Musik Music Musique 1979 – The Roots of Synth-pop compilation review

1 12 2025

Musik Music Musique 1979 is the fourth volume in the series from Cherry Red and is sub-titled The Roots of Synth-pop.

The 3 CD set is released on 16 January 2026. Featuring a colossal 60 tracks, the collection is made up of well-loved classics from 1979 alongside lesser-known gems. Musik Music Musique 1979 features The Buggles, Tubeway Army, The Human League, OMD, John Foxx, Visage, Yello and more. The compilation has track by track information along with sleevenotes by Electronic Sound magazine’s Mat Smith.

Video Killed The Radio Star

Disc one opens with Technopop from The Buggles Clean, Clean single (recorded in 1979 but released in 1980) and is also available on their debut album The Age of Plastic. I’m glad that the compilers avoided the obvious Video Killed The Radio Star, that is ubiquitous on compilations covering this era, plus they made the decision to include the pre-Buggles version from Bruce Wooley & The Camera Club, a more new wave tinged take on this 80s classic. Technopop is a slice of nostalgic pop, driven by Trevor Horn’s bass and vocals, and Geoff Downes multi-layered synths.

M offer Made in Munich, a track cut from the same cloth as their massive hit, Pop Muzik. Robin Scott is joined by members of Level 42 on this addictive track, that name checks John Travolta at one point. The Korgis Cold Tea saw James Warren and Andy Davis move away from their progressive rock past with Stockbridge, to this more angular electronic, 10cc on acid sound.

The first little-known highlight on this compilation comes from Dutch musician Floris Kolvenbach and his Metal Voices project, with the haunting At The Banks Of The River, an adventurous song with a mournful chorus.

Armband by Karel Fialka is a catchy piece of electronica from 1979. Fialka is also known for his singles The Eyes Have It and Hey Matthew (a top 10 hit in 1987). Life In Tokyo (Pt 1) from Japan is a collaboration with Giorgio Moroder, and is one of the bands finest singles.

Tubeway Army’s Are Friends Electric? was released on Beggars Banquet in May 1979 and soon made its way to no1 in the UK singles chart. There will be more from Gary Numan later in this compilation. Pop duo Dollar’s Star Control (B- Side Mix) was the b-side of the more tame Who Were You With In The Moonlight single in May 1979, and is a charming vocoder driven space themed oddity.

The Lone Ranger (1979 Remix) from Rupert Hine’s Quantum Jump was a top 5 hit the second time around, thanks to championing from DJ / television personality Kenny Everett.

“Taumatawhakatangihangakoayauo-
Tamateaturipukakapikimaungahoro-
Nukypokaiwhenuakitanatahu”

If you know, you know. Rupert Hine was an important figure in 80s pop (and beyond), producing and working with Rush, Tina Turner, Howard Jones, the Fixx, Bob Geldof, Thompson Twins, Stevie Nicks, Suzanne Vega as well as releasing a series of influential solo albums, including my favourite, 1982’s Waving Not Drowning.

Birmingham’s Fashiøn deliver the single Technofascist, one of the bands early tracks before line-up changes and a huge pivot in sound that led to the magnificent Fabrique album in 1982. The Technofascist line-up had a sharp post-punk sound, and I remember seeing this line-up supporting The Stranglers at The Rainbow in 1980.

The Cars sprightly Night Spots is an album track from Candy-O, the US bands second album. Bruce Woolley & The Camera Club’s early version of Video Killed The Radio Star features a line-up that included the influential musician Thomas Dolby, and is a spikier more new wave take on what went on to be an 80s classic.

Mirror Of Infinity from the US synth trio Moebius is another gem that passed me by on its original release, with progressive vocals on top of an icy synth soundtrack. The only mis-step for me appears with an awful cover of The Stranglers Hanging Around by Final Program, a cover where the musicians are playing as if they have never heard the original, far superior version. An instant skip from me!

One Rule For You

Disc two opens with an absolute banger in Gary Numan’s no 1 single Cars, that sounds as great today, as it did on its original release in 1979. Nuff said.

Donna Summer producer Giorgio Moroder offers the title track from his album E=MC², a synth pop, disco masterclass. Daft Punk fans will likely enjoy this track.

Nice Mover from Gina X Performance was produced by German producer Zeus B. Held (Fashion / John Foxx), who has his own track titled Held It on this disc. The Gina X Performance had an underground hit with No G.D.M., and were surely an influence on the mighty Propaganda in the later part of the 80s.

Orchestral Manoeuvres In The Dark’s Almost slipped by me when I bought their Electricity 7″ single, why didn’t I play the b-side? Almost is a delicate, forlorn piece of electronica that stands up well. The Men (an early incarnation of The Human League) appear with a funky bass line driven I Don’t Depend On You.

One Rule For You from After The Fire should have been a massive hit, with Rupert Hine, Muff Winwood, Rhett Davies and John Leckie on production duties on their second album Laser Love. Thrash was the debut single from Cowboys International, a short lived pop band, who mixed new wave with synth pop.

Factory Records act Minny Pops early single Dolphin’s Spurt has an inventive guitar line running through the sparse electronics.

Producer extraordinaire Zeus B. Held bridges Krautrock and the late 70s electronic explosion with Held It from his second solo album, that will appeal to fans of John Foxx’s The Garden album. The Swedish band Secret Service round off disc two with the saccharin pop of Oh Susie. Once you hear this song, you will struggle to get it out of your brain for days.

Living By Numbers

The third and final disc opens with a track from The Human Leagues Reproduction album, the insanely catchy Blind Youth. Back To Nature from Fad Gadget (Francis John Tovey) was a dark electronic single released by Mute Records.

Landscape (featuring future acclaimed producer Richard James Burgess) contribute the 12″ version of the playful instrumental Japan, a precursor to the bands hits with Einstein A Go-Go and Norman Bates. Japan sounds like a theme tune to an 80s cop show that sadly never existed. What a bass-line too.

Frequency 7 by Visage was the b-side to their debut single, Tar, and is a sparse, dark piece of Ballard influenced electronica. Living By Numbers New Musik was an early single from the band that featured producer Tony Mansfield.

“They don’t want your name, just your number”

Suicide’s Dream Baby Dream, produced by The Cars’ Ric Ocasek, has found a new audience due to the songs use on television and in film, including Alex Garland’s disturbing Civil War.

John Foxx appears with Young Love (the 1979 version that was first released as part of a Metamatic album reissue). Forever Tonight by Hammer (featuring Jan Hammer, Miami Vice theme composer and future Styx vocalist Glen Burtnick) is a disco infused synth pop song.

Computer was included on Toyah’s debut album Sheep Farming In Barnet and has aged particularly well. Thomas Leer and Robert Rental’s Attack Decay is an album track that offers an industrial, warped peep into the future.

Don’t Dither Do It (7″ Version) from Steve Hillage (former member of Gong and future founder of System 7) is an enjoyable new wave, disco crossover. Rheinita (7″ Version) from La Düsseldorf is an instrumental shiny electronic pop piece.

Musik Music Musique 1979 disc three closes with the barely recognisable lo-fi cover of The Beatles All You Need Is Love by Instant Automatons.

Musik Music Musique 1979 is a wonderful time capsule that showcases the futuristic experimentation of the electronic / post-punk tinged sound that grew out of punk before mutating into the heady electronic pop that dominated the first half of the 80s.


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TRACK LISTING
DISC ONE

The Buggles – Technopop
M – Made In Munich
The Korgis – Cold Tea
Metal Voices – At The Banks Of The River
Yello – I. T. Splash
Dalek I – The Kiss
Karel Fialka – Armband
Japan – Life In Tokyo (Pt 1)
Black Rod – Going To The Country
Tubeway Army – Are Friends Electric?
Dollar – Star Control (B- Side Mix)
Quantum Jump – The Lone Ranger (1979 Remix)
Fashiøn – Technofascist
The Cars – Night Spots
Devo – Strange Pursuit
Bruce Woolley & The Camera Club – Video Killed The Radio Star
Moebius- Mirror Of Infinity
Tanya Hyde – Herr Wunderbar
Final Program – Hanging Around
Metrophase – New Age

DISC TWO
Gary Numan – Cars
Giorgio Moroder – E=MC²
Gina X Performance – Nice Mover
Blah Blah Blah – In The Army
Gerry And The Holograms – Gerry And The Holograms (Alternate Drumbox Version)
Orchestral Manoeuvres In The Dark – Almost
The Men – I Don’t Depend On You
Telex – Rock Around The Clock
They Must Be Russians – Nagasaki’s Children
Silicon Teens – Memphis Tennessee
Henry Badowski – Making Love With My Wife
After The Fire – One Rule For You
Cowboys International – Thrash
Jude – Mirror Mirror
Minny Pops – Dolphin’s Spurt
Mi-Sex – Computer Games
Passage – 16 Hours
Zeus B. Held – Held It
The Family Fodder – Sunday Girl #1
Secret Service – Oh Susie

