“I don’t like country & western, I don’t like rock music… I don’t like rockabilly! I don’t like much really do I? But what I do like, I love passionately!!”: CHRIS LOWE
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”.
Cole eventually recorded an experimental album ‘Selected Studies Volume 1’ with German legend Hans-Joachim Roedelius of CLUSTER in 2013. Released by Bureau B, custodians of the iconic Sky Records back catalogue, there was also a solo instrumental collection entitled ‘1D Electronics 2012-2014’.
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
The stylish figure of Ollie Wride could become popwave’s own Bryan Ferry.
Just as Ferry had a parallel solo career alongside ROXY MUSIC, the suave lead vocalist for FM-84 on songs like ‘Wild Ones’ has been partying like it’s 1985 on his enjoyable debut long player ‘Thanks In Advance’. Co-produced by the Toronto based Scot Michael Oakley with guitars by Chris Huggett, Los Angeles based Englishman Wride uses the opportunity to channel his inner Lindsey Buckingham.
There are certainly flashes of FLEETWOOD MAC’s synth assisted ‘Tango In The Night’ album within opening song ‘Never Live Without You’, a number fashioned with a fine balance of synths, guitars and MTV friendly vocals that is better than anything which THE KILLERS have fashioned in the last ten years.
Rhythmically swung, ‘Overcome’ is rocky but avoids the dreaded AOR indulgences often found within synthwave circles. Meanwhile the muted funk guitar and sparking synthlines of ‘Back To Life’ offer sunny soulful pop, with Wride’s voice superbly anthemic and likely to induce swooning. Plus there’s even an unexpected key change and sax thrown in!
With gently percussive World Music overtones, ‘The Rising Tide’ offers a colourful ballad in the vein of Tom Lord-Alge’s work with Steve Winwood but with the threat of MR MISTER looming, this won’t necessarily be for everyone.
Offering some big love, it all gets back on track with ‘Miracle Mile’, the pulsing triplet providing the backbone to a wonderful open top driving number. The imagery conjured may be a cliché but the fact that the song produces pictures for the listener at all is a fine achievement for any artist.
Coming over like Richard Marx, Wride dons his balladeer hat again on the appropriately moonlit ‘Luna’, before the sun rises for the filmic bass synth laden cascade of ‘I’m A Believer’, which embraces the hypnotic Hollywood influence of Giorgio Moroder as well as utilising some rousing layers of vocals.
‘Hold On’ reimagines what a slowie for the soundtrack of ‘About Last Night’ would be like in the 21st Century, but ending ‘Thanks In Advance’ is ‘The Driver’.
Putting into dynamic realisation as to what SIMPLE MINDS might have sounded like had Moroder-graduate Keith Forsey produced the 1985 ‘Once Upon A Time’ album instead of Jimmy Iovine and Bob Clearmountain, the superb grouchy FM synth rock of ‘The Driver’ see Wride successfully cross Jim Kerr with Billy Idol!
So is this a synthwave album? Well no! Is it good accessible pop record with a melodic synth aesthetic that invokes memories of Brat Pack movies, aviator sunglasses and designer stubble? YES!
Ollie Wride has proved with ‘Thanks In Advance’ that he can cut it on his own outside of the FM-84 nest. While there might be too many power ballads for some listeners, this is an impressive debut long player that will be likely to gain further momentum once it is carried into the live arena by Wride’s charismatic stage presence.
Out of the bands that emerged post-Synth Britannia, A FLOCK OF SEAGULLS were among those to actually make a worldwide cultural impact, initially gaining traction in the US via the cable phenomenon of MTV.
While frontman Mike Score’s outlandish hair style was honoured in Hollywood with comic references in ‘Friends’, ‘The Wedding Singer’ and ‘Pulp Fiction’, their fourth single ‘I Ran’ has been a ubiquitous staple, appearing in commercials for Grand Theft Auto Vice City, Sensationail, Diet Pepsi and Lexus. Greek synth duo MARSHEAUX even borrowed the main riff from ‘Space Age Love Song’ for their signature tune ‘Dream Of A Disco’.
Today, Mike Score is the only remaining member from the original line-up which included his brother Ali on drums, bassist Frank Maudsley and guitarist Paul Reynolds. Notably his hair is now absent, while his scouse accent has mutated into a Trans-Atlantic drawl from years of living stateside.
