One record at a time: 12. The Art of Noise - In Nosense? Nonsense!

Once again we find an album by The Art of Noise that is represented twice in my collection (on vinyl anyway). We have the original and the turquoise double LP from 2019. Having been stung by a nasty repressing with "In Visible Silence", we'll stick the trusted original black wax for this one.

This, I seem to remember is the bands first album with just Anne and JJ, with Gary having left the year before. Things kick off with "Galleons of Stone" which features a sample we will hear in at least one other track on the album. Interestingly writing credits for this track are are for JJ alone. Following this short introduction we are presented with music from the motion picture "Dragnet". Whilst this is a highly competent stab at the movie theme, it is hardly awe inspiring. Not even the remix issued the following year or the Arthur Baker 'hip hop' remix rescue the source material really. "Fin Du Temps" gives those "Yes" sampled drums an outing before we hear the short vocal piece "How Rapid?". The next real song of any note is "Opus for Four" which is great and only sounds dated by its Fairlight double bass sample. Next is an orchestral piece called "Debut" which is a beautifully arranged composition that demonstrates how talented Anne is before it delivers a cheeky finale. "E.F.L." is strewn with samples (OK, so how many of these tracks aren't) that builds into a rather lush ending featuring some great improvisation by Anne at the piano.

Side two starts with "Ode to Don Jose". I've seen people describe this track as "quirky" elsewhere on the internet, but that doesn't even begin to do it justice in my opinion. I find this song beautiful and almost moving. I especially like what I think are Roland D-50 patches mixed in with the Fairlight. Then we have an interlude featuring snippets of conversations and ambience from the recording of the orchestra for "Debut" before "Day at the Races" comes thundering along. I have always thought this song was quite funky and would have suited a more dance orientated approach to the mix. Having said that I love this track as it is. 

"Counterpoint" is another piece for choir written by Anne. It is clear the band had been given the freedom to peruse whatever direction interested them and the eclectic mix of sounds means the album never gets boring. "Roundabout 727" features a more contemporary drum machine than the traditional Fairlight samples but frustratingly I can't pick out which one it is. "Ransom on the Sand" picks up the distinctive sample used on "Galleons of Stone" and "Day at the Races" and gives it a solo outing. "Roller 1" is a track that veers between the amusing Fairlight samples the band had employed for the previous four years and the newer sounds provided by the gear available in 1987.

"Nothing was Going to Stop Them, Anyway" is another one of Anne's short compositions for choir that segues into the wonderful "Crusoe". This is one of those more ambient tracks that can only be The Art of Noise. Four minutes of bliss. I'm not keen on the yodeling of Peter Rowan on "One Earth" - in fact I hate it. But this tracks does prove JJ and Anne were there long before "Deep Forest".

So despite the ending, I like this album and I can recommend the double CD edition with lots of additional tracks and precursors that reveal the origins of some of the tracks. I might even delve into the recent repressing in the hope it doesn't sound as bad as the last one. 3/5

One record at a time: 11. The Art of Noise - In Visible Silence

I own two copies of "In Visible Silence": the original vinyl and the 2018 double LP on blue vinyl. For this play though, I'm going to start with the new and (as yet) unopened 2018 version. 

First up is a familiar track, "Opus 4". However, what I'm not familiar with is the overwhelming sibilance that turns every 's' into the aural equivalent of having your ear canal grated. "No ssssssssssssssssssssssssssun". No thanks. Things don't improve much for this pressing with "Paraniomia" which has clicks and annoying surface noise. Abandon ship! Having swapped to the original pressing things have improved a little. The sibilance and surface noise is still there on the first two tracks but its not as overpowering as it was on the blue vinyl. 

I've never been a massive fan of "Paraniomia" as it didn't quite click with me. Call me an old misanthrope, but I didn't like the Max Headroom version or the '89 remix either. Even back in the eighties I didn't understand why Max Headroom was so popular. I just thought it was boring, weird and not very funny.

But the third track "Eye of the Needle" always makes me smile with its jazz celesta and crooner sampled vocals. "Legs" is where the real action is and is on a par with anything the band has recorded to date. The first AoN album I ever owned on CD was "The Best Of" and the 12" version of "Legacy" was always a highlight on my CD Walkman during my paper round. I like the track so much I'm not worried if it is delivered as the original "Legs" or the "Legacy" remix - they both have their merits. "Slip of the Tongue" offers the type of brief, experimental and weird soundscape that featured on the first album. My appreciation for the next track "Backbeat" grew following the release of the God awful "FON Mixes" album where the track is crucified on the alter of terrible dance music. Having heard the track butchered back in the early nineties, I began to re-evaulate the original with a renewed appreciation for Anne's piano and the building majesty rather than the fart noises and delay drenched beats delivered by Robert Gordon (and this remix is far from being the worst on the "FON Mixes", but we'll come to them another day).

