One record at a time: 27. Blancmange - Happy Families

The last time I posted thoughts about a Blancmange album was for "Blanc Burn" in 2011. On that occasion my comments didn't go down too well with some readers and I began to wonder if I'd made a misjudgement. Ten years on I realise my language may have been a little acerbic, but my assertion that it wasn't a good album was sound. In fact, I don't have a great deal of interest in the unrelenting tsunami of new Blancmange material that has been released over the last ten years. I tried it and didn't like it.

For me, Blancmange were at their best in the first three albums. The version of their debut "Happy Families" I own is taken from the vinyl version of the 2019 compilation "The Blanc Tapes". To be honest I'm not sure if this is considered a box set or a compilation, but I'll stick with the description in Discogs and call it a compilation. The first thing to say about this pressing is that some copies contain a number of known manufacturing defects. It's a bit of a lottery as to which faults your set will contain. My copy suffers from a crease across the top of the slipcase that holds the records, but doesn't seem to have the more worrying issues with "vinyl contamination" or poor sound quality experienced by others.

When it comes to the music, "I Can't Explain" is an odd choice for an opening track as it is a slow burning drone rather than the catchy single you might expect to kick things off. "Feel Me" is a personal favourite that has some great backing vocals alongside the rather funky backing track. "I've Seen The Word" is a skilfully produced track that could sound morose in less capable hands. The next track "Wasted" sounds like a prototype Erasure record; which just goes to prove Neil and Stephen had the synth pop formula a full three years before Vince and Andy honed it. Nowhere is Blancmange's commercial potential more strongly demonstrated than in the next track "Living On The Ceiling" which has smart production, catchy riffs and clever lyrics. 

I've never been too keen on the ballad "Waves" but it is executed competently. As the flip side of the record progresses things become a little formulaic until we encounter the guitar led instrumental "Sad Day", which sounds like Joy Division on uppers. The final track "God's Kitchen" is an example of a song with humours lyrics that don't make your toes curl; something they couldn't repeat on "Blanc Burn". 2/5

The second disc in this version of the album kicks off with "Sad Day (Original Version)" which is so slow I was convinced it was playing at the wrong speed. We have to wade through several demo recordings of questionable quality until we reach the extended versions of "Living on the Ceiling", "God's Kitchen" and "Feel Me" which aren't as rewarding as I remember.

Like most bands from the eighties that continue to release music today, Blancmange rely on a core group of fans to buy it. This compilation is clearly catering to those fans by delivering demos and previously unheard material which document the early life of the band. For me, the original album remains the highilght of this compilation and the second disc is largely redundant.

One record at a time: 26. Björk - Vespertine

"Vespertine" is the last Björk vinyl in my collection and like many of the others this is the coloured vinyl that was released in 2015. Strangely my copy doesn't have the corresponding promo sticker on the sleeve so I'm not sure if it from the original 5000 or it just got missed in the manufacturing process. At the time of the original album's release I bought the limited 'gatefold' CD with a card sleeve. This version was mildly irritating as it was much bigger than a standard CD case and I remember it wouldn't fit into my chosen storage solution - clearly I didn't have much to worry about in 2001.

This is something of a break up album for Björk and I. "Hidden Place" was a great single that raised my hopes that its parent album was going to maintain the high standards of previous efforts: but alas I was to be disappointed. How anyone can hear "Cocoon" and think, "That's a single!" is beyond me. The song is boring, the vocal is rubbish and the production is dull. The next track "It's Not Up To You" is fantastic and would have made a far better single than "Cocoon". "Undo" comes and goes without leaving an impression before the mildly entertaining single "Pagan Poetry" helps round out the first record.

To be honest I don't have the will to write about each song on the second disc individually. There is nothing remarkable here and whilst there is another flash of greatness with the last track "Unison", this is generally pretty boring stuff. I'm not sure why this album is so highly regarded by critics and some fans. I acknowledge that my love of electronic music can sometimes leave me blind to music created by other means and unfortunately, this album doesn't do enough to open my eyes more than halfway. 2/5

One record at a time: 25. Björk - Selmasongs

We're about halfway through the first shelf (Kallax obviously) of LPs and coming to the end of my Björk collection. I stopped buying her new records in 2011 when she began to explore a musical direction that wasn't to my taste. I described one album here as "arty tuneless garbage", which seems a bit petulant now, but was probably just me realising that there was never going to be a "Homogenic 2".