Dingwalls in Camden was packed for the second London date of A FLOCK OF SEAGULLS’ first headlining UK tour for many years and opening proceedings was KNIGHT$ whose debut album ‘Dollars & Cents’ has been one of the contenders for best album of 2019.
Photo by Richard Price
Fronted by the suave and charismatic James Knights, dressed in a black leather jacket and sequined shirt combo, he began support set with Eurobeat thrust of ‘What We Leave Behind’ and the heavenly pop ‘Playin It Cool’.
Playing the role of the perfect beat boy, Knights was slightly restrained physically, thanks to the small stage, but he made every effort to engage the audience with his brand of BRONSKI BEAT inspired Britalo like the amorous ‘Gelato’.
Meanwhile, the snappy ‘Alligator’ provided an amusing observation on the phenomenon of one-sided conversations. ‘Julia’ offered a more romantic take on the appealing KNIGHT$ sound while presenting a token of musical friendship to the audience, there was an authentic rendition of PET SHOP BOYS’ ‘Heart’. The slinky ‘What’s Your Poison?’ appropriately threw in some sunset sax at the riverside venue, before the catchy ‘Dollars & Cents’ closed an impressive warm-up on an already hot Saturday evening.
Standing behind a Roland Fantom 06 outputting crystal clear electronic sounds, Mike Score took his position to begin A FLOCK OF SEAGULLS’ performance with the vintage Sci-Fi rock of ‘Modern Love Is Automatic’. Backed by his usual North American band of guitarist Gordon Deppe from Canadian New Wavers SPOONS, drummer Kevin Rankin and bass player Patrick Villalpando, the debut album opener was followed by ‘Hearts On Fire’ from 1995’s ‘The Light At the End Of The World’ which had the classic air of ‘Space Age Love Song’ about it.
Photo by Roger Kamp
With a rockier growl to his vocal presence, the gothic gloom of ‘Nightmares’ came over more like THE CURE, but the darkness turned to light as the under-rated ‘The More You Live, The More You Love’ provided the first rousing moment of the evening for the mature audience.
The moody ‘Man Made’ and more Motorik ‘She Won’t Let You Down’ showcased varied aspects of the band beyond their singles, but 1983’s UK Top 40 hit ‘Transfer Affection’ was spoiled by some unnecessary bombast and Score being unsure of what octave to sing the tune in.
However, a magnificent rendition of that paean to neu romance ‘Space Age Love Song’ snatched victory from the jaws of defeat, aided by Rankin’s use of a synth drum and his bandmates’ triple call-and-response vocal, while Deppe ably reproduced the textures of original guitarist Paul Reynolds.
Photo by Richard Price
That said though, it all got awry again with the quartet going all SIMPLE MINDS with a prolonged reinterpretation of ‘Telecommunication’; the song was originally two and a half minutes for a reason!
Throughout the show, while Score did speak to the audience, it was the more flamboyant Villalpando who acted as Master Of Ceremonies with a loud “rawk” address that although probably endearing across the water, may well have been anathema for British audiences.
‘Wishing (If I Had a Photograph of You)’ was the moment many were waiting for. A Top 10 UK hit in 1982, it was interesting to be reminded that most of the song’s hooks were instrumental rather than vocal while inspired by a photo of two people running from a UFO, the brilliance of ‘I Ran’ ended the main set.
Photo by Simon Helm
There was room for an encore and that came with the pleasant surprise of ‘Messages’ from the self-titled debut album, with its more guitar driven dynamics enabling the quartet to fire on all cylinders. There was no ‘D.N.A.’ or ‘(It’s Not Me) Talking’ but on the whole, the crowd were entertained and satisfied.
When things were good, it was glorious at Dingwalls and while some may only remember the iconic haircut rather than the music, what A FLOCK OF SEAGULLS have proven is they have a number of great songs which more than stand up in the 21st Century.
And unlike say OMD, DEPECHE MODE and SIMPLE MINDS, they also have a Grammy Award on the mantelpiece. A FLOCK OF SEAGULLS more than deserve their place in British pop history.
With thanks to Debora at London Variety
A FLOCK OF SEAGULLS ‘Inflight (The Extended Essentials)’ is released by August Day Recordings in various formats available from http://www.augustday.net/aday054.html
From Livingston in West Lothian to the concert arenas of the world, the rise of David John Cicero into the pop charts was swift.
