Chart for stowaways – 23 March 2013

Apart from the top couple, which I suspect are about to start plummeting, this is probably the least daft top ten singles of the year so far:

  1. Josh Wink – Higher State of Consciousness
  2. Brian Eno – Fractal Zoom
  3. Delerium – Days Turn into Nights
  4. Röyksopp – Running to the Sea
  5. Phildel – Storm Song
  6. Depeche Mode – Heaven
  7. Vanessa Paradis – Love Song
  8. Little Boots – Motorway
  9. Pascal Parisot – Ça Alors
  10. Woodkid – Run Boy Run

Meanwhile, on the albums Claudia Brücken and Karl Bartos are getting ready to take over, and I predict an explosion of Depeche Mode over the next couple of weeks too.


Sparks – Early 1990s Demos

As we know, Sparks have had a very odd career. In 1994, they returned from a five year break from the music industry, during which they had been trying to launch a movie career. The comeback Gratuitous Sax & Senseless Violins, their sixteenth studio album, was a significant Euro hit and set them up comfortably for the cult status which they have comfortably achieved.

But before the album came out, they had released one wonderfully bonkers non-album single National Crime Awareness Week on the Finitribe label (in 1993), and before that in 1992 had recorded an album’s worth of demos.

None of the demos appear on the album – in fact only two of them were properly released – and by and large this isn’t without good reason, but for a group as inscrutable as Sparks it’s wonderful to hear what they sound like when they’re just practising.

I’m not sure what order these demos should be listened to (they seem to be roughly alphabetical). Drawn by Picasso now sounds very dated and is probably rightly forgotten. The Farmer’s Daughter and Love Can Conquer All are very raw demos, harking back in many ways to the sound of their early years.

Life in Vegas is a particular high point, although the chorus perhaps falls a little flat. But you can see how this might have been transformed into an album highlight. She’s an Anchorman shows a lot of promise, and this is probably how it came to be the b-side to Now That I Own the BBC in 1996. Other tracks, such as She’s Beautiful, So What? and best of the bunch Where Did I Leave My Halo? could easily have appeared on an album.

I couldn’t see any decent videos for any of these, so here’s the brilliant original video for National Crime Awareness Week from 1993:

Free mp3 of the week – New Music for 2013 – Island Records

The latest Island Records sampler features the following tracks:

  1. The Weeknd – The Zone
  2. Little Green Cars – Maw Maw
  3. Deep Vally – Ain’t Fair
  4. Angel Haze – New York
  5. Woodkid – Run Boy Run
  6. Willy Moon – She Loves Me
  7. Angel feat. Wretch 32 – Go in, Go Hard
  8. John Newman – Cheating (Acoustic)
  9. AlunaGeorge – Just a Touch
  10. Nina Nesbitt – Boy

I can particularly recommend the Woodkid track, although some of the others are forgettable. Download in full here.

Preview – Chvrches

There are so many exceptional new releases coming up in the next few weeks that there’s no way I would ever keep up without making a little more space for them. So for the next few weeks, we’ll have a preview on Thursday as well – I hope you don’t mind…

Anyway, the world of electronic music seems to be very excited about Chvrches, even if they do have a rather silly name. I don’t know anything particularly useful about them, but they are releasing some interesting material. The new EP Recover snuck out this week, and this is the title track. It’s pretty epic, and pretty good too:

Tubeway Army – Replicas

If you’re a Gary Numan fan, I suspect you’ll want to tell me about how he invented popular music; how he was the first person to ever play the synthesizer; how he developed the art of “singing”; and a whole lot more. I get the impression, probably from entirely unfair sources, that this is what Numan fans are like.

For me, he’s always just been a pop star with a pilot’s licence. Occasionally a very good pop star, undeniably, but just a pop star nonetheless. He owes a lot to his own influences, and really if he did anything, it was to help popularise electronic music by borrowing other people’s ideas and making them his own.

None of which is even remotely a reason to dislike him, and actually the truth is that despite a bit of general respect for one of the forefathers of electronic music, I know relatively little about Numan. So here’s a review of my second ever listen to his second ever album Replicas, at which point he was still part of a band called Tubeway Army.

Replicas kicks off with a pleasant but largely meaningless track called Me! I Disconnect from You, which I can’t help but feel like Dude (Looks Like a Lady) has the emphasis in the wrong place in the title. But it’s a good enough track, and it’s also a far sight better than some of what would follow, both in Numan’s career and also on this very album.

It’s tempting to wonder if the oddly emphasised titles are an intentional theme, as the wonderful Are ‘Friends’ Electric? follows. This is where Gary Numan is at his finest, and it’s difficult to deny how excellent it is. It would also be very difficult to deny the influence of a certain Düsseldorf-based quartet, and I think it’s probably fair to say that it’s not quite up to their standards. Never did Kraftwerk have to deny on real bassists and drummers! But minor quibbles aside, Are ‘Friends’ Electric? is, of course, one of the most important tracks in the history of electronic music, and is also absolutely brilliant.

After this moment of groundbreaking electronica, anything was going to be an anticlimax, and so it is with the pleasant but dull rhythmic rock of The Machman. This is, unfortunately, a theme which continues into the equally dull but pleasant Praying to the Aliens, although by this point Numan’s squeaky semi-spoken voice is starting to become just a little bit annoying.