Flipping the disc we hear what JJ feels is one of the band's best tracks: "Instruments of Darkness".  Having listened to an earnest eighties political and moral tune the light frivolous single "Peter Gunn" lifts the mood. Like their first album I am struck by how many other synthesisers are used on these tracks besides the Fairlight. The next track "Camilla - The Old, Old Story" shines like diamond with its double bass, 10CC samples and infectious melody. Whilst the track never quite reaches the zenith of "Moments in Love" it isn't too far away; and in some regards I prefer it. "The Chameleon's Dish" gives Anne a chance to riff some electric piano over a funky JJ and Gary backing track. This is good stuff and hints at things like "Kiss" that will proceed on the next album. The brief coda "Backbeat" rounds out the album in brief but emphatic style. This is a great album and I know it well thanks to the CD version I have owned since the early nineties. However, I can't recommend the 2018 vinyl re-issue and would advise vinyl enthusiasts to seek out a good condition original pressing. 3/5

One record at a time: 10. The Art of Noise - Who's afraid of

So we come to the first record that is duplicated in my collection. I own a copy of the original LP from 1984 and the recent 180g double vinyl version. Looking at them together I realise the marble effect on the sleeves are different. There is also a sticker on the front of the new version but underneath the sleeve is the same.

The original version is showing its age and has lots of crackle on the first track "A Time For Fear (Who's Afraid)". This is the first record in the collection that I bought second hand so it shouldn't come as a surprise that is is far from perfect. In fact it's pretty beaten up, but the magnificent "Beatbox (Diversion One)" soon roars into life and drowns out some of the background noise. This has always been one of my favourite AON tracks and I go back to it frequently.

Growing up in the eighties meant growing up with the sound of the Fairlight. As a kid I used to think it could do everything. Listening to these tracks I now realise there is far more than Fairlight we are hearing. Having tried the samples and seen the mythical Page R sequencer in action, I know the Fairlight is far more limited than I imagined in my youth. The sequencer allows you to use 8 samples across 8 tracks. So if you want a kick drum, a snare and two hit hats, you would have already used 50% of your allocation. I assume this is why AON sampled so many complex vocals, breaks and musical phrases.

"Snapshot" comes and goes before the single "Close (To The Edit)" flies at us like a runaway train. I distinctly remember seeing the video for this song on TV and thinking how weird everything was. I didn't really understand what this music was in a world dominated by Wham!, Billy Ocean and Duran Duran. It just didn't fit. Now I realise just how good a thing that was.

When we flip over the uninspiring but listenable title track greets us before giving way to the jewel in the crown "Moments In Love". This track is 10 minutes of  blissed out joy. I think I still prefer the "Beaten" version but this is still very good. Even the crackle and background noise of this ropy old vinyl seem to have abated in reverence to the tune. 

"Memento" is a weird collection of samples juxtaposed with Anne playing the old church organ at Angel studios. "How To Kill" takes a sample of Anne saying "Its Stopped" and the band members seem to jam along with various samples and synthesizers. "Realization" uses a choir preset I recognise but can't quite place (possibly Kurzweil?) layered over a Linn Drum beat. A bit of a disappointing end considering the quality of some of the preceding tracks, but all in all this is an enjoyable record that seem to fly by.

The 2021 version features a second disc of contemporaneous outakes and demos culled form the "And What Have You Done with My Body, God?" set. I suspect this is of interest to serious AON fans only - but then, who else is buying a record 37 years after it was released? 3/5

One record at a time: 9. Arcade Fire: Everything Now

So, the next album in my collection has actually been opened and played! Arcade Fire "Everything Now" is from 2017 - which seems astonishing as I feel like it came out only recently. I seem to have the Japanese language variant of the sleeve but I have no idea where I bought it from. This album is a bit of a change in direction for the band and appeals to me much more than some of their other efforts. When I fist played this I had to check to see if it was produced by James Murphy it sounded so familiar in execution. To my astonishment I found it was actually co-produced by Thomas Bangalter and suddenly the prominent synthesizers and groovy drums made sense. Realising this album was (half) produced by one half of Daft Punk elevated it to a different plane and I gave it far more attention that might otherwise have done.

