Category: Reviews (Page 24 of 206)

DURAN DURAN A Hollywood High

21 August 2023 /

Celebrating 40 years as recording artists, DURAN DURAN’s 15th studio album ‘Future Past’ was a live for the moment statement of how a something today can become a cherished memory in times to come.

It was to a large extent, a return to form and on two of the album’s best tracks ‘Beautiful Lies’ and ‘Tonight United’, Simon Le Bon, Nick Rhodes, John Taylor and Roger Taylor connected up with one of their biggest influences Giorgio Moroder to deliver what was largely expected but that was no bad thing. There was also ‘Anniversary’ where the quartet wrote a song that specifically referenced earlier material such as ‘Wild Boys’, ‘Is There Something I Should Know?’ and ‘The Reflex’.

Nick Rhodes refers to ‘Future Past’ as having the strongest material from DURAN DURAN for quite some time, while Roger Taylor affirms the spirit of the album’s title, by having “one foot in the past, one in the future”.

Still enjoying just being DURAN DURAN, ‘A Hollywood High’ is a feature-length docu-concert film that acknowledges a four decade plus career. Recorded in March 2022 on an intimate rooftop set at The Aster in Los Angeles with the iconic Capitol Records building as a backdrop, this was their first post-pandemic US show. Encapsulating the band’s fascination with the city, the film also features new interviews with the band, as well as archive footage from their previous US tours which will largely be familiar to owners of ‘Sing Blue Silver’.

As it all starts, drummer Roger Taylor remembers “sunshine was in real short supply” as he reflected on his childhood in Birmingham. “New York was punk, but LA is rock n roll” added London-born Simon Le Bon while Nick Rhodes’ reaction to that first 1981 visit to LA was “I feel like I’m in a film noir”.

This was to be the last time that DURAN DURAN were largely unrecognised with John Taylor recollecting “it was a terrific learning experience… I really did enjoy those early tours” before musing that the Capitol building (also known as “the house that Frank built”) was round like the Rotunda in Birmingham!

Buoyed by their first American jaunt, the song ‘Rio’ was written on their return to UK, inspired by the lure of fame. Los Angeles was like a totally different country, even compared to New York where DURAN DURAN were also making waves. It was in 1982 that Capitol Records made the bold decision to commission FM radio friendly remixes for the US market by David Kershenbaum of ‘Rio’, ‘Hungry Like The Wolf’, ‘Hold Back The Rain’ and ‘My Own Way’ which as Nick Rhodes puts it, “ignited America”.

Opening with the 1985 James Bond theme ‘A View To A Kill’, over the pounding drums and orchestra stabs, Le Bon adopts a bizarre mockney accent in his delivery. Continuing with newer numbers from ‘Future Past’, ‘Invisible’ sounds more rounded than its harsher studio recording while ‘All Of You’ is a rousing declaration of desire.

‘Notorious’ is enjoyable with Le Bon’s characteristically strained vocal over the funk, although also in the set, the similarly Nile Rodgers connected ‘Pressure Off’ is the slightly less convincing cousin. Meanwhile backing singer Anna Ross soulfully duets on ‘Come Undone’ with Le Bon coping well by not exerting himself too much by abstaining from attempts to hold the any of the end notes.

The serene Scandipop of ‘Give It All Up’ was one of the nice surprises on ‘Future Past’ and with the Swedish songstress Tove Lo’s vocal taken by the very capable Erin Stevenson on ‘A Hollywood High’, this uplifting number is now a regular fixture in the current live sets. However, the less said about the cover of ‘White Lines (Don’t Do It)’, the better, as it has been an irritating waste of time at DURAN DURAN concerts since 1999. The matter is all the more frustrating as the band have superior songs of their own that deserve airing; ‘Anyone Out There’ and ‘New Moon On Monday’ being just two often overlooked examples.

Despite references to nuclear war in songs like ‘Is There Something I Should Know?’ and ‘Friends Of Mine’, DURAN DURAN have never been a political band, much to the chagrin of NME and Paul Weller, but they show support to Ukraine. As traders in entertainment, they incorporate concern into their escapist music and as darkness falls, ‘Ordinary World’ comes as a song of peace with the Capitol Building lit up in the colours of the Ukrainian flag as a poignant symbol.

