Gang Of Four Entertainment!

Gang Of Four Entertainment!

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Entertainment! is one of those records where germs of influence can be traced through many genres and countless bands, both favorably and unfavorably. From groups whose awareness of genealogy spreads wide enough to openly acknowledge Gang of Four's influence (Fugazi, Rage Against the Machine), to those not in touch with their ancestry enough to realize it (rap-metal, some indie rock) -- all have appropriated elements of their forefathers' trailblazing contribution. Its vaguely funky rhythmic twitch, its pungent, pointillistic guitar stoccados, and its spoken/shouted vocals have all been picked up by many. Lyrically, the album was apart from many of the day, and it still is. The band rants at revisionist history in "Not Great Men" ("No weak men in the books at home"), self-serving media and politicians in "I Found That Essence Rare" ("The last thing they'll ever do?/Act in your interest"), and sexual politics in "Damaged Goods" ("You said you're cheap but you're too much"). Though the brilliance of the record thrives on the faster material -- especially the febrile first side -- a true highlight amongst highlights is the closing "Anthrax," full of barely controlled feedback squalls and moans. It's nearly psychedelic, something post-punk and new wave were never known for. With a slight death rattle and plodding bass rumble, Jon King equates love with disease and admits to feeling "like a beetle on its back." In the background, Andy Gill speaks in monotone of why Gang of Four doesn't do love songs. Subversive records of any ilk don't get any stronger, influential, or exciting than this.

Hothouse Flowers Home

Hothouse Flowers Home

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Hothouse Flowers continued their exploration of Irish folk and gospel on their second album, Home. Their debut album, People, had introduced Hothouse Flowers to the world, largely through the strength of the single "Don't Go." several singles were released from this disc, namely "I Can See Clearly Now," "Give It Up," and "Movies." The shadow of Van Morrison looms large over Home, from the slow, piano-driven ballads "Sweet Marie" and "Shut Up and Listen" to gospel choir-backed rockers like "Giving It All Away" and their cover of "I Can See Clearly Now." Hothouse Flowers aren't simply a pale imitation of their influences, though, and their songwriting and musicianship are excellent throughout. From the clever anthem "Movies" to the Eastern-tinged "Water," Hothouse Flowers have created a masterful collection of pop songs. Home is an underrated gem

Billy MacKenzie Beyond The Sun

Billy MacKenzie Beyond The Sun

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Ex-Associate Billy Mackenzie was working on the tracks which comprise Beyond the Sun when he committed suicide, leaving this planned comeback bid unfinished; the Cocteau Twins' Simon Raymonde, among others, completed the demos for release, and the results are frequently impressive, if bittersweet. Mackenzie is in fine voice on each of these tracks, which veer between his trademark synth-pop sound and a more contemporary Britpop flavor; while clearly in its rough stages at the time of Mackenzie's death, Beyond the Sun is a potent reminder of his eccentric gifts -- he will be missed.

David Sylvian Everything And Nothing

David Sylvian Everything And Nothing

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Singer/songwriter David Sylvian's career spans a long and enigmatic scene of experimental rock and emotional restylings. Not one to fully absorb the conventional ways of a certain circuit, Sylvian is a realist musician. He is ambitious in molding his own catharses within layers of woodwinds, horns, and homegrown synth beats, and 1999's Dead Bees on a Cake was only a small cue to Sylvian's forthcoming work. The new millennium brought the release of the double-disc Everything and Nothing, a reflection of Sylvian's previously unreleased older material. Sonically gorgeous with vocals comparable to Bryan Ferry, Everything and Nothing is a vastly expressive record of 29 tracks lost in the vaults of remixes, time, and creative changes; it is certainly a moving package of lush elevations and underrated wordplay. The two-disc set hums with eclectic instrumental constructions and tinges of Middle Eastern material, especially on tracks such as "Ride." "Pop Song" is more attractive with its abstract guitar riffs and whimsical synth loops, and "Some Kind of Fool," a long-lost Japan song intended to be on 1980's Gentleman Take Polaroids, is electronically driven. It's naturally abrasive in lyrical poetry, and Sylvian's atmospheric nature to float over the initial song composition is classic. "Jean the Birdman" echoes the sultriness of Peter Murphy, but Sylvian is shiftless at the same time with his funkadelic mood. The textural differences among the cuts make Everything and Nothing particularly inviting, reflecting the wholehearted desire that continues to make David Sylvian a fresh contributor. He is surprising, professional, and unattached to what's common. Everything and Nothing is undoubtedly a firm recognition of Sylvian's musical wizardry.

Gary Numan & Tubeway Army Replicas Redux (Expanded 2008 Tour Edition)

Gary Numan & Tubeway Army Replicas Redux (Expanded 2008 Tour Edition)

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By the release of their second album, Replicas, Gary Numan was the undisputed focal point and leader of icy electro-punkers Tubeway Army. And the move proved to be massively successful back home in the U.K., where both the album and the single "Are 'Friends' Electric?" topped the charts. The band had made a conscious effort to streamline the sound heard on its 1978 self-titled debut -- the distorted guitar riffs were played on Moog synthesizers instead, and Numan had perfected his faux-space-age persona. And the paranoia that is very evident in the lyrics and vocals on Numan's next release, The Pleasure Principle, can be detected on Replicas. Another near-perfect album by the band, highlights are many -- "Me! I Disconnect from You," "The Machman," "You Are in My Vision," and one of the most underrated new wave/synth-driven compositions of the whole era, the chilling ballad "Down in the Park." And out of all the Gary Numan/Beggars Banquet reissues, Replicas contains the strongest bonus tracks, such as never heard outtakes from the recording sessions, including "The Crazies," "Only a Downstat," and the B-side to the original "Are 'Friends' Electric?" single, "We Are So Fragile."

