The current global pandemic has highlighted across the board differences between many modern recording artists.
For some this has meant not sticking their head above the parapet and beyond what was already on the release schedule, they haven’t done anything to support their fan base through lockdowns and social distancing.
Others have given swathes of material away on platforms like YouTube in the form of remastered concert footage, acoustic lockdown sessions and unexpected collaborations.
This has been the approach of the likes of PINK FLOYD and GENESIS who have also no doubt picked up a few more sales along the way. A third group have used the lockdown to produce. From this, we will have a new CABARET VOLTAIRE release by year end which irrespective of the circumstances is a good thing and, amazing as it may seem, we have more from the non-stop musical mind of Tim Bowness.
With ‘Late Night Laments’, we are presented with what is his second solo album in just over a year. This is in conjunction with the release of the excellent NO-MAN album ‘Love You To Bits’ at the tail end of last year, running the eclectic Burning Shed AND producing hours and hours of entertaining podcast material with bandmate and fellow music polymath Steven Wilson, who hasn’t been sitting at home himself watching re-runs of ‘The Professionals’ on Netflix during this time.
And it’s ‘The Album Years’ podcast that points to the content of ‘…Laments’. Anyone who has listened will be taken by the variety and depth of both Bowness and Wilson’s influences and many of them are on show here.
If you are coming to this solo work from the ‘Love You To Bits’ album, be aware this is more like the organic work on NO-MAN releases such as ‘Schoolyard Ghosts’ than the driving electronica of last year’s gem. Not that this should put you off as there is much to love with this album.
Performed and co-produced alongside long-time collaborator Brian Hulse, opener ‘Northern Rain’ sets out the stall clearly.
This work wears its influences on its sleeve and when those influences are the likes of THE BLUE NILE, that isn’t a bad thing. The atmosphere created by the interplay between electronic instrumentation and the more traditional vibraphone and acoustic drums counterpoint the main reason you should give this album “ear time” and that is Bowness’s vocals.
Simply put, he is in possession of one of the best voices in the UK at the moment. It foregoes the modern bombast of gymnastics and over production and goes down the more downbeat route favoured by the likes of the late Mark Hollis (TALK TALK are another clear influence here). What this means is we have a set of performances that are dripping with intimacy and allow the frequently dark lyrics to come through. This is a voice you listen to.
The laidback ‘I’m Better Now’ is as darker as anything you would get from a modern DEPECHE MODE album and musically more rounded too. Next track ‘Darkline’ is a personal highlight. Again Bowness delivers a staggeringly effective vocal against instrumentation that features a keyboard solo from Richard Barbieri who also provides additional synths on this and later cut ‘The Last Gateway’.
What is notable is none of the tracks outstay their welcome, which from someone that is associated with the dreaded Prog word is commendable. There are progressive elements on many of the cuts here, but they are restrained so as not to frighten the horses.
The vocal arrangement on ‘The Hitman That Missed’ tips the hat to Bowness favourite Donovan. ‘Never a Place’ is another highlight, building, as many Bowness songs do, on a repeating and falling motif this features more of that most rock and roll instrument, the vibraphone played by Tom Atherton. His work across the album has brought a new and unexpected appreciation of the instrument only previously associated with a certain Mr Hitler and his guest appearance with the BONZO DOG DOO DAH BAND. ‘Hidden Life’ is infused with the same sadness that made the best ASSOCIATES tracks so memorable and features some of the best playing on the album.
Closer ‘One Last Call’ is equal to anything Bowness has released either solo or across his collaborative work. The sparse instrumentation allows everything to breathe and highlights the excellence of the production from Bowness and Hulse and the mastering work of Calum Malcolm. It’s no surprise that Steven Wilson is involved on mixing duties which he probably fitted in between the forthcoming ‘Vienna’ remaster and his lunchtime Pot Noodle…
This is an album in the old school sense of the word. It is crafted by musicians and following Bowness’ own mantra, doesn’t go on longer than is required to get the point across. Though billed as a late night release, this is one that deserves to be heard irrespective of the time of day. It is heartening we still have artists like Tim Bowness, more power to his elbow.