A Moroder production with another worldwide clarion call but also classic DURAN DURAN in its throbbing electronic disco backbone, ‘Tonight United’ finds a place in ‘A Hollywood High’. Ending with 12 song set with ‘Hungry Like The Wolf’, bubbly synths and rocked up guitar from Dom Brown provide futurism and power in equal measures while Le Bon really hams it up for the yanks with even more mockney.

With high production values and superb sound, although ‘A Hollywood High’ does not boast a full concert setlist and omits a number of some of DURAN DURAN’s best known songs like ‘Planet Earth’, ‘Girls On Film’, ‘Save A Prayer’, ‘Rio’, ‘Wild Boys’ and ‘The Reflex’, it does provide a fitting souvenir of the ‘Future Past’ period and will delight Duranies. The smaller stage restricts Le Bon’s more outlandish moves but his polarising vocal style remains as honest an ever, while all the band are quite visibly enjoying the occasion from seeing the whites of the eyes of the audience.

On their recent UK arena tour, DURAN DURAN played their best shows since the 2004 reunion of the classic-line up. With four fifths of that band still together and playing album evergreens such as ‘Night Boat’, Friends Of Mine, ‘Last Chance On The Stairway’ and ‘Lonely In Your Nightmare’ alongside new material and the big hits, they showed were still great.

Now if they could finally kick ‘White Lies (Don’t Do It)’ into touch, the remainder of their current tour could be even greater.

‘A Hollywood High’ is released as a Bluray + DVD by Cherry Red Records, combined bundle with limited edition Flexi Disc companion piece available from https://www.cherryred.co.uk/product/duran-duran-a-hollywood-high-dvd-blu-ray-flexi-disc-bundle/

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Text and Photos by Chi Ming Lai
21 August 2023

SOFT CELL *Happiness now completed

25 July 2023 /

2022’s ‘*Happiness not included’ was SOFT CELL’s first album of new material since ‘Cruelty Without Beauty’ which hit the shops 20 years before.

Seeded by a reunion following their original 1984 disbandment, after a difficult album campaign for ‘Cruelty Without Beauty’ which front man Marc Almond later described as “a terrible mistake”, he and instrumental partner Dave Ball became estranged for many years . That was until a 2018 reunion show at London’s O2 Arena; although this was intended to be a formal retirement party for the Northern electronic soul duo, their “synthesis of sunshine and shadow” could not be denied or resisted.

“Dave and I were transformed by each other” said Almond and like a chemical reaction, there was a second joyous recorded reunion. Although it stated clearly on the tin ‘*Happiness not included’, such was the rejuvenation that although 12 songs ended up on the album, there was enough unused songs, cover versions, bonuses, B-sides and extended mixes to compile two new collections for a ‘Happiness…’ trilogy.

Produced as with the parent album by Philip Larsen, ‘*Happiness now extended’ presents the original ‘*Happiness not included’ album as traditional 12” versions to encapsulate the early clubbing spirit and imperial phase of SOFT CELL. With many of the tracks conceived as longer works, the title song, ‘Nighthawks’ and ‘Tranquiliser’ particularly benefit from this treatment.

But ‘*Happiness now completed’ is effectively a new album, featuring a significant number of previously unreleased tracks as well as reworkings of several other recordings that did not feature in the main act. Among the best tracks are two cover versions , ‘First Hand Experience In Second Hand Love’ which was originally on Giorgio Moroder’s pioneering 1977 album ‘From Here To Eternity’ which spawned a Top 20 hit single of the same name and X RAY SPEX ‘The Day The World Turned Day-Glo’, a No23 UK hit in 1978.

With ‘Tainted Love’, ‘Where Did Our Love Go?’, ‘What’, ‘You Only Live Twice’, ‘Down In The Subway’ and ‘The Night’ in their portfolio already, SOFT CELL have a good track record with covers and ‘First Hand Experience In Second Hand Love’ locks into a fine spacious electronic groove, complete with vocoder to make a fine SOFT CELL dance track in its own right.