A fan of synthpop and dance music, Cicero began writing songs and making music in his bedroom, aided by advancements in technology such as affordable samplers and sequencing software. Following a PET SHOP BOYS concert in 1989, he managed to get a demo tape to the duo.
Before two could be divided by zero, Cicero was offered a record deal with Neil Tennant and Chris Lowe’s new record label Spaghetti Records imprint which was being set up via Polydor Records.
Although the excellent debut single for both Cicero and Spaghetti Records ‘Heaven Must Have Sent You Back To Me’ failed to chart, it brought the young photogenic Scot to the attention of radio programmers and press. So when his PET SHOP BOYS produced second single ‘Love Is Everywhere’ was released in late 1991, it eventually reached No19 in the UK charts.
The album ‘Future Boy’ and ‘Live For Today’, a wonderfully cinematic contribution to the Oscar nominated film ‘The Crying Game’ followed, but then record company politics intervened and contributed to a stall in momentum.
Although later, there was a UK tour supporting TAKE THAT plus the independently issued singles ‘Summertime’ and a cover of SOFT CELL’s ‘Say Hello, Wave Goodbye’, as the new millennium loomed, Cicero opted to disappear from public view.
But now in 2019, as his former mentor Neil Tennant used to say when he was Assistant Editor of Smash Hits, Cicero is “Back-back-BACK!”.
With the release of his appropriately titled new single ‘Turned Around’, Cicero kindly spoke about his album ‘Future Boy’, working with PET SHOP BOYS, briefly being a pop pin-up and his return to music…
At a time when affordable electronic music technology was making acid house and techno a cultural reality, you opted to do pop songs, so who were your main influences in that respect?
I was going to clubs in my late teens and listening to house music like ‘Jack Your Body’ and ‘House Nation’ the early stuff and thinking “wow I want to do that”. When moving to Livingston when I was 17, the Scottish radio was full of RUNRIG, HIPSWAY, DEACON BLUE etc, mostly rock pop stuff. Nobody really from Scotland at that time was playing electronic music, in the mainstream anyway.
The club I went to called ‘Melvilles’ at the time (now a church lol) was playing all types of music including HI-NRG like “I was a male stripper in a go go bar” (not me, that was the name of the song ?) and tracks like “Boom Boom, let’s go back to my room” and I loved them. It was the energy they gave off on the dancefloor, just like house music which was uplifting, almost trance like. They also played a lot of electronic bands like OMD, PSB and VISAGE.
Can you remember your first synth or keyboard? What was it like to use?
The first keyboard was a small Casio which had built-in speakers and drums etc, not that great at sounds but you could play about with them to make better ones. It did not have any phono outputs, so I had to tape a microphone to its speaker when doing my early gigs.
What was your set-up when you were producing the demos that would eventually become ‘Future Boy’?
By the time I was working on ‘Future Boy’, I had my Korg T3 and an Akai sequencer, an Akai sampler and a rack mount synth which was by Roland.
It was a long process when writing tunes as you could not copy and paste stuff, it was all step-sequenced so you had to build the tracks part by part which was pain staking at the time.
I also had an old Atari monitor when moving on to Cubase later which was so much better.
How did you come to the attention of PET SHOP BOYS?
They were playing at the SECC in Glasgow, I remember playing ‘Please’ constantly and loved every song. I carried my demo tape with me everywhere I went. We were listening in the car going to the gig and whilst waiting in the venue, my friend Ali bumped into Pete who was their PA at the time (later to be my manager) and said “you’ve got to listen to this, it’s similar to the PET SHOP BOYS!”.
At the time, I had only written ‘Love Is Everywhere’, ‘Heaven’ and ‘Cloud 9’. We were invited to meet them after the show and it was awesome. A month later Pete called me and said “you better start working on an album, the boys want you down in London”, the rest is history.
‘Heaven Must Have Sent You Back To Me’ was a fine debut single in anyone’s books, exactly what one would imagine Spaghetti Records to be about?
Yes Neil and Chris loved ‘Heaven’ and wanted it out first. Spaghetti Records was something they both created at the time to go with the Italian connection surname that I had. They later added more artists to the label.
You’re best known for your hit ‘Love Is Everywhere’ which looking back now, is quite a bizarre song sounding like THE PROCLAIMERS meeting PET SHOP BOYS and OMD with bagpipes and The Royal Edinburgh Military Tattoo thrown in for good measure… how did this come together in your head and then in the studio?
