‘Young Romance’ is the follow-up to ROOSEVELT’s first opus and it promises new levels of modern aesthetic euphoria based on the use of vintage synths and a step away from the dance directions previously enjoyed.
The work of Marius Lauber, this time around he wants it more synthpoppy with lighter, sunnier textures. Perhaps taking it from his brand new home studio in Cologne to the sunny skies of LA, and having it mixed by none other than Chris Coady finishes off the cycle ROOSEVELT embarked upon with his newest project.
Like any evolving artist, Lauber channels his confidence and re-lives past events in order to become clean: “I ended up processing a lot of emotions that I felt during my youth” he says, “faded relationships that haunted me for years, being on the road for what seemed like forever and the constant search of a place to call home.”
Having indeed toured North America for most of last year, the artist “covers the trials and tribulations of falling in love, finding ‘home’, going on tour and losing touch” all of which push him towards the great unknown.
‘Take Me Back’ which opens the album, only shares the title with the eponymous track heralding ERASURE’s glorious ‘I Say, I Say, I Say’. It’s more MORRISSEY meets TEARS FOR FEARS, in a light, enchanting way with its nostalgic elements weaved in effortlessly.
Sun filled nostalgia shines through the perfect chill out single ‘Under The Sun’. Eloquently produced, this track marries the melancholic voice approach with summer disco beats. In the style of the über popular DISCIPLES, this hits the spot beautifully before being transported into the world of ‘Yr Love’. With personal lyrics, simplified vocals and summer melody, we are served another little musical gem, this time polished to perfection, while still being an uncomplicated club anthem.
‘Illusions’ while having been finished last, is certainly not an afterthought. ROOSEVELT is playing with his new toys here, in the form of eBay bought vintage guitar pedals, psychedelic sounds and filter sweeps. He does the same on ‘Lucia’ and ‘Losing Touch’. “Losing Touch is about being on tour and losing perspective” he explains. “I spent an entire day recording guitar feedback through 5 different amps and the whole process was really therapeutic.”
The more subdued ‘Pangea’ shares its rhythmic footprint with the ballad-like ‘Better Days’, full of sentimental hooks and wistful, dreamy catches. Full pop on blues, with cleverly entwined guitar and nostalgic elements, this is like watching clouds roll by while resting on a canopy of leaves, dreaming away.
‘Shadows’ and ‘Last To Know’ continue the feeling of weightlessness, while ‘Forgive’ shows off ROOSEVELT’s international influences. This collaboration with WASHED OUT works wonders. “I saw Ernest followed me on Instagram and I was so happy to find out he was a fan. He has always been a massive influence and this track was written around the vocal stems he sent back within days – a real collaborative effort.”
The closing ‘Getaway’ is synthylicious and inspired, the perfect chill out tune after the San Antonio experience meets disco pop.
Considering that ‘Young Romance’ only took six months to finish, this follow up opus to ROOSEVELT’s debut is truly a hit.
With plenty of full bodied club tracks, produced with a mellow, near melancholic twist and some perfect chilled out Ibiza tunes, this album is a perfect end of summer treat.
When Roland Orzabal and Curt Smith went into the studio to record ‘Suffer The Children’ as their debut single as TEARS FOR FEARS, it was producer David Lord who introduced them to synthesizers plus crucially, keyboard player and later, collaborator Ian Stanley.
The Bath pair had been members of NEON which featured future TEARS FOR FEARS drummer Manny Elias as well as Pete Byrne and Rob Fisher who later found success in America as NAKED EYES. Orzabal and Smith then achieved moderate success in Spain with the smartly suited Mod band GRADUATE via a hit single ‘Elvis Should Play Ska’, co-produced by Tony Hatch.
But like many at the time, they were tiring of the band format and recording as a duo, a demo featuring ‘Suffer The Children’ and ‘Pale Shelter’ secured an initial two single deal with Mercury Records who also had THE TEARDROP EXPLODES on their roster.
Arty and angsty, Orzabal and Smith had become fascinated by Arthur Janov’s Primal Therapy and had named themselves after his theories which resolved to overcome childhood traumas through re-experiencing specific incidents and fully expressing the resulting pain during therapy.
