One record at a time: 386. Röyksopp - Melody A.M.

Sometime in the early two thousands I had become aware of a group called Röyksopp thanks to one of their songs being featured on a TV advertisement. When a friend played me another of their songs called "Eple" I decided to buy their debut album "Melody A.M.". 

However, I had a very had time finding the compact disc in the shops and ended up having to buy a costly import. Thankfully I liked the album enough to justify the expense and became an admirer of the band. 

Fast forward twenty years and the band's official website conformed the album would be re-released as a numbered "20 year anniversary edition" - I ordered it immediately. This record is split across two slabs of vinyl and features nine tracks. The compact disc actually contained ten tracks but "40 years back / Come" is omitted and the running order has been changed. However, all of these differences are carried over from the original 2001 pressing, so you could argue this record is offering an authentic experience. The vinyl itself is very quiet and sounds very good indeed (I didn't need to check the credits to know it was pressed by Optimal Media).

"So Easy" and "Eple" will be well known to anyone who had a pair of working ears and lived between the years 2000 and 2005 as they seemed to be heard everywhere. Personally I think "Röyksopp's Night Out" is a masterpiece that offers wonderful complexity and intricacy whilst remaining accessible. Another favourite of mine is "Poor Leno" which features Erlend Øye on vocals. When I went to see Röyksopp live it was this song that blew the roof off the venue and got every single person in the room dancing. There aren't many albums that have stood the test of time as well as this one - it sounds like it was created yesterday. 4/5

P.S. Also of interest is the promo LP which had hand printed artwork by the then relatively unknown street artist Banksy. There are only 100 of them and they seem to command rather silly prices on the second hand market. Still, Discogs says only 80 people have said they own one - so if you happen to have a copy in your attic do drop me a line.

One record at a time: 385. Trent Reznor & Atticus Ross - Watchmen: Vol. 03 (Music From The HBO Series)

Volume 3 of Trent Reznor and Atticus Ross's soundtrack to the TV series "Watchmen" is a much more "ambient" and minimalistic than the first two instalments. In fact this music here is so spartan that I have read of people playing the record at the wrong speed without realising it.

This album has none of the raucous or heavily synth driven pieces found on the first two volumes, but cues like "The Waiting Sky" or "A Stronger, Loving World" are still mildly entertaining. 

This album is probably intended to be given your full attention and experienced as a continuos flow of music. However, I can think of better things to do with 45 minutes than listening to a drone. In all honesty, I can't see me playing this record again anytime soon.  

The real genius of this record is the artwork that credits it to "The Nine Inch Nails" with the fictional title "The Manhattan Project". The record itself is a very nice pressing and, unlike many others, mine has no issues on playback. 1/5

One record at a time: 384. Trent Reznor & Atticus Ross - Watchmen: Vol. 02 (Music From The HBO Series)

The second volume of music from the soundtrack to the TV series "Watchmen" was issued in a sleeve masquerading as the soundtrack to a fictitious show called "American Hero Story: Minutemen".

The real credits found online tell us most of the cues were created by Trent Reznor and Atticus Ross with two traditional jazz tracks by John Beasley. My copy plays very well and includes a facsimile newspaper clipping included in some pressings.

As far as the music goes it is more of the same really. Standout tracks are "Squid Pro Quo" which begins as an atmospheric drone before launching into a powerful analogue sequence. "Seven Years of Bad Luck" and "He Was Never There" are also very interesting to hear and the creepy "Kicked in the Balls Again" never fails to affect. 

The afore mentioned John Beasley contributions are traditional jazz recordings that fit within the context of the programme, but are of absolutely no interest to me. So whilst this isn't quite as good as the first volume it is still very interesting to hear. 2.5/5

One record at a time: 383. Trent Reznor & Atticus Ross - Watchmen: Vol. 01 (Music From The HBO Series)

When I first saw the film "Watchmen" in 2009 I was totally mystified by it. I'm not a comic book fan and I had absolutely no knowledge of the lore required to fully enjoy the film. Clearly this wasn't the sort of show for me.