Oh and if you love music do yourself a favour and sub to ‘The Album Years’; as a grumpy old man, it’s the most fun you can have listening to grumpy old men out with Waldorf and Statler.
The mirrorball on the sleeve should give a clue to the content within, but this is not fluff piece but a work of real depth and substance.
That said, anyone who only know the band from their later output may need to triple check the credits to ensure this is the same team that brought us tracks like ‘Truenorth’. From the opening portentous drone to the 808 style percussion and arpeggios running counter to the main synthetic melody line, it’s clear this is a very different beast from the last album ‘Schoolyard Ghosts’.
One thing that has remained from that release is Tim Bowness’s melancholic vocal. Possessing one of the most distinctive voices in modern music. the delivery throughout the album is spot on. Though split into 5 sections each, ‘Love You To Bits’ and ‘Love You To Pieces’ could be viewed as 2 long form remixes which utilise differing instrumentation to add light and shade of tone to the music.
One thing that is clear is the influence of Bruno Ellingham who has been tasked with the final mix is writ large on this release. The same sparkle he gave the likes GOLDFRAPP is obvious with the separation around the instruments giving the overall pieces room to breathe.
The opening section of ‘Love You To Bits’ gets straight to the point, announcing itself as an electronic work with electronic percussion and the aforementioned vocal front and centre. Real drums explode in around halfway through and kick the piece up a gear. The first breakdown comes after the vocals exhort that they ‘Love You’ repeatedly and a short linking piece has Bowness harmonising with himself over the sequenced bass from the first section.
A funky guitar loop heralds a more down-the-line band performance which once again melds with the open sequence before part 4 goes on an extended instrumental break with effected guitar being underpinned by more live drums and that simple but earworm-y sequence. There by this time can be no mistaking this for anything else but a pop album, but one which rewards repeated listening as although simple on the surface there are layers of instrumentation that are pulled out with each play.
This is a Steven Wilson collaboration so a sonic surprise shouldn’t come as, well a surprise. Here it’s from of the closing section of ‘Love You To Bits’ which at the end, having revisited the themes and motifs of the previous section closes with a plaintiff brass section playing out like something from ‘Last of the Summer Wine’ than Studio 54
The journey is at this point only half complete as the second half of the album, ‘Love You To Pieces’ opens with Bowness showing again how his voice is more than capable of carrying a song with the simplest of instrumentation to somewhere it really has no right to go. He really does possess one of the most unique tones in modern music, up there with the likes of Paul Buchanan of THE BLUE NILE in its ability to wrench at the heart without you really knowing why.
The interplay between synthetic tones and more organic instrumentation gets swept away in the next section as a driving synth bass carries a vocoded vocal forward, building into a jazzy section of effected electric piano which should give comfort to anyone that has seen Steven Wilson live recently and the playing of Adam Holzman, for it is he…
Overall the second half of the album appears to more contemplative and this is no bad thing giving balance to the ‘dancier’ opening ‘Bits’ section. All too quick, for this listener at least, it’s over with the final part coming across as something you’d here in a piano bar at 3am.
“Time was we mattered…” sighs Bowness at the close of the track. On this showing, NO-MAN still do matter and in spades. This is no misguided sidestep, the band where making music like this 25 plus years ago. In fact the bones of the album stem from demos that old.
As known progressive artists, both Wilson and Bowness have taken their individual brands of modern music in numerous different directions. This is another example of that and one expected to be included in many top 20 lists at the end of the year. A recommended release.
‘Love You To Bits’ is released by Caroline International in CD, vinyl LP, cassette and digital formats
Lauded by Drowned in Sound as “probably the most underrated band of the last 25 years”, NO-MAN have had a career that has stylistically covered pop, art rock and TALK TALK flavoured balladeering.
