Lou Reed "Legendary Hearts" (1983)

Legendary Hearts
release date: Mar. 1983
format: digital
[album rate: 3,5 / 5] [3,52]
producer: Lou Reed
label: RCA Records - nationality: USA

Track highlights: 1. "Legendary Hearts" - 2. "Don't Talk to Me About Work" - 6. "Turn Out the Light" - 9. "Bottoming Out" - 10. "Home of the Brave" - 11. "Rooftop Garden"

12th studio album by Lou Reed follows only one year after his fine The Blue Mask (Feb. 1982) is another of Reed's better albums in the 1980s. It's worth noticing that Reed is exclussive producer on this - something that really doesn't help in the overall sound. It does have a fine mix of pop / rock and blues rock with the addition of some jazz rock elements on top of more typical singer / songwriter material, which in many ways documents his many influences. I both like the production side of it and then don't. The good part is that it seems like a rare album being released at a time when almost all artists followed a productional idea with [too] heavy focus on drums and keyboards up front. The down side to it, is little dynamics and the absence of great guitar sound as found on the predecessor. But listening to it from a post-year-2000-perspective, the album doesn't feel like an early 1980s release at all. It doesn't really contain any noteworthy hits, nor great single tunes - it's more like the whole album is its biggest asset with some great songwriting. It's fine just to listen to, but it's also brilliant as background wall-paper (not paying lyrics or music much attention) for a quiet evening with red wine and good company.
Not as strong as The Blue Mask but still a fine album in the discography of Lou Reed.
[ allmusic.com, Rolling Stone 4 / 5 stars ]

Everything but the Girl "Temperamental" (1999)

2015 Deluxe Edition

Temperamental
release date: Sep. 28, 1999
format: 2 cd (2015 remaster - Deluxe Edition)
[album rate: 4,5 / 5] [4,28]
producer: Ben Watt
label: Edsel Records - nationality: England, UK

Tracklist: Disc 1, 1. "Five Fathoms" (4,5 / 5) - 2. "Low Tide of the Night" - 3. "Blame" (5 / 5) - 4. "Hatfield 1980" (4,5 / 5) - 5. "Temperamental" - 6. "Compression" (4,5 / 5) - 7. "Downhill Racer" - 8. "Lullaby of Clubland" - 9. "No Difference" - 10. "The Future of the Future (Stay Gold)" - *11. "Firewall" - *12. "Come In (unfinished album track)" - *13. "Temperamental (live at The Forum, London, 1999)"

Disc 2, "Remixes": 1. "Five Fathoms (Club 69 Future Club mix)" - 2. "Five Fathoms (Kevin Yost Enlightenment mix)" - 3. "Temperamental (Pull Timewarp mix) - 4. "Temperamental (Hex Hector and Mac Quayle Reverse Drum dub)" - 5. "Temperamental (Wamdue Project remix)" - 6. "Blame (Fabio remix)" - 7. "Blame (J Majik VIP remix)" - 8. "Downhill Racer (Kenny Dope remix)" - 9. "Lullaby of Clubland (Markus Schulz Tribal Journey)" - 10. "Lullaby of Clubland (Matty Heilbronn II Deep Club mix)"
*Bonus tracks

10th studio album by Everything but the Girl originally released on Virgin Records. The album is the so far final studio album by the twenty-year old duo. On a superficial level it's odd to put a highly successful project to a halt. The huge success from the mid 90s up until this point has much to do with their decision to step into the electronic genre. Todd Terry's remix of "Missing" (1994) became their biggest hit. The house element from that could easily be found on the '96 follow-up album Walking Wounded where it's blended nicely with trip hop, which proved to be another fine statement and evolvement of their music.
Temperamental is an even more electronic-founded album than its two predecessors without much of the trip hop sound from Walking Wounded but it introduces a great synthesis of house, downtempo and the duo's trademarks of jazz pop elements from sophisti-pop and lounge. On top of a strong unique sound the album is like one long meditative take.