DISC THREE
The Human League – Blind Youth
Fad Gadget – Back To Nature
Landscape – Japan (12″ Version)
Calvin Twilight – Harmony
Cuddly Toys – Madman (Original 1979 Japanese Mix)
R.L. Crutchfield’s Dark Day – Hands In The Dark
Visage – Frequency 7
New Musik – Living By Numbers
Suicide – Dream Baby Dream
John Foxx – Young Love (1979 version)
The Dodgems – Science Fiction (Baby You’re So)
Genocide – Pre Set Future
Hammer – Forever Tonight
Toyah – Computer
Thomas Leer and Robert Rental – Attack Decay
Plain Characters – Man In The Railings
Steve Hillage – Don’t Dither Do It (7″ Version)
La Düsseldorf – Rheinita (7″ Version)
Tim Blake and Jean Phillipe Rykiel – New Jerusalem (Extract)
Instant Automatons – All You Need Is Love

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Burn It Up – The Rise Of British Dance Music 1986-1991 4 CD review

11 10 2025

Burn It Up – The Rise Of British Dance Music 1986-1991 is a new 4 CD collection from Cherry Red, covering the explosion in dance music in the late 1980s and early 90s. The collection is released on 21 November 2025, and includes The KLF, S-Express, Coldcut, Bomb The Bass, 808 State, Adamski, Electribe 101 and many more.

The eras heady mix of electro, house and techno was built on the burgeoning sampling technology that brought recording out of the expensive studios and into the bedrooms and the minds of a younger generation, keen to make their mark on the charts.

This compilation reawakened my love of the late 80s acid / house, sample driven era. I bought many a sample CD to use with my Emax sampling keyboard and later on my Akai S950 12 bit sampler, and the music on this compilation transported me back to those heady days.

The early years

Coldcut feat. Floormaster Squeeze and Beats + Pieces (Mo Bass Remix) is a perfect introduction to the era, with breakbeats, drops and samples, including some deliciously lo-fi guitar licks, thrown into the mix. Listen to the music of the wonderful Australian band Confidence Man and you can see how breakbeat propelled bands such as Coldcut are an influence on current artists.

The Stock Aitken Waterman produced Mel & Kim make an appearance, with the mostly instrumental System (House Mix). House Arrest (The Beat Is The Law) by Krush was one of the early UK House hits in 1987, with featured vocals from Ruth Joy and its still a delight to listen to, with its endearing simplicity and clarity.

Hearing Bass (how low can you go) from Simon Harris with its Public Enemy and ubiquitous Funky Drummer sample sends me hurling back in time to 1988. The love song to the North of England, Us and their track Born In The North closes the first disc.

The big hitters

Disc 2 contains many of the big-hitters from the era, opening with Beat Dis (Extended Dis) from Bomb The Bass. My favourite Bomb The Bass song is the heavenly Winter In July, that is sadly not a part of this compilation, but Beat Dis was such an influential track, having the bravado to sneak in a cheeky Prince vocal sample along with snatches from Dragnet & Thunderbirds.

Bomb The Bass - Beat Dis cover (from compilation booklet)

What Time Is Love? (Pure Trance 1) from The KLF is still an absolute monster of a track. If this banger doesn’t get you up on your feet and waving your hands in the air (like you just don’t care), then you are probably dead.

The bass heavy Stakker Humanoid laid the foundations for the soon to arrive Future Sound of London. Theme from S-Express is an absolute titan from the era, and still sounds amazing today, with it samples from Rose Royce’s Is It Love You’re After and The Stepford Wives, along with an amazing widescreen, technicolour production from Mark Moore & Pascal Gabriel.

“Oh that’s bad,
no, that’s good”

Doctorin’ The House from Coldcut, their second track on this collection, this time introduces us to Yazz & The Plastic Population (soon to be known for the no1 single The Only Way Is Up). D-Mob feat. Gary Haisman deliver a bit of a novelty song with We Call It Acieeed – get on one matey indeed, whatever could they mean!

Samantha Fox and Love House (The Black Pyramid Mix) is one of many examples of a great use of the Roland TB-303 acid house synth, with an intelligent and well-crafted arrangement from techno legend Kevin Saunderson (Inner City). Paul Rutherford (former Frankie Goes To Hollywood co-vocalist) and his Get Real (Happy House Mix) is also driven by a delicious TB-303 acid synth line, with production from Martin Fry and Mark White from pop titans ABC.

Disc three opens with the still intoxicating Talking With Myself from Electribe 101, featuring vocalist Billie Ray Martin. Tired of Getting Pushed Around by Two Men, a Drum Machine and a Trumpet (Andy Cox
and David Steele from Fine Young Cannibals) is a piece of high tempo, but minimal in its arrangement, house music.

Special & Golden (Parts I and II) is a surprise but welcome inclusion from S-Express. Street Tuff (Longsy D’Mix) from Double Trouble & Rebel MC is a playful breakbeat driven reggae /house mashup.

“Jam the nightclub, rock the disco”

The Sun Rising from the much-missed The Beloved is the perfect comedown tune, and along with the afore-mentioned Winter In July (Bomb The Bass), is one of the most beautiful songs from the late 80s / early 90s.

Beloved - Sun Rising cover - from Compilation booklet

The sun setting… on the era

The 4th and final CD opens with the anthemic Pacific-202 from 808 State, a wonderful warm production with clipped percussion and smooth synth sequences, topped by “that” sax riff. N-R-G is the debut single from Adamski, with an infectious house piano motif, whilst Orbital are represented with Chime (Edit).

If You Love Somebody (12” Mix) by Professor Supercool – aka The Blow Monkeys’ Dr. Robert, sneaks in from the mainstream, and is a close cousin to the bands late 80s singles such as Choice? and Wait.

Sheffield’s Cabaret Voltaire are represented with the addictive Easy Life, whilst The Cure’s Lullaby (Extended Remix) is a bit of a mis-step on this compilation. Its a great song and an interesting mix but is only really linked to the scene by some of the keyboard treatments, so feels a little out of place.

Whilst some of the tracks on Burn It Up – The Rise Of British Dance Music 1986-1991 sound very much of their time, this is an excellent trip back in time to an exciting, colourful and inventive time in music. The 4 CD set also comes with informative sleeve notes by Bill Brewster (Last Night A DJ Saved My Life).

“Enjoy this trip
And it is a trip”


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DISC ONE
Coldcut feat. Floormaster Squeeze – Beats + Pieces (Mo Bass Remix)
Mel & Kim – System (House Mix)
Midnight Sunrise With Nellie “Mixmaster” Rush feat. Jackie Rawes – On The House (Chicago Mix)
John Rocca – I Want It To Be Real (Farley’s Hot House Piano Mix)
Rick & Lisa – When You Gonna (Home Boy Mix)
Krush – House Arrest (The Beat Is The Law)
T-Coy – Cariño
The Cookie Crew – Females (Get On Up) (Pile Up)
Judge Dread – Jerk Your Body (Edit)
Simon Harris – Bass (How Low Can You Go) (Bomb The House Mix)
M.E.S.H. (Jack The Tab) – Meet Every Situation Head On
The Beatmasters feat. The Cookie Crew – Rok Da House
Us – Born In The North

DISC TWO
Bomb The Bass – Beat Dis (Extended Dis)
The KLF – What Time Is Love? (Pure Trance 1)
Humanoid – Stakker Humanoid
S-Express – Theme From S-Express
Coldcut feat. Yazz & The Plastic Population – Doctorin’ The House
Baby Ford – Oochy Koochy (F.U. Baby Yeh Yeh)
D-Mob feat. Gary Haisman – We Call It Acieeed (The Radio Edit)
The Wee Papa Girl Rappers feat. 2 Men And A Drum Machine – Heat It Up (Acid House Mix)
The Beatmasters feat. P P Arnold – Burn It Up (7″ Version)
The Moody Boys – Acid Rappin
Samantha Fox – Love House (The Black Pyramid Mix)
Paul Rutherford – Get Real (Happy House Mix)

