Peter Gabriel-Security(1982)

In post punk Britain in the late 70s, there was a main move away from the punk ideal to bands that seem to incorparate their influences. In this instance you had Bauhaus who gained success with Ziggy Stardust as an example. With punk there was a move to sort of dismiss everything that went before 1976 as not really relevant. In the early 80s there was not many bands that were aspiring to be Genesis , except if you count Marillion. Genesis were seen as slightly self indlugent in the early 80s, it wasnt until the Phil Collins solo success that Genesis suddendly becae hip again. In hidsight I find some of early Genesis really powerful especially tracks like ' Dance of the moonlight Knight'and 'Fly on the windshield'. When you listen to the genesis back catalogue you can see there is more themes and structure to their albums, it almost with hidsight there is an inevtably that Gabriel was going to leave Genesis. Peter Gabriel seemed at the height of punk to be collabarating with Eno and Fripp who were part of their respective bands (Roxy Music, and King crimson), but where Peter Gabriel succeeded at this time was to develop a more edgy sound. It had starkness in the production and the output. You can hear the glimpses of what was to come in tracks early on like "HEre comes the Flood'. By early 1980 and with the success of Pater gabriel 3. Peter seemed to get more into world musics and also had fairlight which truly meant that his sound had a modern feel. Rather than create a slick sound his sounds were almost tribal and sparse. With the Security album in 1982 it only has one really truly stand out track in terms of commerciality which is 'I Have the Touch'. The rest of the album has the nature of experimentalism. The album starts with "Rythmn of The Heat', this is probably one of the best constructed songs on the album it starts eiree and the builds up in atmosphere. Probably the other highlight is 'San Jacinto ' which has a real searing vocal , it has been played live numerous times since. The other tracks like 'Family and the fishing net' is abstract it reminds me of David Bowie's "Sons of silent age, 'Lay your hands on me ' deals with healing by touch. The album ends with Wallflower which features heavy percussive sounds. Many of the songs feature in the New Blood concerts in a orchestral setting, which gives the songs added depth. I think when the first Peter Gabriel albums came out they set the way forward for solo artists to remain their fan bases whlst at the same time moving their sounds forward. Peter Gabriel was a visonary i n terms of humantarism issues, production(real World studios) and is in my huble opinion right up there with David Bowie in terms of music as an art form.

The Cult-Dreamtime

https://www.youtube.com/watch?v=ckhY3xynhLc The Cult-Dreamtime (1984) Post punk well maybe…, but what followed was definitely not. The Cult were a band that had had three name changes in as many years. Formerly they were the Southern Death Cult, Then Death Cult and then the Cult. What got them notice was that there first concerts were recorded live for TV and also the pop show the Tube gave them exposure which the singer grabbed with both hands. At the time the tube appearances got people talking about them, maybe not since Peter Murphy was the front man to the fore. What also changed from the 1982 period to 1984 was that members came and went. But Billy Duffy joined from the Theatre of Hate, his guitar playing gave Astbury the songs greater textures. No more was this more evident with the ‘She Sells Sanctuary’ 1985 single. But going back to the 'Dreamtime’ album it is probably one of the best produced gothic albums, it does have a punk angle to it, compared to the rock(y) follow up of Love. It starts with 'Horse Nation’ which builds up the album, quite a good intro for the album. There were a number of singles that were lifted from the album 'Go West’, 'Ressurection Joe’ and 'Spiritwalker ’. I prefer the extended versions of these tracks, but the sign of a good album is the fact that the other tracks are not fillers. Now some of you will be saying 'The Cult are you sure?’ but in terms of post punk the album was of the time, at the time it stood head above the rest of the pack. The problem with the Cult was they were achieving numerous success on the US college circuit and as a result and due to Astburys influences being mainly American bands. The band went from being a UK band to a US in some ways, the 1987 album which name escapes me was a band that was mirroring bands like Zodiac Mindwarp – the difference was that they knew they were in on the joke. The Cult went from a band that created a scene, only to leave it behind when success called. The Album 'Dreamtime’ is the sound of a band finding its feet. But it is a album of rich guitar work and its a varied album, they would never hit these peaks again. (posted on post punk discussion group 20/5/14)

