Ultimately sounding like something Yello might have done around that time — without synthesizers. Leaving us wanting more. The nimble Funk of the scanty piano and bass lines got able assistance from the wah-wah rhythm guitar. Chimes from the percussion drifted through the stereo spectrum; emphasizing Funk that was based on a heretofore atypical airiness. The middle eight flirted with atonality even as the horns came into the mix and asserted their dominance. The almost subliminal distorted vocal soundbites [some vocoded] then piled on as the track devolved into chaos.
The vocal elements of this album were pared down to the bone and the horns seemed to be locked into a dialogue with Ms. Just another element in the mix to punctuate it all.
Queasy guitar lines keened throughout the song like nocturnal animals, but the bass managed to lock some discipline down for the song. The bleary horns adding anxiety along the way. Their long, sustained notes floating through the swampy environment of the song. And it ended as it began, with thunder and insects. Unsettling dub effects had muted trumpet notes shooting brightly through them.
And then it all suddenly evaporated on a few drumbeats. What I loved about this album was the sound blended Tropicalia The Voice - Ultravox - The Best Of Ultravox (CD) Jazz with some of the most astringent Post-Punk vibe around for a massive dose of cognitive dissonance.
Superficially appealing to the Dionysian while ultimately failing to deliver strongly on that promise. The sound was dominated by the bass playing of Jez Kerr who never failed to provide a strong foundation for a groove even as the melodic instrument preferred to react against the beat.
In that sense, the band were peers of Scott Walker. Another artist who took the difficult path when offered the choice. Their embrace of atmospheric soundscapes to couch their sound in marked them as radical outliers to Jazzfunk in a field where most of the main players, though engaging, all kowtowed to The Voice - Ultravox - The Best Of Ultravox (CD) orthodoxy alien to this band.
This was certainly an unexpected surprise. Sunday was my birthday, and on Saturday night, we invited our neighbors over to help us celebrate. The plan was Ethiopian takeout and ice cream cake. Due to the local dining bubble, takeout from a restaurant was not possible unless you got your order in at the time of opening. So we had to fall back on pizza. The other surprise was that The Voice - Ultravox - The Best Of Ultravox (CD) neighbors had decided to bring birthday gifts which had never entered into my mind at all.
That ship has sailed years ago. Imagine my surprise when I was handed two recent LP pressings that were actually highly desirable. On one hand, I am a difficult person to buy music for. I have thousands of [mostly] obscure releases to the bulk of humanity. My want list is K of titles at my Discogs account. However, my neighbor reads this blog, has fairly congruent tastes to mine, and did admirable research, because he chose some high value records.
The other was even better. I reached into the bag to pull out an album by A Certain Ratio. Sadly lacking for one who deigns to call himself Post-Punk Monk! So I was already excited to have more ACR. That was the track that first caught my ear in when I was listening to Pandora for a year.
So this was not just a random ACR album being gifted to me, which is rare and wonderful enough, right? This was the one with the sourcepoint of my abiding interest! The pressing was a late copy with an unusual monochrome sleeve variation and a white vinyl disc inside the pebble textured sleeve.
The eerie, deliberately flat and desensitized vocals by Martha Tilson were so thin and distant that they added a new wrinkle and significant dissonance to the Funk. Fully bringing it to the Post-Punk party of gloom. The pair of them sounding like ghosts inhabiting the overcast seashore as the anxious, skittering percussion work and incongruous timbales were the furthest things from a party imaginable as it all ended with a vibraslap in the face and the sound of waves breaking.
The uptempo burst of energy on the instrumental break gave a spotlight to the syncopated bass riffs. The dub dropouts allowed the doubled beat to achieve a reverberant, pulsating kind of psychedelia. The slap bass and kalimba softened me up like a boxer while the delayed drumbeat beat like a heart fit to burst in a dub mix anxiety attack.
I had probably heard about the making of this film, by Colin Hanks [scion of Tom] a few years back and my wife came to mention it to me recently as she was buying films on DVD for the library where she works at. The order went out and we got it to watch this week. We wasted little time in giving it a spin in the antiquated DVD player.
Where I lived in the cultural wasteland of Central Florida, such stores were unknown. A remastered Definitive Edition of Vienna was released inwhich included a second disc of rare and previously unreleased tracks, and a 40th anniversary six-disc Deluxe edition was released in October Writing and rehearsing the songs for the album began in autumnshortly after Midge Ure had joined the band.
Among the first tracks written were "Astradyne", "Mr. X" and "New Europeans". Cann wrote the bulk of the lyrics to " Sleepwalk ", "Mr.
The band decided to concentrate on one song and record it properly. They recorded "Sleepwalk" and was offered a contract by Chrysalis. The song " Vienna ", which had been written quickly in earlywas seen by the band as the musical The Voice - Ultravox - The Best Of Ultravox (CD) point of the album and the song that best represented what they wanted to do, so they decided to make it the title track of The Voice - Ultravox - The Best Of Ultravox (CD) album.
Four singles were released from the album. Reviews for Vienna were mixed, with Ure's introduction and the move towards mainstream pop dividing critics. In SoundsJohn Gill gave the album an enthusiastic review, and challenged the reader, "I dare you to find another band who can mix Euro systems-rock, electronics, Can 's fairground style and English music with such panache". This should do the trick.
Vienna is full of conventional electronic rock songs which are beautifully executed but never inspiring. The review presciently concluded, "Despite their wanton plagiarism and less clearly defined ideas, Vienna will probably be the album that makes Ultravox because, unfettered of Foxx's commitment, they're free to compromise themselves a touch to suit contemporary tastes.
Reviewing the reissue for QDavid Quantick called Vienna the band's "best album" and said that "there were fine singles such as 'Sleepwalk' and 'All Stood Still' and the title track which — like a cartoon hippo — remains pompous yet loveable. Ultimately, Viennawith its winning formula of cold futurism and big rock textures, took Ultravox out of the margins and into the big-haired '80s mainstream. Add Anton Corbijn 's photography and Peter Saville 's smart cover design and all the ingredients for an early-'80s classic are there.
A few albums later, it would all seem like a fluke, but on Viennaall the pieces come together. As original album — came with a bonus 7" single of "Sleepwalk" and "All Stood Still" recorded live in rehearsals at The Lyceum, 17 Aug the same two tracks that appear at the end of the second disc of the edition. From Wikipedia, the free encyclopedia.
New wave synth-pop. Conny Plank Ultravox. Classic Pop. Retrieved 10 September Retrieved 23 November Extreme Voice. News update - Ultravox Monument re-release on white vinyl by Vinyl News update - Ultravox Quartet re-release on white vinyl by Vinyl News update - Midge Ure lavish new photographic book coming soon.
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