However, "Selmasongs" was released back when Björk could still muster a tune and employed production techniques that stretched further than using whistles, human beatboxes and fart noises.

This album is a collection of songs featured on the 2000 feature film "Dancer In The Dark" in which Björk also starred.  I've seen the film and thought it was very good. I also liked the songs and bought the CD when it was originally released. This is a 180g black vinyl from 2016 that I ordered directly from her UK record label One Little Independent (as they are now called). The sleeve seems to make a lot out of the fact hat it is mastered directly from metal but I've never noticed the sonic advantages of this.

There are only seven songs on the album but the quality is pretty high. The opening "Overture" is a beautiful orchestral piece that introduces a theme we will hear again in the final song "New World". Like a lot of songs on his album, "Cvalda" utilises 'found sounds' alongside the orchestra. The use of these mechanical noises is measured, imaginative and melodic; they really help define the sound of the record. "I've Seen It All" is a duet that has some fantastic lyrics, but Björk's powerful vocal blows poor Thom Yorke out of the water. "Scatterheart" hints at the sound of albums to come, but unlike those albums, it is quite good. 

This album is a bit of a watershed moment for me as it is probably the last Björk album I enjoyed. Everything went a bit downhill from here: "Vespertine" and "Volta" had their highlights but nothing has ever approached this, or more particularly "Homogenic", for consistency and quality. 3/5

One record at a time: 24. Björk - Homogenic

Another Björk record is next, but this is the first in my collection we have come across that I own in triplicate (there will be more I assure you). 

I have the coloured vinyl from 2015 along with the black vinyl from the same year which I will play here. I also own the 180g version from 2000 which strangely, I have no recollection of purchasing (I can see it wasn't from Discogs or eBay which is also weird). If you look closely at the sleeve you can see that the later re-releases on the right of the image crop the top of Björk's hair, where the older version retains the artwork of the original 1997 version. 

I'll be clear from the start that "Homogenic" is one of my favourite albums of all time. The first time I put the CD of this on in my Renault Clio back in 1997 I knew it was destined to be a favourite. The album kicks off with "Hunter" which is as original as it is awe inspiring. The new (at the time) production of Björk and Mark Bell were the perfect alchemy weaving the dance sensibilities of LFO and the twisting lush melodies of Björk. The first two tracks are a perfect example of this counterpoint where the string arrangements are perfectly juxtaposed with unique driving rhythms and a sub bass growl. I find the third track "Unravel" absolutely mesmerising to the extent that even the saxophone sounds don't annoy me. The single "Bachelorette" sees the epic string arrangements return to great effect in a track the proves how good Björk is in the role of producer. "All Neon Like" comes next with its infectious beat and intriguing lyrics. 

On side two the distorted beat of "5 Years" isn't totally to my taste but as the track builds this becomes less of an issue. I remember the first time I heard the next track "Immature" I kept asking myself, "What is this? How can an album track be this good?" I had this song on regular rotation for quite a long time and have never been able to find fault with it. The original sparse vocal/piano version of the song that features on the third CD single of "Jóga" illustrates that good songs can shine regardless of the production. "Alarm Call" has a great bassline and Björk drops an F-bomb. I find "Pluto" a bit annoying as its trying too hard to be different and seems to just end up being a bit repetitive. The album finishes with the suitably sombre "All Is Full Of Love" which I used to think was good until another version was released as a single the following year. The "single" version (which is actually the original version) is produced by Björk and is superior in every conceivable way. I can't help but wish the album finished with this version but then nothing is perfect. 5/5

One record at a time: 23. Björk - Post

The next record in my collection is another coloured vinyl by Björk. I haven't played this LP much as when I first bought it I thought it sounded awful. As I play it today, things are OK for the first track but the sibilance on "Hyperballad" is horrible and "The Modern Things" is spoiled by distracting pops and clicks. Things don't improve much for the rest of the record but as this is the only version of the LP I have, I will have to stick with it.

