Homosapien
Pete Shelley
Arista AL 6602
1981
Here is my belated tribute to Pete Shelley who passed away in late 2018. His band the Buzzcocks were easily my favorite of the first wave of British punk bands after the Clash largely because they were just as much power-pop as they were punk and looked more like new wavers than punks not unlike the Jam (another big favorite of mine back then.) I bought this album after hearing the title track on the radio. I was surprised when I first played it because it sounded so unlike the Buzzcocks aside from Shelley's distinctive vocals. It is basically dance-friendly synth-pop with a slight edge. It lacks the intensity and energy of the classic Buzzcocks songs but after a few spins it grew on me and I like it even better now since I have developed an appetite for synth-pop that I totally lacked in my youth. The record opens with "Homosapien" which is an extremely catchy ode to homosexual seduction. It was provocative back in 1981 but seems tame to me today although the line "homo superior in my interior" is fabulous. Shelley always had a gift for hooks and whenever I play this album this song is stuck in my head for days. In "Yesterday's Not Here" Shelley looks back at the past with disdain and unhappiness. The music throbs with a sensuous groove that I find enticing. "Love in Vain" was not on the U.K. version of the album, it was the B-side on the "Homosapien" single. In the song Shelley worries that his love is unrequited. It has a soulful sound to it. "Just One of Those Affairs" as you might guess is about sex - lots of it. It sounds very poppy with a very pronounced beat and an enthusiastic vocal from Shelley that reminds me of Graham Parker. Side one concludes with "Qu'est-ce que c'est que ça," which despite the title is mostly in English, in which Shelley wonders vaguely about life and relationships. It is a highly propulsive track with a wall of synthesizer sound that gets me bopping. It is one of my favorite cuts. Side two opens with "I Don't Know What It Is" which is a banal song about how one experiences love. The lyrics may be bland, but the music is exciting driven by an insistent staccato riff with waves of sound layered over it and a charged vocal from Shelley. It reminds me of Berlin trilogy Bowie. It is another one of my favorite tracks. "Witness the Change" is another B-side that was not on the U.K. edition of the record. It features a compelling melody driven by funky percussion and a powerful vocal from Shelley. In the song Shelley expresses optimism about the potential of love despite bad experiences in the past. "Guess I Must Have Been In Love With Myself" is a charming love song in which a self-centered guy changes when he finds love. Unlike his punk peers Shelley was not bashful about being a romantic. In keeping with the lyrics the music is highly melodic with a soaring chorus. It is easily the prettiest song on the record. In "I Generate a Feeling" Shelley uses his feelings of love to escape and find bliss. The music is jerky with a taste of funk to it and Shelley's vocal has a drone like quality. The album concludes with "In Love With Somebody Else" which was a single that was not on the British pressing of the album. The song examines the duality between the ideals and realities of love. It has a poppy ebullient melody that gives the album a joyful finish. Unlike many records from this period, this album has aged extremely well. It would probably make for a delightful party soundtrack with its relentlessly upbeat sound and insistent beat but I find it strong enough for concentrated listening as well. It stands out with its intelligence and sweeping musical density. Shelley was a very talented guy whose music has given me much pleasure through the years. I am going to miss him. Recommended to romantic Talking Heads fans.
Making Mirrors
Gotye
Universal Republic Records B0016449-01
2011
I first heard Gotye on KCRW which is our local NPR station. I would describe their playlist as hipster-light. The song was "Somebody That I Used to Know" and like most of the world I loved it the moment I heard it. The song was soon in heavy rotation on KCRW and Gotye even did a live set on the air there that I really enjoyed. Then much to my amazement the song took off and soon it was everywhere including the popular stations that my son liked. My son loved the song as much as I did and it made me happy to bond with him over it. In the old days when I was a snob, this kind of massive popular success would have been the kiss of death for me, but now I embraced it. I was glad the song was everywhere. I took my son to see Gotye live back in 2012 and we both had a great time. I think an artist who can bridge generations is special. Some of the hipsters at work poked fun at me when I mentioned liking the Gotye show, but I could not care less. I respect Gotye as an artist and I think this album is terrific. It begins with the introspective "Making Mirrors" which is a dreamy tune that barely lasts a minute. The album kicks into gear with the propulsive "Easy Way Out" which is one of my favorite cuts. This song about ennui and difficulty getting away from past feelings is driven by fuzzy guitar riffs. This song leads into the slinky groove of the "Somebody That I Used to Know" which is the ultimate song about being hung up on the past. As you probably already know, this song is about the emotional wreckage of a break-up. It is one of the most potent break-up songs I've ever heard. Before I heard it a thousand times it used to