Friday, January 30, 2015

The Ultimate New Wave Experience (vol. 1)

(Through the Decades)


Having become a New Wave music enthusiast since I heard some of the very first New Wave songs as early as 1981, I never stopped listening to the genre and looking for bands and artists whose music may be classified under it based on musicality. While I have easily embraced and welcomed whatever genre became the focus of commercial media in every passing era or decade, I did not renounce nor lose my love for New Wave. This became my favorite kind of music. Because of this, I was able to keep track of its development and of the new releases of artists associated with the genre; as well as of new and younger groups whose music has the essential characteristics of the so-called New Wave sound—angular guitars and repetitive adlibs, usual but not necessarily-always-present keyboards and synthesizers, melodic bass lines, regularly patterned drum beats, catchy choruses, and either low-register or high-pitched vocals.  



Many people associate music with culture, movements or cliques, decade, or even places. The reason they usually tend to confine music genres within certain periods. I assert to differ. While I acknowledge the validity of such standards, I want to be able to classify music based on the characteristics of the sounds alone—the musicality. After all, stripped of all these nonmusical associations, music is but a combination of sounds that result in something subjectively beautiful and moving.



Therefore, to further assert my point that New Wave music, or any genre for that matter, should not be limited to certain eras or decades, I decided to make a series of compilation of songs that I regard as classifiable as New Wave based on the sonic characteristics alone—without regard for the appearance of the artists, movement they belong to, years or decades the songs were released, nor the country where they originated. The primary basis is just the sonic characteristics of the songs themselves.


So, now, here’s volume one of a compilation of songs that will sonically illustrate that New Wave music is being produced constantly since the decade it has been established as a genre.

All a music enthusiast needs is a keen sense for details and the initiative to look way beyond commercial media.

Ultimate New Wave Experience
(Through the Decades)
Volume 1

01 Television – "Marquee Moon" (1977)
02 Gang of Four – "Damaged Goods" (1978)
03 Siouxsie & the Banshees – "Mirage" (1979)
04 The Vapors – "Turning Japanese" (1980)
05 Eyeless in Gaza – "Welcome Now" (1986)
06 The Smiths – "Bigmouth Strikes Again" (1986)
07 James – "What For" (1988)
08 Flesh for Lulu – "Time and Space" (1989)
09 The Psychedelic Furs – "House" (1989)
10 Pulp – "Babies" (1994)
11 Electronic – "For You" (1996)
12 Modern English - "I Don't Know Anything" (1996)
13 Seafruit – "Hello World" (2000)
14 British Sea Power – "Childhood Memories" (2003)
15 Gin Blossoms – "Learning the Hard Way" (2008)
16 Craft Spells – "The Fog Rose High" (2011)
17 The Wild Swans – "When Time Stood Still" (2011)
18 The Fixx – "Anyone Else" (2012)

If you liked what you heard, then look for copies of the entire albums where the songs came from. Support music. Support the artists. Spread their music to foster awareness.

Click Here!

Thursday, January 29, 2015

Melt with Them Over and Over Again (part 6)

(continuation of a definitive review of Modern English's full studio discography)
by aLfie vera mella


Everything’s Mad (1996)

“I’ve read your books
And seen your films
I’ve lived this life
And tried everything
But I don’t know anything”


Most likely because of the failure of Pillow Lips to crack the U.S. market, as what the band had expected, Modern English went on a hiatus soon after the release of the album.


In 1995, Modern English became active again but with only vocalist Robbie Grey as the remaining original member, supported by musicians Ted Mason on guitars, keyboards, bass, and backing vocals and Matthew Shipley on keyboards and synthesizers. A number of sessionists were also brought in to enhance the sound of the band: Robert Brian on drums, Mahandar Singh on sourangy, Shamim Miah on tabla, Christoph Franzgrote on violin, Yue Xu on violin, Erika Atchley on violin, Ina Litera on viola, and Matt Goeke on cello. 

That ensemble resulted in Everything's Madthe sixth studio album of Modern English, released in 1996. With those additional instruments, Modern English was obviously incorporating into their music a flavor of Hindustani and, yet again, the band's previous New Romantic sound. It would then be safe to compare the album with Echo & the Bunnymen's Reverberation (1990), which featured also East Indian instruments. The results, for me, were interesting and fascinating. They presented a sound that was fresh and yet familiar. The music of Modern English has really opened wide. It still stood out amidst the Grunge-dominated and edgier, guitar-oriented Alternative Rock scene of the mid-'90s.