Public Image LTD-PIL

PUBLIC IMAGE LIMITED-FIRST ISSUE (1978) When you look back at Early PIL, rightly so you go straight to metal box. Almost like the first punk/dub album of its kind. Looking back with hindsight you can see the first album by many bands is a band finding its feet, without First Issue we would not have had Metal Box. In some ways it can be argued that PIL Era of 1978-1981 was the band at its peak. The original line up had keith Levine , Jah Wobble and Macolm Atkins. The first two were probably the best guitarists out there at the time. Especially Jah Wobble for the basslines he was putting down which took PIL’s music into a different scene that Pil had originated from. I think with PIL its hard to grasp how much expectation must have been on John Lydon’s shoulders as this time. After leaving the Sex Pistols he could of just been true to type and made a living of the reputation. Lydon had always had an admiration for Kraut Rock and other artists from before the 1976 era and finding like minded players in Levine and Wobble he set about creating a band that would be as influential as the Pistols but would take it beyond that scene. In some ways with the Siouxsie and the Banshees album ’ The Scream’, I would say that PILs first two albums were post punk essentials. But why am I concentrating on First Issue. Well for myself I could not afford Metal Box at the time, I was only 7 when it was released but even finding it in 1987/8 was a task in itself. Many record shops due to the nature of the packaging of Metal Box it went for slightly more than the rest of the catalogue. So saving up the pennies, it was First Issue that was the most easy to buy. If anything I prefer the production of this album compared to Metal Box. It starts with ‘theme’ which is basically a Jam, but the album features tracks like 'Public Image ’, 'Lowlife’ and 'Analisia’. It is a album where the songs follow a structure and are quite consise in length. But not the same could be said about 'fodderstompf’ which even it its lyrics states 'they are trying to finish the album with the least amount of effort neccesary’. Pil would hit other highs through out their career, in some ways the first two albums could be classed as dub albums, where as 'Flowers of romance’ could be classed as a drummers album, due to the lack of guitar and bass on the album overall. PIL are one of those bands that dont have the following of some bands but there is always a respect for their ground breaking early work. Its also good to see PIL doing the rounds of festival circuit, but the true back bone of the band in Levine and Wobble continue to work together and PIL will not be the band it was until there is true reformation. Public Image Ltd. – Public Image uploaded to post punk disucssion group -20.4.2014

Cabaret Voltaaire-Drinking Gasoline

Post Punk Eps and Albums part…9 Cabaret Voltaire-Drinking Gasoline Now this one will probably court some controversy, is it an album or is it an EP?. Well it can be classed as both. I always considered this a double 12”. But everyone has their own opinion. But it was a EP that was just on the borderline between both. Why I have singled out this EP? Its was the sound of a band that was working to its full power, after the ‘Microphonies’ album of 1984 the sound was a mixture of Electro and bass. The Tracks of the Drinking Gasoline EpP had been played live for most of a year before they were committed to vinyl. In some ways these early recordings are more subtle and a little less underplayed, the peel sessions and Janice Long sessions have more laidback versions of tracks like 'Sleepwalking’ and 'Kino’. Cabaret Voltaire were a band that drew from post punk but with the new technology at the time they were complimenting this with their recordings, As such you could say that New Order and Cabaret Voltaire were ahead of the competion at this time. What I like about Drinking Gasoline they could of took it easy and just replayed those tracks, but they almost converted the tracks into 8 minute pieces of harsh electro. The tracks were industrial Electro , harsh and powerful. The tracks also provide a stepping stone between the two albums of Microphonies(1984) and the Covenant(1985). Due to the format of the EP, being two 12” I remember a distinct feeling that Virgin/Some Bizzare did not know how to market it. Also that many record shops were not sure how to price or advertise it. Most records of the time came in standard formats. There are only 4 tracks on the EP, being 'Kino’, 'Sleepwalking’, Ghosttalk’ and 'Big Funk’. 'Kino’ is a almost Kraftwerk-ian in its style of beats but that’s the only comparison to make with another artist. It was remixed and reissued later on in 1992, but the original version remains the best. 'Ghost Talk’ probably is the best cut-up sample song ever released from the 80’s, the speed of the track and keyboards and drums drive the track along. 'Big Funk’ its almost collage like – Keyboards are sparse, Mallinder’s lyrics more to the fore. The final track not that there was any order as a lot of the labels were printed wrong on the release’. Sleepwalking is very atmospheric and harsh, especially the Keyboards. It remains one of their best works. With Cabaret Voltaire there was never a band that encompassed so many styles who went from the DIY musical ethics to Electro to commercial releases and then back to Indiependent releases. That’s what made them unique. In terms of Post Punk its not punk in the truest sense, but the EP/LP shows that they had the ambition even when on a major label to provide experimental works that were not afraid to push the boundries. As stated before I don’t ever see Cabaret Voltaire reforming but the recent reissues have created a lot of interest. Where 80’s bands have reformed . The Cabaret Voltaire reunion if it ever happened would be a chance maybe for the press to give them recognition for the part they played in 1980s/90s dance and electronic music. In a Wolfgang Flur interview he was asked who he would like to see reform , he mentioned Cabaret Voltaire. The very band they were influenced by , gave them recognition. Thats the ultimate compliment. http://open.spotify.com/album/1gSeJ1KSVDWVSlzWTGAcTb