give me chills with its emotional power. The most inspired aspect of the song is bringing in Kimbra to provide an alternative viewpoint to the self-pity of the main part of the song. The side finishes with another uptempo song, the exuberant "Eyes Wide Open." Powered by resounding drum beats and an impassioned vocal from Gotye, this song chronicles the ecological disaster created by humans indifferent to the consequences. The B side begins with the electronic pop of "Smoke and Mirrors." The song is about selling out and artistic integrity, remarkably prescient considering how Gotye's career took off abruptly taking him from cult figure to international superstar. The song is not directed explicitly at himself and I'm not saying it necessarily applies to him, but I find the issues it raises are interesting in this context. If nothing else it does show Gotye's artistic awareness and introspective nature. The mood lifts for the joyous sunshine pop of "I Feel Better." The song is a paean to love and friendship. It is not deep, but provides some welcome lightness to the album. "In Your Light" continues in a similar vein both lyrically and musically as he celebrates the joy love brings him. Side C opens with "State of the Art" which celebrates Gotye's acquisition of a vintage Lowrey Cotillion electric organ which he uses throughout the song as he lauds its various features. Gotye combines this old technology with modern electronic devices, distorting his voice as well as using samples to flesh out the smorgasbord of sounds that drive the song. It is silly but fun unlike the next song, "Don't Worry, We'll Be Watching You." It is a reggae style electronic song with a plodding, lethargic beat and a foreboding sound to it that matches its creepy lyrics. It is about trying to leave some controlling organization, probably a religion. It makes me think of Scientology but it could apply to a lot of things. Side D begins with "Giving Me a Chance" which is about finding redemption with a loved one. It is low key romantic electropop. "Save Me" has an ebullient world music sound bolstered by prominent percussion and an abundance of instrumental overdubs, both analog and electronic. It is an extremely upbeat song about being redeemed through the power of love. The records concludes with "Bronte" which is not about the famous sister authors, but rather about a dying pet. It is a beautiful and delicate song that gives the album an emotional and sensitive ending. Some people rag on Gotye for being wimpy and whiny, but I admire his emotional honesty and expressiveness. This record is full of self-doubt and angst for sure, but it also features Gotye's will to find his way and overcome his unhappiness. I find it moving and uplifting. Musically it is extremely engaging with a lot more instrumental texture and variety than is typical with electronic music. Recommended to fans of Lorde.
Crystal World
Marnie
Pylon Records 34
2013
Marnie is Helen Marnie of Ladytron, a band I'm a big fan of. I was excited to learn that she made a solo record and when I bought it last year I was not disappointed. It is a brilliant record. I can't believe I've yet to hear it on the radio, it is so much better than the vast majority of stuff they are playing. The record is not a drastic departure from Ladytron, it is not as if she has embraced punk rock or folk. It was even produced by her bandmate Daniel Hunt (along with the Icelandic composer Bardi Johansson.) There isn't really a song on here that would sound out of place on a Ladytron album, but the overall impact and feel of the record is different from Ladytron. It follows the direction introduced on the last Ladytron album "Gravity the Seducer" which had a warmer, more seductive tone than their other albums. This record goes even farther, it is rich in emotion and romantic feelings and has a more sensuous and sensitive sound. The opening track "The Hunter" sounds the most like Ladytron. It has a strong danceable beat and is driven by synthesizers. Marnie coolly croons the lyrics which are a return to the heartless femme fatale persona she often adopted with Ladytron. It is a fabulous, entrancing song that should have been a hit single. She leaves the dance floor for the dreamy "We are the Sea" which is an inviting love song that uses the natural world to represent human relations, a technique she used quite a bit on "Gravity the Seducer" and she employs it throughout this album as well. This is certainly true of "Hearts on Fire" which a moody piece of synth pop that examines the role of love in the struggles of everyday life. It is a gorgeous song bolstered by Marnie double tracking her vocal creating a lovely harmony vocal that adds to the impact of the song. Very romantic. Side two opens with "Violet Affair" which is another dreamy love song with a lush sound. "The Wind Breezes On" features one of Marnie's most beautiful vocal performances ever. I believe this exquisite song is about finding oneself. "Sugarland" has a more pronounced beat and a mechanical riff that sounds more like Ladytron as do the dark, apocalyptic lyrics. The song has a dense sound that adds to its gloominess. "High Road" is one of my favorite songs on the record. It has a driving, hypnotic riff and a sexy groove that provide the setting for Marnie's alluring vocal. The lyrics are seductive and inviting with a desperate edge worthy of Bruce Springsteen. This synth pop torch song impresses me enormously, I've listened to it a bunch of times and it still sends me. Side three opens