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.



slàinte


Friday

Robotic Power Pop



In 1976, then Gary Webb met bassist Paul Gardiner in a short-lived punk band called the Lasers. Splitting a year later, the two along with drummer Bob Simmonds formed Tubeway Army with a goal to fuse the amateurishness of punk with a newfound interest in synthesizers. Replacing Simmonds with his uncle, Jess Lidyard, and changing his name from Webb to Numan, this line-up recorded two singles, “That’s Too Bad” and “Bombers” for Beggars Banquet in 1978. Think robotic power pop meets the likes of Kraftwerk in a mosh pit.


Tubeway Army also exhibited characteristics associated with glam rock’s experimental and electronic side seen in outfits like the John Foxx-led Ultravox and Roxy Music, and Bowie’s Berlin Trilogy. Understanding that using synthesizers could help Tubeway Army break free of the clichés associated with punk, Numan began incorporating a mini-Moog synthesizer into the mix after finding one left behind in the studio. Free from punk’s limitations and avoiding any synth stigma via prog rock, Tubeway Army’s self-titled debut helped lay the foundation (along with bands like Suicide) of what became synth-punk.

Considered by many as a transitional album, bridging the punky nature of the band’s first two singles with the more familiar synth-driven material found on the band’s second album Replicas and Numan’s later solo credited material, Tubeway Army is at once hard-driving proto-electro clash and coldly calculated robotic synth pop, coupled with a science fiction dystopia a la Philip K. Dick (The first line of album opener “Listen to the Sirens” lifts directly from Dick’s novel Flow My Tears, The Policeman Said) and an oddly perverse perspective courtesy of William Burroughs’ seedy underworld.

To speak well of Numan and Tubeway Army’s contribution to today’s musical landscape would be nothing less than understatement. With the electro-clash-punk-synth-pop-rock sounds of yesteryear returning via retro sounding outfits as well as newer artists evolving into fresher takes on the familiar, Numan’s influence is far greater than simply giving the world “Cars”. Listen to the guitar progression of “My Shadow In Vain”, which sounds like an early template for the Knack’s “My Sharona”, or the intro to “Friends”, which rivals that of any Foreigner or Foghat track of the day, and you’ll see his influence did not need to wait 30 years to be felt. Regardless of the time period, Gary Numan’s contributions to music, either solo or with Tubeway Army, in both the electronic and rock idioms are unmistakable, undeniable, and unrivalled.



Ripped from a remarkably well preserved album to MP3 @ 320 kbps

Tubeway Army; Tubeway Army

          A1. Listen To The Sirens
          A2. My Shadow In Vain
          A3. The Life Machine
          A4. Friends
          A5. Something’s In The House
          A6. Every Day I Die
          B1. Steel And You
          B2. My Love Is A Liquid
          B3. Are You Real
          B4. The Dream Police
          B5. Jo The Waiter
          B6. Zero Bars (Mr. Smith)
 

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