1980s
India Lewis
The Pet Shop Boys' film It Couldn’t Happen Here, originally released in 1988, has been given a new outing on a BFI Blu-ray/DVD that contextualises it with special features. While it's an entertaining snapshot of a particular time in British and pop history, and while I don’t wish to be churlish, that's about as far as it goes.
It's one of those films that one watches and spends a large amount of time wondering what it means, before realising that it doesn’t mean all that much. It's essentially an overblown music video soundtracked entirely by songs from two albums (Actually Read more ...
Thomas H. Green
For better or worse, the lockdown may be easing in the UK but there’s no sign of any gig action, even on the far distant horizon. So it’s back to our screens for all that, and here’s the latest, liveliest selection of concerts, conversations and virtual festival action for the coming week! Dive in!The Other Songs/Brit School FestivalThe record label and management company The Other Songs, whose speciality is nurturing new talent, combine with the Brit School for a virtual festival this Friday (5th June) at 6.00 PM. It will showcase plenty of fresh-off-the-block artists, as well as dancers, Read more ...
joe.muggs
Will Westerman is not afraid of sounding retro. It's clear his influences are diverse, from jazz fusion to the bedroom proto-house experiments of Arthur Russell. But in their final form, his high gloss production, highly literate songs and fretless bass sound like something out of a creatively leftfield but megabucks studio-produced mid Eighties record: the likes of Talk Talk, Kate Bush, Roxy Music's Avalon and above all The Blue Nile loom large.Westerman's arrangements and DEEK Recordings owner Nathan “Bullion” Jenkins's production does an incredible job of doing what would have required Read more ...
Jessica Payn
Maria Reva’s humorously gloomy debut collection, centring on the inhabitants of a block of stuffy apartments in Soviet (and post-Soviet) Ukraine, starts, predictably enough, with Lenin. Instead of an austere symbol of ideology, he’s a statue who “squinted into the smoggy distance. Winter’s first snowflakes settled on its shoulders like dandruff.” A clumsy figure, whimsically at one with the amplified dreariness around him, he fits comfortably within the brisk, deadpan comedy of the stories that follow. By the end of the book, he’s been reduced to “a concrete pedestal”. “Only his feet remain Read more ...
Thomas H. Green
As the music industry slips into the rhythm of lockdown, so the spigot slowly becomes untapped and events, livestreams and similar start to flow more steadily. This week a host of big names are up to a bunch of different stuff, all worth checking. Dive in!A Theatre for Dreamers/Von Trapped Family Livestream + Dave Gilmour Live at PompeiiA couple of treats for Pink Floyd fans, from both ends of the band’s career. Most current is the latest home-stream by guitarist David Gilmour’s family. These take place each Friday and partly celebrate Gilmour’s wife Polly Samson’s bestselling novel A Theatre Read more ...
Kieron Tyler
“Like mellotrons before them, synthesisers could project a strange and deep emotion – something in the wiring had an inherent melancholy. Previous generations had often disparaged synths as dehumanising machines but, at the turn of the 80s, a new generation of musicians appeared who could coax them into creating modern and decidedly moving music. It was almost as if these groups had intentionally set out to prove the doubters wrong.”The strapline from the back of the Saint Etienne-compiled The Tears of Technology lays out the 20-track collection’s mission statement: to rescue synth-infused Read more ...
Kieron Tyler
Open-mouthed incredulity is a reasonable reaction to this 2012 documentary on one of the UK’s prime punk-spawned bands, available on catch-up via streaming service Now TV’s tie-in with Sky Arts. There’s not much “rise” but there’s an awful lot of “fall” in The Rise and Fall of The Clash.After coalescing between April and June 1976 in the slipstream of the Sex Pistols, The Clash fell apart in November 1985. The end came at the same time as the release of what became their final album, Cut The Crap. Reviewing it for the music weekly Melody Maker, Adam Sweeting said “Guess what? It’s CRAP! And Read more ...
Kieron Tyler
“An exercise in bizarre mixtures, combining the bleak acid hangover of half-hearted Velvet Underground impersonators with muted razzmatazz: a long and rather stylish joke.”The April 1980 New Musical Express review of The Monochrome Set’s debut album wasn’t entirely favourable but it captured the difficulty of getting to grips with the band. A combination of raised-eyebrow archness and dolefulness confirmed the band was setting-out its own path. Further confirmation of their slipperiness came in October 1980 when a second album was released.Strange Boutique, the debut, and its follow-up Read more ...
Thomas H. Green
ZZ Top always seemed like a Texan version of Status Quo. It turns out, from watching this entertaining but hardly revelatory documentary, that is kind of what they are. Directed by Canadian Sam Dunn, best known for his 2005 documentary, Metal: A Headbanger’s Journey, the film follows Dusty Hill, Billy Gibbons and Frank Beard as they go from Hicksville also-rans to global megastars, while hardly changing their bar room blues boogie a jot.The hour-and-a-half documentary is good on their convoluted beginnings, clearly laying out their stints in various wannabe-Beatles/Stones 1960s outfits, with Read more ...
Matt Wolf
The talk is of an “economy in ruin [with] unemployment through the roof”: a précis of Britain in lockdown? In fact, this is one of the many eerily apposite remarks to be found in Wonderland, the Beth Steel drama set in the early 1980s that marks the second in the Hampstead Theatre’s sequence of three productions streamed across as many weeks: Howard Brenton’s Drawing the Line comes next, and last.And what a pleasure it is to be reacquainted with the muscular drama – the author’s second-ever play – that brought Steel a 2014 Evening Standard Theatre Award for Most Promising Playwright. The Read more ...
Thomas H. Green
For the duration of this C19 Lockdown, rather than the usual sprawling monthly epic, theartsdesk on Vinyl will be presented regularly in bite-sized editions, roving across the pile of releases we have already, since those incoming have been whittled down a trickle. Welcome, then, to a cross edition of plastic ranging from the beautiful to the bizarre. Dive in!Napalm Death Logic Ravaged by Brute Force/White Kross (Century Media)Great title. You don’t get titles like that with Dua Lipa! Five years after their last album, Apex Predator – Easy Meat, the Midlands’ perennial politico noise-riff Read more ...
Kieron Tyler
A raga-rock circularity. Finger cymbals. A distant, etiolated female vocal. A fuggy atmosphere. A kinship with Jefferson Airplane’s “Come Up The Years”, The Jesus and Mary Chain’s “Just Like Honey” and The Velvet Underground’s “All Tomorrow’s Parties”. Hangman’s Beautiful Daughters' “Love is Blue” is a beautiful, haunting recording.The band’s “Outta My Head” is as great, but is taken at a faster tempo and along the lines of US Sixties psych-garage rockers The Neighb'rhood Childr'n or “Don't Cry Your Tears”, the 1981 single by Edinburgh band The Delmontes.“Outta My Head” and “Love is Blue” are Read more ...