Sparklehorse Good Morning Spider

Sparklehorse Good Morning Spider

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Recorded after singer/songwriter Mark Linkous' accidental, near-fatal drug reaction and subsequent 12-week stay in London's St. Mary's Hospital, Good Morning Spider dwells in the liminal spaces between dreaming and waking, sickness and health, and living and dying. The album takes these grey areas and makes a world out of them, blending classic songwriting with an experimental sound that borrows from hi-fi and lo-fi. A natural progression from Vivadixiesubmarinetransmissionplot, Good Morning Spider adds bubbling synths, ambient electronics, horns, and drum loops to the mix, giving songs like "Painbirds" an unclassifiable -- but distinctively Sparklehorse -- blend of darkness and childlike innocence. From driving songs like "Pig" and "Cruel Sun," to frail, winding ballads such as "Saint Mary" and "Come On In," to the experimental pop of "Ghost of His Smile" and "Sunshine," the album encompasses a rainbow of sounds and emotions but never loses focus.

The Comsat Angels Sleep No More

The Comsat Angels Sleep No More

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Sleep No More, the second Comsat Angels album, is a confident follow-up that contains a tighter and more cutting version of Waiting for a Miracle's alluring insularity. Going by "Eye Dance," the torrid opener, one might expect a more aggressive affair, but that's not necessarily the case. The album turns out to be neither as pop nor as fast, with a majority of the material playing out at a dirge-like pace. There were no singles. Like Magazine's Secondhand Daylight, or the Sound's All Fall Down, Sleep No More can be a trudge and quite bleak, perhaps even impenetrable at times. However, as with Waiting for a Miracle, the dynamics of the album become increasingly perceptible with each play, and the slowest, austerest passages begin to seem as intense as the few that slam and punch. With the exception of "Restless," a mood piece of harmonic flickers, light whispers, and low throb, the album is driven by Mik Glaisher's booming drums, which were recorded in a manner -- near a lift shaft, to be precise, with microphones placed on six surrounding floors -- that makes the album wholly enveloping and, occasionally, imposing. (Imagine Joy Division's "I Remember Nothing" and Talking Heads' "The Overload" on top of one another, doubled in heaviness.) The subject matter: not a big surprise, given the title of the album, with further adventures in malfunctioning-relationship purgatory, along with topical matter like "Dark Parade" (about the volatile hostage situation at the U.S. Embassy in Tehran), a song that hardly repeals the level of turmoil expressed elsewhere. Regardless of the continued strength in the songwriting, it's impossible not to get caught up in the album's sounds. The title track overwhelms with its swirling layers of guitar and keyboards over an unchanging drum pattern. The storming "Goat of the West" wastes no time in whipping itself into a controlled frenzy of churning guitars, punishing drums, and bewildered vocals ("Did you see what happened?/It's so funny that I'm not laughing"). On "At Sea," the rhythm section does the riffing, with Glaisher's thumping drums suctioned to Kevin Bacon's cavernous bass. While it's not as easy to enjoy as Waiting for a Miracle -- for a lot of listeners, it's that kind of album that requires some mental preparation -- Sleep No More is certainly more powerful, and it's also a greater achievement. Here, the Comsat Angels became one of the era's most exceptional bands

The Creatures Boomerang

The Creatures Boomerang

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Returning to full action after Siouxse and the Banshees revitalized themselves with the Peep Show album and tour, the Creatures once again recorded an album that took full advantage of their surroundings. Instead of tropical Hawaii, it was Spain that they and longtime producer Mike Hedges found themselves in, reflected in both the stark location photography from Anton Corbijn and the mix of Spanish-tinged music and lyrical themes. The lead-off track was also arguably the strongest: "Standing There," with a rhythm and horns assault Foetus or Yello would be proud of and Sioux at her most cutting against wolf-whistling male taunters and their ilk. The rest of the album proved a worthy follow-up to such a memorable start, whether creating Iberian-inspired pieces like the flamenco and trumpet-tinged "Manchild" or the strut of "Strolling Wolf" or following other individual impulses. Sioux's singing is some of her best both in and out of the Banshees, still retaining the shadowed mystery that she makes her own while drawing on an interesting range of styles, from cabaret to Nico-esque chanting. Budgie, meanwhile, continues to demonstrate why he's such a fantastic drummer and percussionist, from tribal stomps to lighter bell, marimba, steel drum, and other combinations, even a few electronic loops for good measure. The busy "Fury Eyes," which became the second single from the album, has the same quick pop feel as "Miss the Girl" with a more immediately fun edge. Blues/jazz influences crop up throughout Boomerang -- the wheezing harmonica on "Willow," the slow crawl of "Killing Time," and more -- and get a great new lease on life as a result. One of the best numbers marries a sassy low R&B base to futuristic ambient sound and very glam lyrics, "Pluto Drive," which on the CD version blends into the vocal/instrumental mood piece "Solar Choir" nicely