Haha, yes there is quite a mixture of styles in that tune. I always wanted it to be a Scottish anthem sounding tune and had a crap bagpipe sample playing the main part, but it all just worked. When doing my early gigs, it was the song that got everyone pumped and went down rather well.
When in the studio with the boys, they wanted real bagpipes so we got some guys in to play it, but the bagpipes needed tuning to the correct key to fit the track. Neil also decided to add his backing vocals to it which lifted the chorus to another level. Thinking back, it was all experiments which the boys had fun being involved in.
Had it been the intention for PET SHOP BOYS to be involved in the production of ‘Love Is Everywhere’?
Yes from the get go, it was probably one of the first we started working on in the studio when putting together ‘Future Boy’.
With it, you became a pop pin-up with a ‘Smash Hits’ front cover, how did you find the adulation and also being on TV?
I loved every minute of it; I remember rushing to the newsagents to buy a copy when I was told I was in a magazine.
You have to love it, it’s all about you and if you don’t like it, why are you doing it? Being on TV was amazing too and at the time I always wanted to be on ‘Top Of The Pops’, I was on it but only a few seconds of the video to ‘Love is Everywhere’ as it was the highest climber that week. I was told I was going on the show the following week, but later that week we were told that Michael Jackson was releasing a bloody 10 minute video which they decided to premiere on the show instead!
‘That Loving Feeling’ was also produced by PET SHOP BOYS, what was it like working with them? Are there any funny stories you can recall?
Yes let me get it straight, these boys are so talented, the ideas at the time were flowing and me, being young and naïve, did not respect that as much as I do now. They were the biggest names in the pop industry and they were producing some of my songs! Don’t get me wrong, I was loving every moment of it and thought it was amazing and looking back now it all seems like a dream.
Chris was the joker, he would just come out with some random stuff which would get us all laughing; Neil too, I loved it when he would go off on one about some of the artists at the time in the charts who he thought were not deserving (I will not mention any names).
It was a shame ‘That Loving Feeling’ didn’t hit the same heights as ‘Love Is Everywhere’, why do you think that might have been?
It was all down to distribution at the time, you’ve got to remember we did not have social media to help push sales. Even though Spaghetti was my label, Polydor were the main backing / distributors and were not getting the records out to all the shops in time. This was really out of Chris and Neil’s control and should have been handled better by Polydor.
My bother and others that were contacting me were saying the stores were not stocking it or were waiting on stock coming in. At the time, you needed to sell a lot of records to even get into the Top 100 and I just missed the Top 40 which was a bummer but it never stopped me carrying on.
‘My Middle Class Life’ had an air of VISAGE about it?
Did it? *laughs*
I do like VISAGE. That was written when I was a waiter back in the days of getting sh*t from customers. I would go into my staff room and write it out on a napkin. A few songs were written there.
There is some great brassy freeform synth playing on the rugged album closer ‘Future Generations’, an art which had sort of disappeared during those dance years?
That was a track written when I was coming down to London and seeing all the homeless / red light areas which I never experienced back home. We wanted the album to have an emotional ending to it, inspired by ‘The Great Gig In The Sky’ by PINK FLOYD, the female vocals are stunning… I wanted that similar vocal effect at the end of my tune.
The excellent electro instrumental ‘Sonic Malfunction’ was a last minute addition to ‘Future Boy’, why had it felt necessary to add further tracks?
I did a lot of instrumental tracks too back in the day, it was one of those songs that Neil and Chris liked and wanted to add it to the album. (Check out my YouTube page for the new mix I did). They wanted to also show I suppose, the other side of Cicero which is not always pop. We did not want to overdo the album with instrumentals… we were keeping them for the B sides ?
On B-sides like ‘Mind The Gap’, ‘Splatt’ and ‘Jungilism’, you were able to let your more clubby instincts run wild?
Yep, again it was all about showing another part of Cicero and it was great having full control to experiment with songs like that.
We had a great laugh making them and loved playing with new technology in the studio.
How do you look back on the ‘Future Boy’ album? Which were your own favourite tracks?
I still think its timeless, I think it’s one of those albums that still sounds like some of the songs that are out there today, hell I may have even influenced them in some way ?
I don’t have any faves, I like them all but ‘Then’ was the one that I loved to listen to on repeat. Yes I sometimes still listen to it for inspiration. Is it bad to be a fan of your own music? If you’re not a fan of your own music why the hell are you doing it then!
