Page 27 - the Noise July 2016

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formative uk electronica 1975 -1984
Cherry red records
music reviews
by beverley napalm
Minimal Synth, as a genre, is often overlooked. It’s a fascinating precursor to the glossy 80s new-pop that swiftly fol- lowed. I am in love with how these recordings manage to sound dated and futuristic at the same time. The songwriting is wonderfully adventurous and unrestricted by the limitations of the primitive electronics of the day. Back in the late 70s, synthesizers were astronomically expensive, and out of reach for most bands. Much of the early examples here are put together using home built basic monophonic synths accompanied by barely-there percussion tracks, often played in real time, (not programmed). Which, far from being detrimental, is why these songs are so vibrant, weird and fun to listen to three or four decades on.
The production on most, although technically dated, does show remarkable ingenuity. Humble beginnings from bonafide pop stars such as The Human League, OMD, and Blancmange rub shoulders with cult classics such as Throbbing Gristle and Thomas Leer. Elsewhere there are the genuinely brilliant pop outings from such could-have- made-its as The Klingons, and Native Europe. Lyrically there is also room for the occasional period piece dose of 80s nuclear paranoia, such as “Protect & Survive” by Final Program and Alan Burnham’s “Music to Save the World By.” Bonus points for the truly bizarre Gerry and the Holograms, who demonstrate the fun to be had with a ring modula- tor and a bit of imagination. The track is out there enough to be named as one of Frank Zappa’s favorite songs. It’s a
testament to Gerry’s unique vision and execution that almost 4 decades after the fact; I am unable to explain his song! And I suspect no-one else can either (go look it up on YouTube, I guarantee you won’t ever have heard another song like it)! The whole set is great, capturing the creativity and energy of the time. The bulk of the tracks bristle with a glut of ideas and possibilities. It’s brilliantly packaged in a hardback book, with booklet and 4 CDs. And not a guitar in sight! Welcome to the future!
HINDS
leave me alone
mom and Pop recordings
Hinds started life as Deers. But after threat of legal action from a similarly named pop-combo, they changed their name to Hinds — a female deer. How fitting for this wide-eyed and spritely pop. Hinds are a four piece all-female band from Madrid. And they may just have made the perfect summer LP! It’s fun and laconic lo-fi indie-pop that brings to mind the dreamier side of The Velvets or the shambling pop of Glasgow cult-heroes The Pastels.
But it’s the vocals that make this, their debut LP, extra-special. Full of passion and energy, many songs are sung in unison and delivered with delightfully untutored and breathy Spanish accents. It’s as if the girls are barefoot, tipsy, and having a sing-song though empty backstreets streets on their way home from a fun night out. The sleeve is a great indicator of the music: four young ladies laughing and drinking beer. I love the lead guitar, highly melodic and refreshingly un-clichéd. “Chilli Town” sounds like the girls are having so much fun creating that the vocals waver with delight. It amazes me something so upbeat and positive would appear to upset so many (men). I bought this CD on Amazon, and some of the “reviews” on there are depressingly misogynistic. Likewise on YouTube some comments are chauvinistic, deriding the girls “inability to rock.” Pfffttt... Dudes, if you don’t understand it, stick to your classic rock! Girls just wanna have fun!
SHARK TOYS
outsider sect
mt. St. mtn records
Los Angeles’ Shark Toys delight with off-kilter clatter of the highest caliber, and possess a jagged beauty that defies the songs shamble-pop brevity. Swell Maps and Television Personalities flavor the proceedings, but Shark Toys forge their own American-DIY-art-punk identity. It’s a wonderfully constructed and considered take on punk in the 21st century. The songs fizz along propelled by their own nervous energy.
Guitars are trebled out and scratchy to the max. Bass and drums rumble along with simple and effective ease. Vocals are chewed and slurred, distorted and cool. Placed on top of which is a wonderfully amateurish Casio keyboard, reminiscent of early material from The Fall. A winning combination! This is their 2nd LP, and shows great progression from their 2009 debut. It’s on beautiful clear and green vinyl; 10 songs in 22 minutes, the perfect pick me up!
27 • {online at thenoise.us} JULY 2016 | the best of arizona | the nöísẽ