While not a commercial success, ‘Suffer The Children’ with its OMD-like chorus and closing child vocal refrain was well received, so hopes were pinned on ‘Pale Shelter’, produced by Mike Howlett whose studio touch had brought OMD into the charts.
However, the duo were unhappy with the New Zealander’s more technological approach, preferring a looser feel and found an ally in Chris Hughes, producer of ADAM & THE ANTS who also doubled as one of the former Stuart Goddard’s drummers under the stage name of Merrick.
A&R man David Bates believed in his signings and TEARS FOR FEARS were given one more chance with the resultant ‘Mad World’ hitting paydirt. Lyrically fraught with a wonderful percussive tension, ‘Mad World’ magnificently combined synthesizers, preset rhythms and conventional instruments.
It set the scene for the debut album ‘The Hurting’ but when it was released in Spring 1983, it disappointed some who had followed the band from the beginning. Not only were all four singles to date included but so were two of the B-sides.
Meanwhile, two of the album’s key songs ‘Memories Fade’ and ‘Start Of The Breakdown’ sounded weak compared to the more powerful Linn Drum driven assisted arrangements previewed on an excellent BBC Radio 1 session for Kid Jensen in late 1982 which exuded far more tension; these finally secured a release in the deluxe boxed set edition of ‘The Hurting’ in 2013.
This wasn’t to be the first time that the Achilles heel of too much studio pondering would hit TEARS FOR FEARS, but one interesting consequence was that the treated ethnic percussion added to the extended end section of ‘Memories Fade’ was sampled by Midge Ure and used on ‘Do They Know It’s Christmas?’ by BAND AID.
With the help of hits like ‘Change’ and a re-recorded ‘Pale Shelter’, ‘The Hurting’ was a big success and put them next to the exciting talent that was emerging from the UK like DEPECHE MODE, TALK TALK, A FLOCK OF SEAGULLS, BLANCMANGE and CHINA CRISIS. But they stole defeat from the jaws of victory with a ponderous interim single ‘The Way You Are’ towards the end of 1983. By their own admission, they had been listening to too much JAPAN and were stuck on Planet Sylvian… it was time for a rethink.
At this point, Smith was the accepted face and lead singer of TEARS FOR FEARS but that would steadily alter on their second album ‘Songs From The Big Chair’. ‘Mothers Talk’ was a reasonable comeback featuring Orzabal’s lead vocal but the duo were still not happy. Their perceived failing made them more determined; With East / West tensions at a high following the Soviet Union’s invasion of Afghanistan plus the tit-for-tat boycotts of The Olympics Games, The Cold War and the Reagan / Thatcher love-in was to inspire two of TEARS FOR FEARS biggest hits.
‘Shout’ was a battlecry against the proliferation of nuclear weapons. Using sequencers and drum machines as the backbone, the process was aided by more prominent and rockier guitar towards the climax, along with a gutsy lead vocal from Orzabal and thundering drums from Chris Hughes. The song took an age to record and mix but produced a single of epic proportions at over six minutes.
On the other hand, ‘Everybody Wants To Rule The World (originally titled ‘Everybody Wants To Go To War’) was more straightforward as a conscious attempt at an American drive-time hit with its fabulous topline, chorus and middle eight. Both songs became US No1s.
Another US Top 10 came with ‘Head Over Heels’, part of an album segue with ‘Broken’, a track that had been a more mechanically recorded B-side but now given a blistering treatment on the conceptual second side of ‘Songs From The Big Chair’, which was closed with the lengthy but brilliant art piece ‘Listen’. The combination of synthpop, FM rock and prog ensured 5 million sales in the US and a further 2 million in the rest of the world.
They indeed ruled the world but as with many successful acts of the period, TEARS FOR FEARS got lost in the own bubble. Orzabal began to question the band’s authenticity and this was heightened when he saw Oleta Adams singing in a bar while on a break during the American leg of the ‘Big Chair’ tour.
During the recording of the anticipated follow-up The Seeds Of Love, Smith found himself isolated during the recording sessions as Orzabal strived for perfection. Orzabal had co-written a number of songs with live keyboardist Nicky Holland, but the use of a Fairlight and endless session musicians being brought in like Pino Palladino, Manu Katché and even Phil Collins became a distraction in the search for a more organic touch; Ian Stanley left the recording and returned a year later only to find Orzabal still working on the same song!
