CLV. Daniel Ash | Coming Down

DANIEL ASH

Coming Down

©Beggars Banquet. UK, 1991.

‟A remarkable late night trip to a Quaalude & absinthe world wearing an ensemble of darkest black hole black (including accessories). Utilizing the space between notes, echoes from down the hall and a tortured lounge vibe at the back of the S&M bar, proves that "Coming Down" is a rich, delectable view of decadence and regrettable hang overs. The record holds up with a restrained malevolent glee and surprising playfulness. Reverb snare drums and haunted figures drift in and out of focus while a mid eastern vibe somehow seeps under the doors. Guitars are distorted and Natascha Atlas's voice weaves along side in a sorrowed counterpoint.

This is a fantastic rediscovery for me - out of print and picked up for $2 @ the pawn shop after almost 20 years. One of those long lost growers that got under my skin and still sounds great on a rainy day or a full moon's lonely night. While it seems haunted these ghosts conjured are of the hip and benevolent type. Nothing to worry about here, as it sure ain't Ian Curtis discussing Eternal Decades or isolated Atrocity Exhibitions. Sure Ash tries to scare you but he can't lose that pop sensibilty and you know he's just a little hurt and he simply can't not be cool as it all unfolds. At turns experimental and moody when not off on a twisted pop trip, file this one next to: Darklands, "Earth • Sun • Moon" and Music for a New Society. Essential (for moping about with your shades on).‟

Ramdom

 

XCI. Peter Murphy | Love Hysteria

PETER MURPHY

Love Hysteria

©Beggars Banquet. UK, 1988.

‟Yet another album bought on the back of Nerdcon '07 – or more accurately Dolarhyde's compilation CD. Peter Murphy's "Socrates The Python" closed his "secret Santa" CD in style and I've been promising myself a copy of Love Hysteria ever since. Rarely does the acquisition match the anticipation but in this case it comes pretty close.

Even though I own a couple of Bauhaus albums I was never really a fan. Their sound was interesting but I could never shake the feeling that they were trying way too hard to be bleakly avant-garde. That impression was accentuated by Murphy's vocal which can be so deep and hollow the guy could have recorded his vocal from the bottom of a cavernous pothole. Even though I've not heard all of his work since leaving the band, he appears to have lightened up considerably and even occasionally dabbles in the pop arena – which I'm sure went down a storm with all those kohl-eyed Goths.

As with Cascade – my only other experience of Murphy's solo work – "Love Hysteria" contains a number of songs that bring to mind other artists. Opener "All Night Long" could have been lifted directly from Japan's Quiet Life album. Such is the similarity I had to check whether Richard Barbieri was guesting on keyboards. Then there's "Time Has Got Nothing To Do With It" which brings to mind Peter Gabriel-era Genesis. Bonus track "I've Got A Miniature Secret Camera" could be a Thomas Dolby song. "His Circle And Hers Meet" has a beat Prince would be proud of. "Dragnet Drag" has hints of Echo And The Bunnymen while "Indigo Eyes" recalls Lloyd Cole And The Commotions combined with A Flock Of Seagulls. But, while guess the influence provides a neat diversion, there's no doubting all these come together under Peter Murphy's own persona. In fact the only oddity here is the one track Murphy didn't have a hand in writing. David Bowie and Iggy Pop's "Funtime" doesn't really serve any purpose because it has the same industrial feel as the original version with Murphy's voice sounding very much like Pop's. And why anyone would want to record a smoky voiced lounge jazz version of the same song is beyond me. I'm all for experimental cover versions but a Cabaret Mix of "Funtime" sounds like the think tank ran out of brain food. Bit like this recent campaign by Walkers Crisps asking the public for their ideas for new flavours. How about a broccoli and strawberry mix? Or sausage and lemons? Or mushroom and camomile tea? No! It doesn't bloody work!

What is a confusing delight throughout the whole of "Love Hysteria" are the baffling lyrics. I know I'm probably in a minority here but I'm not all that bothered about understanding what a song is about. I like the rhythmical cadence that comes with a great necklace of words and Murphy is very adept in this regard. The relentless metronomic beat of "Socrates The Python" comes replete with an obfuscating lyric that is brilliantly incomprehensible.

So two Murphy solo albums down and two albums well worth the money. Let's hope the guy's run continues because I've still gotta a-ways to go.‟

Grampus