Ad-Hoc Posting Schedule

Willkommen Leser, Down-Loader, Lurker und Teilnehmer alle.

It might have come to your notice that I'm not a regular poster of love and understanding, which you'll just kinda have to get used to. I will however, now and again, have bursts of creativity and if it was to please the massed hordes, who chose to visit this insignificant page, to supply some input on the direction and type of music you would like to sample (before going out and buying yourself a copy) this little communication will not have been in vain.

I will also say now that some of the outstanding music already available to sample will be reaching their 30 days without a click threshold, where by they're deleted by the host.

Many thanks for reading this far...and please feel free to interact.




Ultravox! is the eponymous debut studio album by Ultravox!. Recorded at Island Studios in Hammersmith, London in the autumn of 1976 and produced by Ultravox! and Steve Lillywhite with studio assistance from Brian Eno.
It was Ultravox! who first showed the kind of dangerous rhythms that keyboards would create. The quintet certainly had their antecedents (Hawkwind, Roxy Music, and Kraftwerk to name but a few), wrapped in the ravaged moods and lyrical themes of collapse and decay that transported '70s rock from the bloated pastures of the past to the futuristic dystopias predicted by punk. Epic tales of alienation, disillusion, and disintegration reflected the contemporary holocaust of Britain's collapse, while accurately prophesying the dance through society's cemetery and the graveyards of empires that were to be the Thatcher/Reagan years. "Sat'day Night in the City of the Dead," "Wide Boys," "The Wild, the Beautiful and the Damned," "Dangerous Rhythm," and "Slip Away" all simultaneously bemoaned and celebrated the destruction of Western culture while swaggering boldly through the wreckage; "I Want to Be a Machine" and "My Sex" warned of and yearned for technology's triumph. Depeche Mode claimed to be punks with synthesizers, but it was these apostles and didactic emotions that so pierced the zeitgeist of the day, and kicked open a whole new world of synthesized music.

Dangerous rhythms…indeed.



Japan were initially formed in 1974, but they only got to recording music after winning a talent contest, netting them a contract with Hansa Records. In 1978, they released two albums that were successful in Japan (the group's name probably helped), but which were basically over looked in the UK, because of the increasing popularity of the punk and new wave scenes. Initially, Japan weren't a new wave group (there are small tinges of the genre in their pre Quiet Life records, but that's more in the production and sound than the performance); they were a glam rock band with one hell of an attitude. I mean, this world is hardly as prude as it was in the 60's or 70's, but would you consider releasing an album titled Adolescent Sex now?
When it comes to the sound and scale of the music, Adolescent Sex is a glam rock album through and through, but what's interesting is how pissed off the group sounds. This is very well evidenced in David Sylvian's vocals, to be precise, he often seems to strain himself so as to deliver as much vocal raw power as any glam rock singer who has a lot of presence on stage, but he instead ends up in the zone between "subdued" and "powerful" that, in the case of this album, is actually more satisfying than if he actually crossed over into the latter.
In case I don't sound enthusiastic enough, I am seriously recommending you pick up Adolescent Sex. It (and its successor Obscure Alternatives) is a criminally overlooked piece of late-70's glam rock that undeservedly got swept up in the punk undercurrent. It's an outstandingly unique record, and 1978 definitely wasn't an uneventful year. OK, so I suppose the name could turn someone off… either that or the fact that it's the same group that released Gentlemen Take Polaroid’s... nah, you don't have any excuse not to pick this up.



I just walked in to find you here, with that sad look upon your face



The Passions

Based in Shepherds Bush, west London, The Passions' music was grounded mainly in Barbara Gogan's voice and Clive Timperley's delicate echoplex guitar work. Before forming in 1978, most of the group's members had played in other groups. Timperley was formerly with the 101ers, while drummer Richard Williams and singer/guitarist Barbara Gogan were in the punk rock outfit The Derelicts.

Espousing the same post-punk, gothic ethic that brought bands like Siouxsie & the Banshees to the forefront of the burgeoning dark wave genre, the Passions' 1980 debut, Michael & Miranda, suggested that they were at least on the same track. Off-kilter jangle out of step with the bass and drums defined the opening "Pedal Fury," placing the band firmly in quirk territory, a point that the Passions continued to reiterate across the rest of the set. Picking up the pace on "Love Song" or slowing it down across "Man on the Tube" and then doing both on "Obsession" (which puts Barbara Gogan's vocals so far away from the mic for the sake of atmosphere that it sounds like she's in another room) really didn't add much punch to the Passions' gloomy intent. It's easy to see their roots, they're glaring. But so they were for all the other bands rising at the time. Stilted and lean, the songs on Michael & Miranda just don't measure up against what the Passions would do a little later or against what their peers were doing at the time. Singles "Hunted" and "The Swimmer" were followed by their major charting song, "I'm in Love with a German Film Star"