Yet, ten years later I decided to watch a new TV series based on the same characters. This time around I enjoyed things much more and I'm sure that this was due, in part, to the fantastic music by Trent Reznor and Atticus Ross of the band Nine Inch Nails.

Here we have the first volume of the soundtrack that features artwork for a fictional album called "The Book of Rorschach" by the equally fictional band Sons Of Pale Horse. Whilst I have no doubt this fake sleeve approach was artistically satisfying (and nothing I have seen before) it is a bit annoying as you have to look online to see what any of these tracks are actually called.

When I received this album it was quite badly scratched and had all kinds of clicks and pops straight from the manufacturer. After a little resistance the band's official UK webshop sent me a replacement that wasn't scratched, bit it doesn't play quite as flawlessly as I expected either.

The first few opening tracks of this album are atmospheric wonders that set the scene for both the TV series and this record. I can't imagine sitting down and coming up with something as good as the fourth track "Nun With A Motherfucking Gun" and not having the biggest smile on my face. The analogue synths, rapid percussion and throbbing bass combine perfectly on what is one of the highlights of all three volumes of the soundtrack.

Cues like "Kattle Battle" and "I'll Wait" sound like they have been lifted straight from a Nine Inch Nails album and it is clear that Reznor and Ross put just as much effort into their soundtracks as they do for their other work. Another highlight is "The Brick" which somehow manages to sound new and innovative but clearly carries the distinctive DNA of the composers. The music here is much more electronic than more recent Nine Inch Nails releases and I prefer it as a result. 4/5

One record at a time: 382. RAH Band - Mystery

For many years I worked in environments where people would leave a radio playing all day. The majority of the time this meant I had to endure whatever ephemeral pap was in the charts, but now and again I did discover something exciting via the airwaves.

One such occasion when Ken Bruce played the full 6'45'' album version of "Clouds Across the Moon" by RAH Band on BBC Radio 2.

As soon as the song began I was intrigued by both the lyrics and the vocalist. There was a very tongue in cheek operator talking about valuable deep space communications and some plastic horns that thrilled and appalled me in equal measure. I also thought I could hear a TR-909 drum machine mixed in with the Simmons toms and lush orchestral arrangement. 

Whilst I found this heady brew quite hard to place, I knew I wanted to hear it again. Once at home I researched the song and was genuinely surprised to find it dated back to 1985. Why hadn't I heard this record until 2006? I quickly downloaded an mp3 file of the song and enjoyed it very much.

Fast forward to 2019 and I came across this copy of "Mystery" whilst perusing through my regular second hand vinyl store. When I noticed the opening track was "Clouds Across the Moon" I decided to pay the £8 asking price and finally delve further into the world of RAH Band (I'm still not sure if the band name uses the definitive article or not, but as it's not on this release I will omit it). 

Whilst the vinyl I own is in fair condition, someone has written the duration and writing credit for each track on the back of the sleeve. Each time I look at the defaced cover I take comfort in the knowledge that the culprit probably served jail time for such offences.

RAH band are the brainchild of multi-instrumentalist and all round clever clogs Richard Hewson. All of the songs on this disc are written by Hewson and sung by his wife of the time Liz. Whist "Clouds Across the Moon" is their commercial peak they are from being a one hit wonder. Hewson is clearly a very talented musician and his jazz-funk influences result in a rather unique take on eighties synth pop.

After the brilliant opening track we hear "Night Wind" which you will be pleased to hear isn't about nocturnal flatulence but is actually seven and a half minutes of funky disco. Yes it sounds a bit chintzy to modern ears and would benefit from an edit to reduce the run time, but you can tell the composer knows what he is doing.

"Sorry Doesn't Make It Anymore" has an amazing string arrangement but like many songs on here it sounds little too stuck in the seventies. "Out on the Edge" and "Float" are highly competent funk instrumentals but the incessant saxophone solos can be tiresome. "Mystery Boy" and "Are you satisfied?" move more closely to a pop sound but the saxophones and funk guitars are never far away.

The only song that really comes close to matching the opening track is "Shadow of your Love" which deserves much wider appreciation. The superb synth work on this track is complimented perfectly by Liz's backing vocals and I almost get a sense of 'the Minneapolis sound' emerging from the speakers. 

