***Orhan Gencebay - Leyla ile Mecnun (1983) -outrageously fantastic Turkish film OST!***

From Wikipedia:

Orhan Gencebay (born August 4, 1944 in Samsun, Turkey as Orhan Kencebay) is a Turkish musician, bağlama virtuoso, composer, singer, arranger, music producer, music director, and actor.

Gencebay was born in the coastal town of Samsun on August 4, 1944, to Crimean Tatar and Balkan Turkish parents.[citation needed] He started learning music at the age of six, taking violin and mandolin lessons from Emin Tarakçı who was an old Classical Musician from the Ukraine Conservatoire. At the age of seven, he started playing the bağlama (a traditional Turkish instrument), and continued taking traditional Turkish folk music lessons. At ten, he created his first composition. At thirteen, he started playing the tambur, an instrument often used in Turkish classical music to improve himself in the theoretical and practical details of Turkish classical music.

During his high school years, he performed in Classical and Traditional Turkish Folk Music groups playing the tambur and baglama, taught music lessons in his own music courses, and took part in organizing community music centers in Istanbul and Samsun.

When he was sixteen, he became interested in jazz and rock music, and started playing tenor saxophone in wind orchestras. He enrolled in the Turkish conservatory in Istanbul, and studied there for four years. During his military service, he played saxophone in the military brass band.

In 1968, he released his first "free-style" single "Sensiz Bahar Gecmiyor/Basa Gelen Cekilirmis", and was rewarded. During the 1970s he released many singles in a new genre that is a fusion of traditional Turkish Folk music, Turkish classical music, Western classical music, jazz, rock, country, progressive, psychedelic, Indian, Arabic, Spanish, and Greek music styles. Even though some musical societies such as TRT named that kind of World fusion music recordings Arabesque music, Orhan Gencebay refused the term arabesque, saying it was inadequate to define his style.[3][4][5] In 1972, he founded the Kervan Record Company, which became very successful, attracting many other talented musicians such as Erkin Koray, Ajda Pekkan, Muazzez Abaci, Mustafa Sagyasar, Ahmet Ozhan, Kamuran Akkor, Semiha Yanki, Samime Sanay, Nese Karabocek, Bedia Akarturk, Nil Burak, Ziya Taskent, Semiramis Pekkan and Ferdi Ozbegen.

Throughout his career Orhan has performed leading roles in 36 movies, has been a composer almost in 90 movies, composed of about a thousand[6] works, released almost 35 singles, 15 albums, and dozens of MC's. His albums sold out over 65 million legal copies.

As a composer, film musician, and as a person interested in other musical cultures, Orhan Gencebay is one of the major exponents of Turkish music in the 20th century.

***

***Baris Manco -Sozum Meclisten Disari (1981)***

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***Maddy Prior & the Carnival Band -A Tapestry of Carols(1987) -gorgeous old worlde folk, must listen!!***

Note: Maddy & band have done about 5 Christmas albums like this, so do check them out if you like Olde Worlde folk! it's great stuff!!

From Wikipedia:
A Tapestry of Carols is an album by Maddy Prior. It is a collection of ancient carols from across Europe, played by The Carnival Band on replicas of medieval instruments. It was recorded at The Quaker Meeting House, Frenchay, near Bristol and released in 1987.

Personnel

Maddy Prior – vocals
Bill Badley – baroque guitar, guitar, gittern, banjo, mandolin, mandocello, cittern, vocals
Andrew Davis – double bass
Charles Fullbrook – tabors, basel trommel, glockenspiel, bells, wood blocks, triangle, cymbals, vocals
Giles Lewin – violin, recorders, vocals
Andrew Watts – Flemish bagpipes, bassoon, curtal, clarinet, recorders, shawm, vocals
Arrangements by Andrew Watts
"Angels From The Realms Of Glory" arranged by Andrew Watts and Giles Lewin.

