One record at a time: 233. LCD Soundsystem - LCD Soundsystem

Having bought the CD of this eponymously titled debut album in 2005, I acquired the vinyl when it was reissued in 2017. Whilst the CD version had a second disc collecting together some early 12" singles, the record is limited to the standard nine album tracks.

I originally bought this after hearing "Daft Punk is Playing at my House" on the radio. I have never listened to the radio much (much less Radio 1) so it must have been providence that led me to tune in as this song began to play one evening. There was something about this track that channelled the zeitgeist and it seemed very trendy to me. It was also humorous and a bit off the wall - I didn't even care that it wasn't very electronic.

The second track on the album "Too much Love" was much more electronic in an intriguing, lo-fi, analogue way. I hadn't really heard anything like this before. "Tribulations" is a perfect blend of octave synth bass, drones and original lyrical content that I couldn't get enough of when I first heard it. I used to drive to work and play the first three songs from the CD over and over dreaming of being in New York with the glitterati and not heading to a tortuous dead-end job. 

The next song "Movement" smacks too much of 'knowing' alternative rock for me to enjoy it. Throughout the LCD Soundsystem back catalogue there are a number of songs like this and I don't enjoy any of them. "Never as tired as when I'm waking up" sounds like a terrible Beatles pastiche that just drags on and on until the needle reaches the end of the wax.

Thankfully the first track on the flip side, "On Repeat" is less inclined to indulge in rock cliches but it still doesn't do enough to capture my interest. "Thrills" is a more palatable and has a superb bassline that is reminiscent of Leftfield's "Phat Planet" in places. The last standout track is "Disco Infiltrator" which takes inspiration from Kraftwerk and mixes it with a pinch of seventies funk to create a really good groove. "Great Release" is a bit of a stale ending but there has been more than enough to entertain here. 3/5

One record at a time: 232. La Roux - Supervision

After another lengthy hiatus, La Roux returned with the album "Supervision" in 2020. I ordered a limited edition white vinyl from Ellie's website which came in a signed sleeve.

Prior to the album arriving, I had head "International Woman of Leisure" which intrigued me without being overly impressive. As I had bought the first two albums I thought I might as well take punt on the third.

"21st Century" kicks off with a jaunty beat and some Nile Rodgers-esque guitar work, but the cadence in the chorus just doesn't work for me. The retro Linn drum sounds are brought out for the disco vibes of "Do You Feel" which rolls along quite nicely. "Automatic Driver" and "International Woman of Leisure" continue to employ the annoying choppy rhythm guitar and the melodies are limp to say the least.

The first track on the second side initially raised my hopes of hearing something other than rhythm guitar over a programmed beat, but this hope was extinguished after about thirty seconds. The repetition of style is a real shame as "Everything I live For" has an original bassline and Ellie's vocal is great - it's just that damn guitar. "Otherside" has some eighties, LA vibes about it and "He Rides" is a perfectly competent mid-tempo bop. The final track "Gullible Fool" was released as a single but it doesn't really have anything to distinguish it; other than its more restrained use of rhythm guitar. 

Until this listen through I don't think I was quite able to put my finger on why I didn't like this album - but now something has crystallised in my mind. The over use of faux Chic rhythm guitars and the weak melodies are the Achilles heel here (and on the previous album come to think of it). I know Ellie wanted to move away from the synth heavy sound of the first record but this isn't to my taste. This is the second time I have been bitten by a La Roux album and, short of a reunion with former bandmate Ben, I can't see me buying another. 2/5

One record at a time: 231. La Roux - Trouble In Paradise

As I enjoyed La Roux's eponymously titled debut album, I decided to pre-order the box set of the much delayed follow up "Trouble In Paradise". As well as the vinyl there was a signed CD, a code to redeem mp3 files and a T shirt. The original specification for the box set included nine (yes, nine) matchboxes, but unsurprisingly these were swapped out for a signed and numbered lithographic print instead. The box has unique artwork and is individually numbered. I was really looking forward to receiving it.

However, when the box set arrived in July 2014 I was left rather disappointed. It seems trouble doesn't only occur in paradise; it happens on vinyl too. There's no other way of saying it, but, this album isn't very good. 

I think it is fair to say that the success of the first album brought considerable pressure on band members Ellie and Ben. This pressure culminated in a split that meant La Roux was a solo project by the time this record was released. The break up of the group was in part due to Ellie's desire to introduce acoustic instruments and lean towards a more funk and disco influenced sound for the second outing. Unfortunately this change of direction didn't suit Ben and it seemed to leave many fans behind too. I went to a concert on the tour that supported this album and the contrast between the old material and the new was quite stark when they were laid side by side.