The reception of the album was very positive. The duo faced fine reviews and had become a huge name in electronic club-land. Watt intensified his work as producer and DJ, but the couple apparently felt trapped in the stardom that followed Temperamental and only wanted to lead a more private life. In 1998 Tracey Thorn gave birth to twin daughters, and a son followed in 2001, which possibly was decisive changes in their private life and also brought an end to this great duo. Ben Watt and Tracey Thorn were married in 2008, and they're still both engaged in music, although, there are no signs of a continued close musical partnership as Everything but the Girl, alas.

To me, this is one of the very best by the duo, and also one of the absolute best of the year.
Highly recommendable.

About the remaster:
The Deluxe 2xCD Edition remaster booklet is a fine updated package. Not as much for being a remaster as I find it a bit difficult to hear the big differences, but for adding another 3 tracks to an already brilliant album, and on top of that it gives you an additional 10 remixes that are all very unique despite originating from only 5 different songs.
The album is simply one of the best by the duo continuing in the electronic steps laid out on Amplified Heart and followed on Walking Wounded.
[ allmusic.com 4,5 / 5 stars ]

1999 Favourite releases: 1. The Chemical Brothers Surrender - 2. Underworld Beaucoup Fish - 3. Everything but the Girl Temperamental

back cover

PJ Harvey "Let England Shake" (2011)

Let England Shake
release date: Feb. 11, 2011
format: digital
[album rate: 3 / 5] [3,22]
producer: Flood, Mick Harvey, John Parish, PJ Harvey
label: Island Records - nationality: England, UK

Tracklist: 1. "Let England Shake" - 2. "The Last Living Rose" - 3. "The Glorious Land" - 4. "The Words That Maketh Murder" - 5. "All and Everyone" - 6. "On Battleship Hill" - 7. "England" - 8. "In the Dark Places" - 9. "Bitter Branches" - 10. "Hanging in the Wire" - 11. "Written on the Forehead" - 12. "The Colour of the Earth"

8th studio album by PJ Harvey released on Island Records (Vagrant in the US) and produced by Flood [Mark Ellis], Mick Harvey, John Parish, and PJ Harvey. The album comes 3½ years after White Chalk (Sep. 2007), and stylistically it doesn't deviate much from that. The 2007 album dealt much about the same old England like this one. Here, the songs are more orchestrated but still with bold and quiet folk and chamber pop.
In the UK the album was met as her finest album to date. Harvey was nominated the Mercury Prize Award in 2011, like she had been on three other occasions before - only, this time she won it, and she is so far the first artist to receive that prize more than just once, as she also won in 2001 for the album Stories From the City, Stories From the Sea (2000). Harvey has received a number of other prizes for the album, and it's (perhaps) her best-selling album worldwide, peaking at number #8 on the UK albums chart list and making it to top 10 in various other countries.
Looking at her most recent studio releases it appears that she feels comfortable playing with Mick Harvey and perhaps especially with John Parrish, with whom she released the second collaboration album A Woman a Man Walked By in 2009, and that she has found a more mature role playing more folk-based music with lyrical roots in ancient British literature. Particular in England, critics and people in general, I guess, are happy to have this female exponent of modern art that bonds with the glorious past. And I know from reviews that the album was received in mostly positive terms abroad as well.
In spite of all the acclaim, I just don't find it that rewarding, and perhaps because my musical fascination is very much dependent on the musical output - regardless lyrical strengths. This is sincere and mellow music but it doesn't really touch me. Writing about World War I, and dealing with conflicts as a conceptual element is simply not enough. I find the music repetitious and on a halt without musical progression or originality. Concerning album highlights, I find that a difficult subject 'cause from my perspective, the album is without obvious highs. The whole album is like one long take. The storytelling is initiated, prolonged, extended and finished without much fuss. Yes, there are obvious epic elements, but this is not a novel. I'm sorry, Polly Jean, and you're still fabulous. A bit undeservedly, the album is enlisted in "1001 Albums You Must Hear Before You Die".
[ allmusic.com 4 / 5, Rolling Stone 3 / 5 stars ]

"National Lampoon's Animal House" (OST) (1978)

National Lampoon's Animal House (soundtrack)
release date: Jul. 28, 1978
format: vinyl (reissue)
[album rate: 4 / 5]
producer: Kenny Vance
label: MCA Records - nationality: USA

Soundtrack album to the comedy film "National Lampoon's Animal House", or just: "Animal House" (1978) directed by John Landis and starring John Belushi.