Track listing

"The Sans Day Carol" (Traditional Cornish)
"In Dulci Jubilo" (German 14th Cent)
"God Rest Ye Merry Gentlemen" (Traditional English)
"It Came Upon The Midnight Clear" (Tune trad Eng, words EH Sears)
"The Holly and the Ivy" (Traditional English)
"The Coventry Carol" (English 16th Cent)
"Ding Dong Merrily On High" (Tune trad French 16th Cent, words GR Woodward)
"The Angel Gabriel" (Tune trad Basque, words S Baring-Gould)
"Angels From The Realms of Glory" (Tune trad French, words J Montgomery)
"Infant Holy" (Traditional Polish)
"A Virgin Most Pure" (Traditional English)
"Unto Us A Boy Is Born" (German Medieval)
"Rejoice And Be Merry" (Traditional English)
"Joseph Dearest" (German 16th Cent)
"Personent Hodie" (German 14th Cent)
"On Christmas Night" (Sussex Carol) (Traditional English)

here

***Various Artists (2009/2010) -Anatolia Rocks: A Musical Trip Through Turkey Vol. 1 & 2***

Anatolian rock (Turkish: Anadolu Rock) is a fusion of Turkish folk and rock music. It emerged during the mid-1960s, soon after rock groups such as The Beatles, The Rolling Stones, Led Zeppelin, Yes, Status Quo, and Omega became popular in Turkey. Examples of this style include Turkish musicians such as Cem Karaca, Barış Manço, Erkin Koray, Fikret Kızılok, Murat Ses alongside bands such as Moğollar, Kurtalan Ekspres, Mavi Işıklar, Apaşlar and Kardaşlar. Today, Anatolian Rock is a general term used to describe music derived from both traditional Turkish folk music and Rock.

Tracklist:
Volume 1
01 Ümit Tokcan - Uryan Geldim
02 Erkin Koray - Estarabim
03 Esin Afşar - Zühtü
04 Edip Akbayram & Dostlar - Zalım Zalım
05 3 Hürel - Döner Dünya
o6 KIm Bunlar - Oyuna Çağrı
o7 Selda Bağcan - Ince Ince Bir Kar Yağar
o8 Erkin Koray - Şaşkın
o9 Barış Manço* - Estergon Kalesi
10 Fikret Kızılok - Sevda Çiçeği
11 Nurcan Opel - Beğenmez Beğenmez
12 Cem Karaca & Apaşlar - Gılgamış
13 Grup Bunalım - Bunalım
14 Mustafa Özkent - Zeytinyağlı
15 Barış Manço* - Ben Bilirim
16 Mavi Işıklar - Gül Dah
17 Galatasaray Lisesi - Zazie
18 Erkin Koray - Türkü

Volume 2
1. Alpay ~ Ben armudu dislerim *
2. Metin H. Alatli ~ Mevlana Böyle Dedi [Edit]
3. Timur Selçuk Orkestrasy ~ Panayir Gunu *
4. Serpil Barlas ~ Yandin askinla ben *
5. Erkin Koray ~ Silinmeyen Hatiralar
6. Zerrin Zerren ~ Yazik Sana *
7. Ersen ~ Dostlar beni hartirlasin
8. Ferdi Özbegen ~ köprüden gecti gelin
9. Baris Manço ~ Sari Cizmeli Mehmet Aga
10. Gulden Karabocek ~ Artik Sorma beni *
11. Grup Cigrisim ~ Salak
12. Mavi Isiklar ~ Ask Cicegi
13. Aziz Azmet ve Bunalimlar ~ Hele Hele Gel *
14. Ajda Pekkan ~ Viens dans ma vie *
15. Gomidas Ensemble ~ Helvaji [traditional] *
16. Edip Akbayram ~ Arabam Kaldi Yolda

Charanjit Singh - Ten Ragas to A Disco Beat (1982) Amazing early 'House' electronica sound, instrumental with Bollywood & Psychedelic vibes