‘Live For Today’, your contribution to the PET SHOP BOYS produced soundtrack to ‘The Crying Game’ is considered to be your best song; with that soulful counterpoint from Sylvia Mason-James, was this indicative of the direction you would have gone in for the second album?
Yes probably, we were going in a more orchestrated feel at the time but I was under no impression to change my music drastically compared to ‘Future Boy’
Some perceived you as a PET SHOP BOYS side-project… in hindsight, do you think the association helped or hindered you? Is there anything you’d have done differently?
Hey, I was their prodigy, they found me and I found them, it’s all about fate. I may have made it without the lads, but having them help me and to be part of it was something I would never change.
You also supported TAKE THAT on tour. Looking back, was it the right fit as it didn’t appear to revive your fortunes? How did you find the experience overall for you?
I loved being on tour with the boys, we were good friends and thought it would be a good surprise having me part of the show, we talked about it way back before they became famous. It was never a plan to revive my career but the response I got was overwhelming from the fans.
In 1996 you released a cover of SOFT CELL’s ‘Say Hello, Wave Goodbye’? What is it about that song for you personally which you loved?
It was one of those songs when I first listened to it that made me relate to it a bit, but I always thought it would be a good dance tune.
Publically, it looked like you’d gone under the radar after that, what happened then?
I was and still am making music, I just wanted a break from it all. I went through quite a low time which I will not get into after my pop career. Later my lovely daughter was born who was 11 weeks premature. This was worrying times as she was in the hospital for a long time when she was first born so I stopped doing music until she was older.
I started doing music with a DJ friend of mine Paul Mendez, writing trance tunes under the name JACOB & MENDEZ. I also have a few albums out under the name THE EVENT which tracks have appeared on some independent films. I was always writing, always going on and never giving up.
You’re now back with a new single ‘Turned Around’ and it’s like you’ve never been away. What made you feel this was the right time to make a return to music?
I had released a couple of songs prior to this called ‘Face This World Alone’ and ‘Wish’, but was getting a lot of people asking when I was going to sing again. I wanted to put a song together that meant something to me and what a lot of others could relate to. I just wanted everyone to know I was back, but not really been away.
Is the current environment where an artist has more control over their music with regards self-releasing more suited to your ethos?
It’s a great time for independent artist who can now more easily set up their own label. I love having full control now, most artists if you ask them would love that, you can express your true music that way, it’s not controlled and it’s not all about making money like most big named record companies are only after these days. Just listen to the amount of sh*t that is out there.
How do you feel about the music industry today compared with back then?
Don’t get me started, it sucks, we are controlled into having to listen to what they decide is good. Everyone is expected to follow like sheep and listen to the same type of music as everyone else. Back in the 90s, music was so uplifting, nowadays it’s all so depressing. It’s like they want us all to be depressed. They control the big radio stations now and any small independent band does not have a chance… unless you get signed to them.
Photo by Neil McDade
You recently gave your first live performance for many years in aid of MacMillan. How does it feel to be playing live again?
It was one of the best nights of my life. It was something I planned a few years ago after doing a remake of ‘Cloud 9’. All of my original material was done on floppy drives, so I had to reprogramme everything from scratch for the live show.
The response and feedback has been amazing. It’s given me the buzz again and you never know, I may just have to do another.
So what’s next for you then, your hopes or fears?
I may do some more live gigs. I am now working on an album, it’s not ‘Future Boy 2’ but it’s still going to have that Cicero feel to it with a more up to date cutting edge sound. Back in the 90s, we were limited to technology but we made it sound the best we could back then. The new album may not be out until later next year ‘cause I want to take my time to make sure I am happy with it first and hopefully you are too.
ELECTRICITYCLUB.CO.UK gives its sincerest thanks to David Cicero
‘Turned Around’ is available via the usual digital platforms
Released in 1983, ‘Apollo: Atmospheres & Soundtracks’ was recorded as a soundtrack to Al Reinert’s documentary film about the Apollo Missions.
A triumph in understatement to accompany one of the greatest achievements of mankind, ‘Apollo: Atmospheres & Soundtracks’ was possibly the most accessible of all of Brian Eno’s ambient works.
This was partly thanks thanks to its comparatively short tracks and use of conventional instruments like guitar and fretless bass alongside a newly acquired Yamaha DX7.