The slightly kitsch nature of the music on this album means it will always be something of a guilty pleasure; but if you're in the mood for something from the eighties that is slightly off the beaten track then you can do a lot worse than investigating RAH band. 3/5

One record at a time: 381. Project D - The Synthesizer Album

You may notice that the artist who created these recordings isn't credited prominently. This is a deliberate tactic designed to increase the likelihood of us mistaking this for a compilation of original recordings rather the 'sound-a-like' cover versions they actually are.

Albums of this type had existed since the seventies with the "Top of the Pops" series being one of the most notorious examples. By the nineties, a shift in technology meant that people could use synthesizers and high capacity sequencers to make a myriad of albums with titles like "Synthesizer Hits", "Synthesizer Greatest" or "The Most Spectacular Synthesizer". As these albums were sold quite cheaply they were rather popular - especially with 'financially challenged' teenagers such as myself. 

The first sound-a-like album by Project D was imaginatively titled "The Synthesizer Album" and was released in 1990. A second volume appeared later in the same year (with the shocking title "Synthesizer 2") and I bought both on compact disc at the time of release. Teenage me definitely got some enjoyment out of these albums and some tracks were so good they almost sounded like remixes of the original. Yet tracks like "Balero", "Winter Games" and "Tubular Bells" felt like very strange and disappointing choices to represent 'synthesizer music'. 

The next I heard of Project D was when "Synthesizer - The Ultimate Sound Experience" was being marketed and sold directly to customers via a TV campaign. This four disc box set featured the same content as the first two "Synthesizer" albums but also included two additional discs. To my mind it is the second two discs where things go wrong here. I mean badly wrong. No...worse than that.

Alannah Myles country song "Black Velevet" is pretty awful in its original form, but played on synth presets it is in a whole new world of terrible. Other abominations include Elton John's "Sacrifice", "Kingston Town" by UB40 and the "Star Wars" theme tune all being mercilessly butchered at the alter of MIDI file mediocrity. I could go on but the horrors are too much to bear. I think it is sufficient to say some of the song choices on these last two records are frankly bizarre.

I am not certain what instruments were used to create these monstrosities but I can definitely hear a Roland D50 and possibly some Ensoniq SQ80 and a Korg T3. I hope group members Chris Cozens and Nick Magnus made some good money from this venture as they truly sold their soul to the devil in creating it. 

If you feel compelled to subject yourself to this music then listen to the first album and please skip the rest. I think I only own the box set out of curiosity and looking at it now I sense I will be making a charity shop donation very soon. 1/5

One record at a time: 380. Pet Shop Boys - Interview Picture Disc

I used to see this "Limited Edition" picture disc being sold in almost every record shop in the late eighties and early nineties. Rather than music, this record contains a poor quality recording of an interview conducted by an unknown journalist with a German accent. The conversation seems to have been held around August 1987 when the Pet Shop Boys were promoting their album "Actually".

Fans could learn quite a lot from this interview where an unusually verbose Chris Lowe gives us details on the recording of the album and some of the instruments used. We learn that J. J. Jeczalik of the Art of Noise was the Fairlight programmer on "Shopping" and that the mix of "What Have I Done To Deserve This?" on the album was the second version created. 

Everyone becomes a little coy when discussing the vocal samples on "Heart" as the interview is going to be published in Italy and nobody was ready to risk being sued (years later they would reveal that Pavarotti was one of the voices sampled). Further on Neil talks at great length about the inspiration for the songs "Rent" and "Kings Cross" and there is a brief mention of the then current litigation regarding "It's a Sin" which finds the journalist firmly on the boys side.

The interviewer mentions a reprise of "What Have I Done to Deserve This?" being listed on his promo cassette that didn't seem to play. This comes as a relief to the boys as they had decided to remove it from the finished record. The interviewer also asks if the drums on "Hit Music" are 'real' only to be told they are from a Fairlight III. As the discussion moves to the writing process and how the songs were demoed, the record ends abruptly with Neil mid sentence. 

