One record at a time: 162. Heaven 17 - Penthouse and Pavement

I have two copies of Heaven 17's debut album. The first is an original pressing from 1981 which I bought from eBay in 2017. Both the disc and sleeve are in pretty good condition when you consider their age

The second copy is the white vinyl from the "Play to Win: The Virgin Years" box set of 2019. The artwork for the new version has obviously been scanned and gives the impression of having been printed much more heavily as a result. 

Whilst both records sound pretty good, I'm choosing to play the original here as the discs are a bit difficult to extract from the box set.

Opening track "(We Don't Need This) Fascist Groove Thing" is a timely and depressing reminder that politics haven't changed much over the last forty years. This record was banned from the BBC when it was released as a single and this is thought to have led to its relative lack of success. Yet, even if it were being played on national radio, I'm not so sure this track had enough hooks or gags to interest the record buying public en masse.

The familiar title track is a blend of slap bass, female backing vocals, grand piano and an incessant Linn LM1 pattern. "Play to Win" continues to lean on John Wilson's guitar skills to underpin the synth horns and Glenn's impressive vocal. The concept of this first "Penthouse" side of the disc is encapsulated by the soul/funk sound of "Soul Warfare". Naive block chords are pounded out on the grand piano as the elaborate slap bass rattles around. Most of the tracks on this side of the record are good, but they rely too heavily on the influences of soul and blues for my taste.

For me, the real action on this record is the "Pavement" side which dispenses with the slap bass and relies on synthesisers. "Geisha Boys and Temple Girls" sounds completely under produced by today's standards, but it does have a great melody. The brilliant "Let's all Make a Bomb" has some subtle harmonic elements, but it really would benefit from a bassline or some other rhythmical elements. I don't know if the sparse production on this album is a style choice or if the band just didn't have enough synthesisers.

The first electronic bassline is encountered on "At the Height of the Fighting" which thankfully omits the brass section that was overdubbed onto the "He-la-hu" single version. There is some album filler called "Song With No Name" to be dealt with before the final track "We're Going to Live for a Very Long Time" is heard. The original record ends in a locked groove that plays the "For a very long time" refrain until you lift the needle. On the 2019 repressing the refrain is looped for about a minute and then fades out - no doubt the master for the repressing was the same digital one used for CD. 3/5

One record at a time: 161. The Grid and Robert Fripp - Leviathan

This album is a collaboration between The Grid and Robert Fripp and consists of improvised soundscapes originally recorded during the sessions for the album "Four Five Six". "Leviathan" is presented as a double album pressed on two 200g super heavyweight vinyl discs: overkill of the highest order.

Having established with my previous post that I don't like improvised music, you may be able to guess where my review of this album is about to go (the picture might be a subtle clue too).

"Empire" belongs to the "droning" class of improvised pieces and is deeply irritating. "Milkwood" has a few synthesised tinkles but is the same type of nonsense. There are a few deep pulsing noises that underpin "Pulse Detected" but it goes nowhere. "Loom" almost has a chord structure and that's the best I can say. 

I could go on, but I know I won't find anything positive to say about this album. I'm getting to the point that I can't tell any of these track apart - it's just one giant smear of droning guitars and deep burbles. I accept that some people may like this album and I am pleased they do; but it isn't for me. The most upsetting thing is that I paid money for this. 0/5

One record at a time: 160. The Grid - One Way Traffic

The Moog Sound Lab was a large mobile studio that also operated as a record label. The lab was equipped with various Moog synthesizers and made available to recording artists by invitation. The Grid were the first to use the new facility in 2015 and "One Way Traffic" is the result of that session.

As these sessions were rather short, they tend to produce improvised pieces rather than be used to record in a more conventional way.  

I'll be upfront and say I'm not a fan of improvised music. Improvisation equates to either extreme repetition or droning nonsense, and this album contains plenty of both. It's not only the quality of the music that annoys me, but it also irks me that the music cannot be replicated.

I have been tinkering with keyboards and synthesisers since I was a child and my dream was always to own an instrument or system that offered total recall. I always longed for the ability to pull up a track in exactly the same form as it was recorded and for it to be fully editable. For whatever reason, the idea of music being unrepeatable is an anathema to me. The fact that improvised music is also dull and often repetitive seals the deal.

The title track that starts the LP is an edited version of the 26 minute behemoth that features on the digital release. Whilst the repeating sequence is pleasing for the first four minutes it gets a bit grating as times go on. There is some progression and manipulation of the synths but nothing to justify the run time. "Test One" is just a minute of noise and "Distrubia" is a faintly intimidating ambient piece that end side one.