Thin Lizzy "Nightlife" (1974)

Nightlife
release date: Oct. 1974
format: cd
[album rate: 3 / 5] [3,06]
producer: Phil Lynott, Ron Nevison
label: Vertigo Records - nationality: Ireland

Track highlights: 1. "She Knows" (3,5 / 5) - 3. "It's Only Money" - 4. "Still in Love With You" (live) - 6. "Showdown" - 8. "Philomena"

4th studio album by Thin Lizzy. After a mediocre debut the band released another two albums as the same trio, both without much change in style and / or success, although, the '73 album contains signs of a more original sound and also introduces some of Lynott's classic works. Prior to the recording of Nightlife, Eric Bell left the band and two new members joined and proved essential in shaping a new and more significant style. Scott Gorham and Brian Robertson, both on guitar was now part of the new Thin Lizzy that would be the first classic quartet. Using two guitarists was rather unusual for a traditional pop / rock band but it also enabled a quite unique sonic shape. Eric Bell was never known for his exquisite performances, and it seems that both Robertson and Gorham were better instrumentalists.
The album is probably the band's most laid back and least hard rock studio album with both funk and soul elements in an overall blues rock-founded album. Gary Moore had been a member of the band for a few months as he joined the band in late '73 when Bell left the band while on tour, and Moore was included for live sessions. He left again in April '74 but managed to record a few new songs with band and therefore he plays lead guitar on "Still in Love With You".
[ allmusic.com 3,5 / 5 stars ]

The Prodigy "Baby's Got a Temper" (2002) (single)

Baby's Got a Temper, single
release date: Jul. 1, 2002
format: digital
[single rate: 3 / 5] [3,22]
producer: Liam Howlett
label: XL Recordings - nationality: England. UK

Tracklist: 1. "Babys Got a Temper (Main Mix)" - 2. "Babys Got a Temper (Dub Mix)"

A single release by The Prodigy, which wasn't released on any of their studio albums. The track is written by vocalist Keith Flint for his side-project, Flint featuring on the album Device #1 (2003) as last uncredited (hidden) track "No Name No Number (NNNN)", but as usual it has been produced and mixed by Liam Howlett.
The reception of the single was mostly a negative one, as many saw this as a step backwards and / or in a more superficial direction. Also, the music video led to a lawsuit against the band due to its depiction of drug abuse and sale of cows milk with drug effect.

The Chemical Brothers "Push the Button" (2005)

Push the Button
release date: Jan. 25, 2005
format: cd
[album rate: 3 / 5] [2,88]
producer: The Chemical Brothers
label: Freestyle Dust / Virgin - nationality: England, UK

Track highlights: 1. "Galvanize (feat. Q-Tip)" - 2. "The Boxer (feat. Tim Burgess)" - 3. "Believe (feat. Kele)"

5th studio album by The Chemical Brothers, which has some of the same style as Come With Us (2002) and like that it lacks the really great compositions. It may not have as much focus on tribal house but the various collaboration works with featuring artists obscure the picture and make it more experimental house. The first track featuring Q-Tip is the only fine experience here.
[ allmusic.com, Rolling Stone 3,5 / 5, PopMatters, The Guardian 4 / 5 stars ]

PJ Harvey "White Chalk" (2007)

White Chalk
release date: Sep. 24, 2007
format: digital
[album rate: 3 / 5] [3,18]
producer: Flood, John Parish, PJ Harvey
label: Island Records - nationality: England, UK

