One record at a time: 397. S'Express - Original Soundtrack

In 1987, my familiarity with house music was minimal. However, this all changed when Steve "Silk" Hurley topped the charts with "Jack Your Body." I suddenly became aware that music was changing and that artists like Coldcut, Inner City, and MARRS were transforming the musical landscape. One of most significant impacts on me at this time came from S'Express and their hit, "Theme from S'Express."

S'Express was created by DJ and producer Mark Moore, with their first album, "Original Soundtrack," launching in 1989. At that time, my passion for music was growing, but my budget was limited. Consequently, I only acquired this LP a few years back when it took the place of several cassettes and recordable CDs that had been my means of enjoying the album for more than three decades.

Although I couldn't purchase the album, I did manage to buy the 7" single of "Hey Music Lover" when it was first released, and it has remained a part of my collection ever since. I was not only drawn to the music on this record, but the cover also featured intriguing mentions of "orgasmatron vox" and an "electronic doormat," credited to individuals with remarkable names like Chilo and Linda Love. I can confidently say I had never encountered anything quite like that on the back of my Jean Michel Jarre LPs.

In addition to the previously mentioned hit single "Theme from S'Express," the first side of this record features "Superfly Guy," demonstrating that the group was more than just a one-hit wonder. Other tracks such as "Special and Golden" and "Blow Me Another Lollypop" may seem somewhat outdated now, but they felt quite modern when I first listened to them. The ambient house track "Coma II" includes enough acid bleeps and rhythmic arpeggios to keep listeners engaged, avoiding any meandering or dull moments.

On the downside there's not much to recommend "Pimps, Pushers and Prostitutes" which feels like an overly long jam and "Can You Feel Me" tries too hard. Whilst there is a lot to like here, it is inevitable that the hit singles shine brightest. 3/5

One record a ta time: 369. Scritti Politti - Provision

Although this album achieved commercial success in the UK, it fell short of the remarkable sales figures attained by its predecessor in the American market. From my perspective, this relatively underwhelming performance can be attributed to two key factors.

The most apparent distinction between the two albums is their release dates. What was considered fresh and thrilling in 1985 had become outdated three years later. This does not imply that "Provision" is an inferior album; rather, shifting musical preferences resulted in limited radio exposure for its tracks. Additionally, the well-being of frontman Green Gartside played a significant role. Regrettably, Green faced several challenges during the production of this album, which hindered his ability to promote it as vigorously as he had with "Cupid and Psyche '85."

If this album did not achieve commercial success, can it still be considered artistically successful? The answer is both yes and no. Many aspects from the debut album are revisited here, as David Gamson's unique arrangements provide a rich and fulfilling backdrop for Green's ethereal vocals. Additionally, Marcus Miller's signature slap bass adds an extra layer of excitement, and even the iconic Miles Davis contributes a trumpet solo on the second single, "Oh Patti (Don't Feel Sorry for Loverboy)." At times, "Provision" nearly reaches perfection, particularly with the opening track "Boom! There She Was," which stands on par with anything from "Cupid."

Nevertheless, the ponderous nature of tracks like "Overnite" diminish the album's overall vitality. Similarly, "Bam Salute," while skilfully crafted, feels sluggish and lacking in zest. What I find most disappointing about this album is its insufficient melodic content. Although "Philosophy Now" shares a similar sound with successful songs like "Perfect Way," it falls short in delivering the catchy hooks that could elevate it further. In conclusion, I would characterise this album as exceptionally well-produced, yet it does not possess the enchanting quality of its celebrated predecessor. 2.5/5

One record at a time: 395. Scritti Politti - Cupid & Psyche 85

Here we will be listening to one of the cornerstones of eighties electronic pop in Scritti Politti's masterpiece "Cupid & Psyche 85". This album is so good I own three copes: an original with gold embossed scrpit, a second original with gold and blue text and a 2021 reissue which just looks like a dog's dinner. 

The only constant member of Scritti Politti is Green Gartside. The band's first album "Songs to Remember" features compositions that seem to display Gartside's natural propensity for reggae, Ska and soul music.

Whilst recording his debut, Gartside met programmer and musician David Gamson and the two decided to work together and develop a more polished pop sound for the next Scritti Politti album. Legendary producer Arif Mardin was the band's first choice as producer and he was sufficiently interested in their demos to come on board. 