"Goldenfilter" is the first track that sounds like consideration was given to structure and variation. There are some really interesting rhythms and sounds on this track that make it the standout. "ECG" and "DPM" are more abstract and experimental and don't hold my interest. 1/5

One record at a time: 159. The Grid - Four Five Six

In the early nineties I would search the myriad of record shops in city centres for new electronic and dance music to buy. 

One day in HMV I came across a 12" called "Figure of 8" by The Grid. I think the record must have been cheap as I can't think why else I would have bought something completely unknown to me.

As it turned out I quite liked the song and some of the Todd Terry mixes were quite good. There was even a second 12" single to fit into the gatefold that completed the set; so I bought that too. The next single "Heartbeat" convinced me to buy the parent album "Four Five Six" when it was released a couple of weeks later.

As with the majority of my collection, I originally bought this album on CD and acquired the vinyl more recently. I bought this record from eBay in 2014 and it is very good condition. As it turns out the sleeve for the CD is just detail from a larger image which is featured on the LP sleeve.

The album gets underway with "Face the Sun" which is a track that clearly illustrates how far the band have moved on since their debut album "Electric Head". The strong TR-909 swing beat pumps away as synth sweeps and wah-wah guitar riffs float along. Sun Ra delivers a typically spaced out monologue as the bassline continues propel us forward. Unfortunately there's some screaming guitars but the backing vocals of P.P. Arnold soon begin to take over from the cacophony.

There is an effortless segue into the next track "Ice Machine" which is nothing to do with the Depeche Mode song of the same name. Here Dieter Meier delivers his usual vocal which is then layered over Kraftwerk inspired rhythms and some funky percussion. There's a more contemporary dance track next in the form of "Crystal Clear" which I always thought was very clever. When this song was released as a single I was keen to hear the inevitable remixes that would be included. However, I was left disappointed by the absolute garbage that was delivered by The Orb and Justin Robertson. The original version remains the only one worth listening to.

"Aquarium" is a bit of a weird song that harks back to the sound of the first album and even uses the same vocalist Sacha Souter. Robert Fripp turns up to deliver a laconic performance on guitar and there is even some real harpsichord thrown in for good measure. There's a short incidental piece called "Instrument" which consists of bubbling noises and whale song to end side one.

Side two opens with the single "Heartbeat" (although a punchier edit was released for the single). This track sounds slow and a little cheesy now, but hearing it takes me straight back to 1992. The afore mentioned "Figure of 8" comes next with its deep bassline and funky beats. Having not heard these tracks for a long time, I am struck by how brilliant Dave and Richard are at constructing basslines. There's also a massive rumbling sub sonic bass on the first single from the album "Boom!". This track passed me by when it was first released and, back in the day, singles seemed to be deleted very quickly and once they were out of the shops they were impossible to find again, so I didn't get hold of a copy until relatively recently. 

"Leave Your Body" is another track that reminds me of the first album and doesn't really do anything much. However, the album is set to finish on an almighty high with the superb "Fire Engine Red". This final track features Robert Fripp, P.P. Arnold and some great drums by Steve Sidelynk. The cherry on the top is provided by the growling vocals of Zodic Mindwarp which somehow work perfectly. 4/5

One record at a time: 158. The Grid - Electric Head

The Grid's debut, "Electric Head" was released at a time when dance music was beginning to infiltrate the mainstream and become the driving force in electronic music.

This move towards dance music was personified by band member Dave Ball who formed The Grid with producer and DJ Richard Norris following the demise of Soft Cell. It's crazy to think now that this album only came out nine years after "Tainted Love" dominated the charts. Nine years seemed an eternity in my youth, now it passes in the blink of an eye.

I first bought this album on CD in 1992. Having heard (and bought) the single "Figure of 8" I decided to buy this album in the hope of finding something similar. Whilst this album isn't as dance orientated as later efforts, it doesn't lack in imagination or groove.

The opening track "One Giant Step" is a ride through sweeping special effects, piano riffs and samples of astronauts that builds to a satisfying crescendo. "Are You Receiving" is a more laid back and hypnotic track that immediately demonstrates this album is not a one trick pony.  Similarly diverse is "Islamatron" which weds Kraftwerk style beats with Islamic chants to great effect. 

"The Driving Instructor" is a bit of a disappointing and sparse song that features a vocal by Richard Norris. Richard's vocals aren't bad, but equally I can see why this trend didn't extend beyond this album. Whilst "A Beat Called Love" is pure catchy pop, the disappointing verses point to why it wasn't a hit single back in 1990. The synth spotters will notice lots of Korg M1 sounds on this record with the choir patches, piano, finger snap, pan flute and voice wave presents the most obvious.

