Category: Lost Albums (Page 10 of 14)

Lost Albums: SKYRAY Tranquilliser

7 October 2015 / electricityclub

SKYRAY was the experimental instrumental project of Paul Simpson, a cult figure within the Liverpool music scene based that spawned acts such as OMD, ECHO & THE BUNNYMEN, DEAD OR ALIVE, FRANKIE GOES TO HOLLYWOOD and WAH!

Simpson had been a founder member of THE TEARDROP EXPLODES before moving on to form THE WILD SWANS. When the trio folded after releasing the brilliant single ‘Revolutionary Spirit’, Jeremy Kelly and Gerard Quinn went on to form THE LOTUS EATERS while Simpson joined ECHO & THE BUNNYMEN producer Kingbird aka Ian Broudie in a “doomed romantic” duo named CARE.

Despite the three promising singles ‘My Boyish Days’, ‘Flaming Sword’ and ‘Whatever Possessed You’, CARE dissolved before a debut album was finished. Broudie went on to find fame as THE LIGHTNING SEEDS while Simpson reformed THE WILD SWANS with Jeremy Kelly to finally release an acclaimed debut LP ‘Bringing Home The Ashes’ in 1988 before the band fragmented again.

In 1990, Simpson released another album ‘Space Flower’ under THE WILD SWANS name which was produced by Ian Broudie, but by now, he was becoming disillusioned by the years of music industry politics. As a result, he began to abstain from singing and started composing progressive instrumentals which were inspired by both ambient and kosmische music forms.

Four of these lengthy recordings were given limited runs on 10 inch vinyl singles between 1996-97, but the works were collected together along with new material on an album entitled ‘Tranquilliser’. Released in 1998 on Ochre Records, it combined melodic beauty, minimalist drones and motorik rhythms all on one very long CD.

Held together around a dreamy piano motif and layered by pretty synth strings, album opener ‘Rocket Lake’ took the listener on a futuristic journey to a tropical island with burst of simulated Hawaiian guitar. Reminiscent of OMD’s more pastoral offerings, it was the perfect start to a body of work that had variance in both style and structure.

Released as SKYRAY’s second single, ‘Neptune Variations Part One’ was produced by Henry Priestman of THE CHRISTIANS and his sonic enhancements provided a sheen of accessibility as a repeating piano riff and hypnotic drum loop acted as the backbone. ‘Neptune Variations Part Two’ was a longer, slowed down version of ‘Part One’ and as with its more uptempo sister, repetition was the key, with enough melody to catch the ear despite its less percussive nature.

The first ever release by SKYRAY, ‘Invisible Part One’ featured Will Sergeant from ECHO & THE BUNNYMEN. His cacophony of guitar derived effects embellished what was probably the most kosmische derived piece on the collection. With its motorik drum machine and deep bass guitar runs, it was also possibly the most excessive and least essential track on ‘Tranquilliser’. With no obvious hook or melody over its eighteen minutes, chemical enhancements were perhaps needed to appreciate its somewhat enigmatic qualities!

‘Invisible Part Two’ was better though, incorporating the melodic riff heard earlier on ‘Neptune Variations Part One’. The more sprightly rhythm section accented on occasion so dynamically, this was a more realised interpretation. Despite the comparatively muted nature of both versions of ‘Invisible’, the closing ten minute synth dronefest of ‘Magnetic North’ was the perfect ending to ‘Tranquilliser’ with an unsettling yet, cerebral vibe that evoked images of icecaps and chilling long nights.

Simpson actually took ‘Tranquilliser’ on the road, notably opening for ECHO & THE BUNNYMEN with just a bass guitar, slideshow and tape machine for company… the bemused looks of the raincoat brigade, more used to post-punk snarls, were a picture, But for those who were more open minded, the SKYRAY live experience was enlightening.

Two further SKYRAY albums followed before the new millennium, with the third long player ‘Mind Lagoons’ being a more accessible offering that featured shorter, sharper arrangements and a narrative cameo from Bill Drummond on the title track under the pseudonym of Tenzing Scott-Brown!

While the most recent SKYRAY album ‘Liquid Crystal Display’ was in 2005, the last few years have seen Simpson busy with the return of THE WILD SWANS and a 2011 album entitled ‘The Coldest Winter For A Hundred Years’. Whether he will return to instrumental work remains to be seen.