7th studio album by PJ Harvey released on Island Records and produced by Flood [Mark Ellis], John Parish, and PJ Harvey. It's been 3 ½ years since the previous studio album Uh Huh Her (2004) and this time she has turned to a new style of folk-oriented chamber pop, and gone is her 'usual' sticker of alt. rock.
The album was well-received by critics mostly everywhere, and the album generally sold well. I just don't like it all that much - and never did. Maybe one day I'll understand why people call it great. Heather Phares at allmusic.com writes: "When she's at the peak of her powers, as she is on this frightening yet fearless album, the world she creates is impossible to forget, or shake off easily. 'White Chalk can make you shiver on a sunny day." Bob Sheffield writes for Rolling Stone and he states: "The songs aren't knockouts, avoiding the big choruses she does so well. But they have a cold pastoral kind of chill, as Harvey howls about being possessed by demon lovers and ghosts in "The Devil" and "The Piano." Well, I simply do not agree, Bob. Although, intimate, I find it long and tedious, and I don't consider this at her peaks, but yes Bob, the songs aren't knockouts, I concede on that, but having to scratch for poetic and historical bonds in English soil is not enough to make it great. She could've released the songs in a booklet 'cause the music is left without personal intensity or involvement, as I see it. Buy hey, it's PJ Harvey isn't! I find it better than a lot out there, and it's no near a mediocre album, but it may just be her least favourable studio album.
[ allmusic.com, Rolling Stone 4 / 5 stars ]

Cocteau Twins "Aikea-Guinea" (1985)

Aikea-Guinea (ep)

release date: Mar. 4, 1985

format: vinyl (BAD 501)

[album rate: 3,5 / 5] [3,28]

producer: Cocteau Twins

label: 4AD - nationality: Scotland, UK

Tracklist: A) 1. "Aikea-Guinea" - 2. "Kookaburra" - - B) 1. "Quisquose" - 2. "Rococo"

Ep release by Cocteau Twins following the release of the album Treasure (Nov. 1984) with four non-album tracks. The title track was also released as a 7'' single with track #2 as only other track. The title track was later released on the The Pink Opaque (Dec. 1985) compilation album for the US market.

The ep doesn't quite reach the heights of Treasure but still feels like a lighter direction to the post-punk reminiscense of Head Over Heels (Oct. 1983).

PJ Harvey "The Peel Sessions: 1991-2004" (2006)

The Peel Sessions: 1991-2004 (compilation)
release date: Oct. 23, 2006
format: digital
[album rate: 3 / 5] [3,18]

A compilation album containing tracks from five John Peel sessions at BBC, released through Island Records and produced by Mike Robinson, Alison Howe, Simon Askew, and Andy Rogers. Well, some Peel sessions are truly original versions of well-known artists' work, but the majority of these recordings are really not all that different from Harvey's own album versions, so in that way this it "just another compilation" of fine tracks, and is more of a collector's item. And being rather familiar with 8 of the album's 12 tracks, I really prefer the studio album versions. The production sound here is really not that great. Sometimes you need the scraped down versions of things making it more authentic, I guess, but here that strategy don't work that well. Some Harvey's best early songs all have a certain balance of fierce energy and bedroom rehearsal recording sound that just fits so well, but in these recordings that balance is lost. Everything comes out as mere demo-recordings she did much better on her own, eg. on her 4 Track Demos album.
[ allmusic.com, Uncut 4 / 5, Mojo 2 / 5 stars ]

Big Country "Chance" (1983) (single)

Chance, 7'' single

release date: Aug. 26, 1983

format: vinyl (814 350-7)

[single rate: 4 / 5] [4,12]

producer: Steve Lillywhite

label: Mercury Records - nationality: Scotland, UK

Tracklist: A) "Chance" - - B) "The Tracks of My Tears"

Single release by Big Country is the band's fourth and final single taken from the debut album The Crossing (Jul. '83). The A-side is from the album, whereas the B-side track is a cover written by 'Smokey' Robinson, Warren 'Pete' Moore and Marvin Tarplin originally a song by The Miracles from 1965 released as a single, Jun. '65 (later that year released on the debut Going to a Go-Go (Nov. 1965) by Smokey Robinson & The Miracles.

Siouxsie and the Banshees "Tinderbox" (1986)

Tinderbox

release date: Apr. 21, 1986

format: vinyl (SHELP 3) / cd (2009 remaster)

[album rate: 3,5 / 5] [3,68]

producer: Siouxsie and the Banshees

label: Polydor / Wonderland - nationality: England, UK

Track highlights: 1. "Candyman" - 2. "The Sweetest Chill" - 4. "Cities in Dust" (4 / 5) (live on The Old Grey Whistle Test) - 5. "Cannons" - 6. "Party's Fall" - 8. "Land's End" (live on The Old Grey Whistle Test) - *10. "The Sweetest Chill (Chris Kimsey 12" Remix)" - *11. "Song From the Edge of the World (JVC Version)" - *12. "Starcrossed (demo)"

*Bonus track on 2009 remaster

7th studio album by Siouxsie & The Banshees (as the band is stylized here) (SATB), following nearly full two years after Hyaena (Jun. 1984), which saw the band among other things having to find a suitable replacement for guitarist Robert Smith, who ultimately found it too challenging to be engaged in several groups and finally chose to concentrate fully on his brain-child, The Cure. Smith was eventually replaced by John Valentine Carruthers, who first features on the The Thorn EP (Oct. 1984).

