~reviewed by Mick Mercer
An album from 1995, with either an ironic or unfortunate title for the band whose rise was halted by various addictions, and it carries on from my review yesterday when I raised their peculiarities.
Once again they sound more concerned that everything is delivered with the utmost clarity than to invest their songs with any wild energy or commitment, just very spruce playing and precise diction, making it rather cold. There are still some very good, albeit somewhat strange (to these ears) songs, with occasional surprises, and two very distinctive musicians, on guitar and keyboards. The guitar is quite simple, with virtually no effects, and often very thing but highly mobile in contributions while the old-fashioned synth or keyboards are being handled by someone who knows how to bring a new infusion to old sounds.
There's no point analysing it greatly, because you'll either pop to their website or you won't, but I must say that that mad yelping to a go-go beat in 'Eternal Love' is infectious, 'Abordage' shows they can be abrasive, as the synth is pulsing, and 'Black Moon; is like something from the annals of Dr Who, having a succulent bass, cavorting splendidly. 'Fairy Taiga' is 60's spy music with Shadows-like guitar and the star song is 'Transylvania' with a great tone to it all, spaghetti western guitar and a busy dance pulse in the middle, so once again the various elements are all there. It's just making sense of any of it which is difficult.
More spaghetti guitar enlivens 'Heterosexualist' but, unfortunately, so does a syndrum and grotesque keyboard runs, while 'Opium For Nobody' is like a sour take of New Romantic hallmarks.
All very strange.