‘Tranquilliser’ is available as a download from https://skyray.bandcamp.com/album/tranquilliser

http://www.paul-simpson.co.uk/

https://www.facebook.com/SkyrayOfficial

Text by Chi Ming Lai
7th October 2015

Lost Albums: WINSTON TONG Theoretically Chinese

11 August 2015 / electricityclub

Winston Tong is best known for writing and singing ‘In A Manner Of Speaking’, a song that was subsequently covered by DEPECHE MODE’s Martin Gore on his 1989 ‘Counterfeit’ solo mini-album.

Originally performed by TUXEDOMOON, Tong had joined the experimental art rockers in a flexible arrangement that allowed him to pursue other projects. He had not featured on TUXEDOMOON’s 1979 debut album ‘Half Mute’, but performed on its 1981 follow-up ‘Desire’, an album that was to become a favourite of DM’s Andy Fletcher.

Born in San Francisco, the son of Chinese parents forced into exile by Chairman Mao’s Communist regime, Tong studied at the California Institute of Arts. One of his teachers was Marni Nixon, who was best known in Hollywood for providing the singing voice for Natalie Wood and Audrey Hepburn in the films ‘West Side Story’ and ‘My Fair Lady’ respectively. On graduating, he started specialising in leftfield performance and puppet theatre.

His first solo album ‘Like The Others’ was released in early 1983 by the prestigious Belgian label Les Disques du Crépuscule. Issued on cassette only, it was a collection of abstract monologues backed by members of TUXEDOMOON. Around this time, TUXEDOMOON’s lead singer Blaine L Reininger temporarily left for a solo career.

So Tong lent his voice to an interim single ‘Soma’ in 1984. However, he opted to collaborate with Belgian singer Niki Mono who he had met following the band’s relocation to the more sympathetic artistic playground of Europe. The pair recorded a nine song demo which impressed Crépuscule enough to sign them. However, by the time the first single ‘Theoretical China’ appeared in November 1984, Mono had departed the project and the release was credited to just Tong.

But ‘Theoretical China’ was a promising calling card, the combination of alternative electronic disco and Tong’s Bowie-esque mannerisms recalled ‘Charlie Cat’ on Robert Görl’s ‘Night Full Of Tension’ which was produced by Mike Hedges, the man behind the desk for ASSOCIATES ‘Sulk’. The ASSOCIATES connections didn’t end there either, as the track and subsequent album was recorded under the production supervision of Alan Rankine.

Accompanied by an all-star cast of cool, ex-PUBLIC IMAGE LIMITED bassist Jah Wobble added some of the distinctive dub flourishes that had adorned his own ‘Snakecharmer’, while other renowned guests included NEW ORDER drummer Stephen Morris and MAGAZINE’s Dave Formula who also co-produced the track.

The finished electropop opus was released in October 1985 under the title of ‘Theoretically Chinese’. On it, the theme of cultural identity, which had been the lyrical gist of ‘Theoretical China’, was further explored via compositions like ‘Yellow Peril’ and an excellent uptempo cover of Marianne Faithfull’s ‘Broken English’. The era’s inherent Cold War tensions also loomed large on the fine pulsing opener ‘Big Brother’, its syncopated construction reminiscent of TALKING HEADS.

The bouncy ‘Endgame’ added saxophone to the synth dominated palette, while the similarly augmented ‘No Regrets’ was an enjoyably rousing number that wouldn’t have gone amiss on Bowie’s ‘Tonight’ album or a Ryuichi Sakamoto solo album of the period. The effervescent ‘Principles Of Movement’ closed proceedings on ‘Theoretically Chinese’, but it wasn’t all frantic, digitally programmed energetics as the elegant sweeping ballad ‘Reports From The Heart’ and the moodier set piece ‘The Quotidian’ proved.

With Alan Rankine’s vibrant sequencing and keyboard work alongside his layered guitars, it was not hard to imagine how ASSOCIATES’ follow-up to ‘Sulk’ might have sounded had Alan Rankine and Billy Mackenzie not parted company. ‘Theoretically Chinese’ sold well for a European independent release, partly thanks to the positive reception for ‘In A Manner Of Speaking’ and its parent album ‘Holy Wars’ which came out earlier in 1985.