The guitar has always played a special part in the music by SATB, which means there's a natural audible change on the album here. It's not so much that the guitar sound has disappeared, but to a larger extent that the album makes more room for other instruments. Severin's bass has gained more volume and Budgie's drums also uphold a significant position in a soundscape that is particularly characterised by the use of strings: violins, cellos, and keyboards simulating similar instrumentation - all of which emphasises a certain chamber pop feel and for the most part: a distinct art pop style on all compositions. It's not a ground-breaking newfound sound as such, but it's certainly a new foundation, and that's how it's always been with this band. Each new album has its own touch and Tinderbox is generally beautifully produced.

The album garnered positive reviews and landed at number #13 on the UK albums chart, possibly thanks to two singles preceding the album. The first single "Cities in Dust" was released already in Oct. '85 and it got a great deal of airtime on MTV and it peaked at No. #21 on the singles list. The song presents a distinctly stronger dance-friendly style as alt. dance / dance pop, which is why it found a spot at number #17 on the US Dance Club Songs chart. The second single "Candyman" was released in Feb. '86 and charted at number #34.

"Cities in Dust" is a fine, strong and iconic track that fits the band's distinctive profile perfectly, whereas the album doesn't quite reach the level of Hyaena. "Land's End" is a super-nice progressive and unconventional composition with focus on Severin's fretless bass and Budgie's skills as equilibrist percussionist - something that may also be heard on several other tracks on an album that has also found room for a few fillers. Still, Tinderbox is a thoroughly solid album both proving Carruthers as a sublime guitarist and at the same time demonstrates that SATB still have great musical potential and still are capable of the difficult task of evolving.

The front cover reproduces a photograph of a tornado taken by Lucille Handberg near the town of Jasper, Minnesota, Jul. 8, 1927. It's a classic image, which previously served as the cover of Miles Davis' Bitches Brew (1970) and for Deep Purple's Stormbringer (1974).

The 2009 remaster comes with four bonus tracks - two remix versions, and two non-album tracks, which are quite fine compositions.

Recommended.

[ allmusic.com 4,5 / 5 stars ]

Jacques Brel "Brel (aka Les marquises)" (1977)

Brel (aka Les marquises)

release date: Nov. 17, 1977

format: vinyl (gatefold)

[album rate: 4 / 5] [3,77]
producer: ? (rec. by Gerhard Lehner)

label: Barclay - nationality: Belgium

Track highlights: A) 1. "Jaurès" - 2. "La ville s'endormait" - 3. "Vieillir" - 4. "Le bon Dieu" - - B) 1. "Les remparts de Varsovie" - 2. "Voir un ami pleurer" - 4. "Jojo" - 6. "Les Marquises"

14th and final studio album by Jacques Brel following five years after Ne me quitte pas (Sep. 1972), which is made up of new recordings of Brel's most famous songs making this his first album with new material in 9 years.

My Bloody Valentine "You Made Me Realise" (ep) (1988)

You Made Me Realise (ep)

release date: Aug. 8, 1988

format: cd (1990 reissue)

[album rate: 3,5 / 5] [3,55]

producer: My Bloody Valentine

label: Creation Records - nationality: Ireland

Tracklist: 1. "You Made Me Realise" - 2. "Slow" - 3. "Thorn" - 4. "Cigarette in Your Bed" - 5. "Drive It All Over Me"

Ep by Irish band My Bloody Valentine following the Ecstacy (Nov. 1987) mini-album, which was the first album to feature Bilinda Butcher, who had replaced vocalist David Conway after his own decision to leave the band in early '87. Initially, the ep was exclusively released on vinyl, and from 1990 as a cd. Half of the songs also ended up on the North American version of the compilation ep Feed Me With Your Kiss (Nov. 1988) released on Mercury.