with "Laura" which is the track that departs the farthest from Ladytron's style, it doesn't even have percussion. It is atmospheric dream pop with almost a gothic feel to it reminiscent of Kate Bush. Nature imagery abounds in this ode to a lost loved one. The beat returns for the more uptempo "Submariner" which features a romantic description of a man who has given his heart to the sea in what I believe is a song about commitment. There are some lovely synthesizer passages in this song and it builds relentlessly to a powerful climax before gracefully fading out. The album concludes with the supremely romantic and poetic "Gold." The title of the album comes from the lyrics of this song, the "crystal world" that gave birth to the love described in the song and almost the entire record as well. It is the most beautiful song on the record and like "Submariner" it builds in strength giving the album a majestic finish. The lyrics are loaded with memorable imagery and I find the song deeply moving. It is a testament to her growth as an artist. Side 4 is blank aside from an impression of Marnie's logo in the vinyl. Such a wonderful album, it validates the album as an art form. The songs build off each other and the pervasive themes of love and the natural world give the record a satisfying cohesiveness and resonance. I believe this is one of the best records of the 2000's. Since I bought it last year, I've played it more than any other record and it still thrills me every time. I hope that Marnie does not quit her day job, I adore Ladytron and their kinetic charms. With Ladytron Marnie has been extremely effective ripping into the lady-killers and the guys who have wronged her. However I think her true talent is revealed as a solo artist, her vision is more profound and expressive when released from the constraints of the dance floor. She is immensely talented and I can't wait for her to make another solo record. Recommended for Ladytron fans who wish they weren't so cynical.
The End of Things
Bachelorette
Drag City DC 445
2010
This is the American issue of Bachelorette's debut album originally released by Arch Hill Recordings in New Zealand in 2005. Given that it only has 7 tracks it is more of a mini-album or EP than a full-length album I suppose, but the music is weighty enough that it makes for a challenging and fulfilling listening experience akin to listening to an album. I first encountered Bachelorette when she opened for the Magnetic Fields at the Orpheum a couple of years ago. I was expecting an actual group but instead a small woman walked out carrying a guitar and went up to a table full of electronic gadgets, laptops and sequencers and the like. She proceeded to create a series of loops with her voice and guitar layering them over and over creating a rich mesmerizing sound. I was very impressed and after seeing the show I started buying her records. Bachelorette is the nom de disque of a New Zealander, Annabel Alpers. She produced and composed the album and played all the instruments aside from a drummer on one track and a second guitarist on another. The album opens with "My Electric Husband." The song is an ode to a husband who fulfills the role of all her appliances - "he's my blender, he's my juicer, my happiness producer." The electronic subject of the song is echoed by the extremely processed sound of the music. The song is driven by layer upon layer of simple electronic riffs and multi-tracked vocals. It is like a cross between Eno and Devo. "Down in the Street" is more pop oriented in its structure although the sound is still heavily synthesized with lots of multi-tracking again. The song is minimalist in nature with the simplicity of its riffs but the richness of sound makes it sound ornate and lovely. "Love is a Drug" features a human drummer but the song is otherwise heavily processed including the multi-tracked vocal. It is a gorgeous dream pop extravaganza with a majestic synth solo in the instrumental break. This is my favorite cut on the album. In contrast "Pebbles and Dirt" is sparer. It is guitar-driven and uses reverb to expand the sound as well as backward recordings. The vocal is extremely complex with many layers, it reminds me of Bjork. The song sounds like a trippy folk song and is another one of my favorite cuts. Side two opens with "Song For a Boy" which is surprisingly countryish. It is also guitar-driven (she uses a second guitarist to play lead guitar on this cut) and aside from the ubiquitous reverb it features little processing. It is a charming love song reminiscent of Syd Barrett. "On the Four" is a slow synth driven tune that uses extensive multi-tracking to create a whirlwind of sound to support Alpers' seductive description of a hypnotic evening at a dance club. It is another impressive track that illustrates her remarkable ability to create a wall of sound all on her own. The album concludes with "The End of Things" which is a simple folky song about the transcience of human existence in contrast to the more enduring character of the world we live in. The song slowly builds in strength as Alpers adds synths to the song creating a satisfying gravity that reinforces the philosophical lyrics and gives the record a strong finish. I really enjoy this record but it isn't for everybody. I imagine many synth-pop fans will think it is too slow and alt-rock fans may find it cold and repetitious. I'm drawn to ethereal pop and shoegaze type music so this record pushes a lot of my buttons. Recommended to Bjork fans who like Lorde.