But true to the spirit that led to Tong’s flexible status within TUXEDOMOON, he had already left the band and as his second solo album reached the collections of the cognoscenti, he was off composing for a modern ballet production called ‘Miserere’. Thus, any further potential sales of ‘Theoretically Chinese’ that could have been gained from touring, remained unfulfilled.

Winston Tong’s danceable synthpop outing was as much of a departure from TUXEDMOON as Robert Görl’s ‘Night Full Of Tension’ was from DAF or Paul Haig’s ‘Rhythm Of Life’ was from JOSEF K. In all three cases, a lightened spirit previously hidden amongst the angsty overtones of each parent band was allowed to shine through. But Tong opted not to develop this comparatively commercial sound… he was done with his experiment and quickly moved on. He ventured into jazz and continued his various theatrical pursuits, with the occasional reunion with TUXEDOMOON.

While ‘In a Manner of Speaking’ has since become a cult favourite, thanks to Mr Gore and numerous media synchronisations, the ‘Theoretically Chinese’ album deserves rediscovery and reappraisal as a demonstration of how art school and dancefloor can live together in a sophisticated, harmonic union.

‘Theoretically Chinese’ is available as a download via Les Disques du Crépuscule at https://lesdisquesducrepuscule.bandcamp.com/album/theoretically-chinese

A compilation ‘In A Manner Of Speaking (Best Of)’ featuring five songs from the ‘Theoretically Chinese’ period is available on CD dierctly from http://www.ltmrecordings.com/in_a_manner_of_speaking_best_of_ltmcd2520.html

http://www.winstontong.com/

Text by Chi Ming Lai
11th August 2015

Lost Albums: AND ONE Aggressor

13 June 2015 / electricityclub

Much can be said and speculated about German-based AND ONE, a band with many releases to date and a cult-like following.

The founder, Steve Naghavi, a long standing EBM and DEPECHE MODE fan, is simply despised to the same extent as he is loved. But AND ONE’s input into the German electronic music scene cannot be denied or diminished.

The group has had many incarnations since its beginnings in 1989, Naghavi being the only original member now, rehashing couple of the pervious band mates.

Meanwhile the other founding hero, Chris Ruiz has enjoyed the company of another ex-AND ONE pal, Gio van Oli in his 2011 project THE PACT, after they stomped out of AND ONE.

It has to be agreed that since ‘Anguish’, AND ONE’s first release in 1991, all through ‘Flop!’, ‘Spot’, ‘I.S.T.’, ‘Nordhausen’, ‘9.9.99.9 Uhr’, and ‘Virgin Superstar’, the band had displayed a rare variety of tastes and changeability, all of the above clearly coming through on those albums, with a rather decent singing style and diverse use of sounds.

Less can be said about more recent productions, such as both ‘Bodypop’ albums, ‘Tanzomat’ and the ‘Zerstörer’ EP, not to mention the post-Ruiz ‘S.T.O.P.’, which couldn’t even be saved by the collaborations with the likes of Douglas McCarthy of NITZER EBB on ‘Get it!’ or Eskil Simmonson of COVENANT on ‘Low’; both songs were actually really good, but somehow lacked the soul and repeated the boring-by-now AND ONE sound. The most recent album trilogy ‘Magnet’, ‘Propeller’ and ‘Achtung 80’ has been a total flop, receiving rather harsh reviews in the electronic music circles. It has been, indeed, criticism well applied for the overuse of the same old base drum beats, overfamiliar sequences and Naghavi’s never changing vocals, which once sexy, are now sounding rather mundane and in the past.

To the weathered AND ONE fanatic, it would have become quite clear by now, that one of the albums hasn’t been mentioned as yet… Yes! THE ALBUM! The last production that the band released for Virgin Schallplatten, before they moved onto Out Of Line in Europe and Metropolis in the USA, was the all-German ‘Aggressor’.

2003 witnessed a brave move into twelve songs performed in the group’s mother tongue, with the all-necessary harshness and roughness associated with the German language. This courageous step proved to hit the spot, not only in their native Germany, but throughout Europe.