The press release correcting the release date

One of my favourite tracks is "Intergalactica" which is a hard driving dance track with some great Roland SVC350 vocoder vocals by Richard. Unfortunately, Richard's natural vocal on "This Must Be Heaven" isn't quite as good and it's easy to hear this was recorded in the days before auto-tune. "Doctor Celine" is a bizarre song that moves between synth-pop and weird passages of noisy guitars but it remains entertaining. "Strange Electric Sun" is a jaunty number with another fragile but endearing vocal by Richard.

The highlight of the album, and the track that probably brought many listeners to the record in the first place, is the classic "Floatation". This song is somehow downtempo and driving at the same time. The synths soar as a wonderful clarinet solo fills the air before falling away too soon. Whilst the CD and cassette feature a bonus track not on the LP, it is nothing more than a drone type ambient piece that holds little interest.

I bought my copy of the vinyl from eBay in 2017 and it came with a "Promotional Copy Only Not For Sale" sticker on the back and contained a letter stating the release date for the record had been delayed from 1st October 1990 to the 22nd. Wikipedia and Discogs give the seemingly incorrect release date but I can't face changing it and having to argue with the self appointed guardians of truth and justice that seem to moderate such websites. We dear reader will hold the secret. 4/5

One record at a time: 157. Goldfrapp - Silver Eye

I'd love to tell you that this review is based upon years of listening to this album and that I have exercised due diligence in considering all of its virtues and foibles. However, this is not true.

I bought this clear vinyl when the album was released in 2017 and I have listened to it precisely once. I have subsequently revisited a couple of tracks that initially caught my ear as mp3 files, but I think it would be fair to say this record has, up to this point, made very little impression upon me.

As I play the album now I am very impressed by the opening track "Anymore" which is both catchy and pretty funky too - I seem to remember this is the highlight of the album. The title of the album is derived from the lyrics to the second track "Systemagic" which has a great tune and some fabulous vocal harmonies from Alison. Things slow down for the deep blistering tones of "Tigerman" and its superb synth textures. This may not be the best composition ever recorded but the production is perfect. 

With some of Goldfrapp's previous albums I always got the feeling I'd heard the songs before. "Black Cherry" opened the door but some of the subsequent releases were a mere recreation. With songs like "Become the one" things feel a little more innovative and interesting again. 

"Faux Suede Drifter" is dull and sounds like it belongs on the previous album. The observant amongst you will have noticed we have, once again, skipped an album in the Goldfrapp back catalogue. I don't own "Tales of us" on vinyl as I am not keen on these tracks that are vocalised without real words. As an exceptional talent, Liz Fraser can get away with it, but it doesn't work here.

"Zodiac Black" is a song best enjoyed by more ardent fans and is a disappointing start to the second side. However the instrumentation and production of "Beast That Never Was" is truly remarkable and lifts an average composition to a higher plane. "Everything is Never Enough" employs some of the naive sounds of early eighties artists such as Soft Cell, but it drags on a bit too long. By the time we reach "Moon of Your Mouth" it feels like the ideas are running a bit thin and whilst "Ocean" tries to deliver an epic Depeche Mode style finale it doesn't quite succeed. So this album definitely deserves more than the cursory listen I have given it, but it isn't amongst my favourites. 2.5/5

One record at a time: 156. Goldfrapp - Headfirst

Here I will be listening to a 2017 180g repressing of "Head First". In terms of the Goldfrapp back catalogue, we have skipped "Seventh Tree" as I regard it as pretentious swaddle that I wasn't prepared to buy on vinyl.

Happily "Head First" is a good album that dispenses with the artistic statements and concentrates on delivering eighties tinged synth pop.

The first single from this album, "Rocket" seemed to be everywhere back in 2010 and its infectious melody and sing along lyrics were perfect. There is a Richard X remix of this track that is also fantastic. This is a seriously catchy song.

Two more singles follow in the form of "Believer" and "Alive" which remain in the upbeat retro style of the opening - all be it with guitar smeared across the latter. "Dreaming" almost sounds like peak Giorgio Moroder with its seventies tubular bells and pulsing synth lines. The title track is an upbeat affair that has a good dollop of ABBA (don't let that put you off), a sprinkle of ELO and a touch of  Erasure: a more heady mix you could not ask for.

When you're confronted with an album full of shiny pop songs, you need something to offer respite and contrast. This is why I like "Hunt" as it builds an atmosphere without being over complicated (and it uses synth toms, so what's not to like). "Shiny and Warm" falls back into the seventies tinged sound of the "Supernature" album with predictably mediocre results. "I Wanna Life" is essentially a rehash of "Rocket" and "Voicething" is the kind of self indulgent rubbish that proliferated on the previous album. I'd summarise this album as having a very good start before a disappointing ending. 3/5

One record at a time: 155. Goldfrapp - Supernature

This copy of Goldfrapp's third album is pressed on 'translucent' green vinyl and was released in 2020 as part of BMG's ongoing exploitation of the Mute back catalogue.