Everything on this album could be described as "mid". It's definitely not terrible, but equally it has no spark, no hook and no magic. "Uptight Downtown" has some nice touches and "Kiss and Not Tell" is close to the sound of the first album, but songs like "Tropical Chancer" are too repetitive and "Sexotheque" is just nonsense. I knew not to expect a repeat of the first album, but I don't think I was prepared for something as troubled as this. 2/5

One record at a time: 230. La Roux - La Roux

I originally bought the CD of this album in 2009 and acquired this US pressing of the vinyl in about 2015. I like this album for two reasons: firstly the music is good and secondly because it reminds me of a very happy time in my life. 

The first few songs on this album make an almost perfect collection of eighties tinged synth-pop with a modern twist. "In For The Kill" has an irresistible tune and was a big hit here in the UK. The intricate "Tigerlily" has some fantastic flourishes and even makes a nod to Michael Jackson's "Thriller". Whilst it may have failed as a single originally, "Quicksand" has a great sound palette, not the least of which is Ellie's falsetto. "Bulletproof" rounds out the quartet with its near perfect bleeps, beats and bass. I read somewhere that Ellie never liked this song and is isn't totally comfortable with this being her biggest hit and representing her. This seems a shame as it is a work of near perfection.

I'm not a fan of the chorus on "Colourless Colour" as the lyrics are way too obvious and are banal compared the brilliance that preceded them. I was surprised when "I'm Not You Toy" was released as a single as it didn't sound particularly radio friendly to me due to its protracted bridge and truncated chorus. 

"Cover My Eyes" is the first "slow song" we encounter but the choir and vocals don't really work for me. The quality of the songwriting is lifted once again with the fantastic "As If By Magic" and "Fascination" - the former of which even survives some timid guitar work. As the album draws to a close things do tend to dip a little with songs like "Reflections Are Protection"  and "Armour Love" not quite hitting the mark. The "Bonus Track" titled "Growing Pains" is a little repetitive but is a welcome addition. 

Generally I like this album, but listening to it today I am less inclined to forgive it its failings in the way I did in 2009. This record won plaudits when it was released as it came on the back of a wave of eighties nostalgia, but today that sentimentality has largely evaporated and some of the more mundane tracks fall a bit flat as a result. 3/5.

One record at a time: 229. Kraftwerk - Tour de France Soundtracks

Released in 2003 as "Tour de France Soundtracks" this was the first album of new material Kraftwerk had released in seventeen years - to say it was highly anticipated is something of an understatement. Unfortunately I think it is equally valid to say this record turned out to be a disappointment to many. 

Here I am playing the 2009 remastered version which is simply titled "Tour De France". The original vinyl that carries the "Soundtracks" subtitle seems to be considerably scarcer and is more expensive as a result.

In 2000 I was playing the single "Expo 2000" in my car and a passenger commented that he quite liked electro. Up to this point it had never occurred to me that Kraftwerk had begun recording straight up electro - but that's exactly what the music was. Having seemingly not managed to scratch the itch with "Expo",  Kraftwerk returned to the studio to create an entire album of minimalistic electro that revived a long held ambition to create a concept album centred on La Grande Boucle.

There's not a great deal to say about the music on this record as it all sounds fairly indistinguishable. Every idea, riff and leitmotif is repeated ad infinitum no matter how short or meritless they may be. The sounds used are all VST generated and are nothing that we haven't heard before. There are flashes of inspiration here and there, but even the new version of the title track is lacklustre. 

The sleeve offers us the cryptic credit of "Music Data" which actually describes the album very well. In essence this record is exactly what Ralf has always striven for: repetitive, anonymous, computer driven electro about cycling. The fact that the record isn't very good is quite sad as, let's face it, this is probably the last album of original material Kraftwerk are ever going to make. 2/5

One record at a time: 228. Kraftwerk - The Mix

In the nineties a chart CD would cost around £11.99. This may not seem a lot now, but it equates to roughly £33 at 2023 prices. So, when I handed over my precious birthday money to buy "The Mix" in July 1991, I was praying it turned out to be a keeper and not another disappointing selection I would have to take back to HMV and swap for something more palatable. 

This was the first Kraftwerk album I bought around the time of release and I have subsequently acquired a second hand copy of the original UK vinyl along with the 2009 remastered version. 

The album kicks off with a fantastic rework of "The Robots" which was also released as the lead single. As I remember these mixes attracted some criticism when they were released as they had quite a strong early nineties house sound, but this is actually why it sounds good to me.

We rattle through remixes of the bands best known songs with "Computer Love", "Pocket Calculator" and "Autobahn" following in quick succession. One of the more drastic remixes is of "Radioactivity" where the plodding original is sped up and draped in disco clothes to spectacular effect. The musical triptych of "Trans Europe Express / Abzug / Metal on Metal" have a new sheen but remain largely faithful to the original. 