Incorporating Adam’s soulful tones into the TEARS FOR FEARS line-up, ‘Woman In Chains’ was a fine musical statement on patriarchy, but was ironically used during a glamourous beach sequence on ‘Baywatch’. However, the lead single ‘Sowing The Seeds Of Love’ was more polarising, an anthemic rewriting of ‘I Am The Walrus’ which provoked either love or disdain.
Smith did the lead vocal on ‘Advice For The Young At Heart, a good tune that perhaps got lost in its understated backing that made it come over more like CHINA CRISIS, but following another world tour to pay off the alleged debt of over $1 million incurred in recording costs, Smith bowed out as their management went bankrupt .
Resilient and some might say, bloody minded, Orzabal (like Andy McCluskey did with OMD) continued the TEARS FOR FEARS brand as a solo venture, and while the venture yielded further UK hits like ‘Laid So Low’ and ‘Break It Down Again’ co-written by the late Alan Griffiths, fans generally did not regard it as TEARS FOR FEARS.
It was around this period that Orzabal recorded covers of ‘Ashes To Ashes’ and ‘Creep’, perhaps indicating he was going through some kind of musical existential crisis. And a 2000 solo album ‘Tomcats Screaming Outside’ all but confirmed even to Orzabal that it was not TEARS FOR FEARS without Smith. While Smith himself also ventured out solo and as MAYFIELD, time eventually healed the fall out as Orzabal lightened up and the two old friends began speaking to each other again.
The eventual 2004 comeback record ‘Everybody Loves A Happy Ending’ was a disappointment and not a success with the original release on Arista pulled by the band before its release after promos were sent out; an eventual sanctuary was found at Gut Records in the UK, but the experience ensured that in 2017, there has still yet to be a follow-up.
Photo by Jake Walters
Despite this, TEARS FOR FEARS continued touring but the band’s legacy and reputation was unexpectedly elevated by the cult film ‘Donnie Darko’ released in 2001. A dark psychological drama starring a then-unknown Jake Gyllenhaal, the original cut began with ‘Head Over Heels’ in the opening sequences. Meanwhile a stripped down piano based cover of ‘Mad World’ arranged by Michael Andrews and sung by Gary Jules became the film’s focal point on the soundtrack. It affirmed Orzabal’s qualities as a great songwriter and since then, the work of TEARS FOR FEARS been deservedly re-evaluated and as a result, demand for them has a live act has escalated.
In the last few years, Orzabal and Smith toured with SPANDAU BALLET down under while they have also opened for THE KILLERS and HALL & OATES to steadily rebuild the profile of TEARS FOR FEARS; this long wait has been vindicated with a sell-out UK tour for 2018 and the promise of new material.
A new single ‘I Love You But I’m Lost’ shows the classic anthemic TEARS FOR FEARS sound is still present, loud and clear to make amends for the ‘Everybody Loves A Happy Ending’ disaster, while absorbing more recent influences like ARCADE FIRE. Meanwhile, the more sedate ‘Stay’ signals more organic intent despite an autotuned vocal from Smith.
The new compilation ‘Rule The World’ gathers most of the hits, but is missing some singles like ‘Suffer The Children’, ‘The Way You Are’ and ‘Laid So Low’ which however unrealised, were crucial in shaping TEARS FOR FEARS’ creative development.
With ‘The Hurting’ having been many listeners entry in synthpop and modern acts like MARSHEAUX covering ‘Suffer The Children’, while other bands such as SMASHING PUMPKINS and MGMT have cited the band as an influence, is it now the time for TEAR FOR FEARS to reclaim their position and rule the world again?
MARSHEAUX have recorded a cover of TEARS FOR FEARS ‘Suffer The Children’.
TEARS FOR FEARS’ first single was written by Roland Orzabal reflecting the Bath duo’s interests in Arthur Janov’s Primal Scream therapy to deal with the traumas of childhood; a re-worked version appeared on their classic 1983 debut album ‘The Hurting’. The enticing reinterpretation is accompanied by a suitably moody black and white video filmed in Berlin; watch carefully for Sophie and Marianthi’s fleeting cameo appearance…
The mood of the innocent childlike vocal refrain in the bridge of the original is maintained throughout MARSHEAUX’s version. The contrast of a wispy female lead vocal paradoxically adds extra resonance to the weighty poetry of ‘Suffer The Children’.
