1980s
Sarah Kent
The second exhibition staged by Damien Hirst in his stunning Newport Street Gallery is of work from his collection by the American artist, Jeff Koons. Hirst was still a student at Goldsmiths when, in 1987, Charles Saatchi showed Koons and other young Americans at his gallery in St John’s Wood. Hirst was blown away by the freshness and ambition of work that took Warhol’s love affair with consumer culture one stage further. This mini-retrospective can be seen, then, as a tribute both to Saatchi and Koons – inspirational figures in the 1980s. A huge, sugar-pink bowl filled with Read more ...
Adam Sweeting
It was in the long-ago year of 1982 that Martin Fry and ABC released The Lexicon of Love, a feast of addictively lush pop-soul swathed in Anne Dudley's orchestrations and producer Trevor Horn's sparkling electronic innovations. Fry bestrode it like a knowing nouveau-glam mastermind, treading in the ironic footsteps of Bryan Ferry and David Bowie as he effortlessly juggled camp, kitsch and sardonic wit. The album's multi-million-selling success was underpinned by vintage songs like "Poison Arrow", "The Look of Love" and "All of My Heart".Yet all things must pass, and Fry spent much of the Read more ...
Adam Sweeting
It's getting mighty crowded in the superhero lounge. After the underwhelming Batman v Superman and the overwhelming Captain America: Civil War, here's the X-Men posse back on the warpath, once again under the bombastic helmsmanship of Bryan Singer.The extended opening sequence is a mesmerising standalone episode. It sets up the action by whisking us back to ancient Egypt and introducing the infinitely ancient Apocalypse, a self-styled god who has spent aeons gathering ever-increasing powers by transplanting the gifts of assorted mutants into himself. As pyramids tumble, Singer zooms us back Read more ...
Nick Hasted
After Dazed and Confused, college days. This successor to Richard Linklater’s 1993 cult favourite about high school hedonism in 1976 moves on to the start of a 1980 college term. Everybody Wants Some!! is named after a Van Halen song instead of the earlier film’s Led Zeppelin but, with the Reagan years yet to kick in, little culturally essential has changed. The pursuit of sex, drugs and rock’n’roll remains these American kids’ inalienable right.Linklater has observed that, as well as being a “spiritual sequel” to Dazed and Confused, this starts where the Oscar-winning Boyhood ends, with a Read more ...
joe.muggs
It's peculiar seeing any band come back together after a serious length of time, but when that band were part of your adolescence the cognitive dissonance is exponentially increased. Along with the likes of Ride and Slowdive, Lush were a band linked to the “shoegaze” indie sound born in the Thames Valley at the very end of the Eighties, and my main experience of them was at ear-bleed volume in dangerously packed-out, toilet-stall-sized venues around the area, my fringe covering my face and all the hormonal intensity of youth amplifying the effect of the sound. So to see them after a gap of Read more ...
Kieron Tyler
Any appreciation of Scotland’s The Associates is coloured by the knowledge that Billy MacKenzie took his own life at age 39 in January 1997. More than his band’s voice, he personified their unique approach to music. Between 1979 and 1982, with collaborator Alan Rankine, he created a string of vital records which defy genre pigeonholing and define their vehicle The Associates as one of Britain’s most wilful pop acts. Rankine split from MacKenzie in 1982 at the point when they had broken into the charts. MacKenzie, despite continuing to record as The Associates, solo and in collaboration, never Read more ...
Kieron Tyler
The immediate reaction to Close to the Noise Floor is “Why hasn’t anyone done this before?” This new four-disc set’s subtitle captures its objective in a nutshell: to collect Formative UK Electronica 1975–1984 – excursions in proto-synth pop, DIY techno and ambient exploration. While the stars include Blancmange, John Foxx, Throbbing Gristle and the big cult names Bourbonese Qualk, Legendary Pink Dots and Instant Automatons feature, the less well-knowns Sea of Wires, We be Echo and Muslimgauze are also collected.Close to the Noise Floor sets the moody electropop of Spöön Fazer’s previously Read more ...
Barney Harsent
The post-Christmas headlines could barely contain themselves: HMV sells one turntable per minute! UK vinyl sales set to hit two million in 2016! Tesco stocking records! Vinyl was officially back.And now Record Store Day 2016 is upon us and likely to be the biggest one since its 2007 inception. There has been much discussion about the merits of RSD, on which shops around the country will be stocking limited releases to sate the public’s newfound appetite. For some shops, it’s a boost as increased awareness, footfall and income can see them through fallow times. Buying in swathes of stock is a Read more ...
joe.muggs
The deadpan duo of Tennant and Lowe have never been easy to suss out at the best of times: maybe their way of layering wackiness on deep seriousness, eyebrow-flickering subtlety on roaring camp, giddy frivolity on erudition, has been their way of staying fresh. The Gilbert & George of British pop, they live to perplex even into middle age and beyond. But even given all that, quite what they're doing starting an album with “Happiness”, a hokey country and western hoedown mixed into the thumping EDM of modern American raves – sounding like Major Lazer going crazy on the chewin' tobacco – is Read more ...
Kieron Tyler
The variables which help records attain cult status are usually permutations of obscurity, patronage, rarity and perceived or received notions of greatness. This fluid formula can make an album the acme of grooviness, even if barely anyone cared or had even heard of it when it was originally issued. Witness the Lewis album, L’Amour.This sanctioning process will never cease. There will always be something ripe for resurrection. The price of original pressings is a fair guide to interest and therefore a possible indicator of new audiences for records which had fallen between the cracks. Of Read more ...
Kieron Tyler
When the Sixties-inspired The Prisoners released their second album Thewisermiserdemelza in 1983, the decade they looked to for their musical and sartorial style was closer to the album itself than it is to today. Now, the half-century remove from what the Medway band drew from then ought to be as distant as, say, the minutiae of 1916 are from those of 1966. Yet this is not the case. The 1960s have never been consigned to the dusty drawer of distant memory, a point rammed home by the Victoria & Albert Museum's annoucement last week that they are to hold a major exhibition dedicated to the Read more ...
Kieron Tyler
Lizzy Mercier Descloux was an early adopter. In 1975, she travelled from her Paris home to Manhattan and saw The Ramones, Patti Smith, Television and the Richard Hell-edition Heartbreakers. Although the first issue of the New York fanzine Punk came out at the end of the year, punk rock was not yet quite codified. Nonetheless, there was a scene and something new was in the air. Descloux had to check it out and on her return to France, she co-founded the new music monthly Rock News.The new magazine was dedicated to The Velvet Underground. Iggy Pop was its first issue’s cover star. There were Read more ...