This breadth of musical output should hardly come as a surprise given the group is made up of Tim Bowness and Prog powerhouse Steven Wilson whose work has included not only his own solo output but also PORCUPINE TREE, BLACKFIELD, STORM CORROSION with OPETH’s Mikael Akerfeldt and critically acclaimed 5.1 surround remixes for acts as diverse as KING CRIMSON, XTC, MARILLION and TEARS FOR FEARS
Now more than a decade since the ‘Schoolyard Ghosts’ album, NO-MAN have reconvened with a return to their electronic roots, ‘Love You To Bits’.
The cover of this release which features a disco mirrorball gives a clue to the content within, a fantastic mix of GOLDFRAPP, KRAFTWERK and ROBERT FRIPP which underpins a wonderful vocal performance from Tim Bowness who took time out to discuss the album with The Electricity Club.
‘Love You To Bits’ was one of the great ‘lost’ NO-MAN tracks, the demo being some 25 years old. Why is now the right time to finish and release it?
It was originally written at the same time as a track called ‘Lighthouse’ in 1994. Both songs were intended to be part of a follow-up to ‘Flowermouth’. At that stage, the tracks were very much in their infancy and though we had grand ideas for them, only the opening song sections existed. In another universe, the successor to ‘Flowermouth’ could have been more stylistically logical and just consisted of extended versions of those two tracks.
Due to the band getting dropped by its labels in the UK and US, publishing company and manager, we pursued the more aggressive ‘Wild Opera’ material. It suited our, by then bleak, mood better!
Over the years, we continued to work on ‘Love You To Bits’ and there were a number of versions which varied in length from 4 minutes to 12 minutes (some including significant contributions from saxophonist Theo Travis). The truth is that it didn’t seem right for anything we were working on. Post-‘Wild Opera’, the band’s sound became more organic and we’d abandoned using samples and beats, so ‘Love You To Bits’ seemed out of place for a very long time.
In October of last year, we decided that we were finally going to make the ‘Love You To Bits’ album we’d always wanted to. We knew from the beginning that we wanted to do an album length exploration of the piece and we also knew that it was going to deal with the different perspectives in a break-up. It was great to find time to make the dream a reality and truly dedicate ourselves to the project.
Does revisiting an older demo as the launch point of this project mean the album is a nostalgic look back or a taste of what’s to come?
Perhaps it’s both? A lot of the album was written over the last year and the vast majority of the recording was done this year. It was constantly being re-written and added to up to the point of completion in July of this year. As such, it feels fresh.
Listening to the earlier demos shows that it’s changed a lot since its inception. One 10 minute version from 2008 was surprisingly Industrial, while a much earlier version was considerably lighter in tone than it is now.
The sessions in October of last year were intense and exciting and I’d say that during that time we finally created a framework that seemed complete. I spent a fair bit of this year, writing new lyrics, re-writing old ones and re-recording the vocals. All the overdubs from the guest players were also recorded this year. One of my favourite sections – the brass band coda to ‘Love You To Bits’ – came about when I could hear a brass tone in the synths and suggested a far more elegiac ending that would more effortlessly merge into ‘Love You To Pieces’. Luckily, Steven really liked the idea so we pursued it. The whole process was surprisingly flexible.
‘Love You to Bits’ is a self-described return to your more synthpop roots, was there anything in particular that has lead you back down that path?
I think both of us, for different reasons, had been gravitating towards more dynamic and more electronic music in our solo projects of late.
In 2018, Steven released ‘To The Bone’ and I released an album by my pre-NO-MAN 1980s band PLENTY. Accidentally, we’d ended up in a similar creative place / space.
PLENTY was very much an electronic orientated Art Pop band that had aspects of THE BLUE NILE, IT’S IMMATERIAL and other bands of the era. Although we kept the electronic soundscapes intact, on the 2018 re-recordings I changed some of the words and vocal lines to suit my current style. It was a great fusion of the past and the present and I felt it was something of a wake-up call.
Returning to the older material challenged me in terms of my voice and my vocal expression. I hope I managed to sing with a level of control I didn’t have in the 1980s, while shaking up my current approach with a more dramatic influence from my own past. The excitement of making the PLENTY album directly fed into my 2019 solo album ‘Flowers At The Scene’. Steven co-produced the album with me and PLENTY’s Brian Hulse and also mixed it and it was while we were making ‘Flowers At The Scene’ that we decided to properly pursue ‘Love You To Bits’.