MARSHEAUX chatted to ELECTRICITYCLUB.CO.UK about the genesis of ‘Suffer The Children’ while also discussing some of their favourite covers and ones which didn’t quite work out…
‘Suffer The Children’ is an interesting song for you to cover, what inspired this?
We were on our way back from our vacation last year and were listening to ‘The Hurting’ album in the car. We were thinking of covering DEPECHE MODE’s ‘Get The Balance Right’ but then suddenly the CD player played ‘Suffer The Children’ and we changed our minds. Whenever we listen to it, it always brings JOY DIVISION in our minds, sounding like what would have happened if they’d decided to play electronic music.
The lyrics of ‘Suffer The Children’ are quite heavy for a pop song. How did you find trying to relate to them?
True, the lyrics are heavy for a pop song. These emotions are coming both ways, from parent and child. You can take the place of both, as a kid and as a parent.
What did you consciously do to make this cover as different from the original as possible?
First of all the vocals are female. Immediately the song softens its dark edges and becomes more poppy. The production is modern and all the samples that we used are from synths and applications like Circle, Alchemy, Synthmaster and Massive.
The guitar solo has been recreated with a synth? How did you achieve this?
We have used a bass from the Korg MS-20 and put it through flanger, distortion and a Boss BC-1X bass compressor pedal.
Your version also reveals the song’s OMD inspired roots?
There is always an OMD inspiration in the full MARSHEAUX catalogue *laughs*
This is actually widely known. If you listen to the original TEARS FOR FEARS version though, you can sense the OMD similarities there too.
Where do you think TEARS FOR FEARS sit next to bands like DEPECHE MODE, OMD and ERASURE?
‘The Hurting’ is a masterpiece. It stands next to other great albums like THE HUMAN LEAGUE’s ‘Dare’, ABC’s ‘The Lexicon Of Love’, OMD’s ‘Architecture & Morality’ and YAZOO’s ‘Upstairs at Eric’s’. Every single track could have been a perfect single.
The strange thing with TEARS FOR FEARS is that each album by them represents musically and culturally, a different period for the band. Maybe it is because they had big gaps in between albums or maybe their concepts, motives and targets were different each time.
They became huge in the USA with ‘Songs From The Big Chair’, and maybe lost their street cutting sense and their artistic value (you know the whole Arthur Janov’s background with ‘primal therapy’ on ‘Suffer The Children’) but this doesn’t belittle the value of their songs.
Even the singles from their Beatles-ish album ‘Seeds Of Love’ are amazing. They surely can stand next to DEPECHE MODE, OMD and ERASURE. They are one of the great bands we have passionately loved and still do. Their lyrics are always incredible. “Memories fade… but the scars still linger”, it’s so wonderful
MARSHEAUX have some great covers. Which ones do you feel have been the most satisfying artistically for you?
THE LIGHTNING SEEDS ‘Pure’ is a favourite for both of us, as well as BILLY IDOL’s ‘Eyes Without A Face’ which was the most successful one. Imagine, this last one was supposed to be bonus track on ‘Breakthrough’ single but Out Of Line, our record company back then, didn’t like it and didn’t want to include it as a bonus in the single.
Choosing a cover can be difficult. Have there ever been any you attempted that didn’t work out?
Yes, there were actually two not very fruitful attempts. The first one was THE PRIMITIVES’ ‘Crash’ and the second was PETE SHELLEY’s ‘Homosapien’!
ELECTRICITYCLUB.CO.UK gives its warmest thanks to MARSHEAUX
‘Suffer The Children’ is released by Undo Records as a download single and available via the usual platforms
Mike Howlett is undoubtedly one of the producers who helped define and shape the sound of Synth Britannia and Trans-Atlantic post-punk.
As the bassist in Sydney band THE AFFAIR, he relocated to London after the group travelled to England following winning the Hoadley’s Battle of the Sounds competition. In 1973, he joined progressive rockers GONG who featured guitarist and future SYSTEM 7 co-founder Steve Hillage. After leaving GONG, Howlett formed STRONTIUM 90 which featured Sting, Stewart Copeland and Andy Summers who subsequently had success as THE POLICE.
