Glitter Gutter Trash
Issue 203 / November 2005 More from this Issue
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A psychotic candyland full of glam glitz, trashy pop, new wave, post-everything, retrofuturisms and distorted beauty
From the broken mind of ryan michael painter rien@davidbowie.com
Richard Hawley
Coles Corner
Mute
Street: 09.06
Richard Hawley = Elvis + Sinatra @ Sun Studios
Having served his time in the Longpigs and as one of Pulp's live guitarists, Hawley returns with his third solo release, which just happens to be his finest yet. Caught somewhere between retro-chic and Las Vegas at 4 A.M. after you've lost everything, Coles Corner sighs along with a sincerity that Chris Isaak could only dream of. The sparse reverb of the guitar and the occasional use of orchestral arrangements hang on you, but it is the drawn-out vocal that makes the songs feel immense and carry that sort of wistful romanticism found in Morricone's best cinematic scores. Don't be surprised if David Lynch falls in love and has him co-team with Badalamenti for his next film. Perfect listening for the brokenhearted and bewildered.
Depeche Mode
Playing the Angel
Mute/Reprise
Street: 10.18
Depeche Mode = Synth Kings Vicious Bite + Revival of Misery & Discontent
Playing the Angel is the best album Depeche Mode has recorded since Alan Wilder's departure following the Songs of Faith & Devotion tour. While that might not seem an impossible task considering the here-and-there quality of Ultra and Exciter, it does silence doubts that the group was lost to mid-age mediocrity. From the opening track "A Pain I'm Used To" to the fifth track and lead single, "Precious," the album is solid. Playing the Angel is an updated twist on the Some Great Reward sound with a more dominant role for guitar (which has slowly become more and more prevalent since Music for the Masses). From there, things become less interesting as the ballads (minus that sort of grandeur and delicacy that they once had) dominate through to the end with the sharp turning of "Lilian" being the only major exception. The three songs written by Dave Gahan are lightweight, despite the strength of his recent solo release. I do highly recommend the limited edition version that contains a 5.1 surround mix of the album (boosts even the more meandering songs), the fantastic video for "Precious," a documentary, and a moody reworking of Violator's "Clean." There is also a re-recorded version of "Waiting for the Night" available on-line that is quite lovely. All in all, a rather good release from a band that once spilled out untouchable classics (E Center: 11.12).
Devo
Live 1980 (CD/DVD Dual Disc)
MVD
Street: 08.23
Devo = Ed Wood + Michael Moore
When a group of politically charged nerds in bad B-movie costumes take to the stage playing no-wave pop with Kraftwerk electronics thrown in for bad dance-floor antics, a disaster can't be far behind. Devo might be hard to pin down (not exactly men but definitely the anti-KISS), but they are certainly more than the plastic hats and contamination-spacesuit imagery that they've become notorious for. At the heart of it, Devo is a politically charged pop/punk act. If "Freedom of Choice" has been their mega-hit, you still might not confuse them with the Dead Kennedys, but you wouldn't lump them in with a lot of the senseless pop music that the 80s offered. The live show on this disc catches the group at the pinnacle of their artistic and commercial success and includes a fine balance of the early guitar-driven tracks as well as the analogue synth that flavored their later releases. It is also striking, as the intro suggests, that the political statements they made then are seemingly more relevant now (that is, if you are looking for a message, which might be asking a bit much). Yes, the footage constantly reminds you it was shot in the 80s; the effects, film quality and even the stage show are dated but the sound is brilliant. Aesthetically, as a document, it might not equal the Talking Heads' Stop Making Sense but is equally important. Between the Heads and Devo, the old standard of lip-synched T.V. appearances are about to become taboo and a crutch for lesser bands who couldn't pull it off outside the studio. Believe me, you will like Devo a whole lot more than you think you do. Admit it; you've always been a spud.
From the broken mind of ryan michael painter rien@davidbowie.com
Richard Hawley
Coles Corner
Mute
Street: 09.06
Richard Hawley = Elvis + Sinatra @ Sun Studios
Having served his time in the Longpigs and as one of Pulp's live guitarists, Hawley returns with his third solo release, which just happens to be his finest yet. Caught somewhere between retro-chic and Las Vegas at 4 A.M. after you've lost everything, Coles Corner sighs along with a sincerity that Chris Isaak could only dream of. The sparse reverb of the guitar and the occasional use of orchestral arrangements hang on you, but it is the drawn-out vocal that makes the songs feel immense and carry that sort of wistful romanticism found in Morricone's best cinematic scores. Don't be surprised if David Lynch falls in love and has him co-team with Badalamenti for his next film. Perfect listening for the brokenhearted and bewildered.
Depeche ModePlaying the Angel
Mute/Reprise
Street: 10.18
Depeche Mode = Synth Kings Vicious Bite + Revival of Misery & Discontent
Playing the Angel is the best album Depeche Mode has recorded since Alan Wilder's departure following the Songs of Faith & Devotion tour. While that might not seem an impossible task considering the here-and-there quality of Ultra and Exciter, it does silence doubts that the group was lost to mid-age mediocrity. From the opening track "A Pain I'm Used To" to the fifth track and lead single, "Precious," the album is solid. Playing the Angel is an updated twist on the Some Great Reward sound with a more dominant role for guitar (which has slowly become more and more prevalent since Music for the Masses). From there, things become less interesting as the ballads (minus that sort of grandeur and delicacy that they once had) dominate through to the end with the sharp turning of "Lilian" being the only major exception. The three songs written by Dave Gahan are lightweight, despite the strength of his recent solo release. I do highly recommend the limited edition version that contains a 5.1 surround mix of the album (boosts even the more meandering songs), the fantastic video for "Precious," a documentary, and a moody reworking of Violator's "Clean." There is also a re-recorded version of "Waiting for the Night" available on-line that is quite lovely. All in all, a rather good release from a band that once spilled out untouchable classics (E Center: 11.12).
Devo
Live 1980 (CD/DVD Dual Disc)
MVD
Street: 08.23
Devo = Ed Wood + Michael Moore
When a group of politically charged nerds in bad B-movie costumes take to the stage playing no-wave pop with Kraftwerk electronics thrown in for bad dance-floor antics, a disaster can't be far behind. Devo might be hard to pin down (not exactly men but definitely the anti-KISS), but they are certainly more than the plastic hats and contamination-spacesuit imagery that they've become notorious for. At the heart of it, Devo is a politically charged pop/punk act. If "Freedom of Choice" has been their mega-hit, you still might not confuse them with the Dead Kennedys, but you wouldn't lump them in with a lot of the senseless pop music that the 80s offered. The live show on this disc catches the group at the pinnacle of their artistic and commercial success and includes a fine balance of the early guitar-driven tracks as well as the analogue synth that flavored their later releases. It is also striking, as the intro suggests, that the political statements they made then are seemingly more relevant now (that is, if you are looking for a message, which might be asking a bit much). Yes, the footage constantly reminds you it was shot in the 80s; the effects, film quality and even the stage show are dated but the sound is brilliant. Aesthetically, as a document, it might not equal the Talking Heads' Stop Making Sense but is equally important. Between the Heads and Devo, the old standard of lip-synched T.V. appearances are about to become taboo and a crutch for lesser bands who couldn't pull it off outside the studio. Believe me, you will like Devo a whole lot more than you think you do. Admit it; you've always been a spud.
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