Music Review: The Gap Band, Gap Band VII

By Melissa Bratcher

For the first time on CD and remastered like it’s spanking new, The Gap Band’s 1986 Gap Band VII, is a strange, unsatisfying blend of things. There are moments of pure brilliance and pleasure, and there are moments of uninspired insipidness. The moments of brilliance nearly make up for those. Nearly.

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Music Review: CSS, Planta

By Chelsea Spear

Listening to the latest CSS album may inspire listeners to develop a vicarious crush on the object of the band’s affections. Washes of fizzy synths sound like the rush of dopamine one experiences while in the throes of infatuation, and the thumping, staccato rhythms pulse with exuberant energy.

Since their first album dropped in 2006, CSS have put their own spin on ’80s synth pop, investing the underrated genre with a sassy personality and a dollop of post-riot grrrl feminism. Compared to its predecessor, La Liberacion, Planta takes a more introspective lyrical approach, with songs that depict the giddy highs of falling in love and note the heartbreak of unrequited emotions. While the lyrics to individual songs might seem bratty and shallow, the album as a whole has such a desperate, obsessive quality that it comes off like the soundtrack to a film version of Orpheus and Eurydice as adapted by John Hughes.

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Music Review: British Electric Foundation, Dark – Music Of Quality And Distinction, Volume 3

By Emily Carney

BEF’s first volumes were released in the halcyon days of white-boy soul, respectively in 1980 (Music for Stowaways, 1982—Volume 1) and 1991 (Volume 2). BEF’s excursions into the world of pop-music covers encompassed Tina Turner (who did a version of “Ball of Confusion” in 1982 which pretty much still blows everything out of the water) and Heaven 17’s Glenn Gregory covering Glen Campbell’s country chestnut “Wichita Lineman.” Oh yeah, this “collective” is also basically Heaven 17, now sans Human League founder and legendary disappear-er Ian Craig Marsh.

Now it’s 2013, and BEF is back with a set of new covers. Dark pretty much mines old material with the same players, including Kim Wilde (who covers “Every Time I See You I Go Wild”), Andy Bell from Erasure (who covers Kate Bush’s “Breathing”), and Boy George (who does The Stooges’ “I Wanna Be Your Dog”), among others. There are a few newer artists on the disc, including Shingai Shoniwa of the Noisettes (whose version of “God Only Knows” is a godsend), but I wish the disc included more new artists and perhaps newer songs.

Dark is essential for BEF and Heaven 17 completists, but those interested in being introduced to this family of music should check out 1981’s Penthouse and Pavement and 1982’s Music of Quality and Distinction Volume 1 which remain amazingly undated. While some of the versions of songs on Dark are standouts (Kim Wilde’s song contains all the electronics snaps and beeps we expect from BEF), don’t expect an epiphany here.

Dark, the British Electric Foundation’s third volume, is out today through The End Records. For ordering information, visit the BEF website.

First Impressions: nine inch nails, “Came Back Haunted”

By Jeffery X Martin

It’s literally like nine inch nails never left, but that’s not necessarily a good thing. For all of Trent’s talk about reforming specifically to reinvent and reinvigorate the amazing band that was, this does not portend well.

For all of its Cronenbergian posturing (“They put something inside of me”), “Came Back Haunted” sounds like an outtake from Year Zero, the nine inch nails album that time forgot. The tune is extremely linear and well in line with any of the latter-day NIN songs you’ve heard while shopping for groceries.

Maybe it is the use of an over-arching major chord that is disingenuous. It could be the fact that nine inch nails fans have been subsisting on a steady diet of How To Destroy Angels as of late. I’m okay with that; I’ve listened to “Ice Age” on an hour long loop before and been perfectly fine with that.

I’m not one of those guys who sits in a coffee shop corner, lamenting about the good old days, stroking it to a club remix of “Closer.” I’ve followed Trent everywhere he’s gone. Even though this new song echoes old, familiar themes of unbelief and strange thought processes altering the physical body, “Came Back Haunted” doesn’t tread the new ground we were promised. It rests firmly in the comfortable KOA Kampground of With Teeth, building a campfire with a Duraflame log, blazing no new territory.

Here’s hoping the rest of the new album, Hesitation Marks, explodes in the orgasm of fury we’ve all been waiting for since the end of “Mr. Self Destruct.”

You can listen to “Come Back Haunted” at antiquiet.

Music Review: The Dudley Moore Trio, From Beyond The Fringe

By Cait Brennan

Dud, we hardly knew ye.

To Americans of a certain age, Dudley Moore was that loveable, “cuddly” Englishman of a certain height who improbably got the girl in several huge blockbusters of the ’70s and ’80s—notably Foul Play, 10, and Arthur (for which he received a well-deserved Oscar nomination). Even his less-successful films kept him firmly in the pop-culture consciousness throughout the ’80s—Wholly Moses, Micki and Maude, Best Defense, the Preston Sturges remake Unfaithfully Yours, Arthur 2: On The Rocks, Santa Claus: The Movie, the delightfully crass advertising send-up Crazy People.

Hits or flops, there’s something to love in all those films, and more importantly in his absolutely magnificent work in films like Stanley Donen’s Bedazzled; Bryan Forbes’s The Wrong Box; 30 Is A Dangerous Age, Cynthia; The Bed Sitting-Room; and so many others. But many of his film fans are only vaguely aware of Moore’s career as a highly regarded jazz composer and pianist, whose albums and film scores are every bit the equal of his comedy talent.

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