I bough this album on CD back in 2005 and found it less satisfying that its predecessor. Whereas "Black Cherry" sounded effortless and innovative, "Supernature" sounds contrived and overtly commercial.

Lead single "Ooh La La" sounds like seventies glam rock recorded on a Minimoog, but it somehow became a top 5 hit in the UK. Second track "Lovely 2 C U" fails as it is twee and pretentious. "Ride a White Horse" resurrects the TR-909 beats but Alison's vocal sounds like she stuffed cotton wool in her cheeks like Marlon Brando in The Godfather. 

One of the highlights of the album is "You Never Know" which drops the four on the floor beats and features lush synth washes alongside amazing orchestral swells. "Let It Take You" is a downtempo plod that proves a good counterpoint to the much superior melodies of "Fly Me Away". As good as the next two tracks, "Slide In" and "Koko" are, the constant barrage of sawtooth waves is beginning to grate on me a little. There is some sonic variety on "Satin Chic" which is also the band's favourite on the album. The song is OK but it sounds a bit like a homage to Sparks.

There is another more ambient track in the form of "Time Out From the World" which provides welcome relief from the pounding beats. The single "Number 1" sounds a bit like a rehash of "Ooh La La", but it does improves on things. The album rounds out with the inconsequential "Beautiful" which continues the trend of seventies glam rock style rhythms and rasping sawtooth patches. This isn't a bad album and you couldn't wish for anything more electronic; but it sounds forced and formulaic in places. When it is good, this record is very good. When it is bad.....2.5/5

One record at a time: 154. Goldfrapp - Black Cherry

This copy of Goldfrapp's second album "Black Cherry" is pressed on purple vinyl and sounds very good indeed. When it was released in 2019 I assumed this was a limited pressing and felt lucky to own a copy. The fact that you can still buy this record today for £15 is testament to the skills of the marketing team at BMG. 

I have never felt the same compulsion to buy debut album "Felt Mountain" as it is both relatively expensive and not as suited to my taste. I find Goldfrapp very hard to pin down: they are capable of producing the most sublime and enchanting music yet are equally capable of serving up dross with lyrics like, "Titties that live on and on forever". 

For me the trouble is there's a bit too much pretension going on. I went to see this band live in 2010 and as we entered the venue the doormen were shouting, "The artist has requested that nobody take pictures tonight. No pictures during the performance". 

This whiff of artistic temperament caused a ripple of discontent amongst the crowd who had paid their money and expected their pound of flesh. It seemed that most people ignored the instruction and took pictures anyway (including myself). The punishment for ignoring the artist's instruction was metered out via the PA which was turned up to 11 in an attempt to deafen us. I've been going to gigs for over 30 years but this remains the loudest I have ever heard.

Whilst some of the details of this incident might be completely imagined, the core elements reinforce the notion that Goldfrapp consider themselves as "artists" and not mere musicians. Whilst they have a tendency to take themselves too seriously and go off the rails, that isn't the case with this album.

The record opens with the excellent "Crystalline Green" which pulses with analogue synths and sweeping effects. Alison sings some perfect top lines as Will builds the backing track into a soaring colossus - this is nothing like the previous album "Felt Mountain".

"Train" is a monster of a track that left me a changed man when I heard it live at the afore mentioned concert. One day last summer my eldest daughter was complaining about the incessant sound of Crickets chirping in the fields; but thanks to "Train" I don't hear much above 2,000 Hz and was immune. But make no mistake, this is a great song.

"Black Cherry" is a nice change of pace and features some great orchestration alongside the synths and downtempo beats. The driving synths are reintroduced by "Tiptoe" which bleeps along with the kind of perfection only achieved by people on top of their game. Side one finishes with "Deep Honey" which is more akin to the ambient sound of the first album and reminds me very much of Portishead (a group that band member Will has been associated with in the past).

My favourite track is "Hairy Trees" which has a great hook and an etherial quality that really appeals to me. We get some TR-909 beats alongside the squelchy synths on "Twist" but unfortunately Alison indulges in her occasional penchant for nonsensical and frankly bizarre lyrics.

I originally bought this album on CD in 2003 based upon a TV performance of the next track "Strict Machine". Whilst familiarity means this track has has lost some of its initial impact, it remains a great piece of electronic music. The last two tracks are a little disappointing but they don't detract from the majesty of what has gone before too much. 4/5