"Homecomputer" is a bit of a mishmash that incorporates elements of "It's More Fun To Compute" but it lacks a bit of the magic the original had. The version of "Music Non Stop" that finishes things off takes a similar approach to the single from 1986 by incorporating elements of "Boing Boom Tschak" and "Techno Pop" and adds a funky bassline for good measure.

As much as I like this album, I can't help but feel it falls between two schools of thought. On the one hand the band clearly wanted to polish their back catalogue by sampling into their new Synclavier and eliminating some of the grit of the old recordings. However, in recreating their "greatest hits" Ralf et al didn't stick faithfully to the formula and began to embellish the songs with more contemporary stylings. This isn't a remix album and it isn't a remaster: it's both. Personally I'd like to have heard more mixes like "Radioactivity" where the original is given a good shake and something new emerges, but I don't suppose there is a great deal you can do with tracks like "Music Non Stop". However, the fact that I still own the CD over thirty years later suggests I have always liked it. 4/5

One record at a time: 227. Kraftwerk - Electric Cafe / Techno Pop

This album raises many questions. Is it called "Techno Pop" or is it "Electric Cafe"? Why does everything on the first side sound the same? Who is singing and where have the melodies gone?

In some respects the changing title reflects the difficult gestation of this album. Unfortunately Ralf had a bad cycling accident in 1982 and work on their upcoming album - tentatively titled "Techno Pop" - drew to a halt.

Following Ralf's recovery there were further delays as the band decided to remodel their studio and draft in digital synthesizers and samplers. Yet even when the LinnSequencer, Emulator and Yamaha TX812 were introduced, progress remained slow. The material they eventually recorded was taken to a variety of studios around the world to get the right sound, but no matter where the mixes were made or who contributed to them, the band seemed to reject them.

Yet, these delays really need not have occurred. If the "demo" versions of some of these songs that can be found on YouTube are anything to go by, things were much better before they descended into ever decreasing circles. Not only does "Techno Pop" have a melody on the older versions, but Ralf provides a great vocal too. "Sex Object" sounds dark and brooding with the familiar Emulator slap bass sound found on the first single from the album "Tour de France" running through out. Except "Tour de France" wasn't included on the finished album. So let's listen to what they eventually did produce.  

I own an original UK pressing of this album with the title "Electric Cafe", a 2009 remastered version called "Techno Pop" and the 2020 clear version of the same. I also own a live version from the "3-D The Catalogue" box set.

The album starts with "Boing Boom Tschak" in which Kraftwerk decide to load their new Emulator with samples of speech synthesizers and bang away at the keys. After a few minutes we segue into the industrial rhythms of "Techno Pop" which, in a great ironic statement, is as far removed from pop music as it is possible to get. Ralf is clearly bored as he sings along to the Yamaha FM strings and marimbas that repeat the same uninspiring riff behind him. Whilst the mechanical rhythms continue for nearly eight minutes, there is very little development and everything becomes a bit tedious after a while.

On the previous album the track "Numbers" was a great example of original music that can hold a user captive despite its minimalistic approach. "Music Non-Stop" is an attempt to use the same recipe but unfortunately, the cake doesn't rise this time. The three tracks that make up side one of the album are largely indistinguishable and the single of "Music Non-Stop" that edits them all together proves just how amorphous they are. 

The reverse of the record carries more melodic song based tracks, with "Telephone Call" the stand out. As Karl sings, "You're so close, but far away" you can feel the album turn back to pop and begin its salvation. Rather ungraciously the 2009 remaster cuts Karl's contribution down to its single edit before adding the instrumental "House Phone" to make up the running time - but the original eight minute version is my fist choice.

"Sex Object" has always sounded odd to me as Kraftwerk are probably the least sexual group I have ever heard of. I can buy someone like Rick James or Axl Rose singing, "I don't want to be, your sex object" - but a robot in a tie is stretching the bounds of believability. Still there is a good hook to the song and it is far better than listening to "industrial rhythms from the ground". The album ends with the title track which tries to cross the pop song with the instrumental rattling of the first side. Whilst it is sung largely in French, this is no haute cuisine.

The "3-D" version offers some modern remixes and "Telephone Call" is presented as an instrumental as it would clearly be beneath Ralf to sing Karl's lines, but there is no great improvement on the original. I once wrote a lament on this blog that Kraftwerk went down the dumper when they bought a Synclavier, but I now realise it was their move to samplers and FM synths that irrevocably changed their sound. It is far too simplistic to say, "the DX7 killed Kraftwerk" but it's not a million miles away from the truth either. 2/5