His production career began in earnest at Dindisc Records, the Virgin Records subsidiary where his then-girlfriend Carol Wilson was Managing Director. There, he worked with fledgling acts such as THE REVILLOS, MARTHA & THE MUFFINS, MODERN EON and OMD.
While his first Top 20 UK chart entry was with MARTHA & THE MUFFINS, it was his three consecutive Top 15 hits with OMD, including the mighty ‘Enola Gay’, that were to make him an in-demand producer between 1981-1985.
Working with a number of synth friendly acts like BLANCMANGE and CHINA CRISIS, this lucrative period was to include a Grammy Award for ‘DNA’ with A FLOCK OF SEAGULLS in the ‘Best Rock Instrumental Performance’ category. His portfolio was not just restricted to electronic pop, with FISCHER Z, ANY TROUBLE, COMSAT ANGELS, THE ALARM and THE WARD BROTHERS among the artists he also worked with.
Compared with a number of his peers, Howlett’s output was small, but it was highly influential in a short period. Although he moved away from album production, he co-founded the Record Producers Guild in 1987 and launched a record label Mauve in 1993.
Today, he lectures in music technology at several universities throughout the world, having been awarded a PhD in record production in 2009, while he also performs with his psychedelic space funk combo HOUSE OF THANDOY and the occasional reunion of GONG.
Presented in calendar year order and then alphabetically, with a restriction of one song per album project to conceive an imaginary 18 song compilation CD, ELECTRICITYCLUB.CO.UK looks back at the impressive studio career of Mike Howlett…
MARTHA & THE MUFFINS Echo Beach (1980)
MARTHA & THE MUFFINS were six Canadian art students who confusingly had two members named Martha; Gane and Ladly. Combining the spirit of punk and North American styled new wave, ‘Echo Beach’ was a catchy slice of credible pop that featured sax, flute and organ alongside the usual guitars, bass and drums. Reaching No10 in the UK singles chart, it was Howlett’s first big hit and set him off on his successful production path.
Available on the album ‘Metro Music’ via Virgin Records
For its single release, OMD re-recorded ‘Messages’ from their self-titled debut. Utilising a pulsing ‘Repeat’ function on a Korg Micro-Preset shaped by hand twisting the octave knob, Howlett harnessed a template of basic primary chord structures and one fingered melodies to produce a No13 UK chart hit. As well including Mal Holmes’ separately recorded drums for a cleaner snap, Howlett added several melodic bass guitar lines onto the coda to enhance the warm sound.
Just 9 months after OMD’s self-produced debut, the band entered Ridge Farm and Advision studios with Howlett for the more cohesive and gothic follow-up ‘Organisation’. The closer was ‘Stanlow’, a brooding 6 minute epic that conveyed the emotion of returning home after a long journey; the sight of that huge, brightly lit oil refinery from the M56 motorway was apt symbolism. The intellectual but cryptic lyrical themes of OMD set them apart from other acts.
Available on the album ‘Organisation’ via Virgin Records
While THE TEARDROP EXPLODES were not a synthesizer group, their use of synths often confused some to dub them New Romantics as they straddled the line between psychedelic pop and Synth Britannia. The Howlett produced ‘When I Dream’ released in Summer 1980 launched Julian Cope and Co’s debut album ‘Kilimanjaro’. Dressed with detuned synths and low-end sweeps, it got them closer to the charts but it took a brass section to net that first hit in ‘Reward’.
Following designing the cover to MARTHA & THE MUFFINS second album ‘Trance & Dance’, Martha Ladly won a scholarship to study graphic design and left the band. She also began working with Peter Saville. She continued a solo career with her first single ‘Finlandia’ produced by Mike Howlett. While this was akin to Nordic folk, the B-side ‘Tasmania’ was a brooding percussive piece reminiscent of JOY DIVISION with sombre chants from Ladly.