Are you wary of existing fans of both the band’s more recent works and your respective solo output being unhappy with a possibly lighter tone from a ‘pop’ album?
To a degree, yes. I’ve genuinely got no idea how people are going to react to the album. And at this stage of my music making, that’s a good thing!
It is NO-MAN’s most direct album and does have a strong Pop element, but it’s also one of our most experimental and ambitious releases. The album evolves in several ways that I don’t think would be anticipated by its beginning.
Both the music and lyrics on the album are working a great deal with contrasts: light / darkness; energy / blissful release; brutality / beauty; simplicity / complexity etc. The latter contrast highlights the fact that as an album contains some of the band’s most simple work, yet as a whole it’s perhaps NO-MAN’s most compositionally sophisticated album.
As a band you have entrusted mixing this release to Bruno Ellingham, the first time you’ve gone externally. Any particular reason for this decision?
After we finished the album, Steven did several mixes. He felt that ‘Love You To Pieces’ was very nearly complete, but that ‘Love You To Bits’ was notably short of where it should be (mainly because some of the rhythm elements and guitar processing betrayed too much of the song’s mid-1990s roots). I agreed, though the dated processing bothered me less than it did Steven.
It was looking like the album could be abandoned due to Steven starting work on his forthcoming solo album, so I suggested we bring in another mixer to fully complete what was there. Steven agreed it was a good idea.
Bruno was at the top of my list of potential mixers. His experience of working with MASSIVE ATTACK, UNKLE, BEN WATT and GOLDFRAPP seemed ideal for what we wanted and although Bruno made his name with Dance and Indie music, he actually comes from a Classical background and is an accomplished violinist. As he also shared a love of the likes of TALK TALK, THE BLUE NILE, NICK DRAKE, PINK FLOYD, GRACE JONES and TANGERINE DREAM, he felt like a very good fit.
Bruno pulled together the programmed rhythms and real drums more effectively than Steven had done and gave some of the album a greater sense of groove, space and power.
It was subtle and he didn’t overwhelm what we’d given him, but his involvement has meant that this is perhaps the best sounding NO-MAN album ever.
You are working with Carl Glover on the art for this release. How does your relationship with him work when pulling the cover concepts together?
It varies. Sometimes – on albums such as ‘Flowermouth’, ‘Returning Jesus’ and ‘Dry Cleaning Ray’ – as I do with the artwork on my solo albums, I have a very clear idea of what I want and Carl realises the idea better than I ever could. At other times, Carl comes up with ideas of his own based on his interpretation of the music. ‘Love You To Bit’s – like two of my favourite Carl covers, ‘Together We’re Stranger’ and ‘Plenty’s It Could Be Home’ – is Carl’s visual interpretation of the music. As with ‘Together We’re Stranger’, I think he’s got it right. Glamour and glitter are pitched against grim reality and that’s a fairly accurate summation of the contents.
The advances in recording technology have been significant in past decade, has this changed how you and Steven approached the writing and recording of the album?
I guess so. We’ve always kept up with technological advances in studio recording and since we started ‘Love You To Bits’, Steven’s studio mastery has grown immeasurably and I’ve created a home studio set-up that enables me to produce results of an acceptable quality.
In terms of the way we work, ‘Love You To Bits’ has been one of the most hands-on and collaborative albums in the band’s history. As with ‘Wild Opera’ and the band’s very earliest experiments in the 1980s, we spent time in the studio together and traded ideas in real time. The likes of ‘Schoolyard Ghosts’ and ‘Together We’re Stranger’ were produced quite remotely with me bringing in compositions and recordings to Steven, and Steven sending me backing tracks to write to. Of course, we NO-MAN-ised the results in both cases, but outside of us writing the song ‘Wherever There Is Light’ together in real time in 2008, ‘Love You To Bits’ marked a return to a more traditional NO-MAN way of putting music together.