It's quite telling how the style of the band evolves from one release to another. The style of The New Record by My Bloody Valentine ep (Sep. 1988) introduced a style closer to that of The Jesus and Mary Chain, and that is pretty much still the case here, although, it also reveals some news. Where "You Made Me Realise" and "Slow" are pure noise pop songs, which both comes the closest to style of The Jesus and Mary Chain here, the three remainders sound more like a fusion of 1960s surf rock and a jangle pop influence from The Smiths. Overall, there's now much more room for bass and heavier drums, and the production sound has generally improved.

Hüsker Dü "Warehouse: Songs and Stories" (1987)

Warehouse: Songs and Stories
release date: Jan. 19, 1987
format: cd (1992 reissue)
[album rate: 4 / 5] [4,22]
producer: Bob Mould & Grant Hart
label: Warner Bros. - nationality: USA

Track highlights: 1. "These Important Years" - 2. "Charity, Chastity, Prudence, and Hope" - 3. "Standing in the Rain" - 5. "Ice Cold Ice" (4,5 / 5) (live 2012) - 7. "Could You Be the One?" (4 / 5) (live) - 9. "Friend, You've Got to Fall" (4 / 5) - 10. "Visionary" - 11. "She Floated Away" - 12. "Bed of Nails" - 14. "It's Not Peculiar" (4,5 / 5) - 16. "No Reservations" (5 / 5) - 17. "Turn It Around" ( 4 / 5) - 18. "She's a Woman (And Now He Is a Man)" (live) - 19. "Up in the Air" (5 / 5) [ cover by Heidi Berry ]

6th and final studio album by Hüsker Dü follows only 10 months after Candy Apple Grey (Mar. '86) and was originally released as a double vinyl album produced by Bob Mould and Grant Hart who practically divide the writing credits between them - 11-9 in Mould's favor on the total of 20 tracks, but with a more equal share by the two than earlier (according to Grant, Mould made sure there he maintained a 55/45 % advantage in the numbers of songs represented by the two). Prior to the recording sessions Hart was both diagnosed Hepatitis C and HIV-positive - the latter diagnosis proving incorrect after the band split in '87.

The style is not far from what is found on Candy Apple Grey. Perhaps this is less folk rock-inspired and focusing more on alt. rock and power pop with some links to the near past of punk rock. The album has always been my favourite by the band, and to me, this also shows Mould as the more harmony-founded and Hart as the more complex songwriter of the band. Tensions between Mould and Hart had long led to increased tension - some suggest that Mould could no longer accept Hart's drug addiction - others that Hart proved to be Mould's equal and challenged Mould's role as leader. Fact is, the band dissolved at some point during its '87-tour, while Hart was undergoing methadone-treatment. The album received wide-spead acclaim and it's the only Hüsker Dü album enlisted in "1001 Albums You Must Hear Before You Die". Three singles were issued to promote the album: Track #7 and track #18, followed by track #5.

After the split, bassist Greg Norton stopped as a musician and concentrated on a life running a restaurant business for the next two decades after which he returned to music in 2006 in the band The Gang Font. The two songwriters continued their individual careers in music. Grant Hart released his solo debut album Intolerance (1989) and then founded and continued in the band Nova Mob for two album releases before again returning to a solo career. Bob Mould released two solo albums Workbook (1989) and Black Sheets of Rain (1990) before forming the trio Sugar for three album releases after which he also returned to a solo career.

[ allmusic.com 5 / 5, 👎Rolling Stone 3 / 5, 👍Q Magazine 4 / 5 stars ]

1987 Favourite releases: 1. The Smiths Strangeways, Here We Come - 2. U2 The Joshua Tree - 3. Hüsker Dü Warehouse: Songs and Stories

Honeyblood "Honeyblood" (2014)

Honeyblood [debut]
release date: Jul. 14, 2014
format: digital
[album rate: 3 / 5] [3,13]

Track highlights: 1. "Fall Forever" (4 / 5) (live as a duo) - 2. "Super Rat" (BBC studio) - 5. "Killer Bangs" (4 / 5) - 10. "Fortune Cookie" - 12. "Braid Burn Valley"