DISC THREE
Electribe 101 – Talking With Myself
Anne Clarke – Our Darkness (Remix)
2 Men, A Drum Machine & A Trumpet – Tired Of Getting Pushed Around (The Mayhem Rhythm Mix)
Julian Jonah – Jealousy And Lies
Chapter And The Verse – All This And Heaven Too (Club Mix)
Shades Of Rhythm – Just Feel It
S-Express – Special & Golden (Parts I and II)
Monie Love – Grandpa’s Party (Love II Love Remix)
Double Trouble & Rebel MC – Street Tuff (Longsy D’Mix)
Richie Rich – Salsa House
The Beloved – The Sun Rising
Dina Carroll – Me Sienta Sola (We Are One) (Funky Z-Bar Mix)

DISC FOUR
808 State – Pacific-202
Adamski – N-R-G
Nightmares On Wax – Let It Roll
NAD – Distant Drums
Orbital – Chime (Edit)
Professor Supercool – If You Love Somebody (12” Mix)
N-Joi – Techno Gangsters
Pop Will Eat Itself – Touched By The Hand Of Cicciolina (The 9 Renegade Soundwave Mix (Smoothneck))
Ubik – Techno Prisoners
Cabaret Voltaire – Easy Life
The Cure – Lullaby (Extended Remix)
Urban Hype – Teknologi (R.J. Flip Mix)
Circuit – Shelter Me (Helter Skelter Mix)

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Steven Wilson’s ‘The Overview’ Album Review

19 02 2025

Steven Wilson’s eighth Studio album The Overview is released by Fiction Records (The Cure / Death from Above 1979 / St. Vincent) on 14 March 2025.

Steven Wilson "The Overview" album art


The forty-two-minute album consists of two tracks: Objects Outlive Us and The Overview, each inspired by the “overview effect” experienced by astronauts looking back at the Earth from space.

Wilson describes the album as being “a 42-minute long journey based on the reported “overview effect”, whereby astronauts seeing the Earth from space undergo a transformative cognitive shift, most often experiencing an overwhelming appreciation and perception of beauty, and an increased sense of connection to other people and the Earth as a whole. However, not all experiences are positive; some see the Earth truly for what it is, insignificant and lost in the vastness of space, and the human race as a troubled species. As a reflection of that, the album presents images and stories of life on Earth, both good and bad.”

Alongside Steven, The Overview album features studio appearances from regular collaborators Craig Blundell (drums), Adam Holzman (keyboards), Randy McStine (guitars) and Rotem Wilson (spoken word), and features a set of lyrics from Andy Partridge (XTC) on one of the pieces (Objects: Meanwhile) that is part of the first track, Objects Outlive Us.

The Overview is available on a variety of formats, including CD / LP (including coloured vinyl) / Blu-ray / limited edition boxset and digital platforms.

Objects Outlive Us

The Overview is unique for a modern album, in that there are just two tracks, but each track has distinct parts that make up the whole. These individual parts flow together well, but are all very different pieces, musically and lyrically, with just the occasional revisiting and recycling of musical themes.

To contrast against a recent instance when SW has done something similar, with Tim Bowness on no-man’s Love You To Bits album, on Love You To Bits the music evolves and mutates from the same basic musical template, with only a few instances of separate standalone melodies. The Overview, though it is linked by a central theme, is mostly made up of very distinct parts with less crossover, so it feels more like a complete musical suite, with plenty of twists, turns and surprises for the listener.

Did You Forget I Exist?

The first section, No Monkey’s Paw, from Objects Outlive Us opens with disembodied vocals from SW giving a feeling of floating in space, as instruments and extra harmonies arrive on the scene. The music is beat-less at this point, driven by strings and synth pulses. A very direct, raw and emotional beginning.

A repeated piano riff and cymbals usher in the next part of the track as the tension builds, but there is still a lot of space in the arrangement. The next part, which is a much fuller and more traditional Wilson rock / pop arrangement, places the vocals very much front and centre. Its difficult to tell with just two digital files provided for review, but I think this is Objects: Meanwhile, which has lyrics by XTC’s Andy Partridge.

This section is one of my personal highlights. I love the myriad of guitar and synth lines intertwining and soaring, with a feeling of sweetly psychedelic pop. This is the only instance on the album where I could see a section existing outside of the album as a standalone “single” track, whereas the rest of the pieces feel like they are very much connected as part of the overall body of work.

I often quote strong lyrical lines in my reviews, and there are some very interesting and emotional lyrics on the album, but I won’t spoil the surprise for you, as so little has been revealed in advance.

Just before the 8 minutes mark of Objects Outlive Us the mood turns on a dime to a post-rock, distorted bass and screeching guitar workout that signals chaos and disorder, as the heaviest point on the album crashes back down to earth with a return of the previous sections lyrics and music.

The song suite continues with a guitar and piano driven vocal piece, with the vocals pushed back ever so slightly in the mix. I think this will sound stunning in surround sound, as Craig Blundell’s drums propel this song into the stratosphere, with the guitar treatment giving me Insurgentes vibes.

Frenetic, multi-layered guitars then propel us down into a spacey, almost Porcupine Tree echoing instrumental section, before opening a door back into the opening mood of the next instalment, that reveals itself as No Ghost On The Moor.

Wilson’s vocals are beautiful, languid but also emotionally hitting so deep. Whilst the music touches on the feel of early Porcupine Tree (the delay on the snare ♥), Wilson’s vocals are definitely of the now. A slow paced but absolutely heart-melting distorted guitar solo drives us home (see what I did there!) as Objects Outlive Us takes its leave.

Steven Wilson "The Overview" vinyl

The Overview

The second suite is the slightly shorter The Overview, commencing with a glitchy electronic piece, featuring Rotem Wilson listing aspects of the endless expanse of the universe. A delicious string motif signals a change is on it’s way, as a familiar refrain dials back into a more acoustic arrangement and introduces SW on vocals for A Beautiful Infinity I and II.

The pieces utilise a tried and trusted SW vocal delay effect, alongside a Solina synth line topped by Rhodes piano leading to some simply wonderful clear guitar solo lines and riffs. The trippy end section on the first Beautiful Infinity piece works so well, with rich harmonies weaved throughout the song. The second piece takes the section to new heights, with propulsive drums and further electrifying solos. The section is then reborn as the final part of the Infinity trilogy, with delightfully percussive electric and acoustic guitar and synths.

The mix of electronics and rock based performances make this such an exciting part of the album. If you are lucky enough to capture one of the forthcoming live shows, The Overview is likely to blow your mind.

Steven Wilson "The Overview" vinyl

The vocal-less Permanence takes up the final 3 minutes 30 seconds of The Overview track. The tempo drops to the floor as suspended synth and Rhodes lines deliver a late-night feeling that symbolises the wide expanse of space, along with a palpable mood of calm and relaxation following the quite frenetic feel of the earlier sections.

At this point, I think that it is worth pointing out that my review experience is not the best way to hear The Overview, as some parts are missing. Firstly, when the physical package arrives (and this album is built to be experienced in the physical format, streaming will not be a complete experience), studying the lyrics will be a required part of the first few plays. Some tracks have the vocals sitting slightly back in the mix, so studying the lyrics will help with comprehension, and will be part of appreciating the album as a complete musical experience.

I also think that the artwork will build a sense of the meaning behind the individual parts of the two tracks. And finally, whilst the stereo mix is, as always, excellent, I am expecting the album to offer a truly immersive experience in surround sound, in both 5.1 and Dolby Atmos versions. I am personally desperate to experience the album on my (admittedly quite light) 5.1.2 speaker Dolby Atmos setup. Lights off, volume up.

The press release talks of The Overview being a “return to expansive, progressive music” and I agree, but this is not the love letter to traditional progressive rock that SW displayed on his third solo album The Raven That Refused to Sing, so don’t expect that.

It is progressive in the true sense of the word, as music that expands on the boundaries of traditional genres. It is also progressive in the way that Mike Oldfield’s 1979 masterpiece Platinum tied together different genres, tempos and separate pieces that define the whole.

My comparison is not a musical one with my favourite Oldfield album, but I think they both share a bravery in the way the artists have chosen to move in and out of themes and styles to make an album that is built to be consumed in one sitting, whilst keeping your attention for the whole length of the album. It is such a fascinating, satisfying musical journey.

Wilson’s Universe

One of the personal takes I get from The Overview is how the album has one clear inspiration and influence, and that’s Wilson’s music and all that has gone before in his own career, rather than influences sparked by other artists. There are fleeting nods to his own back catalogue throughout the album, from solo releases as well as Porcupine Tree and collaborations.

I noticed subtle musical tips of the hat towards The Sky Moves Sideways as well as Hand. Cannot. Erase. I did not find myself thinking that any track or its sounds might be inspired by other artists, and so for me this album exists in its own musical universe, giving it a unique place in Wilson’s vast catalogue.