The poor sound quality is a real shame as "Post" is a great album and I enjoyed it so much in 1996 that I went to see her on the supporting tour. Even though a significant proportion of the album is produced by Nellee Hooper, it sounds miles better than its predecessor, "Debut". I think this must be down to collaborators such as Graham Massey and Tricky who seemed to injected enough grit and imagination to stop another "The Anchor Song" happening.

My favourite track is "Isobel" with its lush arrangement and haunting tune, but there isn't a bad song on here really. Even some of the more 'avant-garde' tracks such as "You've Been Flirting Again" and "Headphones" are entertaining. The only slightly rubbish track is "Cover Me" but happily it is only two minutes long and is buried near the end. The singles "Army of Me" and "Hyperballad" are quirky and highly original and you get the feeling Björk is beginning to find her feet as a solo artist here. "Possibly Maybe" is an OK track but was never a single to my ears. However, this didn't stop me buying no less than three CD singles of it when it was released. More alarmingly all three CDs were full of garbage remixes with only one passable live track in their favour.

There were lots of mixes and singles from "Post" and they culminated in the remix album "Telegram". This collection of mixes tried too hard to be "different" and "arty" and the result was dreadful. Having bought three CD singles of garbage with "Possibly Maybe" I declined "Telegram" at the time. In the last year I picked the CD up from eBay for a few pounds and I don't feel I have missed out in the intervening twenty five years. It won't get listened to again (unless for the purposes of this blog I suspect). 

To summarise, this is a good album but I can't recommend this coloured vinyl version at all. These records seem to be selling between £50 to £100 on Discogs and I find that amazing. My perception has never been that this is a rare pressing and from a sound quality perspective, it certainly isn't desirable. I prefer my limited edition CD in a plastic purse which sounds loads better. 3/5

One record at a time: 22. Björk - Debut

Whilst I bought the original CD of this album back in 1993, I didn't own it on vinyl until 2015. I know this because I posted about acquiring some of Björk's back catalogue on coloured vinyl here. Although I've owned the record for 6 years, I have only played it once to my recollection. I haven't played it much for two reasons. 

Firstly "Debut" isn't my favourite Björk album. Although it starts strongly, it meanders off into weirdness that I can't abide. Everything is going well until we hit "Like Someone In Love" which is a fairly limp interpretation of a dull Jazz standard. Not only is this track inferior, it is also incongruous and ruins the mood that had been building. Things pick up again with a few good tracks before the disjointed mess that is "Aeroplane" sours the atmosphere and "The Anchor Song" vomits everywhere just so we are clear the party is well and truly over. You can tell I hate saxophones.

The second reason I haven't listened this record much is that I had previously played the coloured vinyl of "Post" and "Homogenic" and they had all the sonic fidelity of a hairdryer full of iron filings. Who could have predicted coloured vinyl pressed by GZ media would sound horrible? *sarcasm mode disengaged* But truth be told, this particular record doesn't sound nearly as bad as the others I own and it behaved quite well on this listen through.

Having not heard this album in a long time, I am struck by how 'nineties' it sounds with the guitar samples on "Human Behaviour" and the liberal use of organ being especially dated. My alternate version of this album would jettison "Aeroplane", "The Anchor Song" and "Like Someone In Love" and add in "Play Dead". I would also swap out "Big Time Sensuality" for the Fluke remix that made it a chart hit and substitute "There's More To Life Than This" for its non-toilet version included on the "Venus as a boy" single. It still wouldn't be perfect, but it would be a lot less disappointing than this.

Another disappointment of this re-pressing is the sleeve. I understand that record companies may not have the original artwork for a record lying around twenty years after it was released, but at least make some effort to reproduce it to a reasonable quality. The sleeves on these coloured vinyl versions look like bad scans in places and just aren't very sharp. If you consider the poor sleeve combined with the poor vinyl, it mystifies me why people are asking such high prices for these albums on Discogs and eBay. Acquiring them may have posed me some initial problems but they aren't that rare and they really aren't as desirable as you might think. 2/5

One record at a time: 21. The Beloved - Blissed Out

This is a remix compilation that followed hot on the heels of "Happiness" which was released earlier in the year. My memory of the chronology has faded over time, but I am sure the single "It's Alright Now" was released around the same time and I seem to recall receiving the cassette of this album as a Christmas present in 1990. I asked for the cassette as I had read a review of the album in "Smash Hits" which said the cassette had quite a few extra tracks - value for money was a big concern when you're only source of income was delivering newspapers. I was accustomed to CDs offering extra tracks to lure me to the new format, but cassettes were a dying breed even in 1990, so this decision didn't make sense then or now.