The success of your online label and store Burning Shed has been gratifying from my view point as a fan of a number of the acts you work with that wouldn’t possibly have an outlet for their releases otherwise. What do you look for in an artist when deciding to work with them?
Burning Shed started off as a label that focused on releasing obscure music cost-effectively (utilising on-demand CDRs). Very quickly, the sales dictated us producing proper CDs and soon after that taking over the NO-MAN and then the PORCUPINE TREE stores.
Everything evolved unexpectedly and grew through word of mouth. Some of the artists we deal with I actively pursued as a fan (sometimes for several years), some of the artists I already knew and had worked with, and some artists approached us due to the people we were already dealing with.
The good thing about the success of Burning Shed is that it’s meant that I’ve become even more bloody minded and idealistic concerning my own music. I only ever release what I believe in and what I believe deserves to be heard in the wider world.
As for what I look for, it varies and is difficult to define.
You’ve worked with a number of musicians that readers of The Electricity Club will know such as Richard Barbieri and Brian Eno. Did these collaborations have a starting point of you being a fan of their respective outputs?
In almost all cases, yes. I’ve been extremely lucky in being able to work with a large number of musicians who were amongst my teenage heroes, ROBERT FRIPP, PHIL MANZANERA, KEVIN GODLEY, ANDY PARTRIDGE, PETER HAMMILL, IAN ANDERSON, JANSEN BARBIERI & KARN and others.
That said, the important thing is that I feel they’re able to bring something to the songs they work on and that the songs they’re working on can bring out interesting qualities in their playing. There’s no point in people collaborating for the sake of collaborating (or just for the sake of adding a star name to a recording).
You were born in Cheshire between Liverpool and Manchester. Did this geography influence you musically?
I think it probably did! There’s a particular melancholy in my music that may well be a result of my Northern English background.
Although my upbringing was relatively middle class and suburban, it was still tough. That was partly down to difficulties in my own dysfunctional family, and partly because of the harshness of the environment as a whole. It was a wonderful place to be in terms of having easy access to great cities such as Liverpool, Manchester and Chester, but when I was at school there was no encouragement regarding creative endeavours and absolutely no nurturing. Family and school colleagues alike considered the idea of wanting to make music to be a case of having ‘ideas above your station’.
The positives were that both Liverpool and Manchester had very active music scenes and truly supportive music media. Radio DJs – particularly Mark Radcliffe and Roger Eagle – and newspapers (especially Mick Middles at the Manchester Evening News) were fantastically helpful to many aspiring artists, including me. For that, I remain grateful.
The Bush Hall gig in 2008 is in my personal top 10 shows. Are there any plans for live shows to support this release?
Thank you. After such a long absence from performance, it was an emotional occasion for all of us!
We have discussed the idea of playing live. If it happens, it’ll be early in 2020 and it’ll be quite different from how we last played. I imagine it to be a more radical combination of acoustic and electronic elements. It would also be interesting to see a return to us utilising backing tracks in the way we did when we first started.
NO-MAN has been an interesting and varied musical journey, what have been the highlights for you?
As it’s been so enjoyable to make, ‘Love You To Bits’ is a definite highlight. Outside of that, I still have a strong attachment to all our studio albums, but ‘Flowermouth’ and ‘Together We’re Stranger’ particularly stand out for me.
Playing in Poland in 2012 was also a great experience and in some ways, as strange as it may sound, talking to fans after the gig was the first time I realised that I’d had something of a career.
The Electricity Club gives its warmest thanks to Tim Bowness
Special thanks to Abi Skrypec at Caroline International
‘Love You To Bits’ is released by Caroline International on 22nd November 2019 in CD, vinyl LP, cassette and digital formats
It was Maurice Ravel who once said: “Whatever sauce you put around the melody is a matter of taste. What is important is the melodic line”.
What Lloyd Cole has always managed within his songs throughout his career, be it ‘Perfect Skin’, ‘Rattlesnakes’, ‘Are You Ready To Be Heartbroken?, ‘Brand New Friend’ or ‘Like Lovers Do’ is strong melodic lines. Coupled with his bittersweet lyricism, he has been one of the UK’s leading exponents of masterful glum rock. But for ‘Guesswork’, he has put synthesizers and drum machines into his textural palette.