"Everything Now" is a straight up radio friendly, disco pop song that is catchy and satisfying. Unfortunately when it was released as a single this track received a good kicking from those unable to cope with change. "Signs of Life" is an archetypal LCD Soundsystem song complete with bad lyrics. Things move up a gear with "Creature Comfort" which is the perfect blend of traditional instruments and electronics. It really shouldn't have come as a surprise to find this track had also been through the hands of Geoff Barrow. This is hands down the best track on the album and worth the admission fee on its own. Things are followed by the pseudo dub of "Peter Pan". I don't like dub much but this track is pretty interesting with its distorted bassline and synth motifs. "Chemistry" continues the faux reggae theme and is surprisingly fun. The bizarrely titled "Infinite Content" and "Infinite_Content" are equally disappointing and annoying (especially "Infinite_Content"). Thankfully these are short pieces and side one is finished. Whatever happens on side two, we're already ahead of "Funeral".

Whilst "Electric Blue" is probably one of the least original song titles the band will ever employ, the music is great. Copious drum machine and synths. "Good God Damn" finds us back in that electric bass dominated LCD Soundsystem type groove but the repetitive lyrics begin to annoy. "Put Your Money On Me" instantly sounds like a cracker. Synth arpeggios creep out of the ether as Will begins to croon the infectious melody that almost sounds like.....dare I say it?....Pet Shop Boys. "We Don't Deserve Love" represent a nice change of pace and kicks off with analogue drum machines and synth textures before Daniel Lanois's steel guitar begins to emerge. Yes, 7 time Grammy award winning producer Daniel Lanois is used as a session musician - that's how grandiose this album is. This track is epic and is a fitting end to an astonishing album. Except it's not the end as they have to mess things up by reprising the title track in the form of "Everything Now (Continued)". But the ending is a minor complaint. This is a great album and whilst it was reviled by the purists, I think it is by far the band's best work. 3/5

One record at a time: 8. Arcade Fire: Funeral

Another unopened record. I probably haven't played this because I find Arcade Fire very hit and miss. I either really like their songs or they just sound a bit weird and boring. I think I bought this copy of "Funeral" as it was cheap - £10 or something. I enjoyed some of the tracks on the CD when it first came out and thought it might sound good on vinyl. Indeed, this is a quiet and well pressed vinyl and I have paid considerably more for records which sound much worse.

"Neighborhood: Tunnels" is an impressive introduction and was one of five singles taken from the album. I like the melody on this song and it seems to drive on relentlessly. Will's vocal is both confident and vulnerable at the same time. "Neighborhood 2 (Laika)" is a quirky beast and I can't warm to the accordion; it just doesn't sound right. The French influence continues with the bilingual "Une Année Sans Lumière" (the band are Canadian after all) which is OK without being anything impressive. Where things kick off for me are the next track "Neighborhood 3 (Power Out)". This is an infectious track that swings between a soaring anthem and a lullaby. Imagine Joy Division covering Dexy's Midnight Runners remixed by LCD Soundsystem and you're almost there. Or something like that. The first side ends with "Neighborhood 4 (7 Kettles)" which ventures too far down the violin and acoustic guitar street for my taste. I think there is a good song here but it would need re-recording with a few modular synths or something for me to enjoy it. 

"Crown of Love" is one of those maudlin tracks that builds and builds until almost turns into a disco record. Worth persisting with. "Wake Up" starts like a Nine Inch Nails song and gradually turns into a tune you've probably heard on TV a hundred times. Even though I am not a massive fan of guitar, this track sounds good. "Haiti" sounds like album filler but it does at least have a drum machine in there. Next up is another brilliant track "Rebellion (Lies)" which is clearly an anthem of epic proportions. These are the sort of tracks Arcade Fire do best: infectious, complex, building and satisfying. Having been whipped up into a frenzy, we have to rely on "In The Back Seat" to calm us down and see us out.  Regine takes over on vocals and you can't help but feel an external producer might have added the bit of sparkle and polish this track needs.

By far the worst part about this record is the fact that the vinyl wont fit back into the sleeve properly. I suspect this is because I have only split the cellophane up the side to get the record out. When closed the gatefold sleeve remains tight and I have to jam the record back in. Still, all good for £10 or whatever I paid. 2/5

One record at a time: 7. Altern 8 - Full On: Mask Hysteria (Remastered edition)

Hardcore: you know the score. I bought the CD of this album back in 1992 and even went to a signing at a local record shop to get Mark and Chris to sign it. Finding the original album on vinyl isn't too hard (or expensive) but most copies are likely to have been spun by a DJ who didn't exactly treat it with tender loving care. So, if you were in the market for a mint copy of the album in 2016 you bought this three disc 'remastered edition'. Or at least I did.....and then never played it.