The album flows, in a way that ‘Black Celebration’ progresses for a DEPECHE MODE fan, with exquisite track joining sequences, leading one powerful tune into another, skilfully placed to achieve the top of greatness, the heights of confidence and the depths of dominance. ‘Kein Anfang’ opens with the rather familiar signature AND ONE sound, which is best imagined as the sounds one would hear during a severe ear infection. (This is not a derogatory comment by any way)…

‘Schwarz’ rules from the start, with the beat so catchy, you wish you had paid attention to your German at school a little bit more, so you could sing along with Naghavi. The track is as “black” as its follower, ‘Krieger’, which was released as the first and, surprisingly, only single from the production. A “Warrior” indeed, stompingly exquisite and layered with gentle female backing vocals over the harsh beat. ‘Sternradio’, named after a nightclub in Berlin, accurately described as containing “a chipmunk voice”, is racy and driven, sung by Steve Naghavi with a smirk in his voice… it is both catchy and sexy.

Then the gutsy ‘Speicherbar’ enters. Is life really “storable”? Clever lyrics are intertwined within a gentle, yet daring melody. Ear infection comes round again with ‘Fehlschlag’; it’s not a “failure” at all, but a melancholy-lined, well arranged track that is very political for AND ONE, and superb in its meaning. ‘Für Immer’ has religious and existential elements in the lyrics and marvellous synth basslines with its very militant character and bearing industrial elements.

An instrumental, ‘Einstieg’ introduces the superbly powerful ‘Strafbomber’.

This is a roar of menace and scream of violence that has also lends itself perfectly during AND ONE’s many live performances. Chris Ruiz takes the vocals over on ‘Fernsehapparat’ briefly, a forward track once more, with elements of bumpy synth and a wholesome beat.

Different in feel and possibly the weakest song ‘Tote Tulpen’ somehow doesn’t fit the album, but inserts an eclectic element into it, leading onto the last track, cleverly titled ‘Kein Ende’. However, it is a rather poor instrumental and certainly doesn’t lend itself as a finish to this, otherwise superb, album.

What the future holds for AND ONE nobody knows, their back catalogue is a rather eclectic mix of the great, good, not so good and dreadfully bad. Steve Naghavi’s handsome looks and fantastic stage presence have always added well to the mix and the fans have not been put off by the poorer releases or band arguments alike.

All this said, the electronic music scene would kill for another ‘Aggressor’, or anything with a good dose of the oomph that AND ONE have been known for. Maybe one day… for now, get your army boots on, your uniform pressed, and march to the ‘Aggressor’ once again; it is, after all, next to impossible to sit still while this masterpiece is on! Deutsche Musik vom Feinsten!

‘Aggressor’ is still available on CD via Virgin Schallplatten

http://www.andone.de/

https://www.facebook.com/ANDONEoffiziell

Text by Monika Izabela Goss
13th June 2015

Lost Albums: WOLFSHEIM Spectators

19 April 2015 / electricityclub

The German city of Hamburg has been the home of many a great band, but WOLFSHEIM is, by far, the one always mentioned with a dose of nostalgia and melancholy.

Even though the group ceased to exist around 2008, the ominous voice of Peter Heppner still haunts the listener of dark wave electronica, it being WOLFSHEIM material itself, Heppner’s solo projects or his vast collaborations with various artists. The synth duo’s most known song is still 1991’s ‘The Sparrows And The Nightingales’.

Yet, since then, they have compiled a wealth of material widely adored by, even the more discerning fan of electronica. The fourth album from WOLFSHEIM, ‘Spectators’ released in 1999 went straight to number two in the German charts and had been issued in America on Metropolis Records in 2001, before reaching the Gold status in Germany in 2004. Ten songs, one of them in their mother tongue, plus a closing instrumental, left the receiver with a great dose of sombre feeling and pensive nostalgia-like sentiment. How did they achieve that?

Well, Markus Reinhardt’s use of melodies deepens the mood of sorrow for sure; the backdrop to Heppner’s vocals is astounding and meaningful, the uncomplicated musicality of his creations second to none. Without the tone of the voice of the master songster however, WOLFSHEIM would, quite possibly have gone unnoticed.

It is, after all, his distinguished voice, sounding lugubrious, moody, gloomy and very cinematic that made WOLFSHEIM what they became. All this said, Heppner’s solo projects, although received warmly, never somehow managed to penetrate the listener to the same extent that the work which the duo’s had turned out.