In a 2023 episode of Maryn Ware's podcast "Electronically Yours", David Gamson give some fascinating detail around the creation of this album. The music was largely sequenced on a Roland MSQ-700 with elements flown in from the Fairlight and Synclavier. This is such a distinguished album that even the Fairlight programmers were illustrious musicians such as Simon Climie, Ned Liben and J.J. Jeczalik. 

Personally I'm not too enamoured with the reggae riffs of opening track "The Word Girl (Flesh & Blood)" but the chorus is so catchy I find it hard to resist. As the second track "Small Talk" begins it becomes clear that the arrangements on this record are going to be complex and intricate. David Gamson seems to have the ability to generate endless motifs and embellishments that are nothing short of genius.

Things move to a completely new level of pop brilliance on the third track "Absolute" which is a masterpiece of composition and production. This songs sees the producers pushing the technology of the time to the limits with Gary Langan and J. J. Jeczalik from the Art of Noise operating the mixing desk and Fairlight respectively. "A Little Knowledge" slows things down and isn't one of my favourites on the album. The jazz-funk bassline of Marcus Miller carries "Don't Work That Hard" and David Gamson plays a complex brass arrangement on his Roland Jupiter 8.

Another wonderful single "Perfect Way" sees the ubiquitous Yamaha DX7 pumping out a bassline to underpin the layers of guitar and syncopated rhythms. Yet, like everything here the bassline is no simple root note played on octaves as we heard so often in the eighties - everything is satisfyingly complex and funky. "Wood Beez (Pray Like Aretha Franklin)" wraps some Fairlight drums, Roland Jupiter brass stabs and jangly guitars around an eccentric yet satisfying composition. Before we know it the final song "Hypnotize" has been and gone leaving us wanting more.

David Gamson created such a dynamic and futuristic sound palette for this record that I sometimes think I can hear presets from synthesizers that didn't even exist when it was recorded. Unfortunately Gamson and Gartside's musical partnership was relatively short lived and Gartside would eventually revert back to the sound of reggae for future releases. "Cupid and Psyche 85" definitely caught lightning in a bottle. 4/5

One record at a time: 394. Röyksopp - Profound Mysteries III

The final album in the "Profound Mysteries" trilogy welcomes back all the same vocalists as previous entries and is augmented by a couple of instrumentals. 

To my ears, much of this album seems to take inspiration from the work of other artists. The introduction to opening track "So Ambiguous" sounds like it was beamed back from the seventies and the collaboration with Alison Goldfrapp called "The Night" leans heavily into Kraftwerk beats. The faux R&B vibes of "Just Wanted To Know" are fun and "Like an Old Dog" reminds me of Laurie Anderson (but with melody).

Where the album succeeds best is when the band revert to their own distinctive sound and "Me&Youphoria" is more akin to what I expect. The 'hands in the air' excitement of "Feel It" is hard to resist and the ten minute ride of "Speed King" proves to be a real joy. The only dull spots are "Lights Out" with Pixx and the disappointing "The Next Day" in which Jamie Irrepressible warbles away to himself for four minutes. 

All in all there is more to like on this record than the second one, but I still think there is a case to be made for creating two playlists to summarise this box set. Personally I would like to hear a 'bangers' top ten and a downtempo collection that cuts out some of the more maudlin moments. But as a whole, this project should be considered a great success and I look forward to more Röyksopp albums sorry... 'projects'. 4/5

One record at a time: 393. Röyksopp - Profound Mysteries II

Part II of the "Profound Mysteries" album series is the same mix of bangers, downtempo grooves and ambient soundscapes we found on the first instalment.

Once again there are a number of collaborations with vocalists as Astrid S, Pixx and Susanne Sundfør all return for another trip around the Röyksopp universe. After a brief pause Jamie Irrepressible is also back to sing on the track "Sorry".

For me the highlight of the album is "Unity" which is a track that contains a break beat and a thumping house piano - but this is no dumb four-on-the-floor behemoth. Karen Harding adds a wonderful vocal that is complimented by a great mix from Svein and Torbjørn.