1982 released LP containing Kraftwerk-like acid house music, years before the genre was invented ! TIP!
Performed on the synths that would later define Acid House, the Roland TB-303 and TR-808, the album sounds light years ahead of its time with its repetitive beats and hypnotic electronic melodies. Its maker, Bollywood session musician Charanjit Singh, set out to translate ancient Indian classical Ragas to the modern synthesizer and in doing so seems to have invented House music along the way. The 10 tracks make a consistent listen from A to Z. Its restrained minimalism and lack of cheesiness makes it incredibly contemporary, sounding animated, fluid and unabashedly alive.

1. Raga Bhairav
2. Raga Lalit
3. Raga Bhupali
4. Raga Megh Malhar
5. Raga Yaman
6. Raga Kalavati
7. Raga Madhuvanti
8. Raga Todi
9. Raga Bairagi
10. Raga Malkauns

here

Neil - Neil's Heavy Concept Album (1984 comedy spoof Psych LP feat. 'Neil' from "The Young Ones") GOOD FUN, GOOD SONGS!

Review:

Nigel Planer (vocals) revives "Neil" from the short-lived yet highly influential BBC-TV program The Young Ones on Neil's Heavy Concept Album (1984). Although the show was set in the 1980s, Neil's lifestyle centers around the mid-to late-'60s hippie culture, an exceedingly antiquated notion directly contrasting his ultra-mod housemates. This explains the inclusion of the fairly wide selection of psychedelic and progressive nuggets amidst the spoken links and occasional originals. The idea for the long-player stemmed from his version of Traffic's early side "Hole in My Shoe" --which came out as a single. When Planer appeared in character to promote it on BBC 2's Top of the Pops, he lost his footing, resulting in the backdrop falling apart and causing general mayhem on live television. The tune is given a lighthearted romp with notable session musician Rick Biddulph (guitar) working in phrases of the Beatles' "Strawberry Fields Forever" during the waning moments. Other fun covers are Tomorrow's "My White Bicycle," Syd Barrett-era Pink Floyd on "The Gnome," Donovan's "Hurdy Gurdy Man," and "The Amoeba Song," aka the Incredible String Band's "A Very Cellular Song." Caravan's "Golf Girl" is worth additional mention, as it features a cameo voice-over from Dawn French --half of the comedy team French & Saunders --as (of all things) a policewoman. Instrumentally, Planer is supported by an all-star cast that includes Dave Stewart (keyboards/ bass/drum/guitar), Barbara Gaskin (backing vocals), Pip Pyle (drums),akko M. Jakszyk (guitars), and jazz heavy Annie Whitehead (trombone), as well as Jimmy Hastings, who at one time was a primary contributor to the aforementioned prog rock outfit Caravan. "Lentil Nightmare" is a tremendously amusing Planer-penned composition that, among other things, quotes "In the Court of the Crimson King" by King Crimson amidst the proto-heavy progressive metal madness. The connecting bits of dialogue provide an outlet for Planer's quirky and earthy humor. Also of note is "Neil the Barbarian," a parody of a movie advert where Neil --a strict vegan --eats a hamburger, which transforms him into this superhero-type character. All said, Neil's Heavy Concept Album is thoroughly entertaining and recommended for inclined parties.

Tracklist:

"Hello Vegetables" –:26
"Hole In My Shoe" –3:40
"Heavy Potato Encounter" –:42
"My White Bicycle" –3:31
"Neil the Barbarian" –1:12 (narrated by Nigel Planer's brother Roger Planer)
"Lentil Nightmare" –5:47
"Computer Alarm" –:36
"Wayne" –1:36
"The Gnome" –2:29
"Cosmic Jam" –2:26
"Golf Girl" –4:40 (featuring Dawn French as a not-so-nice fairy godmother)
"Bad Karma in the UK" –2:17
"Our Tune" –1:13
"Ken" –:41
"The End of the World Cabaret" –1:09
"No Future (God Save the Queen)" –2:12
"Floating" –1:39
"Hurdy Gurdy Man" –3:46
"Paranoid Remix" –1:59
"The Amoeba Song (From 'A Very Cellular Song')" –1:19
BONUS TRACK :
"Hurdy Gurdy Mushroom Man" (B-side of "Hole in my Shoe" single)(audio extracted from video. Please comment if any problems)

