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| l-r: JJ Burnel, Hugh Cornwell Jet Black, Dave Greenfield |
release date: May 12, 1978
format: vinyl (Greek issue) / cd (2014 remaster)
[album rate: 4 / 5] [3,82]
producer: Martin Rushent
label: United Artists Records - nationality: England, UK
Track highlights: A) 1. "Tank" - 2. "Nice 'N Sleazy" (TOTP appearance)- 3. "Outside Tokyo" - 4. "Sweden (All Quiet on the Eastern Front)" - 5. "Hey! (Rise of the Robots)" - 6. "Toiler on the Sea" - - B) 1. "Curfew" - 4. "Death and Night and Blood (Yukio)" - 5. "Enough Time"
3rd studio album by The Stranglers following 8 months after No More Heroes (Sep. 1977) is the band's third and final to be produced by Rushent.
This album is one of the first examples of a post-punk album. Some tracks are held in a 'traditional' Stranglers punk rock tone, whereas about half of the songs introduce a much more experimental approack to their usual song structures with experimental use of percussion and synths. The album opener "Tank" is a razor-sharp punk track but already "Nice'N'Sleazy" is something different with a epic bass-line and bold use of synths. This is followed by a melancholic ballad with off-beat drums, and then back to what appears as blazing punk rock on track #4 but half way through it turns into a new stylistic mix and then ending as it started. Also track #5 is both punk rock and then experimental - is it ska revival on steroids, or rock fusion, pub rock, or garage rock revival?? "Toiler on the Sea" is mostly punk rock with a twist, and then "Curfew" is like the strong second track a new addictive blend of their own. "Threatened" is experimental punk rock with strong bass and keyboard, and then "In the Shadows" is one of the strongest experimental tracks on this album with a new set of tones and what sounds like an influence from jazz. "Do You Wanna" is the other obvious almost improvisitional track, which leads directly on to one of the band's new staples: "Death and Night and Blood (Yukio)", which is a highly original compositions build on an easy-to-remember chorus-line and minimalist bass and drums, but again, with an addition of organ and guitar solos that can only be The Stranglers. The end-track "Enough Time": "Have You Got Enough Time, Have You Got Enough Time, Have You Got Enough Time, Have You Got Enough Time..." is both tight, dark and angry, and then it's also punk, synth-pop and jazz-influenced. The album is anything but a strong coherent whole but thanks to the band's original soundscape and their will to experiment and leave the safe spot of their fans' mindset, this is just one their better works, and an album to appreciate.
Highly recommended.