Cole actually first experimented with synthesizers and songs on 1993’s ‘Bad Vibes’, but considering it an artistic failure, it led to the songsmith keeping his future electronic interests purely instrumental and his songwriting traditional, and “never the twain shall meet”.
Self-produced in Massachusetts and mixed by German producer Olaf Opal, despite reuniting with two former Commotions bandmates Neil Clark and Blair Cowan for the first time since 1987’s ‘Mainstream’, ‘Guesswork’ focusses on synthesizers and programming.
Referencing CHINA CRISIS and PREFAB SPROUT, Cole has also expressed a love of SUICIDE, ULTRAVOX, PET SHOP BOYS and LCD SOUNDSYSYTEM.
Certainly the application of his synthesizer knowhow became fully realised for the album’s wonderful first single ‘Violins’. On first impression, Cole appears to have turned into OMD, but the man himself cites Robert Palmer’s cult electronic pop favourite ‘Johnny & Mary’ as its main inspiration, especially in its incessant synthbass and Motorik backbone. The violin is often seen as a symbol of self-pity and while the move might have surprised his regular fanbase, ‘Violins’ did include a hefty guitar solo at its conclusion to not totally alienate them.
Not in a dissimilar vein to ‘Violins’, the shimmering ‘Moments & Whatnots’ is the most KRAFTWERK-esque of the eight tracks on ‘Guesswork’, with its simplistic electronic percussion and synthetic sparkles recalling ‘Neon Lights’. But as a song and in its afflicted delivery, it couldn’t really be anyone else but Lloyd Cole.
However, the biggest surprise comes with ‘When I Came Down From The Mountain’, a bouncy drumbox driven synthpop number. With jazzier electronic inflections that Thomas Dolby would have been proud of, its chorus even nods towards the era of Dolby-produced PREFAB SPROUT.
Meanwhile with some kosmische modular sequencing, ‘Night Sweats’ utilises a pentatonic aesthetic that wouldn’t have sounded out of place on an early CHINA CRISIS record, although some eagle-eared listeners will point a finger towards THE CLASH’s ‘Straight To Hell’.
But ‘Guesswork’ begins with an almost silent ambient drone; while in ‘Stranger Things’, they fear ‘The Upside Down’, Cole muses hauntingly about the aura of ‘The Over Under’.
Meanwhile on the cinematic ‘Remains’, synths beautifully substitute for orchestrations and brass arrangements in the manner of THE BLUE NILE.
These songs cleverly offer the new electronic direction without being too threatening, a subtle change of sauce without ruining anyone’s appetite.
Decorated with some great E-bowed six string, the solemn swinging overtures of ‘The Afterlife’ show that Cole has learnt from John Grant, probably the best known modern day defector from the traditional to the electronic, while ‘The Loudness Wars’ provides a relatable metaphor to the breakdown of a relationship in a fine hybrid synth and guitar closer, swathed in glorious midlife angst.
Yes, his poetic melancholy does remain, but as Lloyd Cole recently said: “Now I’m starting to think that old age could be a lot more fun. Because really what have we got to lose?”
After all, how many veteran singer-songwriter guitarists decide that electronics are the way to go? Whether long-standing enthusiasts or new admirers, many will find a lot of joy within Lloyd Cole’s sophisticated artistic diversion on ‘Guesswork’.
‘Guesswork’ is released by earMUSIC in CD, vinyl LP and digital formats
37 years is a long time to wait for a debut album, but with Wakefield’s FIAT LUX, it has been worth it.
Singer Steve Wright and multi-instrumentalist David P Crickmore released their magnificent first single ‘Feels Like Winter Again’ in 1982.
Produced by Bill Nelson and released on his Cocteau Records, his brother Ian joined FIAT LUX and the trio became one of the most promising of the post-Synth Britannia wave of electronic pop acts.