I am excited to hear fans opinions of The Overview from release day onwards, as unlike previous recent albums, so little of the music has been teased in advance. Listeners will get to experience the album on their first listen in the way it is meant to be heard, in one complete sitting, fresh and unknown.

I hope you love the album as much as I do, and please feel free to leave comments on my review.

Buckle up and enjoy the trip!


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Tracklisting

OBJECTS OUTLIVE US (23.17)
No Monkey’s Paw
The Buddha Of The Modern Age
Objects: Meanwhile (lyrics by Andy Partridge)
The Cicerones
Ark
Cosmic Sons Of Toil
No Ghost On The Moor
Heat Death Of The Universe

THE OVERVIEW (18.27)
Perspective
A Beautiful Infinity I
Borrowed Atoms
A Beautiful Infinity II
Infinity Measured In Moments
Permanence

Visit Steven Wilson’s website for news and tour dates.





Rediscovering 1980s Music: Bill Nelson’s Quit Dreaming and Get on the Beam Box Set reviewed

7 11 2024

Bill Nelson’s Quit Dreaming and Get on the Beam receives a lavish box-set treatment from Cherry Red in December 2024. The album was originally going to be a Red Noise record, and a follow-up to their Sound on Sound release, but EMI passed on the album and it was finally released by Mercury Records in May 1981.

Bill Nelson Quit Dreaming and Get on the Beam coverart

This new 3CD / 1 blu-ray set features a newly remastered version of the original album mix plus new 2024 stereo & 5.1 Surround Sound mixes by Stephen W Tayler and includes all the surviving recording sessions from 1979, a previously unreleased radio session from March 1981, a BBC John Peel session from June 1981 and a collection of rare single tracks from the era. Also included is the rare promotional film of Do You Dream in Colour.

Disc one is a 2024 remaster. If you know and love the original album, this will bring back memories of Bill Nelson’s highest charting release.

The fun really starts with discs 2 to 4 in this box-set. The second disc collects single tracks and a collection of sessions, all remastered. Ideal Homes, Instantly Yours and Atom Man Loves Radium Girl are from the 1980 Do You Dream in Colour EP and are a delightful throwback to the Red Noise sound.

Dada Guitare is a 1980 release. Nelson was so productive during this era that many gems like this exist outside of the main album track listing. Dada Guitare is a wonderful piece of sparse electronica, topped with trademark Nelson guitar lines.

Turn to Fiction, Hers Is A Lush Situation, and Mr. Magnetism Himself were released on the Banal 12″ single in 1981, with the extended mix of Banal also included on disc two. All rarely heard tracks, they are a welcome peek into the late 70s / early 80s music scene.

Youth of Nation on Fire is a catchy single and the other tracks from the 12” are also included here. Be My Dynamo is a fast paced experimental song and Rooms With Brittle Views is a twisted piece of new wave pop, recorded on 8 track. All My Wives Were Iron is a dystopian tale with an interesting arrangement, delicious chorused guitar and a shorter than short song length.

Birds of Tin and Love in the Abstract are from the Living in My Limousine 12″ single, and showcase the glitchy, more experimental side of Nelson’s work from this era.

The radio session tracks are interesting for historic purposes but sound like they were maybe sourced from cassette, so they stand out a little from the other tracks. Although there is a slight drop in quality, I’m still glad that the sessions have been included. The highlight of the sessions for me is the Red Noise Sound On Sound song, the mighty Stay Young. And keep in touch! Skids vocalist Richard Jobson guests on the final radio session track Jazz.

My favourite part of the collection is disc three, with new 2024 stereo remixes by Stephen W Tayler. All tracks were mixed from the original master tapes by Tayler at Chimera Arts, Real World, Box, Wiltshire between December 2023 and March 2024.

Do You Dream In Colour 7" single sleeve

The new mixes are crystal clear and so much more powerful for it. Banal jumps out of the speakers, and the drums on Living in My Limousine cut through with more clarity.

The key track Do You Dream In Colour still holds its charm but again, packs more punch, especially the wonderful Bowie like end section, when the Solina synth arrives. It depends how you remember the album, but I am finding that I play these new Stephen W Tayler 2024 stereo mixes more than the original mix.

The sleevenotes state that Red Noise make a guest appearance on Disposable, in the form of Steve Peer (Drums), Rick ‘Pinky’ Ford (Fretless Bass) and Andy Clark (Keyboards). They also appear on a couple of the single tracks.

Youth of Nation on Fire and the albums title track (and what a gem of a track it is) particularly shine in these new 2024 stereo mixes. The bonus track The World And His Wife (released on an EP in 1983 along with the Red Noise sounding Dancing Music) is a welcome addition, and is a very commercial, memorable slice of alternative pop.

The 5.1 Blur-Ray was not provided for review, so I cannot comment on how the album transfers to surround sound, but I am looking forward to receiving my physical copy of the box-set to experience the album in this format.

The sleevenotes from Mark Powell offer a welcome insight into the albums creation, and the booklet includes press articles, shots of some of the single covers (which inspired me to rummage through my vinyl crates to find my Do You Dream in Colour 7″ to play), plus master tape photos and studio shots provided by producer John Leckie and album lyrics.

It was a pleasure revisiting and re-appraising this wonderful album from 1981. Quit dreaming and dive back in time to the early 80s, using this box-set as your soundtrack. You may never want to return.


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TRACK LISTING

DISC ONE

QUIT DREAMING & GET ON THE BEAM THE ORIGINAL STEREO MIX

Banal
Living in My Limousine
Vertical Games
Disposable
False Alarms
Decline and Fall
White Sound
Life Runs Out Like Sand
A Kind of Loving
Do You Dream in Colour
U.H.F.
Youth of Nation on Fire
Quit Dreaming and Get on the Beam

DISC TWO

SINGLES & RADIO SESSIONS 1980 – 1981

Ideal Homes (original single mix)
Instantly Yours (original single mix)
Atom Man Loves Radium Girl
Dada Guitare
Banal (extended mix)
Turn to Fiction
Hers is a Lush Situation
Mr. Magnetism Himself
Youth of Nation on Fire (extended mix)
Be My Dynamo
Rooms With Brittle Views
All My Wives Were Iron
Living in My Limousine (remix)
Birds of Tin
Love in the Abstract
Konny Buys a Kodak (radio session 1981)
After Life (radio session 1981)
Boom Year Ahead (radio session 1981)
Art of Vision (radio session 1981)
Rooms With Brittle Views (radio session 1981)
Stay Young (radio session 1981)
Sleep Cycle (radio session 1981)
Jazz (radio session 1981)

DISC THREE

QUIT DREAMING & GET ON THE BEAM SESSIONS – NEW STEREO MIXES BY STEPHEN W TAYLER

Banal
Living in My Limousine
Vertical Games
Disposable
False Alarms
Decline and Fall
White Sound
Life Runs Out Like Sand
A Kind of Loving
Do You Dream in Colour
U.H.F.
Youth of Nation on Fire
Quit Dreaming and Get on the Beam

Bonus tracks
The World and His Wife
Dancing Music

DISC FOUR

QUIT DREAMING & GET ON THE BEAM SESSIONS – HIGH RESOLUTION 5.1 SURROUND SOUND & NEW STEREO MIXES BY STEPHEN W TAYLER – BLU-RAY

Banal
Living in My Limousine
Vertical Games
Disposable
False Alarms
Decline and Fall
White Sound
Life Runs Out Like Sand
A Kind of Loving
Do You Dream in Colour
U.H.F.
Youth of Nation on Fire
Quit Dreaming and Get on the Beam

Bonus tracks
The World and His Wife
Dancing Music

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Exploring Donner’s The Van Gennep Gap: A Musical Journey

2 11 2024

Donner’s second album, The Van Gennep Gap, is released by Apollon Records on 8 November 2024.

Donner’s second album, The Van Gennep Gap

The Van Gennep Gap is a series of vignettes, chronicling impressions from various places and areas in the Grenland area of south-eastern Norway, the home of multi-instrumentalist/songwriter Jacob Holm-Lupo (White Willow / Solstein / The Opium Cartel).

Apart from Jacob, who handles synths, keyboards, bass, guitar, programming and percussion, the album features the following musical guests. Guitar virtuoso Stian Larsen, who also plays with Jacob in the jazz-funk group Solstein, plays lead guitar on two tracks. Trumpeter Jonas Vemork Kilmøy (Maridalen, Helene Bøksle) plays on Grey Skies Over Stridsklev, and Kristoffer Momrak (Tusmørke, Alwanzatar) plays flute on Rose Clouds of Hærøya.

The Van Gennep Gap is a wholly instrumental album that completely holds your attention. It is not an album to be used as background music, it was built to listen to with your full focus, as much as you would a vocal album.