My favorite tracks off Everything's Mad are “I Don’t Know Anything,” “The Planet,” “Heaven,” and “That’s Right.” The melody of the strummed guitar in the intro of “I Don’t Know Anything” had a ring of “Here Comes the Sun,” one of my favorite The Beatles songs, included in the band’s 11th studio album, Abbey Road (1969). For “Heaven,” Modern English used as a springboard the song “Cheek to Cheek,” which the American songwriter Irving Berlin wrote in 1935, and which was first performed by Fred Astaire in the movie Top Hat, which was released in the same year.

The melody of the strummed guitar in the introductory interlude of "I Don't Know Anything" had a ring of The Beatles' "Here Comes the Sun."

"Here Comes the Sun" is one of my favorite songs by The Beatles. It is included in the English band's 11th studio album, Abbey Road (1969).

For "Heaven," Modern English obviously used as a springboard the song "Cheek to Cheek," written in 1935 by American composer Irving Berlin and first performed by Fred Astaire in the same year.

Here is American artist Fred Astaire's performance of the Berlin composition, "Cheek to Cheek," in the 1935 movie Top Hat.

(review of the rest of the albums, to be continued...)

Monday, January 26, 2015

Melt with Them Over and Over Again (part 5)

(continuation of a definitive review of Modern English's full studio discography)
by aLfie vera mella

{This particular article is dedicated to Mick Conroy, the bass player of Modern English, who personally sent me a private message to let me know that he'd been enjoying reading my series on Modern English. He also informed me that they were at the moment at the mixing stage of the recoding process of their forthcoming new, eighth studio album; and that it was being produced and mixed by an old friend of theirs, Martyn Young of New Wave / Synthpop / Electronica band Colourbox.}

“As we move through cruel waters
Give me strength to be by your side
It’s so difficult sometimes to be human
The years they leave us your side”


In 1990, Modern English released its fifth album, which contains a re-recording of “I Melt with You.” Pillow Lips was supposed to market the band to the so-called U.S. audience, thus the new version of their most popular song. 

Modern English recorded a new version of "I Melt with You" for inclusion in their album Pillow Lips, intended for the so-called American audience.

However, by the entry of the new decade, the Alternative music landscape had also shifted from the melodic and romantic New Wave to the heavier and rugged Grunge. Modern English was one of the casualties. Before Pillow Lips could even make a mark on the scene, many of those who used to laud them had already written off not only the band but also the entire genre. Because of this, many people who used to love them failed to discover the beauty of this album. 

"Pillow Lips" is a slow, somber ballad, in which Robbie Grey's vocal sounds like that of Tony Hadley of Spandau Ballet.


Many fans have indeed overlooked Pillow Lips for many years, and I don't blame this on the massive appeal of "I Melt with You." Rather, I blame it on the short attention span of many music listeners who could not hold their loyal interest in bands that they claim they love; they're only too ready to move on as soon as commercial media begin to cast their spotlight on another new band. After all, to many in the media, a band is just another scoop.

Someone familiar with the band's entire discography could easily describe "Life's Rich Tapestry" as the song with which Modern English was in their most Synthpop preoccupation.

Pillow Lips was released during the pre-Internet ’90s, when music fans were virtually slaves of commercial TV, radio, and print media, a time when the taste of many music lovers was still almost exclusively affected by whatever was on popular radio and TV. The songs in this album were Synthpop-oriented, had less guitar works, and had sprinkles of Reggae and Dubstep.

 My most-favorite song from Pillow Lips"Care about You" is the twin song of "I Melt with You" in terms of title, song structure, and melody.


The sunny tropical-island reggae vibe of "Beautiful People" is in the same league as the song "Rush" by the '90s version of Big Audio Dynamite, also known as BAD II. 

"Rush" by BAD II (Big Audio Dynamite II) has the same sunny tropical-island reggae vibe as Modern English's "Beautiful People."


Personal recommendations are “Life’s Rich Tapestry”; “Beautiful People”; the slow ballad “Pillow Lips”; and “Care about You,” which I regard as the twin song of “I Melt with You” in terms of title, song structure, and melody. My only complaint about it is its having been titled as “Care about You” instead of “I Care about You” to make it parallel with the title of its predecessor.


(review of the rest of the albums, to be continued...)

