Var­i­ous

Closed Cir­cuits

Mojo (UK) - - Filter Albums -

FES­TI­VAL. CD/DL/LP In Aus­tralian Al­ter­na­tive Elec­tronic Mu­sic Of The ’70s & ’80s Vol­ume 1, Oz’s synths get a be­lated day in the sun. In the hin­ter­land be­tween SPK’s in­dus­trial grind and the Roxy Mu­sic-in­spired Ice­house – nei­ther col­lected here – Aus­tralia birthed a raft of less in­ter­na­tion­ally lauded syn­then­abled ag­gre­ga­tions in the wake of punk. Like most other coun­tries, then. On this ev­i­dence, robot-voiced fe­male singers, fas­ci­na­tions with fu­ture shock and us­ing new mu­si­cal tech­nolo­gies in rock line-ups were as preva­lent as in the UK. This means the com­mer­cially suc­cess­ful Mod­els’ On is – though darker – two steps from Du­ran Du­ran (no bad thing). It also means Karen Marks’ Cold Café is a de­light­ful French cold wave ana­logue. “On the es­planade, my cof­fee’s gone cold” sings the Euro-be­sot­ted Ms Marks to bub­bling synth, one-fin­ger key­board, a reg­gae rhythm and Fripp gui­tar. Asphix­i­a­tion’s L’Acros­tique D’Amour ac­tu­ally could be French. While great fun, the en­light­en­ing Closed Cir­cuits in­vites fur­ther scru­tiny of a hith­erto largely over­looked mu­si­cal world. Kieron Tyler

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