The Cure-17 Second

Post Punk albums - part 20034. Cocteau Twins-Head Over Heels (1983) 4AD I may have covered this one before(So forgive me). But this to me remains one of the best post punk albums, or should that be post gothic albums from the early 80’s. The Cocteau Twins were formed in 1981 in Grangemouth in Scotland which is a heavily industrialised place. How their music can be so beautiful yet from an area like this remains a mystery, they took their name from a very early Simple Minds track. But that is where any similarities end. Liz Fraser originally joined the band and then left, but with bands like the Birthday Party coming on the scene it had a knock on effect to the band, they started to raise interest in their recordings and presented a demo to the Birthday Party’s manager at the time who passed it on to the head of 4AD, Ivo. What I like about Head Over Heels is that it has this atmospheric backdrop of keyboards, echo sax. Where as Garlands and the 82-early 83 was a very bass driven sound. Then the 1984 ‘Treasure’, which is always considered one of their best works but in a way not brilliantly produced. Head Over Heels is the link between these two albums. In early 1983 Will Heggie left, mainly due to travelling to and from London and the album was recorded as a duo. Its a powerful album, the drum machine placed through echo, guitars overlap and sear on tracks like 'Mussette and Drums’. It starts with the 'When Mama was Moth’ which is a dense drum beat with guitars being dominant. It does features tracks where Fraser’s voice starts to flourish, but for most parts the vocals are quite audiable and not over layered. Other tracks like 'Sugar Hiccup’ show a sign of things to come, other tracks worth noting are 'Tinderbox’ and as mentioned before is 'Musette and Drums’ which features Robin Guthrie Guitar work as its best, etheral an gothic in its truest sense. Head Over Heels is a band that was getting to know their sounds and was developing. Compared to albums like 'Blue bell Knoll’ this is a more straight forward release, Simple yet powerful. Quite romantic in its nature and ambition. http://open.spotify.com/album/7anSOkSVKCykLrxe6yjp6e

