Having gone to the effort of adding the word 'Manoeuvres' to my computer's dictionary, I was optimistic that the album would be strong enough to reward that level of effort.
OMD were one of the bands to ride the synth-pop wave, and this, their third album, was their breakthrough. It had three singles that reached the top 5 in the UK, although I would have found it hard to pick them out from my initial listens. Souvenir in particular seems a bit too ponderous, relying too heavily on its central synth riff. The standout for me was the much deeper, and more progressive, Of All The Things We've Made, which has a lot more substance to it. Sealand is also interesting; more so than the two Joan of Arc singles.
The album is post-punk to its core, with synths and echoey vocals to the fore. There is a sense of isolation and depression throughout, not dissimilar to Joy Division in its prime, although it falls some way short of that bands heady heights. The production levels are impressive, and there are some decent moments throughout, but it doesn't seem to map together well enough for me, with elements of an overwrought Vangelis seeping in at times.
The context in which we listened to this album - in the sun on an Italian island may also have factored into our slight disappointment. It is hard to enjoy a gloomy, downbeat record when looking over the sparkling sea and enjoying some great cheese. It is worth saying that the artwork is superb however, looking like a cross between a propaganda poster and a Penguin classic cover.
Chloe's album rating: 4
Chloe's favourite track: 2. She's Leaving
Olly's album rating: 5
Olly's favourite track: 15.
Next week is 934. A Little Deeper by Ms Dynamite.
A band that I'd never come across before despite their late-90s peak, their description in the book certainly intrigued me.
From the squealing guitars and desperation of Dig Me Out to the call and refrain of The Drama You've Been Craving, this is mid-90s post-grunge indie rock to its very core. The all-female trio had previously never hit the mainstream, but had a substantial enough following that sustained them to this, their third and breakthrough album.
With two guitar-vocalists and a drummer, it is impressive how much energy they get into their songs. Not What You Want is a cracking example of this, with the two vocalists egging each other on, rather than detracting from each other. The slower numbers are less successful to my ears - Buy Her Candy and Heart Factory losing the energy with their more ponderous approach, although the chorus on the latter almost rectifies the situation.
These numbers aside, there is a slight lack of variety here that means the album never quite soars. With so few band members it is probably harder to be musically flexible, bit it would have added something to proceedings. It is clearly an energetic and intense record, and has aged remarkably well in terms of the production, but it just lacks the level of imagination you get from the truly great indie records, in my opinion.
Chloe's album rating: 7
Chloe's favourite track: 2. One More Hour
Olly's album rating: 6
Olly's favourite track: 4. The Drama You've Been Craving
Next week is 514. Architecture & Morality by Orchestral Manoeuvres in the Dark.
His first album with the Attractions in 8 years, Brutal Youth is not considered a classic Costello album, which makes me wonder why it's on the list. However, I've always enjoyed the Costello material I've heard, and never delved deeper, so this is a good excuse to.
Costello's unmistakeable voice is at the heart of the album, with his lyrics as cutting as you might expect. Kinder Murder is as dark as songs get, and Clown Strike has the caustic wit Costello became known for. The guitar sound is sharp on the whole, and it is on the faster tracks that the album really comes to life. Pony St kicks things off remarkably well, more a gallop than a trot with a real sense of raucous energy, and Just About Glad has an almost singalong air to it. Sulky Girl is the pick for me though, with a classic ramshackle Costello air, and a slightly obscure narrative that is as peculiar as it is engaging.
There are weak points, with London's Brilliant Parade a slightly ponderous navel-gazing excuse to list areas of the capital, and 20% Amnesia trying a bit too hard to sound like it's just been thrown together. However, even these disappointments are at least trying to add a real sense of variety, and it is hard to criticise that too much.
The album did reach number 2 in the UK charts, so it shows how Costello still had a real fanbase in the mid-90s. There is a togetherness with the band which is to be expected, given the number of albums they'd worked on together, even after their fairly lengthy hiatus as a group. This was certainly a triumphant return, and I've found enough in it to enjoy repeated listens, and hope to do so in the future.
Chloe's album rating: 7
Chloe's favourite track: 7. Still Too Soon To Know
Olly's album rating: 7
Olly's favourite track: 9. Sulky Girl
Next week we have 841. Dig Me Out by Sleater Kinney.
