It's all very arch in a not very, say, tried and tested over time, archly clever sense.

Still, there are fleeting moments...

Militaristic Tango drumming tempo that sadly come as no surprise.

Patience… running… thin…

I mean, bearing in mind the impending Falklands Crisis, was this an example of Agit-Prop-Pop?

One of these guys added the fairlight bits to Fade to Grey.

It is over.

It was a harmless diversion that wore itself lightly.

Now to look back at the thread and see what everybody else made of it.

These synths sound soo weedy don't they?

I shall give it 3 stars.

Gr8 '80 cover art BTW.

It couldn't be any more '80s in truth if it tried and everything!

Yeah, hmm, yeah, no?

Quote :

Burgess defined the computer programmer's and sampler's role in modern music via his work in the 1970s, creating the first computer driven hit, "Einstein a Go-Go", using the Roland MC-8 Microcomposer. He is believed to be the first to record digital samples on a commercial recording with his programming of the Fairlight CMI[14][15] on Kate Bush's Never for Ever album and Visage's single "Fade to Grey". He conceptualised and co-designed the first standalone electronic drum set, the hexagonal shaped Simmons SDS-V.[16] He appeared on three separate occasions on the BBC Television programme Tomorrow's World demonstrating his prototype of the SDSV, the Roland MC-8 Microcomposer, and the Fairlight CMI. He is also reported to have coined the name "New Romantic" for the subcultural movement of the early 1980s,[17] as well as the term "electronic dance music" (EDM), which first appeared on the record sleeve of the 1980 Landscape single "European Man".[18][19][20][21] His New York City productions of Colonel Abrams' gold singles "Trapped" (1984) and "I'm Not Gonna Let You" (1985) are widely considered to have been the precursors to house music,[22] with "Trapped" referred to as a proto-house track and a precursor to garage house.[23]

Chinny recon.

Nothing.

If they weren't so smug and archly influenced by the many bands they were blatantly blatant-ape-aping in their 'the public won't ever notice' hubris they might've made more of an effort and the album could've'd been actually good.

Still, good God...

After last night, I'm just glad to be alive.