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 proceeding 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 proceeding 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

One record at a time: 14. The Art of Noise - Below The Waste

Another album by The Art of Noise and this is the first album in my collection we have come across that I bought on Discogs. All of the pre-millennium albums I have listened to at this point were sourced from eBay, but that can be quite a lottery in terms of the quality of vinyl you receive. If you want a much better (but by no means guaranteed) quality I find Discogs much better.

Like "The Best Of" I originally bought this album on CD from Britannia music club back in 1989. Rather than being on a "4 for £1" introductory offer, I seem to remember this album was the chosen album of the month and mailed directly to me. But that was the CD and here we have the original vinyl that is beautifully mastered; whoever cut this really knew what hey were doing. There is no surface noise or sibilance and the bass is nice and deep. I treasure this disc.

The first track is the single "Yebo" which I remember being quite heavily promoted at the time of release to little effect. The music is a bit cheesy and sounded dated even when it came out. I worked with a Zulu lady once who translated the lyrics for me. I forget what the translation was as I was more stuck by her earnest assertion that I had the Zulu spirit within me. I still treasure the honour she bestowed upon me; even if she was possibly a bit potty. 

Next up is my favourite track on the album "Catwalk" which has some great guitar work and some stunning samples married to a great orchestral arrangement. The only thing that puts me off this track is the fact that JJ had obviously got hold of a Yamaha PSS-780 keyboard around this time and was using the drums (hit hats especially) on this album. As the proud owner of the similar 680 model of crappy home keyboard at the time, I felt a little disappointed that these technical pioneers had been reduced to using such equipment. If I wanted to hear rubbish drum sounds I could just listened to the rubbish cassettes I was making myself. "Promenade 1" is a short orchestral track written by Anne that is reminiscent of the pieces on the previous album "In No Sense? Nonsense!". "Dilemma" is more typical AoN fair that gives way to the excellent "Island". This is one of those dreamy soundscapes that The Art Of Noise do so well and you hear regurgitated on TV every now and again.

Mahlathini and The Mahotella Queens feature on the fist track of side two "Dan Dare". I'm not really sure of the significance of the title but I am intrigued by the fact that this track opens the CD but is found in the second half of the programme on the vinyl. I have also noticed that the two film soundtrack cover versions on the CD are missing. The omission of the disappointing James Bond theme is actually a bonus, but I do miss the "Island" sound-a-like interpretation of "Robinson Crusoe".

"Chain Gang" resurrects the Yamaha PSS-780 sounds alongside some of the traditional metallic crashing samples so beloved of bands in the 80's. As you may expect "Promenade 2" is another one of Anne's short orchestral pieces that provides a lush counterpoint to the Fairlight grind of "Back to Back". "Flashback" is a nice diversion despite more Yamaha PSS-780 sounds. "Spit" is a track I have always liked as it features some stunning guitar work that propels the songs along and perfectly complements the vocals of Mahlathini and The Mahotella Queens. The fittingly titled "Finale" brings things to a close with its orchestral lament. I have always enjoyed this album, but even when it came out it left me feeling melancholy and imbued the feeling that something was coming to an end. And so it proved to be. Oh, and lets acknowledge the cover is rubbish. 3/5

One record at a time: 13. The Art of Noise - The Best Of

Another album by The Art of Noise, but a compilation this time. I have mentioned in a previous post that this album was one of the first I owned on CD and it was in heavy use for quite some time. Neither the discs or the players were cheap in the early days and I used to spend hours agonising on which CD would be my next investment. However, there was one way to get cheap CDs and that was the introductory offers from Britannia Music Club and I'm pretty sure I acquired this album through one of those "four albums for £1" promotions. Most people of a certain vintage got suckered into Britannia at some time or another and when you were broke, the introductory offer seemed too good to turn down.

One thing I never quite understood about this album is the fact that the CD largely carried the 12" versions of the tracks and the vinyl had the 7" versions. Maybe it was an attempt to boost CD sales by offering extended play time; who knows? 

My copy of the album is in very good condition and is devoid of the sibilance that ruins the opening track "Opus 4" on vinyl pressings of its parent album I own. As "Beatbox" begins in its Diversion 10 variant (I think) I'm struck by how truncated it is and how accustomed I must be to the CD. The shorter single version of "Moments In Love" feels similarly unfamiliar but loses none of its majesty. The only song that seems to suit a shorter single edit is "Close (To The Edit)" which benefits from trimming a little fat. Side one finishes with the standard single (and album version) of "Peter Gunn".

I've said before I'm not a big fan of "Paranoimia" and the 7" version featuring Max Headroom isn't to my taste. What is to my taste is the next track "Legacy". I love this track and whilst the 7" mix presented here is short, it is perfectly formed. However, things take another dip with the '88 mix of "Dragnet" which is mercifully shorter than the seven minute version on the CD. Next up is the 'non-album' single "Kiss" featuring Tom Jones. My appreciation for this song has grown over the years and whilst I might have skipped the version on the CD during my paper round a few times, there's no need to skip here. I was never sure why "Something Always Happens" was included in what I perceived to be a singles collection, but considered in the context of "The Best Of" it fits very well. There's something about the groove that develops on this song that I can't help tapping my foot to. But the track it is over too soon and a great album draws to a close. Lots of memories and some amazing tunes. 4/5