Perhaps it was a case of DEPECHE MODE syndrome, similar to neither Gahan, nor Gore ever meeting full potential outside of the project they share. Either way, it is worth re-visiting ‘Spectators’ and re-introducing this intense, yet un-laboured creation that put WOLFSHEIM on the world map as a band worthy of the repeated listen.

‘It’s Hurting For The First Time’ opens the record with an operatic female vocal, before Heppner comes in with his immaculate, deep and atmospheric rendition over eclectically selected musical elements, coming together skilfully to round up the starting track. The only German language song on the album enters next. ‘Künstliche Welten’, being in Heppner’s native tongue, sounds softer somehow, despite the natural harshness of Deutsch.

The dreamy intro of ‘Touch’ is simply stunning; carefree melody, gentle synth lines, all swaying around the architectural sound of Heppner’s genius. ‘Blind’ has very similar qualities, deeper, softer still and sentimental in feel. Exquisite use of drum patterns and delicate key strokes give the necessary back drop to the desperate melancholy of the vocals.

‘Once In A Lifetime’ drives a change in landscape; heavier synths and harsher beats introduce this magnificent tune, to which WOLFSHEIM released a rather enchanting video. An easy-listening, singalong hymn, despite of its lyrical content has all the danceability elements too.

‘Sleep Somehow’ opens with a drum and bass sequence, the fetching drumming responds extraordinarily well to Heppner’s portrayal of the saddening verse. ‘For You’ is more guitar based and the songster’s craft shapes the tune over a simplistic manifesto of sounds.

‘Read The Lines’ has a dance feel, to which the singing style lends itself surprisingly well, given the nature of Peter’s innate melancholy. ‘I Don’t Love You Anymore’ is a quintessential gloomy song. Depicting a failed relationship with no feelings left in it, yet being artificially life-supported. “I don’t love you anymore… yet we’re dancing” Heppner laments, ”you’re not the one I’m falling for, but we are dancing”. With distinguished synth combinations, surprisingly it bears a light feel and has a definite dance factor to it.

‘Heroin, She Said’ is lyrically strong on the addictions of the subject and has harsh guitar elements to it, more so than the rest of the album. It certainly provides an alternative end to the album before ‘E’ finishes it completely with its nearly all-instrumental content.

The feelings of yearning and sentimentality on this record are truly astounding. Heppner’s melancholic deep voice, so evocative of emotions, yet warm and inviting, draws one in with a great sweep of nostalgia and leaves the listener wanting more. Why not re-visit the other, oh-so-superb albums of WOLFSHEIM’s like ‘Casting Shadows’, which followed ‘Spectators’, with the intense likes of ‘Kein Zurück’ or ‘Find You’re Gone’, or the earliest creations such as ‘Popkiller’or ‘Dreaming Apes’?

is still considered THE VOICE of Germany, with multiple artists, more recently none other than CAMOUFLAGE, collaborating with him on their recent album ‘Greyscale’, with Heppner lending his voice on ‘Count On Me’ so skilfully. German electronica rules once more…

‘Spectators’ is still available on CD and download via Indigo

http://www.metropolis-records.com/artist/wolfsheim

http://www.strangeways.de/kuenstler/1022/

http://www.peter-heppner.com/

https://www.facebook.com/peterheppneroffiziell

Text by Monika Izabela Goss
19th April 2015

Lost Albums: DE/VISION 6 Feet Underground

4 April 2015 / electricityclub

Forming in 1988, German duo DE/VISION keep themselves busy with touring in between albums and writing new material.

After twelve studio albums plus re-hashed releases, the wealth of their back catalogue is vast and loved in their native Germany, the rest of Europe, America and South America alike. Rare visitors to England, yet constantly touring their own land with massive success, DE/VISION are unique and uncommon.

Their live shows are as uncomplicated as one could ever imagine, with Thomas Adam tucked away behind a keyboard and Steffen Keth performing his songs with unparalleled modesty and purity. A few years have passed since the release of ‘Six Feet Underground’, which was disclosed in 2004 to the thirsty DE/VISION fans, and proved to be one of their most loved albums, having followed gems like ‘Void’, the controversial ‘Two’ and the back-to-electronica ‘Devolution’.