Meanwhile in a brilliant metronomic electro tribute to Poly Styrene, ‘The Day The World Turned Day-Glo’ takes a musical leaf out of ‘Sex Dwarf’ with Ball making his syndrums and synths sound so menacing yet accessible, while Almond delivers a vocal recalling the anguish of ‘Martin’ with sleazy sax passages from Gary Barnacle resonating with the dystopian lyrics.

‘Back To Nature’ is an improved version with a new vocal of the FAD GADGET cover that originally came from the ‘Magick Mutants’ bonus EP in the 2019 book, ‘To Show You I’ve Been There’. While it is a nice tribute “For Frank” Tovey who was a fellow art student at Leeds Polytechnic, it perhaps does not shine as brightly as ‘The Day The World Turned Day-Glo’ or ‘First Hand Experience In Second Hand Love’

Of the self-compositions, one of the highlights is ‘Murder Your Darlings’ where the minimal template of vintage chattering Roland drum machine and pulsating electronics allows the spirit of SOFT CELL to come across best. But in an unexpected twist, the windswept tones of ULTRAVOX add another icy dimension. ‘Jukebox Head’ also follows this sparser template although in a more frantic fashion as it buzzes and blips before amusingly threatening to drift into ‘Sometimes When We Touch’, the 1977 ballad hit by Dan Hill…

The ‘Bruises On All My Illusions’ B-side ‘Vapourise’ is a superb inclusion and really should have made it onto the parent album along with several other songs; ‘Quiet Rebellion’ comes over as an obvious outtake from the original ‘*Happiness not included’ album while the previously issued ‘Strange Kinda Dance’ does as it suggests in its dark electro-disco and heavier beats. More steadfast and filmic, ‘Defiant’ provides the drama.

Originally part of the 8 GB USB stick sold at the London O2 show in 2018, the nocturnal motorik YOLO thrill that is ‘Night & The City’ is updated for 2023 while in a similar energetic vein, ‘Gemini Lounge’ sees Dave Ball take a leaf out of the Vince Clarke book of sequencing as the rhythmic tension builds.

Born of desire, ‘You Kill Me’ offers a bouncy Gene Pitney flavour and a great line in “cyanide on a rollercoaster ride” as well as “sha-dup” backing vocals. Then in a re-recording of the song from ‘Cruelty Without Beauty’ reworked with brass for that classic downtown pop feel, ‘Last Chance’ presents the follow-up to ‘Say Hello Wave Goodbye’ like Tony Hatch meeting SOFT CELL.

Various radio edits of songs such as ‘Nostalgia Machine’ and ‘Bruises On All My Illusions’ plus a take on ‘*Happiness not lncluded’ featuring Gary Barnacle on sax are also among the extras but Cellmates will be fascinated by the original SOFT CELL only version of ‘Purple Zone’ which is a far more restrained production than the more familiar PET SHOP BOYS kitchen sink rework.

Happiness gets completed with the “dirty disco” Chris & Cosey remix of ‘Nighthawks’ which Dave Ball recently declared his favourite third party remix of the current era of SOFT CELL; “it doesn’t bear much resemblance to the original” he said, “but it still sounds fantastic.”

‘*Happiness Now Completed’ is a worthy supplement that contains some excellent tracks to provide an appendix to this phase of SOFT CELL, but what next? “I’ve always said that I’m up for new Soft Cell music if Dave has the tunes” says Marc Almond. Meanwhile Dave Ball said to ELECTRICITYCLUB.CO.UK: “I’ve been getting some new rough ideas for backing tracks for SOFT CELL, should there be another album. Marc seems to want to do another one and I do. I hope there may be another SOFT CELL album but you’re going to have to wait a while…”

It looks like they might well say hello again 😉

‘*Happiness now completed’ released on 28 July 2023 via BMG as a CD + download, available from https://www.softcell.co.uk/product/happiness-now-completed-cd

The companion limited edition black double vinyl album ‘*Happiness now extended’ with download key is also out on the same day, available from https://www.softcell.co.uk/product/happiness-now-extended-double-black-vinyl

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Text by Chi Ming Lai
Photos by Andrew Whitton
25 July 2023

THE REMAINDER Evensong

7 July 2023 /

Another year and it’s another Neil Arthur side-project. Following on NEAR FUTURE, FADER and KINCAID comes THE REMAINDER.