Anyway, the LP of this album starts with the "Happy Sexy Remix" of album track "Up, Up and Away". This is a club orientated mix with a prominent sub bassline and TR909 snares. Whilst the difference to the album version may not be startling at first, Danny Rampling delivers a much sparser mix that retains interest right to the end. The second track is one of my favourite remixes ever: "Hello (Honk Tonk)". The key to the success of this remix is that is it a completely different take on the track. Jon and Helena didn't just tinker with the original but replaced the backing track with a sample laden dance workout that compliments the vocal perfectly. There are many nice flourishes and changes of direction that mean the six minutes fly by. I have always liked "Wake Up Soon (Something To Believe In)" as it features a sample of the Eurythmics song "Greetings From A Dead Man" that I recognised instantly. Aside from giving myself marks for sample spotting, I like this mix as it moves the album version from a very eighties sounding track into something a bit more contemporary without losing its character.  

"Time After Time (Muffin Mix)" shows the pure genius Jon and Helena were capable of when remixing their own material. This version turns the original into the type of ragga dance track that was de rigueur in the early nineties. However, unlike many contemporary ragga mixes, this one hasn't aged at all. Leslie Lyrics proves to be the perfect MC with his tongue in cheek delivery and clever rhymes. Instrumental B-side "Pablo" was always a bit of disappointment to me and the club orientated dub that comes next isn't significantly different from the original. We return to more familiar ground with "The Sun Rising (Norty's Spago Mix)" which is a classic house mix by Tony Humphries. The main change here is to the drums which take on the relentless sound favoured by the early house pioneers such as Tony and Larry Heard. 

"It's Alright Now" was released as a single to promote the album and it featured several fantastic remixes that I play regularly to this day. The pick of the bunch is "Back to Basics" which builds from a sparse, acid tinged dreamscape into a hypnotic colossus. Amazing. However, things go a little awry at the end with "Your Love Takes Me Higher (Calxy of Isis)" which is a 10 minute long instrumental which centres on saucy ad libs and (presumably) fake orgasm noises contributed by a backing singer. Personally I find the mix boring and the vocals very annoying. Thus the vinyl finishes with a bit of a damp squib, but the disappointing ending shouldn't be allowed to detract too much from what has gone before. As remix albums go, you'd be very hard pressed to find a better one. 4/5

One record at a time: 20. The Beloved - Happiness

During my more formative years I played a snazzy yellow and purple TDK cassette of this album in the sixth form common room. I listened to the CD when idling away the hours at university and then whilst travelling to my first job in the early hours of the morning. I've sung along to "I Love You More" in the company of girls who never really loved me back and created a private rave in my bedroom to "Sun Rising". I've listened to this album as mp3s on my phone when walking to my office and I've played it to my children. It would be overly dramatic to say: "this album is the soundtrack to my life," but I'm not sure how else to describe it. It has always been there (well from 1990 anyway) and I have always loved it. Here I am playing an original pressing of the LP but I also have the recent remastered version and their CD equivalents.

The opening track "Hello" is a slice of late eighties pop perfection with its groovy rhythm guitar, DX7 bassline and 808 drums. The lyrics are largely just a list of people Jon is saying hello to, but in a pre-internet era, this was strangely fascinating. At the time I had no idea who the hell Little Neepsie (still no idea) or Sir Bufton Tufton were or why they were worthy of inclusion. Although not on this album, I have to mention the "Honky Tonk" remix of this track which, to my ears at least, is one of the best remixes ever created.

Whilst I clearly remember "Hello" being in the charts, it was hearing the second track "Your Love Takes Me Higher" that pushed me to buy the album. This song is an almost perfect pop/dance crossover that marries the TR909 and TB303 sounds of house music to a melodic and structured song. There are some dated orchestra hits and I've never been a fan of the female orgasm that seems to last through the middle of the song (there are even some remixes which focus solely on the orgasm that are annoying and a bit rubbish), but it remains a favourite of mine. "Time After Time" is a perfect change of pace that shows Jon and Steve aren't a one trick pony. The violins compliment the dub style bassline very well and it should have been a bigger hit. The more placid feel continues with "Don't You Worry" which sounds a bit more eighties with its D-50 "Pizzagogo" strings, but the strong melody wins the day. The first side of the LP finishes with what I consider to be the best song on the album "Scarlet Beautiful". Jon described this song on Twitter as, "The unbridled joy of 1988 compressed into four and a half minutes." This is Detroit house influenced dance pop with the greatest outro ever. It's hard to follow a track as good as this but the strength of this album is undeniable when you consider the next track you are presented with.