This item is strictly for collectors and I almost considered not including it here; but it didn't feel right to miss anything out. I have two copies of this record as one was a casualty of my poor record handling in the eighties. I haven't listened to either for over twenty years so it was good to spin one of them today. 1/5

One record at a time: 379. Pet Shop Boys - The Collection

This bootleg is quite an oddity. From what I can make out it was supposedly pressed in France circa 1988 and is a compilation that includes a twenty minute megamix as one of its 'highlights'. There are only seven tracks included and the assertion that the phonographic copyright in the recordings is owned by "ALLHITS LTD." seems more than a little doubtful. At least the artwork is a good effort.

I'm really not a fan of listening to mega mixes and they only make sense as a tool for lazy DJs. The effort by "Italian Sound Inc." included here is pretty terrible as the added elements are either out of tune or intensely irritating. Another annoyance is the fact that many of the songs play the wrong speed. As a result of beat matching the Shep Pettibone remix of "What Have I done to deserve this?" sounds slow and laboured and the samples added to "In The Night" drive me to distraction. The constantly repeating thunder claps and orchestra hits that are all over "It's a Sin" provide the icing on the cake.

The other tracks included are "Heart", "Always on my mind", "It's a sin" and "What Have I Done To Deserve This?" For whatever reason we are treated to the the album version of  "Suburbia" and "West End Girls" fades out rather unceremoniously after about three minutes. This record is quite a bizarre experience. 2/5

One record at a time: 378. Pet Shop Boys - Birmingham 91

This is a bootleg recording of the Pet Shop Boys "Performance" tour from June 1991. I attended one of the three nights Pet Shop Boys played at the NEC and I like to think this recording was made when I was there (despite there being no evidence to suggest it actually was).

Unfortunately the sound quality of this double album isn't very good as it is a audience recording replete with overwhelming room ambience, crowd chatter and a total lack of dynamics. To add insult to injury, this record became largely redundant when the "Performance" video was released in 1992 and fans could finally hear the show in high fidelity.

Personally I felt the set list for the "Performance" tour was rather disappointing. Whilst most of their hit singles were represented, I found it puzzling that they chose to include two songs from Liza Minnelli's "Results" album and the decision to allow one of the backing singers take over for "My October Symphony" was equally questionable. 

Highlights are the use of the Shep Pettibone remix for "What Have I Done To Deserve This?" and the blend of mixes on "We All Feel Better In The Dark". At the concerts themselves I found "I'm Not Scared" especially impressive but none of that dynamism comes across on these recordings. To be honest, the only value in this record is as a collectors item. 1/5

One record at a time: 377. Pet Shop Boys - Abbey Road Demos

This is a terrible bootleg that gathers together a seemingly random selection of unfinished mixes and demos. Not only is the sound quality pretty poor but the record needs to be played with the pitch down by about -6 to sound anything like it should. The source for these recordings is clearly a cassette that has been duplicated repeatedly and the muffled sound reproduction has absolutely no dynamics. 

Of the music itself we hear a slightly different mix of hit single "It's A Sin" and early mixes of "Rent", "What Have I Done To Deserve This?" and "You Know Where You Went Wrong". Despite being tagged as demos, I think these are actually alternate mixes created as part of the recording process for the finished product - we know that there were initial attempts at mixing both "It's A Sin" and "What Have I Done To Deserve This" that were rejected, so these could be those first versions.

Also featured is the "Breakdown Mix" of "I Want To Wake Up" and the short version of "One More Chance" that would go on to be officially released on the "Further Listening" disc that accompanied the remastered version of "Actually" in 2001.

To my mind the only genuine demos on this disc are "It Couldn't Happen Here" and "James Bond #1" (the latter being an early version of "This must be the place I waited years to leave"). Whilst it is possible that these two demos were made at Abbey Road, I think most of the material on this record was created as part of recording sessions at Advision or Sarm West studios and the title is misleading. 1/5

One record at a time: 376. Pet Shop Boys - Heaven

On 15th October 1991 Pet Shop Boys performed at Heaven nightclub in London as part of the launch party for the Derek Jarman film "Edward II". This event was billed as a benefit to raise funds for AIDS research at St. Mary’s Hospital in London and saw the boys play a short set of eight songs alongside guitarist J.J.Belle and three backing singers.