Originally released as the B-side to the single ‘Finlandia’ via Dindisc Records, currently unavailable
Mike Howlett was effectively house producer at Dindisc Records and worked with most of their artist roster. His production of MODERN EON’s ‘Euthenics’ was a re-recorded version of a single released by indie label Inevitable in 1980. With a sprightly but solemn sound like WAH! HEAT and HAMBI & THE DANCE, the band showed some promise. Led by Alix Plain, this version included Tim Lever and Cliff Hewitt who later respectively showed up in DEAD OR ALIVE and APOLLO 440.
Mike Howlett’s work on ‘Souvenir’ had the nightmare scenario of spinning taped choir loops alongside early synthesizer technology while dealing with a disillusioned Andy McCluskey who was feeling left out of a song written by Paul Humphreys and Martin Cooper. Even after its recording, ‘Souvenir’ didn’t sound quite right, until Howlett varispeeded it to the point of Humphreys almost sounding like Alvin The Chipmunk. The end result? OMD’s biggest UK hit!
Before THOMPSON TWINS settled into being the Alex Sadkin produced electropop trio of Tom Bailey, Alannah Currie and Joe Leeway, they were a seven strong combo with a more conventionally driven musical outlook. Previous to that, they were a five-piece art squat collective and Mike Howlett produced their guitar driven third single ‘Perfect Game’. The band later signed to Arista Records and released the more synth friendly breakthrough single ‘In The Name Of Love’ in 1982.
With a blistering burst of Linn Drum and elastic synth bass, ‘I Can’t Explain’ set the scene for an impressive debut album from BLACMANGE. With a sub-Ian Curtis vocal from Neil Arthur, this wasn’t far off an electronic take of JOY DIVISION’s ‘Interzone’, which was based on the Northern Soul fave ‘Keep On Keeping On’ by NF PORTER. This feeling was enhanced further once David Rhodes’ frantic guitar kicked in alongside the bizarre staccato gospel backing vocals.
With titles ‘like Modern Love Is Automatic’ and ‘Telecommunication’, the futuristic Sci-Fi vibe of A FLOCK OF SEAGULLS came to its zenith with ‘Space Age Love Song’. Howlett’s brilliantly punchy production integrated synths with guitars, which undoubtedly helped this often forgotten Liverpool band gain a foothold in the traditionally synthphobic territory of the USA. But the song was popular in Europe too.
With a percussively clanky backbone and using just black keys for its infectious melody line, ‘Wishing’ was the big home hit that A FLOCK OF SEAGULLS has been waiting for, following their acceptance by the MTV audience across the Atlantic. Although much derided in the UK, it was in the US that A FLOCK OF SEAGULLS made a cultural impact, with send-ups of singer Mike Score’s outlandish hairdo appearing in ‘The Wedding Singer’ and ‘Friends’. Score later moved to America and lost his Scouse accent!
A cult single from the Leeds combo named after the Chinese Communist faction led by Madam Mao, ‘I Love A Man In A Uniform’ was a fine example of the scratchy post-punk funk that was prevalent with alternative acts such as A CERTAIN RATIO, PIGBAG and BAUHAUS. Exploring the public fascination with the military, it was also perhaps a passing dig at ECHO & THE BUNNYMEN who had perfected a camouflaged look that their fans copied.
Inspired by Henry Moore, Roland Orzabal described ‘Pale Shelter’ as “a kind of a love song, though more referring to one’s parents than to a girl” – the original single version was produced by Howlett and subtitled ‘You Don’t Give Me Love’ but failed to chart. It began with an unsettling, reverse spoken vocal from Orzabal. It was much darker and obviously synthetic than the familiar re-recording produced by Ross Cullum and Chris Hughes for the TEARS FOR FEARS debut album ‘The Hurting’.
Available on the deluxe album ‘The Hurting’ via Mercury Records
Named after the Gerry Anderson offshoot comic, TV21 primarily used conventional instrumentation, but their Howlett produced single ‘All Join Hands’ featured an OMD styled bass synth sequence and drum machine. Possibly the best known song in the Edinburgh band’s short career, ‘All Join Hands’ was filled with melodic drama, thanks to some classical augmentation by THE CANNIZARRO STRINGS and a fine lead vocal from singer Norman Rodger.