Sunday, January 25, 2015

Melt with Them Over and Over Again (part 4)

(continuation of a definitive review of Modern English's full studio discography)
by aLfie vera mella


Stop Start (1986)

“Well there it is in black and white
No need to read between the lines
You made it clear to the letter
You’re breaking off the chains that bind”


The fourth album of Modern English, Stop Start, geared toward an edgier type of Rock, emphasized by the dominance of the guitar and the drums and by the obvious absence of Classical instruments aside from the horns. The structures of the songs were also simpler, not much orchestration and mood changes. Nevertheless, the Postpunk angularity of the guitars, the keyboards, and the catchy choruses remained. 

I (far left) and some friends with members of Modern EnglishMick Conroy, Robbie Grey, Gary McDowell, and Stephen Walkerat the front of Jill's Restaurant & Bar, in Taguig City, Metro Manila, Philippines, in May 2013, during the English New Wave band's concert in the country.

In some degrees, the changing tide of what’s commercial in the Alternative Rock scene in the tail end of the 1980s has affected the musical direction of Modern English; but remaining members Robbie Grey (lead vocals), Gary McDowell (guitars), and Mick Conroy (bass, guitar) were somehow able to maintain the trademark danceability and sing-along hooks of the band’s music. Worth mentioning also is the fact that there were four musicians who played guitars in this album—McDowell, Conroy, and new members Tony Lowe (guitar) and Aaron Davidson (keyboards, guitar); this explains why the sound became edgier and more guitar-oriented. Other musicians who played in the album were Gary Barnacle (saxophone) and Graham Broad (drums).

Recommended songs are “The Border,” “Ink and Paper,” “Night Train,” “I Don’t Know the Answer," “Breaking Away,” and “The Greatest Show.” 


"Ink and Paper"—a broken heart in black and white

The drum introductory interlude of "The Border" is a cue for many New Wave enthusiasts to rush to the dance floor.

"Breaking Away"

With Stop Start, one may find Modern English in an edgier and more Rock-oriented style of New Wave music, but the whole album carried the melodic catchiness and meticulous instrumentation the band’s previous albums were known for.

The Modern English concert in the Philippines in May 2013 at SM Mall of Asia Arena was "The Greatest Show."

Many music listeners focus their attention exclusively on the singles, failing to discover the beauty of entire albums. For instance, “I Don’t Know the Answer” is a gem even many self-proclaimed fans of Modern English tend to ignore.


"I Don't Know the Answer"a gem even many Modern English fans tend to ignore


(review of the rest of the albums, to be continued...)

Saturday, January 24, 2015

Stan Ridgway (of Wall of Voodoo) + The Bolshoi

(New Wave rediscovery series)
by aLfie vera mella


While I was at the record shop Into the Music, in Downtown Winnipeg yesterday, checking out CDs and vinyl records, I noticed the music playing on the house speakers. I asked the clerk what artist that was. It sounded familiar, but I was sure that I didn't know what band or artist that was. 
The songs, especially the vocals, sounded a bit Peter Murphy of Bauhaus and very much Trevor Tanner of The Bolshoi; but I knew that it was neither The Bolshoi nor Bauhaus because I'm very familiar with the music of both English bands.
The clerk said, "Oh, it's my personal vinyl record and it's not for sale though. It's the album The Big Heat by Stan Ridgway."
As soon as I got back home, I googled it.
I learned that Stan Ridgway was actually the original vocalist of the U.S. New Wave / Postpunk band Wall of Voodoo, which I knew only for the song "Mexican Radio" (1982). Although Wall of Voodoo has released four studio albums, only two featured Ridgway: the debut, Dark Continent (1981), and the followup, Call of the West (1982), which contained "Mexican Radio." Ridgway left the band afterwards and pursued an enduring and relatively successful solo career.
 "Mexican Radio" is perhaps the most popular song of Wall of Voodoo, from this U.S. New Wave band's second studio album, Call of the West (1982).

As a solo artist, Stan Ridway has released nine studio albums: The Big Heat (1986), Mosquitos (1989), Partyball (1991), Black Diamond (1995), the all-covers The Way I Feel Today (1998), Anatomy (1999), Snakebite (2004), Neon Mirage (2010), and Mr. Trouble (2012).

Other notable songs of Ridgway include "The Last Honest Man," "I Wanna Be a Boss," "Knife and Fork," "Running with the Carnival," and "Gone Deep Underground."

"The Last Honest Man" is my instant pick off Ridgway's second album, Mosquitos.

"I Wanna Be a Boss" is my personal pick from Ridgway's third album, Partyball.