This record is a bootleg recording of the show and was released sometime in the early nineties. I seem to think I acquired this particular copy from a record shop in Manchester about ten years ago. People will try to sell you this record online for crazy prices as it is relatively rare, but it is not official and the sound quality isn't very good.

For this show Pet Shop Boys decided to play for about forty minutes and concentrated on, “Good dance tracks, so people could jump around a bit.” Despite wearing costumes from "Performance" on the sleeve of this record, only two songs from that tour were played and the nightclub atmosphere lends itself nicely to newer pieces like "Music for Boys" and "DJ Culture".

This concert also seems to have been the premier of the new song "Was It Worth It?" and footage form this performance was even worked into the subsequent video for the single release. Unfortunately the sequencers seemed to break down during "It's Alright" and it can be no coincidence that programmer Lawrence Cedar doesn't seem to have worked with the Pet Shop Boys since. 2/5

One record at a time: 375. Pet Shop Boys - Nonetheless

At the time of writing "Nonetheless" is the Pet Shop Boys latest album. Here we have two copies of the clear vinyl, the double white vinyl (with a signed postcard), the grey vinyl (signed on the sleeve), the numbered zoetrope picture disc and the triple vinyl 'expanded edition'. I haven't bought the standard common or garden black LP. Yet. I also have the standard black vinyl too but it isn't pictured.

When it was released I was very impressed by this album and that feeling hasn't waned. I still think this is the best record Neil and Chris have made since "Yes" in 2009 and I am delighted they have moved away from producer Stuart Price.

Ironically the first two singles that were released to promote the album, "Loneliness" and "Dancing Star", are fairly average but "Feel" is a big favourite of mine. I was less impressed with the idea of "A New Bohemia" being a single but it has grown on me to the point that today I regard it as one of the highlights of the album.

Songs that had the potential to sound cheesy such as "The Secret of Happiness" or "New London Boy" are brilliantly realised by producer James Ford and there are no horrors on the scale of "Wedding In Berlin" or "Hold On" here. If you don't understand the genre you might miss the point of "The Schlager hit parade" and "Why am I dancing?" can be a little repetitive, but I still enjoy both. In fact I can sit and listen to this album all the way through quite happily. Oh and the clear vinyl edition sounds terrific. 4/5

One record at a time: 374. Pet Shop Boys - Smash

When vinyl enthusiasts went looking for a Pet Shop Boys compilation, their attention invariably fell on the album "Discography". Not only was this release  relatively easy to find, but it also gathered together the singles from the band's commercial peak.

However, by 2023 this LP had been out of print for over thirty years and second hand prices were on the rise. Having noted this demand, Warner Music approached Neil and Chris for permission to repress "Discography" and fill a gap in the market.

Rather than grant this rather simple request, the boys elected to release a brand new box set called "Smash" instead. I'm not really sure a comprehensive six disc collection that retails for over £100 is what either the record company or the music buying public wanted; but it's what we got. How very Pet Shop Boys.

Here we have the limited edition version pressed on white vinyl and the standard black vinyl edition that were both released in 2023. The records are pressed by Optimal media and sound great, but the paper stock used for the inner sleeves feels very cheap and unsatisfactory. The less said about the graphic design the better, and the title is so bad it is laughable; but thankfully the music is the main attraction here.

The content of the first three discs in this set largely mirror that of "PopArt", but the correct mixes are used this time around. As you might expect, the remaining records collect together all of the singles Pet Shop Boys released between 2004 and 2020. Highlights for me are "Memory of the Future", "Vocal" and "Did you see me coming?" but there's a lot of other great material on here too. My disappointment is chiefly reserved for "Numb", "Leaving" and the single that should never have been: "I don't wanna".

