Allez Allez - Promises

Released in 1982, Promises is the polished major-label debut from the Belgian outfit Allez Allez, marking a transition from their raw post-punk roots toward a sophisticated "discoid funk" sound. Produced by Martyn Ware (of Heaven 17), the album is defined by Sarah Osborne’s commanding vocals—blending soulful singing with early pop-rap—and complex, danceable rhythms that align with the era's New Wave aesthetic. While contemporary critics sometimes dismissed the lyrics as overly ambitious or "arty," the record remains a cult classic of European funk, praised for its tight musicianship and its bridge between avant-garde club music and mainstream pop.

Released in 1982, Promises represents the high-water mark of the Belgian New Wave scene's flirtation with global dance music. Transitioning from the scrappy, post-punk energy of their predecessor band, Marine, Allez Allez utilised this major-label debut to pivot toward a high-gloss "discoid funk." Under the guidance of producer Martyn Ware (Heaven 17, The Human League), the album shed its indie rough edges in favour of a sophisticated, synth-heavy architecture that captured the burgeoning chic of the early 80s European club scene.

The record’s identity is anchored by the dual presence of lead singer Sarah Osborne and a rhythm section that prioritised complex, percussive arrangements over traditional rock structures. Osborne’s vocal delivery—a cool, detached alto—seamlessly shifts between soulful melodic hooks and the rhythmic, spoken-word style of early pop-rap. This vocal versatility allowed the band to experiment with tracks that felt equally at home in an avant-garde art gallery or on a mainstream dance floor, blending African-inspired polyrhythms with icy, British-influenced electronics.

Musically, the album is a masterclass in tension and release. Tracks are built on elastic basslines and tight, funk-inflected guitar stabs that evoke the influence of Nile Rodgers, yet the atmosphere remains distinctly European and slightly moody. While contemporary critics in the UK music press occasionally poked fun at the lyrics for being somewhat pretentious or "art-school," the sheer technical proficiency of the musicianship made it impossible to ignore. It stands as a bridge between the raw rebellion of the 70s and the digital pop polish that would define the mid-80s.

Ultimately, Promises remains a cult classic that perfectly encapsulates the "Mutant Disco" era. Though the band’s lineup would soon fracture following Osborne's departure, this album serves as a definitive document of a moment when the boundaries between funk, punk, and pop were delightfully blurred. For fans of ESG, Orange Juice, or Tom Tom Club, Promises offers a more polished, continental alternative that still feels remarkably fresh and rhythmically vital decades after its release.

Ripped to MP3

Side A:

1. Valley Of The Kings (5:32)

2. The Time You Cost Me (3:29)

3. Unwritten Symphonies (4:30)

4. Things We Used To Do (Promises) (3:26) 

Side B:

1. Flesh And Blood (4:12)

2. My Name Is Culture (4:41)

3. Mama Lou Parkes (3:33)

4. Swedish Girl (Papa Was) (6:07)