I’ve often wondered what most people made of White Town‘s 1997 album Women in Technology. Released in haste after the sudden success of Your Woman, it almost made the charts but sold respectably. This week, it celebrates the twentieth anniversary of its brief fling with fame, which seems a good time to give it another listen.
It opens with second single Undressed, a good opener, as it showcases White Town‘s lo-fi charms with a particularly good song. If you came to this expecting twelve clones of Your Woman, you probably would have been disappointed, although contemporary reviews for the album were actually fairly complimentary, and this single did make the lower ends of the chart, meaning White Town don’t (doesn’t?) quite go down in history as a one-hit wonder.
Next is the more uptempo Thursday at The Blue Note, and while it does come a little closer to cloning Your Woman, by now you probably should have got that idea out of your mind. It’s a great indie party track, the highlight of which surely has to be the Derby-accented lady who speaks the title towards the end.
There’s an impressive variety of styles at play here, with the acoustic sound of A Week Next June coming next, and then the moment that you could probably be forgiven for waiting for, the number one hit single Your Woman.
It still blows my mind slightly whenever this turns up on the radio – in context, on the album, it makes some degree of sense as a song – you can accept that Women in Technology is an album for misfits, and that a man telling someone he could never be their woman is OK. Randomly heard on the radio in amongst early 1990s rock (as it often is), you might be left a little confused. The computer pips in the middle section are, of course, the finest moment of the song.
An updated version of debut eponymous single White Town follows, before some warped electronics introduce The Shape of Love. One of the more interesting things done on the album sleeve was to scatter the songs around a discreet image of a lady’s body. The Shape of Love is somewhere just above the left knee. The song is actually largely acoustic and fairly simple, with the grimy electronics just creating background atmosphere.
Wanted comes next, a grimy production which uses a female vocal sample as part of the rhythm track, and featuring a great lead vocal from Ann Pearson. This was at one point planned as the second single, but for some reason never appeared, which is a shame, because Vince Clarke‘s remix on the promo CD is great (actually I think it’s probably fair to say that it’s better than the original, although it definitely wouldn’t have worked as an album track). There’s also a very rare promo 12″ which includes remixes by various other synth legends, and is probably worth buying if you’re ever lucky enough to find a copy.
For every more forgettable moment on here (The Function of the Orgasm is fine, but nobody was going to buy this album purely for this), there’s another great track – Going Nowhere Somehow could have easily been another hit single if White Town had been destined for stardom. Theme for an Early Evening American Sitcom is a slightly daft instrumental, but The Death of My Desire is another indie/rock crossover for misfits.
That’s very much the theme of this album – it was clearly never intended to be the biggest seller ever, but there’s plenty to enjoy if you like honest, home produced but professional sounding music. And ultimately what more can anyone ask for? Women in Technology closes much the same way it opened, with a sweet song with enormous drumming, Once I Flew, then a matter of months later White Town and the record company parted company, and everyone got on with their lives again. But for a brief, fleeting moment, this was an album that offered a lot to it audience, and I suspect those who haven’t heard it might still find something to enjoy.
You can find Women in Technology at all major retailers.