"The Sun Rising" wasn't a massive chart hit, but I suspect almost everyone of a certain age will recognise its infectious bassline and THAT sample. A track truly worthy of the tag "Classic". Having displayed their Balearic credentials Jon and Steve serve up a slice of frothy pop with "I Love You More". This really is a joyous song but unfortunately it elicits tinged adolescent memories for me. "Wake Up Soon" is another slower guitar based track that provides great contrast to the joyous acid frenzy that is "Up, Up and Away". The album is rounded off with "Found" which harks back to the sound of the 'old' Beloved and proves to be a fitting ending to a consistent and great album. 5/5

One record at a time: 19. Beck - Hyperspace

In 2020, I hadn't bought an album by Beck since "Odelay" in 1996, so it was going to take something special to get my attention after a gap like that. Happily "Hyperspace" was indeed a special record.

However, I have some strange and contrasting memories of this one. Originally I only downloaded this album and it was quite a long time before I got around to buying a physical copy. In fact, I bought the LP the week before the UK went into lockdown due to the COVID-19 pandemic and as a result, even the sight of the sleeve brings a tinge of melancholy. This is a shame as this is a great album with some of Beck's best songs. I seem to have acquired a cassette of this album too, which I can only assume I bought as it was cheap (much like the LP was).

The introductory track "Hyperlife" provides a gentle introduction to the fabulous "Uneventful Days" which is an absolute diamond of a song. Shimmering electronics and laconic vocals generate an enchanting dreamy pop sound that I can't resist. My only complaint is that this track is only three minutes long. It could be six minutes long and I still wouldn't tire of it. When "Saw Lightning" started for the first time my heart sank. "Oh no," I thought, "he's gone back to indie guitar stuff even if he is working with Pharrell Williams." Happily this song soon emerges from the cocoon of acoustic guitar nonsense into - if not a beautiful butterfly - at least an intriguing moth. "Die Waiting" is another one of those chilled pop songs that I can't get enough of. There's absolutely no way to improve this track (OK if you push me, I'd like synth bass in the verse instead of bass guitar) and as with "Uneventful Days", I will often go back to this track once the album has finished. The overly long "Chemical" is a bit dull in the verses but the chorus just about rescues it - still not my favourite. "See Through" has a fantastic rhythm track that gives the song an infectious R'n'B vibe and unlike the preceding track, this song doesn't outstay it's welcome. Before we know it, side one is complete.

The title track ushers in the flip side with it's driving beat and lush strings before giving way to more ethereal pop in the form of "Stratosphere". This song sounds a bit like Air, and like all the good songs on this album, it is too short. There's a lot less synth on this song but it somehow retains a majestic, soaring quality. My vinyl seems to reveal some of the limitations of the medium on this song and it suffers from some sibilance and gentle distortion; but it doesn't detract from the song too much. With "Dark Places" the synthesizers make a welcome return (sounds like a Moog and a PPG to me) and whilst this track isn't as good as "Uneventful Days" it carries the same chillwave vibe. The next track, "Star" is a more typical Beck song and provides a great contrast to the more ambient music that surrounds it. "Everlasting Nothing" starts slowly but builds into a weird gospel tinged anthem, replete with analogue drum machine. There is a 'one man band' style reprise of "Saw Lightning" which rounds things out.