Soliloquy is a haunting piano piece, using delay and reverb almost like another instrument, to let the riffs flow between the deep, low notes. Downtown After Dark ushers in a wider soundscape, adding percussive synth sequences, with Holm-Lupo channeling his inner Tangerine Dream. The percussion is minimal and very effective, letting the keyboards push the song to its conclusion. The track is very evocative and gives off a neon, night-time cityscape vibe.

The 7-11 Ice Cream Trek has bitcrushed drums, and an 80s videogame feeling, with frenetic synths and ice-cool rhythm and lead guitar. A real fun interlude.

Grey Skies Over Stridsklev is a loving tribute to 1980s ECM jazz, and one of the album’s highlights. The strings are aching, and Jonas Vemork Kilmøy’s trumpet sends me back in time to David Sylvian’s career best Brilliant Trees. The heart-breaking piano towards the end ramps up the emotion, with Grey Skies Over Stridsklev fast becoming one of my favourite musical moments of 2024.

I Saw Bright Lights Above the Hills is one of the album’s darkest pieces. Booming drums and a bubbling synth undercurrent pushes to the surface, offering a track that sonically suggests a Nordic landscape battered by heavy, inclement weather.

Truly! is one of the more musically uplifting songs on the album, but features a speech sample that hints at climate change / man-made destruction. A lovely, proggy synth solo adorns the songs mid-section, giving way to a scratchy lead guitar line from Jacob. Kebab Kowboys is a middle-Eastern flavoured piece, that mutates throughout the arrangement. The drum patterns are particularly interesting on Kebab Kowboys.

Image used with the permission of Jacob Holm-Lupo

I love the warning on the sleeve-notes that the recording was made with ageing electronic hardware and that noises may occur. This recording is clearly an AI free product and proud of it!

Kattøya in Rain is decorated with some lovely found sounds, although for a while I thought my roof was leaking, as it was raining whilst I wrote this review. Like a newly resurfaced soundtrack to a long-lost 80s film, Kattøya in Rain is a stunning track, with the end section seeing the rain replaced by liquid synth sounds.

Starring Wings Hauser opens with a jazzy drum lick and smooth guitar lines from Stian Larsen, giving this track a real unique identity, separate from the rest of the album. Mists of Frierfjorden is a beautiful performance, with a slow backbeat and well-mixed piano dancing alongside sumptuous warm synths. Another slowly evolving arrangement, with gentle washes of electronic colour, making this one of the most emotional pieces on the album. The Van Gennep Gap sounds so rich on headphones, with Mists of Frierfjorden sounding at its best with good quality headphones.

Rose Clouds of Hærøya features a guest appearance from Kristoffer Momrak on flute, and I love the tailed reverb and delays on Kristoffer’s playing. The electronic percussion adds a measured pace, and the keyboard backing is more restrained on this, the album’s longest track, weighing in at just under the five minute mark.

Soon a series of Holm-Lupo lead guitar lines take over from the flute, and the arrangement expands to a broader palette, before stripping back down to announce the return of the flute as the lead instrument.

The Van Gennep Gap closes as it begins, with a variation on the opening song. Soliloquy reprise still has the delicious piano line, now backed by strings and a discordant, glitchy effect acting as the beat.

The Van Gennep Gap is a rare beast, a purely instrumental album that keeps your full attention due to the wide range of sounds, songs that constantly evolve, with little repetition of motifs and as I’ve come to expect from Jacob Holm-Lupo, a warm, expertly mixed / produced musical kaleidoscope.

If you like intelligent, emotional and expertly produced music, there is plenty to enjoy on Donner’s The Van Gennep Gap.


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Buy Donner – The Van Gennep Gap from Burning Shed

Tracklist

Soliloquy
Downtown After Dark
The 7-11 Ice Cream Trek
Grey Skies Over Stridsklev
I Saw Bright Lights Above the Hills
Truly!
Kebab Kowboys
Kattøya in Rain
Starring Wings Hauser
Mists of Frierfjorden
Rose Clouds of Hærøya
Soliloquy reprise





Tim Bowness – Powder Dry album track-by-track review

20 07 2024

Powder Dry is the eighth studio album from Tim Bowness. It signals a couple of firsts for the singer-songwriter. It’s his first album on Kscope and another first, it was entirely produced, performed and written by Bowness. A true solo album.

The 40 minute album features 16 pieces and was mixed (in stereo and surround sound) by Bowness’s partner in no-man (and The Album Years podcast), Steven Wilson, who also acted as Bowness’s sounding board during the mixing process.

Tim Bowness "Powder Dry" artwork

Rock Hudson was the first track to be released from Powder Dry digitally, and is one of the more immediate songs, introducing one of the main tools used on the album – brevity. No tracks overstay their welcome, and perhaps as a result of current song-writing trends, intros and outros are very short – most songs have vocal lines arriving within seconds of the song beginning.

Rock Hudson has some wonderful tight synth sequences lurking behind the later verses, and a post-punk feel to the heavily percussive chorus.

Lost / Not Lost is a lighter piece, with the electronics propelling the song to a typically addictive Bowness chorus.

“Stomach twisting at the thought of you
And you’re all I’m thinking of”

When Summer Comes was the second digital pre-release, and it’s easy to see why this song was chosen. It is such a good song and quite unique in Tim’s impressive catalogue. The memories of summers past drip from every sun-kissed pore of this delicious track. A lovely vocal, with hints of early 80s Ryuichi Sakamoto keyboard lines in the last section, When Summer Comes should be added to everyone’s summer playlists, from now and forever more. Sort it out now, dear listener!

Idiots at Large signals the return of the industrial power of Bleed (an early no-man track), with harsh brutality. The synths sparkle as the song takes a shocking sonic turn. Bowness never fails to surprise, and this song is no exception. Just like that…

A Stand-Up For The Dying aka the “long one” at 1 second short of 5 minutes, will be familiar if you have attended recent Bowness gigs. The electronics drop away to usher in real guitars for the first time on the album. A Stand-Up For The Dying has echoes of the spacier side of Pink Floyd, and a deeply personal and intensely moving lyric touching on the passing of a loved one. This song hit home even more on recent plays after a recent brush with cancer in my close family.

After the emotional trauma of A Stand-Up For The Dying, the songs ambient outro calms you and the following track, the incessant instrumental Old Crawler, acts as an effective palate cleanser for what follows.

Heartbreak Notes is a sparce but warm piece and offers a rare disappointment, my disappointment that the song ends too soon, just as it hits its stride. Bowser says always leave them wanting more!

Ghost Of A Kiss is another very short piece, beatless but with a no-man returning jesus like mood (I’m sure this was intentional) suggested by the bubbling, rhythmic keyboards in the background.

“The open goals you chose to miss”

Next up is the most surprising song on the album, by a country mile. Summer Turned is a Club Tropicana for the 21st Century. That’s a compliment by the way. Unlike anything Tim has released before, this song results in the seasonal feelings suggested in the earlier track When Summer Comes having the heat whacked up to 11, with Bowness coating the track with 80s nostalgia flavoured sunscreen.

The song screams “release me as a single Kscope, ya bastards”. I won’t say anymore than that as I don’t want to spoil the first listen for everyone.

Tim Bowness - photo by Leon Barker

From the sun-kissed 80s to a haunted 1920s ballroom with You Can Always Disappear. Like both ‘summer’ songs, You Can Always Disappear also covers new ground for Bowness. Due to the many layers and clever sound design, I cannot wait to hear this song in 5.1. Jack Torrance would surely be a fan of You Can Always Disappear.

The title track Powder Dry has a very unpredictable arrangement, with a dark underbelly that sneaks up on you. Another track built for 5.1. The song is as brutal lyrically as it is musically.

“You couldn’t keep your powder dry”

Films Of Our Youth is another well-placed instrumental palate cleanser and a very emotional piece. Resonant choral synth lines hang in the air, and the space communicates emotion as much as the actual performance. A simply beautiful piece of music.

This Way Now will fast become a favourite for fans. A piece of twisted, Pink Floyd / Memories of Machines referencing nostalgia, the arrangement is simple, uncluttered but so effective.

“Even in defeat, you’re sharpening knives again”

I Was There is the one track on Powder Dry that could have found its way onto one of Tim’s previous solo albums, and the song is given plenty of time to develop. I hope I Was There becomes a Bowness live staple, as it lends itself to a full band performance. The production on this track is first class, and the trance-like elements remind me a little of Flowermouth era no-man.

The Film Of Your Youth feels very un-filtered and natural, and might hark back “lyrically” to the main character in 2017’s Lost In The Ghost Light? The lightness of touch is in stark contrast to album closer Built To Last, which offers an uncompromising ending to Powder Dry.