album

HuRdY gUrDy MuShRoOm MaN

***Virginia Astley - Hope in a Darkened Heart (UK 1986) - GORGEOUS RARE CHILDLIKE DREAMPOP!***

From Wikipedia, the free encyclopedia Virginia Astley (born 26 September 1959) is an English singer-songwriter most active during the 1980s and 1990s. From the start of her song-writing career in 1980, Astley took her inspiration from many sources. Her classical training influenced her as did a desire to be experimental with her music. Although more popular in the Far East, most notably Japan, she remains a cult artist in her native England.

When its realised that Virginia's debut album was instrumental and "Promise Nothing" was made for export,this is actually her first vocal album.And as far as this country in concerned it was her last. "Some Small Hope",a duet with David Sylvian,was issued as a single the year after and couple with a rerun of "A Summer Long Since Past",one of the 2 items reworked here. At the time Virginia was expecting and had been abandoned by the father so understandably she wanted to call off the sessions. But Warner Brothers,who'd signed her because of their connection with the aborted Why Fi,persuaded long time fan and producer Riuchi Sakamoto to talk her out of it. So this was the result,again a 9 tracker,but the song missed off went to Japan,this being "A day a night",included on their vinyl and CD. "A winter's tale" became a single. Virginia actually adapted 3 previous songs as a barb against the man who walked out on her and these were "Charm" (also a Japanese single) "A father" and "So like Dorian".Not that anyone would notice as she is too poetic to be vitriolic,and her sweet fragile voice could never convey anger. In "I'm sorry" its never been clear who she was apologising to but after giving an interview to the NME Virginia had nothing to say to anyone and retired from the music business to raise the daughter born in Westminster Hospital.Her only signs of activity since then were to contribute a song to the soundtrack of "Lily Was Here" ("Second chance")and the Japanese artiste Hideaki Matsuoka called "Winter White Rain",the Japanese name for snow. "Tree Top Club",which opens up side 2 on the vinyl,is a song inspired by childhood memories in Stanmore,even mentioning the "ruined church",which is still there as there are 2 churches in the same churchyard! Another earlier single "Darkness has reached its end" was also included: the idea behind the lyrics came via a Russian poet and has beautiful words full of pastoral images.

Tracklist:

1 Some Small Hope (with David Sylvian)
2 A Father
3 So Like Dorian
4 I'm Sorry
5 Tree Top Club
6 Charm
7 Love's a Lonely Place To Be
8 A Summer Long Since Passed
9 Darkness Has Reached Its End

dreamdreamdream

Journey -Escape - the ORIGINAL 'Don't Stop Believin' band! FOR HEADBANGERS EVERYWHERE!

1. Don't Stop Believin'
2. Stone In Love
3. Who's Crying Now
4. Keep On Runnin'
5. Still They Ride
6. Escape
7. Lay It Down
8. Dead Or Alive
9. Mother, Father
10. Open Arms

Escape!

Eroc - Changing Skies (1987)

01 Changing Skies
02 Zauberwald
03 Wanderzirkus
04 Back To The Mountains
05 Seitenwind
06 Space Shuffle
07 Pressed Rat And Warthog
08 Nachtfahrt
09 Happy Burstday
10 Ich hasse Dich
11 Greenhouse Effect
12 Remscheid
13 Danger Keep Out
14 Burstday in Peuscherswerth
15 Changing Skies
16 Space Shuffle
17 Nachtfahrt
18 Der fröhliche Wecker
19 ALBW

Sorry! Had to remove link!