Studio debut album by the Scottish duo Honeyblood released on FatCat Records and produced by Peter Katis and Honeyblood. The duo consist of Shona McVicar on drums, percussion, and additional vocals and Stina (Marie Claire) Tweeddale on vocals, piano, and guitar, and they play their own indie pop with a lot of shoegaze, some dream pop with references to American 90s bands like The Breeders, Throwing Muses and bits of PJ Harvey and The Smiths, just to establish their style. Sometimes they play with a certain punk rock or grunge rock inspiration and at other times it's just more indie pop, jangle pop-styled with some garage rock. On their FaceB00k profile they call it 'crunch pop'. Well... perhaps that's what it is. Anyway, to realise a full album with enough diversity they had producer Peter Katis play "electronic percussion", Kit Karlson keyboard, and Eric Sanderson bass. I only just bought the digital album, but it continues where the fine single "Killer Bangs" left us, so I think it's good but not really great. For one thing, it's too simple, but what really makes it a difficult first release is the duo's use of too much recycling from other artists. They play well, and with a lot of energy but with little originality. I will be looking out for the follow-up album, however.
[ allmusic.com 3,5 / 5, NME 4,5 / 5 stars ]

Siouxsie and the Banshees "The Thorn EP" (1984) (ep)

The Thorn EP, ep

release date: Oct. 19, 1984

format: digital (2004 remaster)

[album rate: 3,5 / 5] [3,54]

producer: Mike Hedges, Siouxsie and the Banshees

label: Polydor Records - nationality: England, UK

Tracklist: 1. "Overground" - 2. "Voices (On the Air)" - 3. "Placebo Effect" - 4. "Red Over White"

EP release by Siouxsie and the Banshees and the band's first release after Robert Smith left the band and therefore also the first album with John Valentine Carruthers as new guitarist. The EP contains four tracks, all of which have previously been issued. "Overground" is thus available in album version on the debut The Scream (1978), "Voices (On the Air)" has previously only been released as the B-side "Voices" to the band's first single "Hong Kong Garden" (Aug. '78), "Placebo Effect" may be found on the band's second album Join Hands (1979), and "Red Over White" was B-side to the single "Israel" (Nov. '80). All tracks here have been recorded in new 'symphonic' arrangements with the band attempting to incorporate strings in its soundscape - something they would refine on the band's following album Tinderbox (1986).

The Thorn EP is quite an interesting outing, which clearly shows the band's search for a new sound. SATB had always been and practically were challenged throughout the band's long career in holding on to guitarists. The band had already displayed several great guitarists, and this was another characteristic that followed the band from start to finish. Either the guitarists chose to leave themselves, or they were dismissed, but none of the band's many excellent guitarists featured on no more than three studio albums in succession. The band's sound depends heavily on a distinctive guitar sound, and with Robert Smith in the band that sound was naturally different from when John McGeoch played beforehand, and with Carruthers it's again necessary to saddle up - and in this way The Thorn Ep nicely documents a search for cultivating the band's sound and to incorporate their new guitarist into a natural process, which finds a more rooted sound on the following album.

The EP is not in itself a masterful outing but is exciting as something diverse in between big albums, where the band proves to bridge from energetic post-punk towards more sophisticated art pop.

The Thorn EP was originally only released on vinyl - later came an independent digital issue, but the EP is also available as a separate CD on the compilation album Downside Up (2004).

Big Country "The Crossing" (1983)

The Crossing [debut]
release date: Jul. 19, 1983
format: vinyl / cd
[album rate: 4,5 / 5] [4,25]
producer: Steve Lillywhite
label: Mercury Records - nationality: Scotland, UK

Track highlights: 1. "In a Big Country" 4,5 / 5) (live) - 2. "Inwards" (4,5 / 5) - 3. "Chance" - 4. "1000 Stars" (4,5 / 5) (live) - 5. "The Storm" (4 / 5) - 6. "Harvest Home" (4,5 / 5) - 8. "Close Action" (4 / 5) - 9. "Fields of Fire (400 Miles)" (4,5 / 5) - 10. "Porrohman" (4,5 / 5)