As well as Neil Arthur, THE REMAINDER also comprises live BLANCMANGE percussionist Liam Hutton whose portfolio includes Neneh Cherry and Finlay Shakespeare, an artist in his own right who also builds synths and is another member of the BLANCMANGE performing family.

Initiated in 2015, the sound of THE REMAINDER is crisp yet hazy, with Arthur relinquishing total control and relishing in the altered dynamic coming from two younger and very capable collaborators. Additionally, Liam Hutton’s mother Jo, a radio audio recording engineer and composer provides sub-20 second ‘feedback and situation’ interludes slotted between the songs for a considered body of work.

Beginning with the excellent dance friendly ‘Broken Manhole Cover’, Neil Arthur deadpans about “eating immature peppers”, “calcium build-up” and other earthy observations and as a hypnotic synthy shine bursts through, it recalls LCD SOUNDSYSTEM. Taking on a more midtempo pace, ‘Hoarfrost’ is spacey electronic pop with engaging keyboard passages where Arthur exclaims “I don’t do nostalgia” as he ponders the passing of time.

The ‘Evensong’ title track is gloriously motorik and brings in live bass alongside a blippy backdrop before some ragged guitar joins in the second half in a celebration of the outsider. A cousin of ‘Hoarfrost’, like VISAGE and TALK TALK, THE REMAINDER have an eponymous song too and the use of digital claps provides a fitting upbeat.

More sombre and perhaps autobiographical, ‘Awake’ sees Arthur sounding particularly weary in the character of a “very very busy, a very busy person”. Of a similar tone and sounding not unlike THE CURE, the angsty ‘Dead Farmer’s Field’ makes subtle but effective use of synths on top of the driving rhythm section.

With more great synth lines and tongue-in-cheek references to the classic BBC comedy show ‘Are You Being Served?’, ‘Lift Music’ excels within a cavernous downtempo trip-hop setting. With eerie horror film vibes in a song about denial, ‘Forgotten’ sees Neil Arthur get more animated and angry before the closer ‘What Do You Want To Want’ recalls JOY DIVISION courtesy of its almost funereal mood as it asks existential questions inspired by the Yuval Noah Harris book, ‘Sapiens; A Brief History Of Mankind’.

This first album by THE REMAINDER is an immediately enjoyable affair that sits nicely alongside FADER and NEAR FUTURE as part of the wider Neil Arthur canon. But what is next? There’s the rumour of an as yet unnamed covers project with Benge and a certain Vince Clarke… versions of ‘Stuck In The Middle Of You’, ‘Goodbye To Love’ and ‘Rock On’ are said to be among the works-in-progress 😉

‘Evensong’ is released on 14 July 2023 by Blanc Check Ltd as a clear vinyl LP, CD + digital download, pre-order from https://theremainder.tmstor.es/

http://www.blancmange.co.uk/

https://www.liamhutton.co.uk/

http://finlayshakespeare.com/

Text by Chi Ming Lai
7 July 2023

ROBIN HATCH Piano III

4 July 2023 /

Robin Hatch is the Canadian composer whose 2021 album ‘T.O.N.T.O.’ experimented with the huge customised synthesizer system created for the music of TONTO’S EXPANDING HEAD BAND who also worked with Stevie Wonder on the ‘Talking Book’ and ‘Innervisions’ albums.

Having previously released piano works as well a pop album ‘Noise’ featuring vocals and drum machine, Robin Hatch returns to traditional ivories for ‘Piano III’ although despite its title, she makes use of an EMS Synthi AKS and ARP 2600.

Her sixth album in 5 years, the album was written during breaks while touring as a live keyboardist with Polaris Prize-winning hardcore punk band F*CKED UP. Recorded at the Electronic Music Education and Preservation Project in Harleysville using Keith Emerson’s Steinway Model D, ‘Piano III’ opens the set with ‘Abstract’, a soothing solo piece that recalls the ‘BTTB’ pieces of the late Ryuichi Sakamoto.