Normally I wouldn't sit and listen all the way through a six disc box set that contains fifty five tracks, but I can make an exception for the Pet Shop Boys. If you are less inclined to persevere with such a marathon it is fairly easy to dip in and out of this compilation as the tracks are presented chronologically. As a comprehensive history of the Pet Shop Boys singles, "Smash" can't be beaten. Those looking for a more concise introduction would be better served by simply paying for a second hand copy of "Discography" and pocketing the difference. 4/5

One record at a time: 373. Pet Shop Boys - Hotspot

By the time "Hotspot" was released it felt like the seemingly arbitrary commitment to make a trilogy of albums with producer Stuart Price was a mistake. This record sounds like everyone involved had run out of ideas and the finished album is a ramshackle effort that I simply cannot warm to.

When it was released I decided to forget the quality of the music and simply find comfort in the fact that my favourite group were still around and releasing new material. I acknowledge this was rather cold comfort.

It's fairly easy to summarise this album as, "poor title, poor artwork and poor music". I don't like any of the songs here and a few of them I dislike intensely. 

"You're the one" is syrupy nonsense that is far too repetitive, "Only the dark" is out of tune, "Hoping for a miracle" sounds like a reject for a musical and the lyrics to "Wedding in Berlin" are simply awful (just to be clear I have absolutely no issue with the subject matter of "Wedding in Berlin", but the lyrics read like a poem created by a 14 year old).

There is a real lack of attention to detail everywhere but a good example is the fact that the introduction for "Wedding in Berlin" shows signs it once followed "Happy People" in the running order. Rather than modify the transition when the track listing was revised, the boys just chopped things up and said, "That will do". This is the same band that devoted a considerable amount of time adding an almost inaudible thunder clap between songs on "Introspective" - how times change.

If we were honest we would have to say much of this album only just gets over the quality threshold. This is a real shame as the boys made some brilliant tracks in this era but they chose to use them as additional tracks for singles rather than include them on the album. "An Open Mind" and "Decide" were thrown away, but they are better than anything heard here.

I was in a pretty bad mood with the Pet Shop Boys at this stage in their career. This was a band I had loved since 1985 and suddenly it felt like the wheel was spinning but the hamster was dead. I must admit, it began to enter my head that if "Hotspot" was the best they could muster, then boys might as well pack it in. 1/5

One record at a time: 372. Pet Shop Boys - Super

"Super" came out in 2016 and is the second album the Pet Shop Boys made with producer Stuart Price. When it was released I wrote a rather scathing review that dismissed it as "camp disco nonsense" and I haven't really changed my mind.

For me "Super" is insubstantial and sounded outdated from the outset. The first single to be released was "The Pop Kids" and it immediately gave me cause for concern due to its cringe worthy lyrics and antiquated backing track.

Large parts of the parent album are taken up with instrumental dance tracks such as "Groovy", "Inner Sanctum" and "Pazzo" which are rather superficial and leave little impression. I have a particular dislike of the ponderous "The Dictator Decides" as it lacks any of the subtly and guile I associate with Neil's lyrics. "Burn" features the time-worn lyrical sentiment: "We're gonna burn this disco down before the morning comes". Truly uninspiring stuff.

I am not really sure why I ended up with two copes of this record but I suspect I made an assumption that the white vinyl would be available in limited quantities and ordered from more than one website. As you might imagine I don't play either of these records and only the single "Say It To Me" get the occasional outing via digital files. I don't hate this album, but certainly have no love for it either. 1/5

One record at a time: 371. Pet Shop Boys - Electric

There's an apocryphal tale that Neil Tennant read a critical review of the album "Elysium" on iTunes and resolved to make the next Pet Shop Boys record "more banging with lasers".  Whilst this story isn't entirely true, there is no doubt that 2013's "Electric" is squarely aimed at the dance-floor and is the polar opposite to its predecessor.

On the day the standard LP was released a special edition "Electric Box" was announced that would contain five 12" singles in a florescent acrylic box and was limited to 350 copies. This set cost a ridiculous £500 and would be released on 7th October 2013. However, much like the "Very" box set, the finished product was much delayed and didn't turn up until the middle of December. As you might imagine, I will be playing one of the two standard double vinyl sets I own for this review and keeping the box set out of harm's way. 

I was quite gushing about this album when it was released as it seemed to banish the doldrums and allowed the Pet Shop Boys to reclaim their crown as the kings of dance driven synth-pop. Yet, my enthusiasm is somewhat tempered today as I feel "Electric" set the boys off on a road that ended in something of a cul-de-sac. 