The title itself suggests a death theme which prevails throughout the listening experience, creating a gloomy and forlorn mood, exquisitely depicted in the twelve tracks on this record. ‘I’m Not Enough’ opens this sombre collection of tunes, with lyrics such as “Rock me to sleep, and bury me deep” and “I’m living a borrowed time, I have passed my prime”, which perfectly characterise the aura of “dying over and over”. It could be a flag tune for anyone, who has ever suffered from depressive moods and suicidal tendencies.

The magnificent ‘I’m Not Dreaming Of You’ has an upbeat tempo, perfect for those fantastic live dances Steffen likes to perform on stage; the notion of downheartedness prevails however. “I can’t go on denying the part of me is dying”; the superbness of such simple lyric with so much meaning is astounding. Excellent synth layering over the cheerlessness of Keth’s voice adds to the character of this song and makes it an atmospheric track of the future.

‘Unputdownable’ gives a little hope in the desperate existence, “I’m filled with love from far above… I found the light in the dead of night… I’m unputdownable”. Emotion filled vocals by Steffen Keth intertwined over clever synth lines hit the spot perfectly, leading to the next track, which is ‘Turn Me On’. A drum ‘n’ bass opening leads into an explosion of electronica, the mood lifted and skilfully brought down again, yo-yoing over the imagined misfortunes and flickers of hope in the, otherwise, melancholic existence.

The daunting and blue title track rolls in with a “lifeless, yet alive and eager to live” line, introducing the continuation of the death inspired notion, mournful vocals painting the picture of despair and bleakness. The words “Wherever I turn, my road seems to go nowhere, six feet underground, fated to fail and damaged beyond repair”, desperately cry out for resolution, dissolution and the end. In the world of other depressive, despairing songs, these lyrics mark the line of no return, familiar to so many of those crippled by the, ever so growing, social disease. The astounding voice of Steffen Keth only adds to the dejection atmosphere, “I’m drowning, tired”, bearing the familiarity to anyone, who ever experienced saddened moods; truly a signature track for this eloquently written album.

A song that the band still choose to play during their live gigs, the simplistic ‘Aimee’ is truly outstanding. A little glimmer of better times when ‘Unversed in Love’; “you make me feel that I am special” poses a hopeful feeling that after all, things could be brighter. The passion theme is continued with ‘Right On Time’, where “my love will guide you”.

Vocodered vocals and an uptempo beat, make this a unique dance track. The mood is consistent with the next tune, ‘Take Me Over’, where “my world’s on fire”; excellently executed synth lines over clever basslines could induce a trance indeed. A trance, that, sadly, could not last, as the following, ‘You Are The One’, melancholically strolls in. “I am barely hanging on” Steffen says, “I was born to roam the night”, indicates yet again, the pointlessness of one’s existence, even though “you are the one”. A heavy- hearted anthem for the dispirited, only understood by the crestfallen and dejected.

A ray of light brightens over the next track, ‘Beside You’, which is musically a more cheerful tune, not so much lyrically though as “I go to meet my fate”, “insignificance, non-existence”, “I feel about there’s no way out” demonstrate. The instrumental ‘Klangmonaut’ sounds positive and, as if there’s hope after all, beautifully painted story of optimism and the prospect of promise for better times to come. No chance though… ‘Take Me To Heaven’, the song closing the album, cries out for the conclusion.

A love theme intermixed with death, “I’m feeling pain and pleasure I have ever known”, and begging to “take me to heaven”, leaves the listener in irreparable state, where all is lost, there’s no hope and living is not worthwhile.

People said DEPECHE MODE was depressing music?! After listening to ‘Six Feet Underground’, few would say that DE/VISION are too. And those people could not get it any more wrong. Dying is a vital part of existence, why put a stigma on it? Why not embrace the fact, that life is not just about the happy-go-lucky insignificant measures to stay on top; there are dark places in everyone’s minds that surface at times and have to be addressed. This album is quintessentially about that; and to date, the author’s firm favourite.

DE/VISION produced a wealth of releases and have since introduced such gems as ‘Noob’ and ‘Popgefahr’; ‘6 Feet Underground’ however, firmly marks the gloomy mood of failure, inadequacy and lost hope, we all feel at times. No shame…

‘6 Feet Underground’ is still available on CD via E-Wave Records

http://www.devision.de/english/

https://www.facebook.com/pages/DEVISION/24741337633

Text by Monika Izabela Goss
4th April 2015