Gravity The Seducer
Ladytron
Nettwerk 0 6700 30924
2011
Ladytron's show last year at the Wiltern was one of my favorite shows ever. I took my wife who knew nothing about them and when she saw that there were four synthesizers set up on stage she groaned. I could sympathize with that, I'm much more of a guitar guy myself, but I've loved this band ever since I first heard "Playgirl" on the radio about ten years ago. Anyway the band completely won over my wife with their dynamic performance and I was putty in their hands. It was evident that the band was embracing a new direction when Helen Marnie strutted out on stage in a vintage style elegant dress with an enormous bow in her hair. She looked like a pop chanteuse from the 1940s, quite a change from the severe quasi-militaristic look the band favored in their earlier performances. This shift in direction is also evident in this, the band's fifth studio album. The first two Ladytron albums were classic synth-pop, a genre I'm not a big fan of, but I was drawn to them by their flair for catchy melodies and by the allure of Helen Marnie's singing. She delivered the songs' dark lyrics with a breathy girlish voice that had all the warmth and empathy of a cyborg. With their next albums "Witching Hour" and "Velocifero" the group embraced rock. The music was harder and used real guitars and drums to bolster their sound without abandoning their synth-pop foundation. The result was two astonishingly powerful albums that mixed the sonic complexity of shoegazer bands with the pop sensibilities of Brit Pop, a dazzling combination that I found irresistible. These were two of my favorite albums of the last decade. I had no idea how the band could follow up such perfect albums, but to their credit they pursued a new direction and delivered their most romantic and melodic album to date. Their four previous albums featured a bleak, almost nihilistic vision of human relations emphasized by an icy detachment in their presentation. In contrast this album is warm and seductive, it celebrates beauty and love. This is evident in the lead track "White Elephant," when Marnie sweetly invites the listener to "surrender with me" I reach for my white flag. With it's multiple layers of synthesizers, it's hypnotic riff and Marnie's soothing voice, the song envelops the listener with beauty and transports me to a state of pop bliss. "Mirage" evokes the dysfunctional relationships that characterized earlier Ladytron records but the tone is less acerbic, the song is sad rather than cutting. It also has a compelling riff coupled with a propulsive beat and the music oozes sensual beauty. Marnie's heartfelt vocal cuts right through me. "White Gold" rejects materialism. It is a slow, atmospheric song that shimmers with sound and boasts one of Marnie's best vocals ever. Despite its cold lyrics, it is a very sensuous song. "Ace of Hz" pre-dates the album having been released as a single in 2010 and its lyrics are a throwback to the band's past as the song dissects a serial heart-breaker. It displays Ladytron's skill at creating catchy, hook-laden songs and bolstering their impact with layers of sound. It is my favorite song on the record. "Ritual" is an instrumental, the best of the three on the album. It has a simple riff driven by a strong beat upon which the band gradually adds layer upon layer of instrumental flourishes so that the song continually builds in strength. I'm not much of a dancer, but when I hear it I want to hit the dance floor. Mira Aroyo takes the mike for "Moon Palace" which is an enticing and dreamy song about desire. Aroyo's heavily accented English enhances the exotic atmosphere produced by the song. Side one of this album is flawless, easily as good as anything this band has ever recorded. Side Two isn't as strong unfortunately. It opens with "Altitude Blues" which is an enigmatic song that I think is about escape. Mira Aroyo is again on lead vocal and apparently she didn't get the memo about the new warmer Ladytron because she intones the lyrics with all the warmth of a Bulgarian Commissar reciting agriculture statistics. Aroyo provides the blues but the rest of the band delivers the altitude with some more soaring sonic splendor. "Ambulances" deals with the travails of love and breaking up. Marnie's vocal is remarkably girlish, she reminds me a bit of Elizabeth Fraser on this song. "Melting Ice" has a similar theme to "Ambulances" exploring issues of trust and the weight of past relationships casting shadows over current ones. I'm really impressed by the colorful imagery of the song, particularly the metaphoric use of ice. It has a highly propulsive melody and a dramatic instrumental sound, it would make a nice theme for a James Bond movie. I think it is one of their best songs ever and it is my other favorite song from this album. "Transparent Days" is an instrumental. I find it a little dull but the synthesized wall of sound it generates has some appeal for me. "Ninety Degrees" returns to the prevalent theme on the album of using the natural elements to describe human relations and its lyrics provide the album's mysterious title. It is a slow song with a splendid Marnie vocal and a gorgeous densely layered instrumental backdrop that I find mesmerizing. The album concludes with another instrumental, "Aces High" which is a reprise of "Ace of Hz." It is superfluous but it doesn't bother me since I love "Ace of Hz" so much, I'm happy to have one more taste of it at the end. This was one of my favorite albums of 2011 and I'm impressed that Ladytron continues to explore new approaches to synth-pop. This high quality album comes in a very handsome record package with stunning graphics within and without (my cover photos don't do it justice.) It is pressed on clear vinyl and it sounds great. Recommended for fans of the Cocteau Twins.
