rollercoaster" - 9. "New Jersey" - 10. "Dragonflies" - 11. "Mistress" (Piano Version) - 12. "Mother" - 13. "Strawberry Hill" - 14. "Brown Eyes"

2nd studio album by Red House Painters released on 4AD and produced by Mark Kozelek follows only 8 months after the band's debut, Down Colorful Hill (Sep. 1992). The self-titled album is often referred to as Red House Painters [Rollercoaster] with reference to the front cover as also the following album is without other title than the band name thus being referred to as Red House Painters [II], or: Red House Painters [Bridge].

All tracks are credited Mark Kozelek, and it's simply one of the band's best albums. I really like the shoegaze, and dream pop sound and the feel on this one, which may be typical for the productions on 4AD Records, although, it's not really a style related to later Kozelek albums.
[ allmusic.com 4,5 / 5 stars ]