Down in the Park is a considerable improvement. It’s always a little tempting with an album like this to wonder how much of it was organically created and how much was written to try and fill the space or make some kind of point. This track is definitely the former, and turns out to be very pleasant after all. And with this, for all its faults, half the album has passed already.

Side B kicks off with another pleasant-but-meaningless track You are in My Vision, and this is followed by the title track Replicas, which is another slower track. The general theme of fairly grizzly synth sounds mixed with Numan’s snappy, intentionally almost inhuman vocals continues. This album was a UK number 1 in early 1979, and it’s fascinating to try to think about what else was going on in the world of music at this point. While Sheffield was already overflowing with artists doing this kind of thing, there really can’t have been much of it at the top end of the charts.

I’m particularly intrigued by the artwork, in which an almost vampire-like Numan stands by the window, accompanied by someone who clearly isn’t his reflection, looking out over a moonlit view of “the park”, with its neon sign. It would be fascinating to know what the world was that Numan was trying to create with this album.

It Must Have Been Years is another more 70s-styled rock track, which was probably pretty contemporary back then, but sounds extremely dated now. I’ll doff my cap to the bassist though, who carries this track more than anyone else.

The instrumental When the Machines Rock is a nice idea, but seems to struggle somewhat with its identity, and leads us into the final track I Nearly Married a Human, surprisingly another instrumental, and a rather pleasant one too.

Buy the remastered version, and you get another side of vinyl’s worth of bonus tracks, although I’m not sure I was blown away by any of them. We Have a Technical, although a little too long for its own good, was probably the best of the bunch.

All told, despite my uncertainty about the idol-worship that Gary Numan always seems to get, I tried to approach this album with a relatively open mind, and in so doing I’ve actually found it extremely rewarding. It was definitely early days for electronic pop music, but in this case that was no bad thing.

If you’re looking to make a purchase, the correct version of this album would be this one.

Preview – Karl Bartos

To start a rather worrying trend which is going to continue for at least the next few weeks, we’re actually a week behind with this one. Sure as buses always turn up in threes, and odd-numbered Star Trek films are rubbish (or was it even numbered ones?), former Kraftwerk member Karl Bartos must return every decade with another album, and so he has.

I wonder if Kraftwerk were involved in the recent doping scandal which has tainted cycling so much recently – it would explain what they’ve been up to, if they’ve been secretly synthesising blood plasma. Anyway, this new album is called Off the Record, and the first track is about a big sculpture in Brussels called Atomium:

Chart for stowaways – 16 March 2013

As things calm down slightly round here I can now bring you two slightly more sensible top fives. Singles:

  1. Brian Eno – Fractal Zoom
  2. Josh Wink – Higher State of Consciousness
  3. Delerium – Days Turn into Nights
  4. Röyksopp – Running to the Sea
  5. Phildel – Storm Song


  1. Various Artists – Le Pop 2
  2. Various Artists – Pink Panther’s Penthouse Party
  3. Claudia Brücken – The Lost Are Found
  4. Various Artists – Asian Travels, Vol. 1
  5. Dead Can Dance – Spleen and Ideal

The Presets are still holding firm further down the chart, and Depeche Mode are sauntering around like they own the place as well, as you might expect.

Depeche Mode – Sounds of the Universe (Demos)

If you were lucky enough to be able to get a copy of Depeche Mode‘s last album Sounds of the Universe in ultra-limited edition box set form, you’ll have got this rather fun disc of demos with it. The CD spans most of their career, with a range of demos from across Martin L. Gore‘s tenure as lead songwriter.

In demo form, Little 15 is a fully-fledged song, but instead of the beautiful finished track it seems to have started out as some kind of deep and dark pad-driven track. Clean and Sweetest Perfection have a similarly dark energy which sounds almost entirely unlike the final album version. Prior to meeting their final producers, it seems Depeche Mode songs are very dark indeed.

A particular highlight is the demo of Walking in My Shoes which gains a rasping bass line and slightly trippy drum beat. Excellent 1998 b-side Surrender and a-side Only When I Lose Myself are among the least different from their final versions, and even then it’s perhaps only the general energy and mood that are similar.

Another highlight is a brilliant version of Nothing’s Impossible, which brings out a melancholy which seems to have somehow been lost in the final version. Even at its worst, this collection of demos is totally intriguing. At its best, these versions could easily stand up for themselves as alternative mixes.

If any of our previous sets of demos was an educational experience, they had nothing on this. Depeche Mode without their producers are an entirely different beast, and that’s ignoring the fact that a lot of them are sung by Martin L. Gore. Here’s Walking in My Shoes:

Free mp3 of the week – Frankmusik

Frankmusik has given away so much great free stuff that it’s difficult to know exactly where to start. In many cases, it’s also better than his actual releases, so it’s definitely worth checking out.

A good place to start is, which when I last looked was hosting his side project Vincent Did It‘s The SOPA Opera EP. If you can find their Long Live Frankmusik EPs anywhere, they’re very much worth tracking down.

Somewhere I’ve also turned up an excellent acoustic version that he recorded of Erasure‘s When I Start to (Break it All Down), which is possibly better than the album version, but I’ve no idea where I downloaded it from.

Here is his page on RCRD LBL, and here he is again with Tinchy Stryder.