Pauline Murray And The Invisible Girls – Untitled
This is, in my opinion, one of the best leftfield albums of all time. Even though it contains some post-punk and synth-pop too. All the rhythms and melodies fall in place and the vocalist Pauline Murray makes it one of the most powerful things I’ve heard recently. One of the most captivating songs on this 80’s album is “European Eyes“, where the moody and lingering baseline throws itself in the way for everything else. It has such a variety of songs that range within all those genres, but this song is certainly the most powerful one. When Pauline starts to wail in the chorus of the song, it makes me want to groove with it. It has such an alternative swing to it, despite being in one of the less alternative genres. A rough edge which smears the rest of the album and shatters glass on its way. But there are some songs that are worthy of contending that one, and I’ll tell you which songs.
The song “Drummer Boy“, is like an abstract ballad. With a lot of interesting percussion and no-wave feeling to it. Accompanied by some repetitiveness, yet some balanced melody. It feels like it’s going to burst in any moment. Her vocals are spreading over the whole sound-scape and making themselves noticeable, even though the song is very modest at heart. Also, the song “When Will We Learn” reminds me of the high-school sweetheart. There’s something naive to it, and it recants the younger years. At least for me, since I get very nostalgic when I hear that song. With a high-pitched singing and I would say that this song is the ultimate contrast to “European Eyes“. The emotional melodies and everything is synchronized to make the best out of it. Whilst the song “Animal Crazy” drives you nuts with the awesome synth-pop melodies. A minimalistic piece of excellence, with arpeggio synths and carefully set baselines making it a mystical song to say the least. It’s also one of those songs that goes after a systematical pattern, and tries to make you dance at every beat it pulls off.
It’s one of those “must-have” records that you need to place in your vinyl-collection. Pauline Murray And The Invisible Girls pull this debutalbum off completely and it’s insane to think otherwise. Getting all you need, all the grooves and all the rhythms you’ve been longing for. Also, Pauline is a great vocalist with loads of potential and she’s made more than this. You should also check out her solo-album titled “Storm Clouds“, which is from 1989. It’s amazing that this particular album is from 1980. So listen through it and try to find a physical copy of it online.
Black Box – Fetish #1
Time for some Australian crossover. Another one of those obscure 80’s acts, this release is actually from 1989 to be precise. I downloaded the album from an obscure blog somewhere and got the taste for it directly. Since they only released one single, there’s not much to compare with to be honest. But they’ve got some saxophone groove going on and some general post-punk with noticeable goth rock as a stable ground. I’m a sucker for these more obscure acts that sometimes develop into something really good, but mostly just become a boring blob of re-cycled musical cliches. What’s great about Australia back in those days, were that they seemed to have a lot of unrecognized acts that employed quite an extraordinary field of expertise and a slight touch of ingeniousness, when it came to being experimental within genres like post-punk and goth. I hadn’t really explored the Australian sound of post-punk and goth when I got into it, I just stayed within the normal barriers of recommendations when it came to goth in general and post-punk, peculiarly.
So, there were some kind of barrier for me to overcome when it came to the sound of that country. They had a totally different edge too it and it wasn’t something I was too keen on. Either they were head-on with their sound and had a great vibe, but couldn’t be fitted into the category of post-punk or goth. Or, in my case, they were too experimental and quirky to get into in the first place. Since it took some time to appreciate it, I delved into it and discovered more and more acts. One of them were Black Box, but since they only released one single, it made me care less about them and more about those bands who had at least released a couple of EPs and albums.
What could be said about them? They sounded a lot more like the UK and US acts than anything else, but had a certain influence they seemed to employ within both of the songs on the single. I can’t really explain what it is, but it feels like I’m being drawn to it the more I listen to both of the songs. The first song was called Fetish #1 and had an unorthodox approach to the whole goth and post-punk crossover thing, whereas they had a different setting when it came to the drums and were more in the sphere of The Birthday Party than anything else. But they seem to be more up-tempo than their counterpart and maybe less insane. Normally saxophones and the likes of it fit the post-punk sound-scape perfectly, but I just didn’t know how to react on having a saxophone in a song that had a more gothic undertones than anything else. Somehow all these influences just magically worked together, which is insane when you think about it. I’d say that the second song on the single, titled Poison Shadows, is the more melancholic one. Here you can hear the goth rock influences more overtly than as an undertone or stability to it. It sounds like they’ve gone all-out and carve their way through a more down-tempo environment than the more up-tempo song Fetish #1.
However, you should try to find this single and listen to it more closely. Tune in to it and feel the joy.
I’ve been through with you in the 80′s now in about six parts, four parts were about new wave and two parts were about minimal wave. Now, because of popular demand (not really), I’ve decided to unleash the post-punk monster. It will feature six different parts, whereas each one of them will concentrate on important years. I will walk you through a decade of important music, I could almost call it the golden years of post-punk. The parts will go on like this: Part I, 1980-1981. Part II, 1982. Part III, 1983-1984. Part IV, 1985. Part V, 1986-1987. And finally: Part VI, 1988-1989. Hopefully you’ll enjoy this madness, featuring (mostly) obscure or unknown bands in this sphere. New for this recommendation will be that I have different commentaries under each video, some of them are humorous and others are not. It will cover the basic aspect of each video or text. Enjoy this one.
You’re now entering Part VI of the recommendation.
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