Ridgway's Country roots is well pronounced in his fourth album, Black Diamond, as represented by "Knife and Fork," which cunningly reminded me of Johnny Cash.

The title of this song ("Running with the Carnival") from Ridgway's seventh album, Snakebite, speaks very well for its sound.

"Camouflage," from Ridgway's debut solo album, is apparently his most popular song.

In "The Big Heat," the title track of Ridgway's first solo album,both the musicality and the vocals have a strong resemblance with the pop sensibilities of The Bolshoi and Bauhaus.
"The Big Heat" the song that caught my attention, playing at that record store that I regularly go to, in Downtown Winnipeg--the title track off Ridgway's first solo album.

"Gone Deep Underground," from Ridgway's latest album, Mr. Trouble (2012), still bears his sonic trademark--a mark of consistency.


The particular songs by The Bolshoi that came to my mind upon hearing Stan Ridgway's "The Big Heat" were "Happy Boy" and "Please."

Stan Ridgway's song "The Big Heat" reminded me of The Bolshoi's "Happy Boy." 

The flanger- and reverb-drenched quality of the guitar tracks in The Bolshoi's music--for instance, "Please"--resonates in some of the songs of Stan Ridgway.

Many New Wave enthusiasts know The Bolshoi best for the songs "Sunday Morning," "A Way," and "T.V. Man." 

New Wave enthusiasts in the Philippines remember The Bolshoi best for the song "Sunday Morning," which was a party staple during the heyday of New Wave music, in the 1980s.


Doubtless, "A Way" remains to be the most anthemic song of The Bolshoi.

"T.V. Man" remains to be my most-favorite song of The Bolshoi.

The English New Wave / Gothic band The Bolshoi recorded four studio albums but got to release only the first three: Giants (1985), Friends (1986), Lindy's Party (1987), and Country Life (1988, unreleased).

Thursday, January 22, 2015

Melt with Them Over and Over Again (part 3)

(continuation of a definitive review of Modern English's full studio discography)
by aLfie vera mella

Ricochet Days (1984)

“Is it something in the water
Did it fall from out the sky
I've never known a feeling like it
I wonder why”


As Modern English progressed, its music became more instrumentally intricate and Classical-inspired. To classify the band at this point as New Romantic is very befitting. The third album, Ricochet Days (1984), may be regarded as the peak of the band’s musicality—a bittersweet mélange of basic Rock tools (electric guitars, bass, drums, and synthesizers) and Classical instruments (piano, violin, cello, oboe, and horns); the song structures were well-arranged and the instruments meticulously layered. The album featured also Kate St. John (on oboe), a primary member of another Classical New Wave group, The Dream Academy.

During the Philippine tour of Modern English in May 2013, I got to sing "Hands across the Sea" while Modern English guitarist Gary McDowell played the acoustic guitar, at their press conference held at Jill's Restaurant & Bar, at Fort Strip in Taguig City, Metro Manila.

On to the first track of Modern English's third album, "Rainbow's End," and you're already in for a delightful treat.

My favorite songs in this album are “Rainbow’s End,” “Spinning Me Round,” “Hands across the Sea,” “Blue Waves,” and “Heart,” which best represents the band’s New Romantic sound. Only one-hit listeners would claim that “I Melt with You” is the only great song of Modern English; “Hands across the Sea” is, in fact, a far more romantic and better-arranged song in my perspective.

“Hands across the Sea” is far more romantic and better-arranged compared with "I Melt with You," in my perspective.

 
There is so much more beauty beyond what has become commercially popular about Modern English; for instance, "Spinning Me Round."

"Blue Waves" best represents the trademark sound of Modern Englishangular rhythm guitars, repetitive and patterned lead-guitar melodies, melodic bass lines, catchy choruses, and memorable keyboard lines.

Many music reviewers and even so-called fans dismiss Ricochet Days as a lackluster album—I wonder why—because the album is obviously well-crafted and full of catchy and meticulously instrumentated but easily digestible tracks. “Spinning Me Round,” for instance, is an attractive song. When I first heard “Blue Waves” in 1985, I knew right away that this was the trademark sound of Modern English—angular rhythm guitars, repetitive and patterned lead-guitar melodies, melodic bass lines, catchy choruses, and memorable keyboard lines intricately woven into each other. But, no doubt, “Heart” is where one can find Modern English in their most graceful and sophisticated New Romantic state.

Once more, yours truly and Modern English's very own guitar player, Gary McDowell, performing an acoustic version of "Hands across the Sea."


(review of the rest of the albums, to be continued...)