You'd have to describe this release as 'eclectic'. Whilst the original album tracks are largely present, the running order has been rejigged and more modern remixes have been thrown in at seemingly random places. The inclusion of versions of stand alone singles "Everybody" and "Brutal-8 E" only adds to the confusion. I don't understand what this release is really.

Anyway, we kick off with the single "E-Vapor-8" which went a bit bonkers back in the day. Still a classic. "Give it to baby" is enjoyable apart from the annoying sample which gives the track its name. Then we are treated to the first of the more recent remixes with the KiNK version of "Armageddon". This is a slower and more traditional house take on the track and is quite good. However, it really doesn't fit with the mood or style of the original album and is rather conspicuous. 

As we turn disc one over we are treated to one my favourites, "Infiltrate 202". I have always liked this song with its bleeps, clever samples and Lately/Solid bassline; highly recommended. Then its time for some Alpha Juno vacuum cleaner madness with "Move My Body". This track can only have come from the early 90's scene and unfortunately sounds dated nearly 30 years on. The single "Activ8" is presented as the Shadow Dancer remix which was commissioned for the ill fated "Christmas #1" campaign of 2013. It is a competent remix but fades in comparison to the original. 

Disc two brings another single "Hypnotic St-8" and is thankfully the original version with its weird breakdown and infectious vocal sample. The afore mentioned "Everybody" comes next and whilst this remix is more akin to the hardcore ethics of the album, this track is taken from a single released at least a year later than the album. "Fist of May" is a techno track designed to piss off Derrick May who took umbrage after the band sampled one of his tracks on "E-vapor-8". 

The original "Activ 8" kicks off side four and brings back a lot of memories. The Luke Vibert remix of "Frequency" from 2011 is reverential to the original but is nearly six minutes long and doesn't really go anywhere. Confusingly, another non-album single "Brutal-8-E" comes next and whilst entertaining, doesn't hit the heights of other material here. Next we have the 2011 Mark Archer version of "Frequency" which is almost identical to the original Hallucin-8 mix from the 1991 single. "Real Time Status" ticks along but doesn't impress much. Then the last song on the original album "Re-Indulge" is incongruously dumped at the end of disc three. This song even sounds like the last track on an album, how you can stick it here I have no idea. Three original album tracks "Armageddon", "A D8 with pleasure" and "8's Revenge" round out the last disc. 

To be honest, by the time I'm getting to the eighteenth track, the album feels like it's dragging. As a collection of vinyl to DJ with, this compilation must be irresistible; but as a listening experience it feels like it has been padded out too far. Maybe what I need is the original vinyl after all. 3/5

One record at a time: 5. Air - Talkie Walkie

I have to be clear from the start that AIR "Talkie Walkie" has always been one of my favorite albums. I quite liked "Moon Safari" (but I have always hated "Sexy Boy") and 10,000hz Legend was a load of garbage; so why did I buy this album? I think it must have been after seeing "Lost in Translation" - but more on that in a minute.

Anyway, I own a couple of copies of the original CD and this 2015 180g (try buying anything else nowadays) vinyl pressing is being played today. Discogs says my copy is a US release which tells you all you need to know about the accuracy of the peer review process (if Wikipedia hadn't told you this already).

As I drop the needle on this record I am instantly transported to planet AIR. Things kick off with "Venus" which is both catchy and displays a quirky sense of humour. "Cherry Blossom Girl" is achingly beautiful; and one of the highlights of the album for me. "Run" is a hypnotic journey that couldn't sound any more Gallic if it tried. "Universal Traveler" and "Mike Mills" throw some acoustic guitar into the heady mix of heavily accented vocals and ethereal chords to great effect. Don't misunderstand me when I refer to Jean-Benoît's vocal delivery - it is as unique and endearing as any of any vocalist I have heard.

The single "Surfing on a Rocket" is OK but not a stand out for me. "Another Day" is a composition that plods along a bit but thankfully never labours the point. "Alpha Beta Gaga" has become a some sort of advertising jingle that lots of people will recognise without fully appreciating. "Biological" allows us to catch our breath with its retro bass guitar, banjo and theremin, but it is just last too long. If it was cut in half I could live with it a bit better. Some of this feeling may be because I'm just in a hurry to reach the exquisite "Alone in Kyoto" which follows. This track is mesmerising and I find it achingly beautiful. I hear new things in this track almost every time I play it and, unlike its predecessor, it just doesn't last long enough. On this play through I realise this album isn't as faultless as my memory tells me it is, but few albums come so close to perfection. 5/5