Studio album debut by Big Country consisting of Stuart Adamson on lead vocals, lead guitar, piano, and e-bow, Bruce Watson on guitar, mandolin, e-bow, and backing vocals, Tony Butler on bass and backing vocals, and with Mark Brzezicki on drums, percussion, and backing vocals. The band was initially formed as a trio and then a quintet with various other members but always featuring Watson and Adamson, the latter having only just left Skids. All tracks here are credited the band, although, it's evident that Adamson dominate and continue his style from Skids only adding new dimensions to his vocals and guitar playing. Both Adamson and Watson are among the first to bring in the e-bow in contemporary pop / rock, an instrument which basically enables the guitar to replace synths, and which became more popular in the late 80s and early '90s. Adamson was already known for his special guitar sound when playing in Skids but with Big Country he goes further making his guitar resemble that of Scottish bag-pibes (an analogy he hates).
The style is hard to narrow in but the band plays with high energy, which at the time was labelled new wave, however, that hardly suffice, as the band blends celtic rock with elements from new wave and contemporary pop / rock, and nearly all band members came from a background in punk rock - today, I would reckon that a combo of alt. rock and celtic rock would be more fitting labels. I used to only have the album on cassette, but have played it from '83 to "modern days" without ever tiring of the sound. Stuart Adamson's importance as one of the shining stars of popular music has only increased since then, and his playing style was copied in many years to come. The album is one of my absolute favourites and a modern classic.
This is Big Country's masterpiece.
[ allmusic.com, Blender, Rolling Stone 4 / 5 stars ]

1983 Favourite releases: 1. New Order Power, Corruption & Lies - 2. Tom Waits Swordfishtrombones - 3. Big Country The Crossing

Bauhaus "Swing the Heartache: The BBC Sessions (1989)

Swing the Heartache: The BBC Sessions (compilation)
release date: Jul. 18, 1989
format: vinyl 2 lp (BEGA 103) / cd
[album rate: 3,5 / 5] [3,38]
producer: ['BBC Radio broadcast recordings']
label: Beggars Banquet - nationality: England, UK

A double compilation album by Bauhaus released six years after the band split in '83.

I never really played the album that much, as it contains no big surprises. Of course, being recordings for radio broadcasts, the tracks are different from the studio album releases but they don't add much new, nor tell another story. So basically, this is just a collector's item.

The cover art photo is by Tansy Spinks (photograph from Covent Garden, London).
[ allmusic.com 3 / 5 stars ]

The Church "Remote Luxury" (1984)

vinyludgave,
Carrere

Remote Luxury (compilation)
release date: 1984
format: vinyl (CAL 213) / cd
[album rate: 4 / 5]
producer: The Church; John Bee
label: Carrere Records - nationality: Australia

Tracklist: 1. "Constant in Opal" - 2. "Violet Town" - 3. "No Explanation" (4 / 5) - 4. "10,000 Miles" - 5. "Maybe These Boys" - 6. "Into My Hands" (4 / 5) - 7. "A Month of Sundays" - 8. "Volumes" - 9. "Shadow Cabinet" - 10. "Remote Luxury" (4 / 5)

A compilation by The Church, which probably has to be seen in light of the fact that the band only just signed with Warner Bros., who decided to promote the band by releasing a compilation from the two 5-track EPs Remote Luxury (1984) and Persia (1984). Rather than choosing a release where the tracks from both EPs were in continuation of each other, the company chose to mix the albums. Somehow, at the same time, the band's former company, Carrere, managed to make an agreement to release the album under their own name in Europe.

The Remote Luxury Ep released in Feb. '84 (Content: 1. "Maybe These Boys" - 2. "10,000 Miles" - 3. "Into My Hands" - 4. "A Month of Sundays" - 5. "Remote Luxury "), and the Persia EP released Aug. '84 (content: 1. "Constant in Opal" - 2. "Volumes" - 3. "No Explanation" - 4. "Violet Town" - 5. "Shadow Cabinet" ).

Stylistically, there are few changes since the studio album Seance (1983) with less focus on the progressive and the neo-psychedelic elements but the album is a super fine release from these fantastic Aussies.

Original eps:

Remote Luxury (ep) Feb. 1984		Persia (ep) Aug. 1984

Compilation on Warner:

Remote Luxury