As well as this version of the album there is also a deluxe version tied to a collaboration with NASA which has some new tracks and remixes. Whilst interesting, this version of the album isn't essential and my interest is firmly with the original. The Wikipedia entry for "Hyperspace" says some critics found the album superficial and lacking the complexity of previous albums. As I missed 25 years worth of Beck albums, I'm not in a position to make comparisons, but I will say I enjoy this album very much and it sits right on the cusp of joining my top 20 albums. 4/5

One record at a time: 18. Karl Bartos - Off The Record

The next LP on the shelf is the second (and seemingly final) album by Karl Bartos. I ordered both the CD and vinyl of this album when it was released in 2013 not realising the vinyl also had a CD included. So now I have two CDs of this album. Whilst the vinyl pressing was limited to one thousand numbered copies, it doesn't command a high value on the second hand market. The fact that this album isn't highly sought after gives you an indication as to why Karl doesn't seem to release any music any more: nobody buys it.

This album is a collection of tracks that were recorded over many years but never released. Some were written whilst Karl was a member of Kraftwerk, some whilst recording as Elektric Music and some with the group Electronic. Accompanying the discs is a large booklet which provides a wealth of information about each song in Karl's own words.

The single "Atomium" is an ode to the iconic building in Brussels and features the now familiar computer voice effects Karl employs. Next up is the fabulous "Nachtfahrt" which could have been culled from any Kraftwerk album circa 1979-1983. This track is the clearest indication that the sound of Kraftwerk in the early eighties was heavily influenced by Karl. The Mellotron infused "International Velvet" is a tribute to artist Isabelle Dufresne that derives its melody from a Kraftwerk soundcheck in 1981 (I told you the booklet was good). "Without a trace of emotion" sounds like an out-take from the Elektric Music album "Esperanto" - and that's a good thing. The next rack is a short piece called "The Binary Code" which was included on a cover disc of a magazine. One of my personal favourite tracks is "Musica Ex Machina" which is based on the initial idea for the Electronic track "Imitation of Life". Whilst there are some  similarities between the two songs, this is definitely a different composition from the one released by Messrs Sumner and Marr.

"The Tuning of the World" is melancholy, brittle and strangely affecting. The instrumental "Instant Bayreuth" continues with the slower pace of the preceding track and is recognisable as being recorded on analogue equipment. I'm less enamoured with "Vox Humana" which is a series of drum patterns from an old beatbox with scattered electronic sounds and vocal snippets. The familiar Kraftwerk Polymoog organ is coupled with the rhythm pattern from "Numbers" to create "Rhythmus" - but it doesn't quite hit the mark. "Silence" is actually 6 seconds of very quiet ambient noise which is followed by the the final track "Hausmusik". Don't expect a 'hands in the air' piano tinged dance stomper, this a song about the music people make at home and it wouldn't have sounded out of place on the Depeche Mode album "A Broken Frame". A good album that is highly recommended for Kraftwerk aficionados who will find the music, and the accompanying booklet, both fascinating and entertaining. 4/5

One record at a time: 17. Karl Bartos - Communication

As an admirer of Karftwerk (I'm not a 'fan' in the truest sense of the word), I found it only natural to buy the Karl Bartos album "Communication" when it came out in 2003. I really enjoyed this record as it was one of few truly electronic albums being released at the time. This was also one of the first CDs I remember which contained a link to download additional tracks - which I duly did over my shiny new 1 mbps broadband connection. As a bonus the CD also came in a funky 'drawer' card sleeve (no doubt it has a proper title but I have no idea what it is). I wasn't an avid consumer of vinyl in 2003 (apart from Pet Shop Boys releases) so I had to wait until the album was re-released in 2016 to acquire this remastered LP. 

Things kick off with the single "The Camera" which is a traditional Kraftwerk/Electric Music jaunt with cliched lyrics about taking a picture of the world. "I'm the Message" is a good track that uses the same computer voice that we will hear on the majority of tracks. "15 Minutes of Fame" is another single and is one of the highlights of the album for me (I must track down the CD single some time). "Reality" is a bit more contemporary and provides a nice change of timbre. The first (of many) digs at former bandmates starts with the catchy "Electronic Apeman" which remains a good song below the veneer of cynicism. The second barb is delivered with "Life" where Karl tells us he has to get on with his life; which seems a bit late to say it was recorded more than 10 years after he left Kraftwerk. But there you go.