‘2600’ is self-explanatory, making use of crunchy rhythmic electronics as accompaniment to the improvisation, recorded by placing contact microphones on the piano’s strings run into an ARP 2600 controlled by ARP sequencer, all while synthetic strings and swoops provide a breezy atmosphere.

The more ambient ‘Fairies’ is gorgeous with its gently bubbling electronics and keyboard treatments reminiscent of Brian Eno’s interferences in his work with Robert Fripp. However ‘Manifesto’ is much more boisterous, the skeletal ostinato cascades recalling Ryuichi Sakamoto ‘Playing the Piano’ and also John Cage when in his more tuneful mindset.

‘Dispatches’ makes more of an ominous piano statement with plenty of drama inspired by Igor Stravinsky’s ‘The Rite Of Spring’.

Perhaps not as straightforward as the other compositions, the idiosyncratic ‘Waterfall’ is artier and avant with the unusual sound of birds singing through Autotune.

A minimalist PREFAB SPROUT cover inspired by jazz pianist Brad Mehldau and classical player Christopher O’Riley (who is notable for his transcriptions of NIRVANA and RADIOHEAD), ‘Bonny’ ventures into pacier melodic inflections before the plaintive ‘Fatal Attraction’ closes proceedings.

Reflecting the deviating mind in solitude, with ‘Piano III’ being the final instalment of her piano trilogy, where will Robin Hatch head next? Not one to sit still, perhaps following her F*CKED UP touring experience, will a synth-punk album be next? Whatever happens, it will be interesting.

‘Piano III’ is released by Robin Records as a splatter green vinyl LP and download on 7 July 2023, pre-order from https://robinhatch.bandcamp.com/

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Text by Chi Ming Lai
4 July 2023

STEVEN JONES & LOGAN SKY Sacred Figures

23 June 2023 /

On their most recent 2021 album ‘European Lovers’, Steven Jones and Logan Sky affirmed their passion for Mittel Europa.

International travelling front man Steven Jones was teamed up with Logan Sky by the late Steve Strange after the keyboardist was involved in the rebooted version of VISAGE which recorded the 2013 ‘Hearts & Knives’ long player.

‘Sacred Figures’ is the sixth album from the duo and its 12 tracks are augmented by guitar from Richard Barbieri collaborator Jan Linton and sax from Gary Barnacle who worked with SOFT CELL and VISAGE.

Opening with ‘Come Back Tonight’, incessant synth lines draw the listener in as Jones offers his mannered agitated baritone that declares it is “neue romantische” business as usual and when the bleeping and bubbling lines make their presence felt, it adds another layer.

‘This Silence, Our Tragedy’ sparkles Germanically and as Jones offers his spoken word in the verse, Sky presents his cool synth interventions as if The Cold War never ended. Echoing the tense atmosphere of the world right now, things are sweetened by Gary Barnacle’s soprano sax for a hopeful effect.

Jones sermons the congregation in ‘Thalia’s Room’ while ‘Burn It Down’, ‘Sacred Figures’, ‘Kabbalistic’ and ‘Opium no.17’ are characteristic of the duo’s mood music of previous works although the latter adds exotic texturing. ‘Into Dust’ takes digital sounds and upping of pace into almost rave territory although it is sombre and no hands in the air experience.

But ‘This Intensity’ makes use of a classic Linn Drum backbone with a bubbling sequence adding energy although the promise is unfulfilled. ‘Dharma Wanderers’ ventures into lento electronic funk but is unconvincing and in the other direction, ‘Radiation’ goes into virtual ambience where “We sung the hymn to Zeus and the smoke rose into the blue…”

As with its predecessor ‘European Lovers’, there are some really good moments, but the focus on mood is again challenging over such a long body of work. But if you are already a fan of the moody Eurocentric art pop overtures of Steven Jones and Logan Sky, ‘Sacred Figures’ will be highly satisfactory.

‘Sacred Figures’ is available now from Etrangersmusique as a CD + download via https://etrangersmusique.bandcamp.com

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Text by Chi Ming Lai
23 June 2023

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