The title track from Goldfrapp’s second LP is everything pop music should be – sexy, glamorous, smart and weird - but rarely is these days. If their debut album was all about, in the duo’s own words, “Ennio Morricone and disco”, then the follow-up is all about disco and…Ennio Morricone – only wrapped in a shimmering gown early 1980’s inspired electronic textures. Electro-clash with heart and soul, a Madonna song with 170 I.Q., a tune for Milva to sing on Moonbase Alpha – I could go on and on…
22 Nov 04 ·eftimihn: Excellent recommendation and great description. Unfortunately the only track off their sophomore effort that can moodwise hold up to such exquisite songs like "Pilots" or "Utopia" from their debut. 23 Nov 04 ·robert[o]: I actually dig the second LP a great deal. Very disco/electro, (as opposed to Ennio), but really high quality disco/electro. (And simply delivering a "Felt Mountain" Part II would have been a bit dull - I think.) "Forever" and "Hairy Trees" are pretty darn exquisite, likewise. 07 Dec 04 ·catfish: a beautiful track that simply melts into your ears. You get the impression that something very naughty is going on but never quite sure exactly what. Has Rachel Stevens ripped this band off or what? 12 Jan 05 ·OneCharmingBastard: A sumptuous moment from one of this decade's most solid slabs of sound.
A moment of silence, (and/or eardrum-shredding noise), please folks, for the memory of the late, great Mr. John Balance of Coil who passed earlier this month. This track is one of my favorite “songs” by this organization, the title track from their sardonic exploration of club culture in the early 1990’s. Coil were never an “industrial” band – though they could create tracks of brutal, grinding sound. They were always too musical, too playful, too smart. On this tune – and there is a really catchy tune here – Balance does his best Christopher Lee impression, growling/singing of love as sickness, mixing quotes from William Blake and Roy Orbison, over a backing track that sounds like H. P. Lovercaft does Esquivel. Brilliant stuff from a brilliant man, who will be missed.
First of all I had to ask myself whether the real reason I really like this song is because the title is cribbed from a movie I love. (An ace bit of film noir from 1950, starring Joan Crawford, that I can't recommend strongly enough.) And yeah, it is rather "Fade to Grey"- Part II, (though I think the melody/mood/dynamics are stronger here.) And yeah, lyrically it’s all a bit John Foxx-light - images of European ennui and dissipation minus the inspiration. And yeah, I'm the first to admit Visage is to great post-punk-electro what Baccara is to prime 1970's disco, but I love "Yes Sir, I Can Boogie" and I love "The Damned Don't Cry" - damn it!
from The Anvil available on CD - The Damned Don't Cry
Ever wonder what a collaboration between Kate Bush and Gary Numan in, say, 1982 might have sounded like? Well, now you know.... Pure organic/synthetic sex pop, kids. Submit to Allison's tubeway army - resistance is futile!
The b-side of The Banshees' great/very successful cover of "Dear Prudence", and a great example of the band's perverse ability to generate b-sides on the odd afternoon off that where not only better than most bands' A-sides, but often better than most of the proper tracks from the Banshees' albums. (Thus, I can't recommend the "Downside Up" box set of the group's non-LP tracks highly enough.) This song is sleek, groovy, evil, paranoid funk, with Siouxsie at her most alluring/menacing. Tricky covered the song, thus acknowledging the impact of The Banshees on the Bristol trip-hop crew.