As we flip over the vinyl I'm beginning to tire a little of Karl's continued use of the same sounds. This album employs the same sonic palette as the first Elektric Music album and, whilst it is strongly derivative of Kraftwerk, it gets a bit wearing. Don't misunderstand, it's not that I dislike the sounds, its the lack of variety that gets a little boring. Which is a bit depressing as all of the remaining songs seem to use the same patches and voice effects. I like this album but a little variety wouldn't have gone amiss. 3/5

One record at a time: 16. The Art of Noise - Noise In The City: Live In Tokyo, 1986

Record fourteen is the last LP in my collection by The Art of Noise. Despite being recorded in 1986, "Noise In The City" was only released in 2021 on CD and this limited edition white vinyl. I have mixed emotions about Music On Vinyl. Whilst they continue to nobly release music on physical formats, they don't always make the best job of it. Take the re-release of "In Visible Silence" which looked beautiful but had the sonic fidelity of a potato. 

However, the trouble here is largely the actual recordings themselves. Whilst the 'limitations of the source tape' are revealed here and there (this is the same on the digital version) my issue is more with the performances. Sometimes a live event can seem wondrous when you're there, seeing and hearing it for the first time, but it doesn't necessarily translate into a good recording. Put it this way, I can see why this album wasn't released when the band where at their commercial zenith back in 1986. The combination of live percussion, Fairlight backing tracks and terrible backing singers doesn't make for the most wondrous soundscape. The chat and introductions between songs are excruciating and raise the alarming prospect that Paul Morley may have actually brought something to the table.

Tracks such as "Eye of the Needle" "Paranoimia" and "Opus III" are frankly a mess. Whilst "Legs" and "Moments In Love" remain credible representations, its not hard to see why other electronic artists just played (or mimed - I'm looking at you M. Jarre) to a tape machine when trying to recreate their music back in the 80's. So whilst his album doesn't succeed as a listening experience, it serves as an honest historical record of the tour it was made on. And at the end of the day, I know I should be pleased that someone has taken the time to create a new release by The Art of Noise - I just wish it was better. 2/5

One record at a time: 15. The Art of Noise - The FON Mixes

Retrospective remix albums like "The FON Mixes" by The Art of Noise were all the rage in the early 90's and this album set a trend that was followed by other artists such as Yello with "Hand on Yello", Yellow Magic Orchestra with "Hi Tech/No Crime" and The Sugarcubes with "It's It".

However, it's inaccurate of me to suggest the artists themselves were behind these releases. Remix albums such as this were clearly commissioned by record companies to rinse the back catalogue of an artist who had either stopped recording or were on a hiatus. Some successful remixes could drive both sales of a parent album and the back catalogue generally. With "Instruments of Darkness" China records must have thought they'd won the lottery. This track hit a sweet spot when The Prodigy weren't too big to turn down a remix but they had the talent and balls to produce amazing music (see also "Take Me (Prodigy Mix)" by Dream Frequency). Even though this mix bears little resemblance to the original track, it stands on its own merits. In fact this track drove me to buy the CD of this album back in 1991. Whilst I have owned the CD for thirty years, I only acquired the vinyl from eBay in the last 6 months. Why I bought the vinyl I can't really tell you. It is in excellent condition and the two 12" singles are well presented but the music isn't improved much by the carrier. 

Once we are over the zenith of the opening Prodigy remix things meander along with uninspiring mixes by Carl Cox (Paraniomia), Mark Gamble (Roller 1) and the first "Interlude" in the form of "Yebo". Other early 90's notables The Sweet Exorcist, Mark Brydon, LFO and Graham Massey make brave attempts at revitalising old tracks but they all sound unconvincing and like their heart wasn't in it. The Youth track "The Art of Slow Love" is just "The Art of Love" single from the year before played at 33rpm and not 45rpm. One of my favourite AoN songs, "Catwalk" is remixed by The Ground whose biography in the sleeve leaves me no clearer to their identity. Discogs only credits them with this remix and there are absolutely no biographical details listed; they are a mystery. 

Unfortunately many albums of the era seemed to think it was compulsory to commission a mix by The Orb and include it no matter what load of old tosh turned up. Fortunately this album avoids this further ignominy, but this is one of few redeeming features. Whilst this album is disappointing, it's not because of any inherent fault with the source material. The afore mentioned Prodigy remix and subsequent singles such as the Ollie J and Arkana remixes of "Yebo!" from 1995 prove that it is possible to make good dance tracks from The Art of Noise back catalogue. Just don't mention the car crash that is "The Drum and Bass Collection". 1/5