Despite brilliant singles like ‘Photography’, ‘Secrets’ and ‘Blue Emotion’ with their distinctive vocal counterpoints and melancholic melodies, FIAT LUX were unable to secure a significant UK chart hit and despite having recorded a full-length album, Polydor Records dropped FIAT LUX and the debut long player shelved.
Ian Nelson sadly passed away in 2006, but with acts such as OMD, BLANCMANGE and ULTRAVOX returning and recording new material, there was renewed interest some of the lesser known acts of the same era like CHINA CRISIS, B-MOVIE and FIAT LUX.
In total control of their destiny, Wright and Crickmore relaunched FIAT LUX in 2017 with a re-recording of ‘Secrets’, before setting about producing an album of all-new material, now unveiled with the wonderfully alliterate title of ‘Saved Symmetry’.
Recorded at Crickmore’s Splid Studios and produced by the multi-instrumentalist with vintage synths like a Minimoog and Roland Jupiter 8, along with modern hardware like a Novation MiniNova and Roland Jupiter 50 to hand, the pair have been joined by Will Howard on sax and clarinet plus live drummer Andy Peacock.
For ‘Saved Symmetry’, Crickmore even tracked down a relative of an old accomplice to help make the overall FIAT LUX sound as authentic as possible in the 21st Century; “The bass guitar is the same model Yamaha BB1000S that I used on the Polydor sessions” he said, “but I had to track another early 80s edition down as my original bass went astray in the mid-80s.”
Beginning perhaps unexpectedly with acoustic guitar and some scratchy background interference, the desolate filmic drama of ‘Tuesday’ sees Wright’s vocal holding off until two and a half minutes in. Countered by a haunting synth lead, the combination provides tension and anticipation of what is ahead.
The steadfast ‘Hold Me While You Can’ builds from piano and woodwinds before taking an enjoyably odd turn when a Numan-esque synth riff that wouldn’t have sounded out of place on ‘We Have A Technical’ kicks in alongside a burst of sax.
Then with hints of the song side of ‘Low’ era Bowie, ‘Everyday In Heaven’ offers a fine avant pop tune with rousing up-for-life lyrics about embracing second chances and encouragement to “go where your garden grows”.
Utilising offbeats and marimbas, ‘Grey Unpainted Rooms’ takes things in amore solemn direction… well, real life isn’t always cheery is it?
Expanding the mood, ‘We Can Change The World’ provides a call to action in these turbulent times. With a great bit of sax and an uptempo setting dressed with bubbling synths and rousing vocals, it recalls ‘Everything Is Coming Up Roses’ by BLACK, the vehicle of the late Colin Verncombe who ultimately proved that despite the short-sightedness of Polydor Records back in the day, the FIAT LUX template was indeed a viable commodity.
The semi-acoustic ballad ‘Wasted (On Baby Tears)’ acts as a pleasant musical interlude before another burst of sax and marimba for ‘Long Lost Love’, a lively slice of classic orchestrated pop with a great chorus and a dash of CHINA CRISIS.
‘It’s You’, the magnificent single which relaunched FIAT LUX as a modern creative force in 2018 continues to delight by its very existence, the classic emotive mix of dual vocals, synths and sax brimming with positivity and in the reflective couplet “I’m living in a room at a stranger’s house, I never thought I’d be here again”, touchingly conveying the joys of finding love again in midlife.
Heading towards the home straight, the elegiac ‘Calling On Angels’ is based around piano and a striking synthetic orchestra arrangement with some more superb sax work.
The ‘Saved Symmetry’ title track with its drum machine pulse and stark backing is reminiscent of THE BLUE NILE, an instrumental with gentle ivories and bass to allow the album’s organic flow to proceed to its conclusion.
2019 is turning out to be a great year for FIAT LUX fans as not only do they finally have an album, but those lovely people at Cherry Red Records will be issuing ‘Hired History Plus’, an expanded CD of their 1984 six song compilation EP as well.
Very much a grower with a mix of emotions in many colours, ‘Saved Symmetry’ is a worthy belated long playing debut with depth and musicality. FIAT LUX have always deserved recognition and now might well be their time in the sun… so let there be light.