With his OMD success, Mike Howlett was drafted in by Virgin Records to produce what turned out to be the most synth based CHINA CRISIS long player. Utilising Emulator strings and a pizzicato sample derived from plucking an acoustic guitar string close to the bridge, ‘Wishful Thinking’ was a sweetly textured, melodic pop single that deserved its Top 10 chart placing. One fan of the record was STEELY DAN’s Walter Becker who produced the follow-up ‘Flaunt The Imperfection’.
While Zeus B Held provided his arty pop energy for most of ‘The Golden Section’, the sessions had actually began with Mike Howlett but scrapped. One track was released, the serene ‘Twilight’s Last Gleaming’. With an epic gothic aesthetic, it recalled ‘Statues’ from OMD’s ‘Organisation’ and had more of a connection to its predecessor ‘The Garden’ thanks to the choir boy vocal of James Risborough and John Foxx’s own forlorn whistling.
After leaving DURAN DURAN prior to the band signing to EMI, Stephen Duffy formed TIN TIN, an electronic oriented project. Their first single ‘Kiss Me’ released in 1982 became a cult dancefloor hit and for its follow-up ‘Hold It’, Mike Howlett was drafted in on production duties. Less immediate than ‘Kiss Me’, ‘Hold It’ nevertheless gained club traction thanks to a remix by Francois Kevorkian. Duffy eventually went solo and it was a Fairlighted remake of ‘Kiss Me’ that got finally got him a hit.
Originally released a single on WEA Records, currently unavailable
Although the two songs produced by Giorgio Moroder grabbed the attention on BERLIN’s first album proper, the rest of ‘Love Life’ was produced by Howlett. Having achieved success with A FLOCK OF SEAGULLS, Howlett was a natural choice for the LA based band and their Eurocentric aspirations. Combining electronics with a dash of AOR, BERLIN sounded like ULTRAVOX fronted by HEART. With a defiantly feisty vocal from Terri Nunn, ‘Now It’s My Turn’ was absorbingly anthemic.
Available on the album ‘Love Life’ via Rubellan Remasters
After TORUL’s acclaimed albums ‘Dark Matters’, ‘In Whole’ and ‘Tonight We Dream Fiercely’, with the latter seeing the Slovenian trio supporting MESH on their 2013 European tour, electronic audiences are now treated to their latest offering, ‘The Measure’.
Torul Torulsson’s musical involvement over many years in the industry is clearly palpable on this publication, with his influences as wide as THE CURE and MASSIVE ATTACK to THE PIXIES and DEAD CAN DANCE. A rather eclectic selection of tunes, wrapped around gripping and ever-changeable vocals of Jan Jenko, it delivers exactly what it says on the tin. It is a measured album, which no doubt will be of interest to any weathered TORUL fan and connoisseurs of anything that’s different, interesting and unique.
‘Lonely Night’, the opening track, hits the unprepared ear as a matter of instance, with beefy synth lines and Borut Dolenec’s rough guitar riff, resembling THE CURE at their best, and of course, charismatic vocals over an atmospheric sound of electronically charged and self-regulating melody. Undeniably, it’s a full on “measure” to start the record.
The sequenced opening to ‘The Balance’, resembles LADYTRON, yet the song continues to flow like a mirror image of ‘Mad World’ by TEARS FOR FEARS, which has been covered, with considerable success, by TORUL already. The similarities are actually so obvious, one could question the infringement of publishing rights, no matter how decent the song naturally is, or how skilfully it has been produced and performed. Orzabal and Smith’s opinion could prove to be like gold dust here.
Moving on, ‘Higher’ sounds strong, decisive and carefree, yet melancholic and nostalgic, the songs by Texan duo IRIS come to mind at this stage, yet, unlike the previous track, this one sounds original and fresh; it restores the faith in TORUL’s own ability to turn out a rounded track.
The fabulous intro to ‘Difficult To Kill’ promises great things to come; a magnificently experimental sound and vocals by Jan resembling AND ONE’s Steve Naghavi at first, transitioning into higher tones of pure lushness and sophistication. A superb track and, indeed, fully representing the uniqueness of this bunch and the competence of Torulsson’s instrumentation. Invigorating, yet soothing; it is empowering yet easy listening and magnificent.