Built To Last offers up a dark, windswept scene that lyrically seems to reference the world ignoring the clear and present danger of climate change and the desolation that will surely follow. Once again, the sound design on this track is well thought out and executed.

Powder Dry stands alone in Tim’s catalogue of work. At times playful, beautiful, moving and also stark and disturbing, Powder Dry feels like a new beginning, a reset of sorts and a unique artistic statement from one of my favourite artists.


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Buy Powder Dry (all formats) from Burning Shed
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Powder Dry tracklist

Rock Hudson
Lost / Not Lost
When Summer Comes
Idiots At Large
A Stand-Up For The Dying
Old Crawler
Heartbreak Notes
Ghost Of A Kiss
Summer Turned
You Can Always Disappear
Powder Dry
Films Of Our Youth
This Way Now
I Was There
The Film Of Your Youth
Built To Last





Hazel Mills – The Embrace EP Review

9 05 2023

Following an ongoing long-term tenure as keyboardist/backing vocalist for Goldfrapp and Florence + The Machine, Hazel is releasing a new collection of songs, an EP titled The Embrace, in collaboration with producer / engineer TJ Allen (Portishead, Bat For Lashes).

Hazel Mills - Embrace EP artwork

This is the first new music released under Hazel’s name for a long while. Earlier releases such as 2007’s Butterfly EP, with the haunting Freestanders, 2010’s psychedelic White Rabbit and the short-lived post-punk Adding Machine (with shades of the John McGeoch era Siouxsie and The Banshees seeping through) are sadly no longer available on streaming services, so this feels like a palate cleansing and a new beginning.

Embrace opens with the first track released to digital services, Enclosure. Gone are the heavily processed vocals of some earlier material, with Mill’s powerful, warm vocals front and centre. The synth lines recall the later period Japan and I hear touches of Kate Bush at times in Hazel’s delivery and vocal arrangements, with engaging harmonies and distorted lines built low in the mix.

Enclosure is a powerful opener and like all quality electronic music, it reveals new aspects on repeated listens. So play it often!

Track two is The Embrace, a mixture of acoustic piano and electronica. The production from Hazel and long-time collaborator TJ Allen is remarkable. The drum processing and use of reverb at key points adds a powerful dynamic during this song. I love the mix of 80s electronics coupled with a real pop sensibility on this addictive piece.

I am a recent convert to lossless / hi-resolution streaming via Qobuz, and was pleased to see the songs released to date from Hazel’s EP are available in hi-resolution on Qobuz.

Hold The Water has traces of the DNA of some earlier Hazel Mill’s material, with glitchy and modern urban beats and deep synth lines underpinning an emotional vocal, with eerily processed deep backing vocals.

Hold The Water highlights some of the major changes in this new music, an increased confidence in Hazel’s vocals and a heightened use of moving and sophisticated vocal arrangements, that cut through the at times icy electronics, with human warmth.

Hazel Mills - photo by Roberto Vivancos.

The final track is the stripped down, gentle beauty of Fragile Creature, my favourite song on the EP, and to me the best song Hazel has released to date. The first half of the song feels like a long lost Hounds Of Love / The Ninth Wave suite track.

Sparse piano and multiple, ethereal vocal lines weave their way across the ice as the deep synths eventually kick in. Hazel’s vocal is simply magical. I hear hints of traditional Irish folk in the rich vocal stylings, whilst the music feels very modern and glacial.

“But even my breath would blow you down”

Fragile Creature feels unlike anything I have heard before from Hazel. It’s a marked departure from the past and bodes so well for a potential full album, with such a variety of styles and moods that hit you hard.

The Embrace EP is released on 19th May 2023 via Hazel’s Bandcamp and streaming services.

TRACK LIST
Enclosure
The Embrace
Hold The Water
Fragile Creature

CREDITS
Written & co-produced by Hazel Mills
Mixed & co-produced by TJ Allen
Mastered by Guy Davie @ Electric Mastering Ltd
Hazel Mills: Vocals, piano, synths, programming
TJ Allen: Guitars, bass, additional synths & programming
Alex Thomas: Live drums (Enclosure & The Embrace)
Tim Bran: Additional synths (Enclosure)
Will Gregory: Additional synths (Fragile Creature)

Hazel Mills website
Follow Hazel on Twitter and Instagram.

Recommended listen
Hazel added vocals and piano, along with other guests including Chris Spedding, Paul Thompson, and Guy Pratt on Andy Mackay’s band The Metaphors album London! Paris! New York! Rome!

Hazel Mills & Harriet Riley cover Japan’s Ghosts





North Atlantic Oscillation – United Wire album review

28 04 2023

United Wire is the new album from North Atlantic Oscillation, and the first release since Grind Show in 2018. The album is available as a download or limited (and it really is limited!) CD direct from the band. A streaming release will follow.

North Atlantic Oscillation - United Wire cover art

The cover-art suits the album perfectly. The bright pinks, blues and purples of the artwork match the colourful and vibrant sound of the tracks on United Wire, an album thats built to be played in one sitting, with the tracks linked to each other with no gaps.

Clock is stuffed to the brim with found sounds, deep hit you in the gut bass and jittery percussion as the sequencers swirl up and around you as the beats and Eastern synths transport you on the first part of the United Wire journey.

“Everything is a clock
A novella, a rock”

There are lots of little Easter Eggs lurking in the lyrics. Lines from previous songs sneak into other tracks almost un-noticed, and the dog from the first track (in audio-form) is referenced (but not heard) in the second track, Corridor. There is a contunuity to the sonic palette, the bright and colourful synth’s take us through the whole album, lifting and decaying to hit the listener emotionally.

I’ve always loved the drums and percussion on NAO songs, and United Wire offers us more of the same high quality rhythms, this time with the beats often mangled and distorted, but all the more powerful for it.

Rosewood adds a little classic rock flavour to the mix, I hear hints of 70s The Who in the urgency and power. Let me know if you think I’m deluded in the comments!

Glyph is one of the most immediate tracks. A laid-back vocal from Sam Healy, and a more minimal backing tick over until the song bursts into life, and as suddenly as it does, it breaks down again and mutates with a rare appearance of audible guitar on the album.

“And I’m all for breaking up monopolies
If the fragments all contain the recipe”

Glyph’s are typographic marks, and the lyrics reference this, with talk of imagery and how things are presented. Glyph the song certainly leaves its mark, referencing the power of previous NAO songs in a welcoming way.

Matryoshka is one of United Wire‘s key songs, and one of my favourite NAO songs of all time. Automaton spewed lyrics ride on top of a delicious tribal beat, that builds and builds, and then bam, it drops off to the most natural and organic piece of music on the album. A jazzy, at times quite progressive Radiohead sounding interlude, with loping drums and beautiful guitar lines, rapidly distorts before you have time to really appreciate its brief and stark beauty, turning into an industrial, visceral end section.

Coil is a slow-paced piece. Aching strings and an occasionally slightly discordant piano, with a wonderful reverb tail on Sam’s vocals, make for an emotional performance.

“The wanting builds a cage
So we crawl back, start again”

The percussion changes as the song comes to its conclusion, with an almost military precision that ushers in Torch, a dark and punishing song with the vocals laid low in the mix. On my first listen to Torch, I thought the song was a little “business as usual” but worry not, as at around one minute thirty the song drops off the edge of a cliff and ushers in a pulsating burst of electronica that almost coats an early 90s rave gloss over the song, before it sheds its skin by sleight of hand and becomes a rock song once more.

Cage dials in the electronics, with shifting time signatures, and as the longest track on the album, is given the time and space to develop at a natural pace. The mood and the arrangement shifts several times during Cage, with some parts of the song being just Sam’s voice underpinned by an electronic backing.

A feeling of familiarity coupled with nostalgia is delivered with the unfamiliar (for NAO) use of presumably sampled or VST brass instrumentation and some lyrics repeated from earlier on in the album.

The track then slips off down a swirling black and white time tunnel to greet us with Powder. The lyrics seem to reference past material, and are maybe a farewell of sorts, or possibly the signalling of a new beginning. The drum pattern reminds me a little of the iconic performance by Mick “Woody” Woodmansey on David Bowie’s Five Years, about an impending apocalyptic disaster that will fall upon Earth soon.

Whatever its meaning or inspiration, its a wonderful song, the last full track before the short, hidden piece Recoil, a mutated static filled outro to the album.

There are layers of mystery with United Wire. No performance credits are listed, so I don’t know if anyone other than Sam still remains in North Atlantic Oscillation? I presume this is the case, but NAO is still instantly recognisable in its current format, whilst touching on new horizons that bode well for future releases from an artist that has been away for far too long. Welcome back.