Fan favourite "Oh, Lover" with Susanne Sundfør is quintessential Röyksopp and harks back to the sound of previous albums (and the criminally ignored single "Never Ever"). Less successful is the dreary ballad "Tell Him" which is uninteresting and predictable. Of the four instrumental tracks on the album, "Remembering the Departed" and "Some Resolve" are a rather nondescript but "Denimclad Baboons" and "Control" prove to be very entertaining.

I find it interesting that the band have included tracks that range from storming dance numbers to ambient washes; it's almost like they are trying to structure a cohesive album rather than a 'conceptual project'. For me this record is slightly less successful than Part I as its quieter moments aren't as engaging. Side D is a particularly dull affair in which the album just seems to limp along until its demise - but the more uptempo numbers here justify a decent score. 3/5

One record at a time: 392. Röyksopp - Profound Mysteries I

Röyksopp have chosen to maintain the pretence that they don't release conventional albums by calling "Profound Mysteries" a 'conceptual project'. 

In reality, this is a series of three albums that saw staggered release dates before finally being collected together in a box set. As I didn't buy this set until it was included in a Black Friday deal in 2024, mine is from the second pressing. Today I will be looking at Part I of the set which is a ten track album split across two discs.

By the time "Profound Mysteries" was released, eight years had passed since their last album. However, the first track "(Nothing But) Ashes..." has all of the usual Röyksopp motifs and characteristics that provide us with reassurance they have retained their unique sound. 

Things really kick off with the first collaboration on this album titled, "Impossible". Alison Goldfrapp sounds totally at home with the grinding analogue synths and lush pads as the song builds to a quite remarkable crescendo. This song is also included on Alison's superb album "The Love Invention" but it was edited down to half its length and the longer version heard here is much more satisfying. This song is utterly brilliant, and for me, it comes close to some sort of electronic music perfection.

Other successful collaborations are with vocalists Beki Mari on "This Time, This Place" and Astrid S on "Breathe". Both of these songs are spine-tingling electronic confections that can satisfy the dance floor whilst simultaneously engaging your brain. Songs like "How the Flowers Grow" and the instrumental "There, Beyond the Trees" are more reflective and offer slightly downtempo grooves to create breathing space between the more frenetic tracks. 4/5

One record at a time: 391. Röyksopp - Lost Tapes

In 2019 Röyksopp began curating a Spotify playlist that contained rare B-sides and previously unreleased tracks. By the summer of 2021 fifteen tracks had been added to the playlist and it had attracted enough interest to tempt the band into releasing some of the songs on physical formats. I say 'some of the songs' as the last 5 entries on the playlist weren't included on this record and are only available on digital formats. Who knows - maybe we will have a volume two one day?

There was something about the decision to create "Lost Tapes" that led me to believe Röyksopp's stance of no longer releasing traditional albums wasn't as resolute as we were led to believe. You could argue that as a compilation this doesn't fit the definition of a traditional album - but this really would be splitting hairs. I celebrated this record for what it was: a new album from Röyksopp.

The instrumental "Rising Urge" was a hidden track on some pressings of the "The Inevitable End" compact disc but I had never heard it until this compilation came along. This track is electrifying and proves to be a perfect atmospheric introduction. We get our dancing shoes on for "I Wanna Know" which was previously released via the band's website in 2010. This song has a electroclash feel with a great melody but its relentless nature can be a little overbearing at times. There's much more dynamic contrast in songs such as "In The End" or even "I Just Don't Understand You" which are more refined to my ears.

The very thought of Röyksopp and Susanne Sundfør covering Depeche Mode's classic b-side "Ice Machine" was enough to set electronic music fans salivating back in 2012. However the track wasn't really made widely available and it took on a mildly legendary status as a result. And its reputation is well deserved as it is both faithful to the original and offers a unique take on the song.

For me the fourteen minutes of "Shores of Easy" is a mesmerising experience that deserves to be turned up high and given your full attention. I like these long form pieces and wish Röyksopp would peruse them more. Tracks like this and "Rescue" almost follow in the tradition of Jarre, Vangelis and Mike Oldfield and give a much broader canvas for the band to play out their ideas.

Until I began listening to Röyksopp's back catalogue for this blog I don't think I really appreciated just how much I like them. Make no mistake, this band are electronic music royalty and I have a feeling I will be listening to them much more going forwards. 4/5