Things start promisingly enough with the track "Axis" that was used as a teaser single. Aside from some occasional hoarse vocals repeating the phrase "Turn it on" this is an instrumental piece that doesn't conform to a conventional pop song template. At first, the lack of structure in these songs worried me as I thought it might detract from the credibility of the album. However, I reconciled this with the thought that this isn't a traditional pop album and nobody questions the structure of  "Blue Monday", "Numbers"  or "Moments in Love". 

The single "Love Is A Bourgeois Construct" is a little more traditional in approach but I am not a fan of the Henry Purcell motif or the monotonous verses. Another single "Thursday" seemed quite contemporary and even features a rap by Example. Stuart Price is a good producer and I enjoyed his work as Les Rythmes Digitales long before he became associated with the boys, but sometimes it sounds like he is being held back a little. "Vocal" is the final track on the album as is one of my favourite songs by the Pet Shop Boys. Yet, when I hear it I have a nagging feeling that there is something missing. Would it have been better with a TB-303 style riff and some TR-909 hit hats? It certainly would have had a sound closer to that of the rave scene it references and I would have liked that.

I think if you had asked me to score this album back in 2013, I would have given it full marks. Today I am forced to consider the fact that it sounds a little dated and some of the tracks haven't proved to have enduring appeal. I've disappointed myself here. 3.5/5 Happy New Year.

One record at a time: 370. Pet Shop Boys - Elysium

By the time "Elysium" was released in 2012, the Pet Shop Boys had cemented their place at pop's top table and had earned the freedom to do whatever they wanted. What they chose to do was transplant themselves to Los Angeles and record with producer Andrew Dawson - whom they admired due to his work on a Kanye West record.

There's a line in my original review of this album twelve years ago that summaries the resulting album as: "very downtempo and brooding: a pop tour de force it is not." I then seem to have spent most of my time moaning about the running order whilst adding some faint praise for the songs themselves. My view has changed somewhat since these initial ramblings as I couldn't care less about the running order and I find less to like in the compositions today. There's no doubt this album was a big step backwards from its predecessor "Yes".

I do like four of the tracks on this album, which conversely means I have little regard for three quarters of it. I have particular disdain for the diabolical trio of "Ego Music", "Hold On" and "Give It A Go" which are amongst the worst things Neil and Chris have ever released. The monotonous beat and repetitive chorus of "Leaving" doesn't appeal to me and "Invisible" is the auditory equivalent of wading through treacle.

The only outstanding track that I play often is  "Breathing Space" and the single "Memory of the Future" comes a close second. Another good song is "A Face Like That" but its production is muddy and I can't help but wonder what a more experienced producer would have made of it. Some people have little time for the closing track "Requiem in Denim and Leopard Skin" but I love it. Some of Neil's best lyrics seem to emerge when he tackles the subject of death. 

I own the original vinyl which comes with a second disc of instrumentals and the 2017 remastered version (heavier colour saturation on sleeve) which is a single 180g disc. Not something I play very often. 2.5/5

One record at a time: 369. Pet Shop Boys (Tennant/Lowe) - The Most Incredible Thing

"The Most Incredible Thing" is the score for the 2011 ballet of the same name and is credited to Tennant/Lowe rather than Pet Shop Boys. Here I am listening to the limited edition, six LP box set that was hand numbered and signed by Neil and Chris.

I'll be clear from the start that I bought this ridiculously expensive box set as a collector and not because I love the album it contains. Whilst this music is largely arranged for orchestra, synth-pop comes to the fore on quite a few tracks and it is reminiscent of their score for the silent film Battleship Potemkin (not available on vinyl and not seen here as a consequence).

The staccato rhythms of "The Grind" are fairly electronic in nature and it even incorporates a section of a Pet Shop Boys song called "Baby". "The Challenge" is a fun track and it reminds me of something you might have heard on a programme like Jason King in the seventies. Things become centred squarely on the dance floor during "Physical Jerks" and the introduction to "The Competition", but there are passages of melody that sound like they are straight out of a sixties musical (I guess it is a matter of taste as to whether this is a good or a bad thing). By the time I get to the end of the second disc I feel like taking a break, but despite my fatigue I press on and the final act proves to be mercifully short.