1 Clock
2 Corridor
3 Rosewood
4 Glyph
5 Matryoshka
6 Coil
7 Torch
8 Cage
9 Powder
10 Recoil

Released by Vineland Music

Buy the limited CD

Buy the download

North Atlantic Oscillation Bandcamp

If you are new to the music of North Atlantic Oscillation, why not pick up a copy of the excellent compilation Lightning Strikes the Library, which is well-priced (whilst stocks last), along with other NAO releases, at Burning Shed.

Follow North Atlantic Oscillation on Twitter





New Musik – From A To B – The Sony Years review

8 03 2023

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Cherry Red are releasing a 4CD box set bringing together all of New Musik’s three studio albums along with a disc of B-sides, single edits and remixes.

New Musik - From A To B – The Sony Years cover

The From A To B – The Sony Years box-set includes a booklet featuring fascinating, scene setting notes from Record Collector’s Daryl Easlea, that includes quotes from Tony Mansfield.

Formed in 1977 by Tony Mansfield, a former member of The Nick Straker Band (A Walk In The Park) with bassist Tony Hibbert and drummer Phil Towner, New Musik’s first single Straight Lines was released in 1979, and their debut album, From A to B, followed in April 1980.

Living by Numbers was the band’s most successful single and the album, which entered the Top 40 in the UK Albums Chart, featured two further hit singles with This World of Water and Sanctuary.

New Musik’s first album came at the beginning of the 80s synth driven explosion that was to shape the decade, sharing a similar electronic soundscape to The Buggles, but also including guitars and bass. Straight Lines is a powerful opener and is followed by the equally commercial Sanctuary, a bright shining pop gem.

From A to B is primarily an extremely commercial electronic pop album, but with a variety of moods and textures. Slower paced songs such as A Map Of You and the fretless bass driven, shifting The Safe Side hint at the further experimentation that was to seep into the music on the later albums.

New Musik - From A To B cover

Its the singles that stay with you on the debut album. This World Of Water has dark lyrics that are disguised in the upbeat music.

“These waters have frozen
Can’t break the ice no more
It’s raining so hard now
Can’t seem to find a shore”

My favourite New Musik single from the album is Living By Numbers, a song that reached No13 in the UK singles chart, and instantly takes me back to 1979 whenever I hear it.

“They don’t want your name
Just your number…”

The band’s second album Anywhere was released in 1981 and and was the last album to feature band members Towner and Hibbert. At this point, its time to strap yourself in, as the music takes a slightly more left-field turn. The warm pop sound remains but is peppered with a darker, more experimental side.

Anywhere‘s opening track, They All Run After the Carving Knife, was chosen by Steven Wilson to be included on his curated Steven Wilson Presents: Intrigue – Progressive Sounds In UK Alternative Music 1979–89 compilation from early 2023, so is likely to have turned some new fans onto New Musik.

New Musik - Anywhere cover

Areas is one of the highlights in the New Musik back catalogue, and this is referenced by the faithful 2013 cover version by Dutch rock band The Gathering from their Afterwords album. The mood of the New Musik original is hazy and evocative, and it may have been a missed opportunity not releasing this song as a single. Churches is an evolution in the bands sound, with a more dynamic bass line, and a more natural arrangement.

This World of Walter is an obvious play on words on the single from the first album. CR-78 percussion drives this charming, short album track.

“And Walter’s sure that his world’s no more
Than just a fading dream”

In the sleeve-notes, Tony Mansfield describes this period of New Musik as his favourite, and its easy to see why. There is a playfulness and warmth to songs such as Luxury, and more experimentation with reversed vocals along with sharp tangents cutting into some of the arrangements.

Peace sees a clever use of tribal drumming, a tool often used in post-punk recordings, but here used as a tight, mechanical mechanism buried quite deep in the mix, as a way to drive the song and add a degree of tension.

Traps adds some progressive / Tony Bank’s like keyboards to the palette, and is one of the most electronic songs on the album, topped by wonderful production touches such as Mansfield’s trademark twisted, processed vocal lines.

Anywhere ends with the uplifting Back To Room One. A haunting song, crammed full of aching, emotional nostalgia and the perfect way to end an album. This track is pure pop, shorn of most of the production touches, relying on the honesty and vulnerability of the song to hit you hard.

“Take me back to my old room
It’s not there any more”

The third and final New Musik album was Mansfield with studio musicians. Warp was released on Epic in March of 1982. Digital samplers and sequencers were utilised for this album. Here Come The People features some lovely funk guitar lines and percussion that is very much of its time. A Train On Twisted Tracks includes a Wasp synth sequence similar to The Stranglers Just Like Nothing On Earth, bubbling away in the background. The use of disembodied sampled voices adds to the slightly sinister feel of this track.

New Musik - Warp cover

All You Need Is Love features twice, with the first being a New Musik original inspired by The Beatles classic, with New Musiks version coming next, topped up by a taste of Greensleeves for good measure.

Hunting features some deep synth bass and heavily processed vocals that add a layer of strangeness to this key experimental album track. The quality dips a little for the remainder of the album, with the seemingly Kraftwerk influenced The Planet Doesn’t Mind offering one of my least favourite New Musik songs.

The final song on the final New Musik album is the title track Warp. A more robotic percussion lets the synths and powerful vocal take centre stage as the band comes to its natural end, with the track slowly decaying into a series of audio errors. Warped to the final note.

Disc four features B-sides / edits and extended versions. The Planet Doesn’t Mind (single edit) works better than the Warp album version. Single B-side Sad Films (from 1979/1980) is one of the most “band” sounding tracks from New Musik, and features some late 70s harmonies and a traditional arrangement, making it quite unique in the bands catalogue.

Missing Persons/Tell Me Something New is notable for a New Musik guitar solo! Again, quite a traditional arrangement, with a killer chorus, and an abrupt ending leading into a haunting soundscape of reversed and mutated sounds to end the track.

She’s A Magazine could easily have been included as an album track. Chik Musik sounds exactly how you would imagine it to sound, and this short instrumental jam is followed by another instrumental, the short burst of Magazine Musik (aka She’s A Magazine).

From The Village was inspired by the cult tv show The Prisoner. While You Wait (extended version) is a longer take of the Anywhere era single, and the extras disc ends with an extended mix of the Warp opening track, Here Come the People – Remix.

Mansfield went on to achieve success as a producer with After The Fire, a-ha, Aztec Camera, The B-52’s, The Damned, Captain Sensible, Naked Eyes, and Mari Wilson. From A To B – The Sony Years pulls together the studio albums and the majority of the key non-album tracks, and is a perfect collection for fans of the band who don’t already own the CD reissues from a few years ago. The box-set will also appeal to the more casual fans of early 80s electronic pop.

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Buy New Musik – From A To B – The Sony Years 4 CD box-set from Amazon

DISC ONE
From A To B
Straight Lines
Sanctuary
A Map of You
Science
On Islands
This World of Walter
Living By Numbers
Dead Fish (Don’t Swim Home)
Adventures
The Safe Side

DISC TWO
Anywhere
They All Run After the Carving Knife
Areas
Churches
This World of Walter
Luxury
While You Wait
Changing Minds
Peace
Design
Traps
Division
Back To Room One

DISC THREE
Warp
Here Come the People
Going Round Again
A Train on Twisted Tracks
I Repeat
All You Need Is Love
All You Need Is Love
Kingdoms For Horses
Hunting
The New Evolutionist (Example ‘A’)
Green And Red (Respectively)
The Planet Doesn’t Mind
Warp

DISC FOUR
B-Sides / Edits / Extended Versions
Straight Lines – Single Edit
While You Wait – Single Edit
The Planet Doesn’t Mind – Single Edit
Sad Films – B-Side Living by Numbers
Missing Persons / Tell Me Something New – B-Side This World of Water
She’s A Magazine – B-Side Sanctuary
Chik Musik – B-Side Sanctuary
Magazine Musik – B-Side Sanctuary
Twelfth House – B-Side All You Need Is Love
From The Village – B-Side While You Wait
Guitars – B-Side While You Wait
The Office – B-Side Luxury
24 Hours from Culture (Part 2) – B-Side The Planet Doesn’t Mind
While You Wait – Extended Version
Here Come the People – Remix

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Musik Music Musique 3.0 – 1982 Synth Pop On The Air compilation album review

23 01 2023

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Musik Music Musique 3.0 – 1982 Synth Pop On The Air is the third 3CD compilation from Cherry Red, released on 17 February 2023. Featuring more obscure tracks from well-known artists from 1982, including Thomas Dolby, Orchestral Manoeuvres In The Dark, Japan, Ultravox, Soft Cell and Kim Wilde, alongside lesser known acts that give the collection a real taste of the time.