Cocteau Twins-head Over Heels

Post Punk albums - part 20034. Cocteau Twins-Head Over Heels (1983) 4AD I may have covered this one before(So forgive me). But this to me remains one of the best post punk albums, or should that be post gothic albums from the early 80’s. The Cocteau Twins were formed in 1981 in Grangemouth in Scotland which is a heavily industrialised place. How their music can be so beautiful yet from an area like this remains a mystery, they took their name from a very early Simple Minds track. But that is where any similarities end. Liz Fraser originally joined the band and then left, but with bands like the Birthday Party coming on the scene it had a knock on effect to the band, they started to raise interest in their recordings and presented a demo to the Birthday Party’s manager at the time who passed it on to the head of 4AD, Ivo. What I like about Head Over Heels is that it has this atmospheric backdrop of keyboards, echo sax. Where as Garlands and the 82-early 83 was a very bass driven sound. Then the 1984 ‘Treasure’, which is always considered one of their best works but in a way not brilliantly produced. Head Over Heels is the link between these two albums. In early 1983 Will Heggie left, mainly due to travelling to and from London and the album was recorded as a duo. Its a powerful album, the drum machine placed through echo, guitars overlap and sear on tracks like 'Mussette and Drums’. It starts with the 'When Mama was Moth’ which is a dense drum beat with guitars being dominant. It does features tracks where Fraser’s voice starts to flourish, but for most parts the vocals are quite audiable and not over layered. Other tracks like 'Sugar Hiccup’ show a sign of things to come, other tracks worth noting are 'Tinderbox’ and as mentioned before is 'Musette and Drums’ which features Robin Guthrie Guitar work as its best, etheral an gothic in its truest sense. Head Over Heels is a band that was getting to know their sounds and was developing. Compared to albums like 'Blue bell Knoll’ this is a more straight forward release, Simple yet powerful. Quite romantic in its nature and ambition. http://open.spotify.com/album/7anSOkSVKCykLrxe6yjp6e

Siouxsie and the Banshees-the Scream

SIOUXSIE AND THE BANSHEES-THE SCREAM (1978) Imagine the scene -you get rejection kicked in your face time and time again , chasing the dream of a record companies support. You see other bands that you started the same time as you dazzle(excuse the pun) and then disintegrate before you have even put music to vinyl. You gig solidly for a year and a half with no break through. Well that’s what happened to the banshees. They were well known for appearing at the 100 club but there was such a gap between that gig and the Scream album that followed in November 1978. In that time they were gigging almost everywhere and for all their hard work they signed to Polydor in 1978 and released ‘The Scream’. The album its quite simply one of the best post punk albums to be released in the 70’s. This album featured the drum work of Kenny Morris and the excellent guitar work of John McKay. Now with hindsight you can see that in the banshees story that they tend to get forgotten about, however the way they played in terms gave the banshees a very dark edge to the sound. In some ways they set the template. The album stats with the Track ‘Pure’ which is a very small build up to the album. The track then goes into the track Jigsaw feeling’. If there was an track you wanted to hearing brilliant guitar work of McKay this is it. Its quite a driven song to the drumming of Morris and the bass work of Steven Severin. The song ends with a cutting guitar riff. It then goes into Overground which would appear again on the 1984 EP the thorn. Its almost like a acoustic version , with the drums and bass low down in the mix . Then the song builds up to the chorus , with the guitar work strumming over a almost military drum beat. I remember reading the book that was written by the Manager of the banshees at the time and he stated that Kenny Morris was not a very good drummer, but believe me he had definately found his feet at the time of this record. Carcass the next track was a track that was played around the hunt for a record a label and I believe it was on many demo tapes. Its a typical punk song, very full of energy. The album to me features Siouxsie approaching singing from a different angle than the other artists, there were songs in this album dealing with split personalities and addiction. Not the usual type of songs sung by female artists at that time. A theme that was to appear on this album and in 1983 was that they were recording cover versions of Beatles songs, namely from the white album. They were to cover 'dear prudence’ and achieve some success later on. This version of ‘Helter Skelter’ has very little bass in the mix, not as driven as the version of the nocturne 1983 album. Mirage has almost a psychedelic guitar intro. This was a popular song on the peel sessions they recorded at the time. Nicotine stain is a punk riff song , sort of ridiculing oneself on addition to nicotine . The final two tracks are suburban relapse and Switch. Switch is a masterpiece. Builds up neatly, the guitar work on it is brilliant. In some ways it could be argued that the Banshees had hit the ground running and it was almost impossible to maintain. Inner tensions within the band would mean that 'Join Hands’ released the following year would be poorly recieved and the band split in two later in 1979. Also worth noting is 'Hong Kong Garden’ was the catchy pop song, the scream remains a gothic / post punk masterpiece that will never be matched. http://open.spotify.com/album/4jOwAkMW3ZdrGjcTJHEsnu