Working Daniel Lanois and his brother Roger (on what was to be his first recording project), Brian Eno wanted to convey the feelings of space travel by reacting against the uptempo, newsy manner of space travel presented by most TV programmes of the day with its fast cuts and speeded up images.
‘Apollo: Atmospheres & Soundtracks’ is perhaps best known for the hovering aural sedative of ‘Deep Blue Day’ which was used in the infamous toilet scene from ‘Trainspotting’. Other notable tracks included the cosmic Americana of ‘Weightless’ and ‘An Ending (Ascent)’ featuring a drifting but dramatic church organ-like passage that acted as the blueprint to the intro of U2’s ‘Where The Streets Have No Name’. Meanwhile the tingling floatation of ‘Under Stars’ became a ubiquitous staple on a plethora of chill-out compilations.
Originally called ‘Apollo’, the film itself featured a collage of 35mm footage from all the Apollo missions to depict a single moon landing with real-time commentary but no narration. However audiences gave it a lukewarm response, so the film was revamped to include interviews conducted by Reinert with thirteen of the Apollo astronauts.
Sharing their recollections of the missions, there was additionally narration from Apollo 11 command module pilot Michael Collins and Jim Lovell, commander of the ill-fated Apollo 13. For its 1989 release, the reworked film was titled ‘For All Mankind’.
To celebrate the 50th Anniversary of Apollo 11 landing on the moon, ‘Apollo: Atmospheres & Soundtracks’ is released as an extended edition with a bonus album containing appropriately 11 new instrumental compositions that reimagine the soundtrack to ‘For All Mankind’.
These new recordings see the two Enos and Lanois working collectively as a trio for the first time since 1983. Beginning with ‘The End Of A Thin Cord‘, it captures the movement of the moon around the earth in a gloriously spacey sound sculpture.
As can be expected, the Lanois directed ‘Capsule’ chimes with guitar alongside organic keys but at the other end of the cosmos, Roger Eno’s ‘Waking Up’ and ‘Under The Moon’ capture a beautiful simplicity in their gently treated reverberant rings.
While ‘At The Foot Of A Ladder’ drifts with mechanical percussion looming gently in the background, ‘Clear Desert Night’ is deeply rooted in ‘Under Stars’ as synthetic wafts merge with gentle three note signals. Then there’s the starkly minimal ‘Over The Canaries’ which recalls the sleepy hush of ‘Neroli’.
With the return of Lanois’ six string, ‘Last Step From The Surface’ captures the preparations for the journey back to earth in a melancholic yet joyous mood while ‘Fine-grained’ presents a surreal take on Country and Western.
The gorgeous ‘Strange Quiet’ does as the title suggests before the closing ‘Like I Was A Spectator’ appropriately reflects the feelings of being a lunar astronaut with modern classical overtones as heard in the John Foxx side-project GHOST HARMONIC.
‘For All Mankind’ offers a soothing disconnection into the unknown even without any visuals. Following the accessible but otherworldly ethos of its classic parent album, its dreamy soundscapes and aural clusters stand up on their own, providing an escape to help both relax and remember.
‘For All Mankind’ features on the extended edition of ‘Apollo: Atmospheres & Soundtracks’ released on 19th July 2019 in double vinyl LP and 2CD formats
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. Co-produced by the Toronto based Scot 
and ‘Live For Today’, a wonderfully cinematic contribution to the Oscar nominated film ‘The Crying Game’ followed, but then record company politics intervened and contributed to a stall in momentum.
, Cicero kindly spoke about his album ‘Future Boy’, working with PET SHOP BOYS, briefly being a pop pin-up and his return to music…
and 
, but was getting a lot of people asking when I was going to sing again. I wanted to put a song together that meant something to me and what a lot of others could relate to. I just wanted everyone to know I was back, but not really been away.
is perhaps best known for the hovering aural sedative of ‘Deep Blue Day’ which was used in the infamous toilet scene from ‘Trainspotting’. Other notable tracks included the cosmic Americana of ‘Weightless’ and ‘An Ending (Ascent)’ featuring a drifting but dramatic church organ-like passage that acted as the blueprint to the intro of U2’s ‘Where The Streets Have No Name’. Meanwhile the tingling floatation of ‘Under Stars’ became a ubiquitous staple on a plethora of chill-out compilations.
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