CD one of the collection opens with Thomas Dolby’s third single, a homage to Radio Caroline, the percussive Radio Silence. Manchester’s The Passage deliver the electronic pop of XOYO, with its addictive chorus. Mirror Man has always been one of my favourite early Talk Talk singles, with the band going on to make such a valuable contribution to 80s and early 90s music as their style expanded from these early pop beginnings.

OMD’s She’s Leaving comes in the form of a slightly remixed European single version, and is one of the key tracks on the bands Architecture And Morality album from the previous year. Breakdown (1982 Single Version) from Colourbox features a heady mix of synth, guitar and percussion topped with soulful vocals, hinting at the experimentation that would culminate in the one off M|A|R|R|S collaboration that led to the No1 single for Pump Up The Volume in 1987.

I’ve Seen The Word (a double A side with God’s Kitchen) was one of the slower-paced, more reflective early singles from Blancmange. One of the most influential early 80’s synth bands, Fashion, contribute the Zeus B Held produced slice of pop-Electronica that is Streetplayer (Mechanik), taken from their wonderful Fabrique album.

Japan’s European Son is a David Sylvian song that drips with Giorgio Moroder sounding hard-synth lines, but Moroder actually passed up the opportunity to produce this song, with production duties handled by Simon Napier-Bell, with the song mixed by John Punter. Always one of the bands most commercial songs, it fits well on Musik Music Musique 3.0. Justice is performed by Paul Haig, the former guitarist, vocalist and songwriter for post-punk band Josef K. Justice is a previously hard to find, very commercial single recorded in New York in 1982. Paul worked with former Associates singer Billy Mackenzie in the late 80s and contributed to several much-loved posthumous releases from his former colleague.

The original Mike Howlett produced single version of Tears For Fears Pale Shelter from this compilation highlights the longevity of much of the duo’s work. Last years The Tipping Point added to the bands stellar discography. Arthur Brown (yes, the Fire Arthur Brown) offers a synth based track, with wonderful electronic percussion that is a complete departure from his past work.

Coded World by Faith Global is one of the more interesting lesser-known tracks on this compilation. Vocalist Jason Guy is joined by original Tiger Lily / Ultravox! guitarist Stevie Shears for this confident, well-structured song. The later, more successful version of Ultravox are represented by the instrumental Monument, the B side to the single Hymn.

Disc two kicks off with Dramatis (Gary Numan’s backing band) with their sixth single The Shame. The Fiat Lux b-side This Illness was produced by Bill Nelson, and has touches of Nelson’s sound from around this time. Bill’s brother Ian was a member of this short-lived band. The track is one that Bill Nelson fans will surely love. Tasteful bass and guitar lines are a highlight of Shame, with a real Chimera feel to the keyboards.

The 7″ version of New Order’s early classic single Temptation is a highlight of Musik Music Musique 3.0. Dead Or Alive’s What I Want, here in demo form, is a world away from their massive hit You Spin Me Round (Like A Record) that followed in 1984. What I Want has more new wave leanings, and a harder vocal from the late Pete Burns.

Ieya 1982 is a re-recorded version of the Toyah single that originally featured on 1980’s The Blue Meaning. A smoother, tighter arrangement compared to the original take, it highlights the contributions of the new band line-up.

“Isn’t it nice, sugar and spice
Luring disco dollies to a life of vice”

Sex Dwarf is the lyrically and musically uncompromising side to Soft Cell, taken from late 1981’s debut album Non-Stop Erotic Cabaret, hence why it was able to sneak onto this compilation. Sex Dwarf is the duo of Marc Almond and Dave Ball at their shocking, seediest best, and they still have the power to deliver, have a listen to 2022’s magnificent Happiness Not Included album (available on CD and vinyl).

The slinky bassline of You Remind Me Of Gold is a highlight of the Mirror Man b-side from The Human League. Edinburgh’s Drinking Electricity contribute the Altered Images via The Loco-Motion twisted pop of Good Times, which sounds better than my description of the song.

The third and final disc is launched by one of Heaven 17’s finest singles, of which there were many, with Let Me Go!

An early Thomas Leer song, Mr Nobody, stands up well as a brilliantly arranged and not at all dated track. Thomas formed Act in the late 80s with Claudia Brücken (Propaganda). Their only album Laughter, Tears and Rage included the wonderful Snobbery and Decay, and is worth tracking down.

The compilation has gone for a less obvious Kim Wilde track, the melancholic late 1982 single Child Come Away. Prior to their success on the Top Gun soundtrack, Berlin were delivering songs in the vein of the Giorgio Moroder inspired synth-pop of Sex (I’m A….).

Mikado’s Par Hasard is a sweet, gentle pop song released on Les Disques du Crépuscule. Scotland’s Those French Girls second and final single Sorry Sorry is a Simple Minds meets Ultravox piece of quirky angular pop. The most well-known song by cult artist Nick Nicely is featured, the lysergic widescreen pop of Hilly Fields (1892). If you have never heard this song, you are in for a treat.

Ukraine, featuring former Fischer-Z keyboard player Stephen Skolnik, is a heady mix of early 80s synths, with new wave guitar and Fashion-like percussive bass. The bands Remote Control is a delightful taste of the genre crossovers that fueled a lot of the great music created in 1982.

1-2-3 is an 80s updating of the 1965 Len Barry song, performed by Julie And The Jems, the sole single release from former Tight Fit vocalist Julie Harris.

Thick Pigeon (Miranda Stanton and American film composer Carter Burwell) contribute the delightfully eccentric Subway, a mixture of new wave bass and sugar-sweet electronics, topped by Stanton’s unique spoken vocals. One listen will result in this song becoming lodged in your brain for days.

Sergeant Frog, with the instrumental Profile Dance, is an alias of Phil Harding, who went on to work with Stock Aitken Waterman a couple of years later. Harding’s resume as engineer and producer included The Clash, Toyah, Matt Bianco, ABC and Donna Summer.

The final disc ends with The Buggles infuenced electro-pop of Omega Theatre with their epic Robots, Machines And Silicon Dreams. Omega Theatre was the electronic pop project of 60s songwriter John Shakespeare. Shakespeare and Grammy-winning co-writer Geoff Stephens threw the kitchen sink at Robots, Machines And Silicon Dreams, with multiple shifts and turns throughout this pleasing single.

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DISC ONE
Thomas Dolby – Radio Silence
The Passage – XOYO
Talk Talk – Mirror Man
100% Manmade Fibre – Green For Go
Orchestral Manoeuvres In The Dark – She’s Leaving
Poeme Electronique – V.O.I.C.E.
Colourbox – Breakdown (1982 Single Version)
Blancmange – I’ve Seen The Word
Fashiøn – Streetplayer (Mechanik)
Japan – European Son
Greeting No 4 – Condition
Richard Bone – Digital Days
Paul Haig – Justice
Tears For Fears – Pale Shelter
Arthur Brown – Conversations
Die Krupps – Goldfinger
Planning By Numbers – Lightning Strikes
Faith Global – Coded World
Aerial FX – Instant Feeling
Ultravox – Monument

DISC TWO
Dramatis – The Shame
Fiat Lux – This Illness
New Order – Temptation
Kevin Coyne – Tell The Truth
Dead Or Alive – What I Want (Demo)
Toyah – Ieya 1982
Fad Gadget – Life On The Line
Thirteen At Midnight – Climb Down
Soft Cell – Sex Dwarf
Yello – Heavy Whispers
Zoo Boutique – Happy Families
The Human League – You Remind Me Of Gold
Moebius – Pushing Too Hard
Passion Polka – Juliet
Endgames – First-Last-For Everything (Club Version)
Leisure Process – Love Cascade
Drinking Electricity – Good Times
Section 25 – Hold Me

DISC THREE
Heaven 17 – Let Me Go!
Voice Farm – Beatnik
Telex – Sigmund Freud’s Party
Thomas Leer – Mr Nobody
Kim Wilde – Child Come Away
Communication – Future Shock
Berlin – Sex (I’m A….)
Local Boy Makes Good – Hypnotic Rhythm
Mikado – Par Hasard
Falco – Maschine Brennt
Those French Girls – Sorry Sorry
Nick Nicely – Hilly Fields (1892)
Time In Motion – Quiet Type
Ukraine – Remote Control
Julie And The Jems – 1-2-3
Thick Pigeon – Subway
Sergeant Frog – Profile Dance
Omega Theatre – Robots, Machines And Silicon Dreams

Buy Musik Music Musique 3.0 on CD from Amazon