One record at a time: 515. Thomas Dolby - The Flat Earth

In 1984, synthesizers weren’t just decorating pop songs, they were driving them: bright hooks, rubbery basslines, clockwork drum machines, and a gleaming promise that music can sound like the future. In that buzzing, neon-lit melee, Thomas Dolby dropped his second album, "The Flat Earth". If you think this record is all about the punchy, bounding brilliance of "Hyperactive!", you’re in for a surprise. Dolby, the thinking person’s electronic architect, delivers an album that brims with sly intelligence, heart, and more layers than a particularly ambitious trifle.

Let’s start with "Hyperactive!". If you’ve never heard this tune, I can only assume you’ve lived in a cave without electricity or you are under thirty years of age. It’s a riot: think caffeine-fuelled keyboards, a bassline with a life of its own, and Dolby’s gleeful vocals ricocheting about your brain for days. But here’s the twist: "The Flat Earth" is no one-hit-wonder. The album peels back its synth-pop skin to reveal a wealth of sophisticated songwriting and emotional depth. "Hyperactive!" may have been the hit, but it’s the rest of the album that shows what Dolby was really about.

Take "Screen Kiss", for example. Inspired by Dolby’s own experiences, this track sidesteps the neon whimsy for something far more poignant. It’s tender, emotive, and resonates with a vulnerability that’s rare in the electronic landscape. Dolby himself holds this track in high esteem, and it’s easy to see why: the song is a slow-burning heartache, painted in shimmering synths and wistful vocals. If you’ve ever felt a pang of nostalgia, this one will have you raiding the biscuit tin for comfort.

Now, if you’re a gear geek like me, the title track is a textbook in electronic innovation. Dolby conjures lush, cinematic soundscapes using a trusty TR-808 drum machine alongside the then-revolutionary Fairlight CMI. It’s a sonic palette that’s simultaneously retro and fresh, a bit like finding an old sci-fi paperback at the back of the shelf and realising it still predicts the future, only with better bass, naturally.

Don’t skip "I Scare Myself", either. This atmospheric favourite feels like a smoky lounge at 3am, all swirling shadows and hushed secrets. It’s a haunting, mesmerising cover that nestles perfectly amongst the album’s more energetic moments, further proof that Dolby’s range is as wide as his imagination. Listening to this one alone is highly recommended, preferably with moody lighting and a glass of something strong.

For anyone looking to add a splash of colour to their collection, this 2024 limited edition (750 copies) blue vinyl is a tempting little prize. I certainly thought so, which is why I paid rather more than I care to admit for a copy. Of course, this is Music On Vinyl: just as you track one down, they announce another run in a different colour, and you can almost hear the inevitable "blue reissue" quietly warming up in the wings.

So in conclusion, ‘The Flat Earth’ is a multilayered delight, serving up both pop fizz and emotional substance. Whether you’re here for the bangers or the ballads, Dolby delivers with his trademark wit and warmth. So slap on the album and let Dolby take you somewhere delightfully flat but never dull. 4/5