The last three discs of this box set contain the demos of the same material and I won't even pretend I listened to them. I have heard the contents of these discs from digital files and, to say they were realised without an orchestra, they sound quite accomplished; but I would never chose to listen to them for pleasure. 1/5

One record at a time: 368. Pet Shop Boys - Yes

I love "Yes" for a number of reasons. Firstly its release coincided with one of the happiest times in my life and hearing it brings back lots of great memories. The fact that this album was an unashamed celebration of pop and a return to form for the boys also adds to its appeal.

When the album was released in March 2009 a special box set containing eleven 12" singles was announced. There were to be only 300 copies with a promised delivery date of April 25th. I ordered it immediately.

When the delivery date came and went without a word I wrote a frustrated post on this blog and pondered when it might actually show up. As it turned out I didn't have to wait too long as my post was made on 25th of May and the box set was finally dispatched on 27th. You can read my verdict on it here. I also own two copies of the standard vinyl (which I seem to think was initially limited to 1000 copies) and the more recent remastered version from 2017.

The album begins with the lead single "Love etc." which was co-written by Pet Shop Boys with production team Xenomania. They chose Brian Higgins and Xenomania as they admired their work with Girls Aloud - which is as clear an indication of their intent to make a pop album as you can possibly get.

The first time I heard "Did You See Me Coming?" I was very impressed by it and the bassline in particular caught my attention. In fact, rich basslines are a consistent feature of this album with songs like "The Way It Used To Be" and "All Over The World" being especially impressive. Other favourites of mine are "Pandemonium" and "More Than A Dream" which are great pop songs with lush production. There are no duff tracks on this record but I have never been a big fan of "Building a Wall" or closing number "Legacy" and it is no coincidence that these are the least upbeat and positive songs on the album.

There's no doubt this album was a triumphant return and in my mind it was the final piece of the puzzle that qualified them for national treasure status and a Brit award for outstanding contribution to music. 4/5

One record at a time: 367. Pet Shop Boys - Disco 4

The fourth entry in the Pet Shop Boys "Disco" series was released in 2007 and is a remix album with a twist. Rather than remixes of Pet Shop Boys songs, this is chiefly an album of mixes Neil and Chris made for other artists.

I own a copy of the machine numbered, limited edition double LP along with a white label four track sampler. Rather strangely (or rather typically for Pet Shop Boys) the sampler has a remix that isn't on the main album and is not by the Pet Shop Boys. Quite why it is on there is anybody's guess.

The first track is the "Stars are blazing" remix of "Read My Mind" by The Killers and I'm not mad about either the song or the Pet Shop Boys embellishments. Then we rewind over ten years to Neil and Chris's remix of "Hallo Spaceboy" by David Bowie. The version presented here is the extended version that wasn't released commercially in the UK so it is nice to hear it being resurrected.

The first Pet Shop Boys song we come across is a radical reworking of the album track "Integral" which was also issued as a promotional single. Whilst this version isn't without charm, it strips away the melodies of the original and ultimately boils everything down to a monotonous club groove with some vocoder vocals.

There's a nice "Electro" remix of "Walking on thin ice" by Yoko Ono but its six minute plus run time sees it out stay its welcome. Having stolen the chord progression from "West End Girls" on "Jump" Madonna decided to make amends by offering the boys the opportunity to remix the single "Sorry". The PSB mix is typical of the electroclash style the boys adopted during this period but it doesn't excite me at all.

"Hooked on radiation" by Atomozer was also part of the electroclash club scene of the early millennium and the "Orange Alert Mix" by Neil and Chris was originally released on their own Olde English imprint in 2003. The most surprising partnership the boys ever forged was with Rammstein for their remix of "Mein Teil". As you might expect the Pet Shop Boys mix is a good deal faster than the original and adds more melodic elements that make it dance floor friendly. The album rounds out with the excellent "Maxi-mix" of single "I'm With Stupid" - which is probably the best thing on here. 2/5