The scantily titled ‘All’ floats in with vocals bearing the impact of TEARS FOR FEARS again; yet this time, the track is uncommon and unprecedented. Still, the influences of PET SHOP BOYS, and even SCOOTER can be picked out. A proof that the production on this album is based on wide musical tastes, which can be so lacking in the electronic offerings of today. Short and sweet, and an uncomplicated tune, it is as worthy as its predecessor.
The synthy, NEW ORDER-like ‘Hearts’ follows, with its guitar riffs that Martin Gore wouldn’t be ashamed of. With a longer opening before Jan comes in, the full-bodied vocals do not seem to lend themselves to the over produced feel of this song however, making it instantly forgettable and disposable.
The AND ONE vocals return in the opening section of ‘We Grow’. An “atmospheric meets progressive” tune, but this one has a clear floating quality. Not over complicated, its simplicity is phenomenal and Jan modulates his voice from deep to levelled, lending to the track’s exclusivity and rarity. ‘Lost For You’ invites one in with a piercing synth line and the exquisite skills of the vocalist. Slower, fully atmospheric, ethereal and of a dream-like quality, it is like bare feet in the meadow of a love affair in itself.
The dreaminess is cut through, however, with the sword of heavy, ear ringing synths and church bells on ‘The More We Are’. Another solid, almost mechanical tune, due to the combo of vocals and variable electronic elements, it leads inadvertently to the last song on the album ‘Discrepancy’.
Experimental sounding again, with Vlad The Impaler vocals, which no doubt will ring well with the Goths of this world, its vampiric simplicity of scarce sounds give this tune its own genre almost, the vocal leading the flow of the production in a rather superb manner. It’s an extraordinary way to finish off this interesting album, with salvos of fireworks lighting up the dark night sky.
It is fair to say that TORUL, with their unique sounds and array of musical approaches, as well as a mix of influences, are as original as it gets. The production is extraordinary and the attention to detail superb. This album fully represents this, and although it may be a grower, it definitely is a valid addition to the catalogue, of not only the electronic music fan, but also alternative and pop listeners alike.
TORUL have an aura of supremacy, magnetism and prominence around them and ‘The Measure’ surely adds a decent “measure” of all those into the mix. It is definitely a worthy addition to anyone’s music collection.
‘The Measure’ is released by Infacted Recordings on 20th March 2015
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‘Young Romance’ is the follow-up to ROOSEVELT’s first opus and it promises new levels of modern aesthetic euphoria based on the use of vintage synths and a step away from the dance directions previously enjoyed.
Sun filled nostalgia shines through the perfect chill out single ‘Under The Sun’. Eloquently produced, this track marries the melancholic voice approach with summer disco beats. In the style of the über popular DISCIPLES, this hits the spot beautifully before being transported into the world of ‘Yr Love’. With personal lyrics, simplified vocals and summer melody, we are served another little musical gem, this time polished to perfection, while still being an uncomplicated club anthem.
but when it was released in Spring 1983, it disappointed some who had followed the band from the beginning. Not only were all four singles to date included but so were two of the B-sides.
. ‘Mothers Talk’ was a reasonable comeback featuring Orzabal’s lead vocal but the duo were still not happy. Their perceived failing made them more determined; With East / West tensions at a high following the Soviet Union’s invasion of Afghanistan plus the tit-for-tat boycotts of The Olympics Games, The Cold War and the Reagan / Thatcher love-in was to inspire two of TEARS FOR FEARS biggest hits.
, Smith found himself isolated during the recording sessions as Orzabal strived for perfection. Orzabal had co-written a number of songs with live keyboardist Nicky Holland, but the use of a Fairlight and endless session musicians being brought in like Pino Palladino, Manu Katché and even Phil Collins became a distraction in the search for a more organic touch; Ian Stanley left the recording and returned a year later only to find Orzabal still working on the same song!
is released by Universal Records
via Virgin Records
via Virgin Records
via Virgin Records
via Mercury Records
via Cherry Red Records
via Virgin Records
via Edsel Records
via Edsel Records
via Cherry Pop
via Cherry Pop
via EMI Music
via Mercury Records
via Cherry Red Records
via Virgin Records
via Edsel Records
via Rubellan Remasters
is released by Infacted Recordings on 20th March 2015
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