***REPOST: Solaris -The Martian Chronicles (Marsbéli Krónikák) 1984 HIGHLY RECOMMENDED!***

If you like Jean Michel Jarre or War of the Worlds, you should love this!

Review by loserboy (James Unger)PROG REVIEWER from progarchives.com:"Marsbeli Kronikak" (Martian Chronlicles) is one of the greatest symphonic prog albums of all time. SOLARIS provide some great swirling keyboards (and lots of them) swirling keyboards (and lots of them), injected with some incredible flute, bass and guitar, surrounded by complex drumming . This recording moves in and out of many different moods throughout the recording taking on many different personas. This is some of the coolest space instrumental prog you will ever hear. The intro is quite psyched out and has some alien child like voices throughout providing an very uneasy feeling. After the "Martian Chronicle Suite" we are treated to a couple of extra tracks which seem to blend in quite well actually. This recording is essential in my books and I am sure all lovers of space symphonic prog will be drooling over this one.

Review by Steve Hegede (Steve Hegede)PROG REVIEWER from progarchives.com:"The Martian Chronicles" was released in 1983, and quickly became a hit in Hungary. But, it wasn't until about 1995, after SOLARIS played Progfest '95, that the rest of the prog world got a chance to discover this Eastern European gem. The album starts off with a side-long epic entitled "The Martian Chronicles Parts 1-6" which mixes Klaus SCHULZE-like synth work, with overly melodic interplay between piano, guitar, and flute. Nothing here gets too complex, rather the band seemed to have focused on creating beautiful, and playful, themes. After the side-long epic, things get a bit more aggressive with my favorite piece called "Mars Poetica". In my opinion, this sounds like a progressive, and instrumental, version of IRON MAIDEN with flutes, Moog synths thrown in. The album goes on to end with a few more shorters tracks that feature aggressive synth solos, melodic flute interludes, and metal-guitar riffing. A classic!

01. Marsbéli krónikák I. (3:34)
02. Marsbéli krónikák II.-III. (6:32)
03. Marsbéli krónikák IV.-VI. (13:15)
04. M'ars poetica (6:39)
05. Ha felszáll a köd (3:58)
06. Apokalipszis (3:44)
07. E-moll elõjáték (0:29)
08. Legyõzhetetlen (2:46)
09. Solaris (4:53)
10. Orchideák bolygója (3:17)
11. A sárga kör (4:54)

UTTER BRILLIANCE!

Eroc 4 (1982)

Eroc (Joachim Heinz Ehrig) started his solo career in 1975 while he was currently the drummer of Grobschnitt. His self titled album can be considered as a cross between Grobschnitt’s typical symphonic amazing music and electronic/ synthscapes dominated by numerous original sound manipulations. Despite that he was originally recognised as a drummer, here Eroc is the man behind the machines,controlling solid essays in synth experimentations and electronic collages. His first album is an absolute must have in Kraut- electronic genre, very abstract, emotional and a mix of different moods. His following album Zwei continues to process by a combination between rock and electronic but focused on short, efficient sketches.
Humour and derision are clearly exposed in the lyrics and recitations.
Zwei is a reminiscence of Grobschnitt’s theatrical universe with lot of gags, but the atmosphere is much more introspective, sometimes delivering deliciously melancholic melodies. After this two first very recommended efforts, Eroc pursues his solo career notably providing a kind of reunion, family album Eroc 3 with others Grobschnitt members.

In parallel he also started a professional career as music producer, recently published albums of Jane, Grobschnitt among others.

DISCOGRAPHY:
1975 Eroc - Eroc
1976 Eroc - Zwei
1979 Eroc - Eroc 3
1982 Eroc - Eroc 4
1987 Eroc - Changing Skies
1997 Eroc & Hans Reichel - The Return Of Onkel Boskopp
1998 Eroc - Eroc's Wolkenreisen
*************************************************************************************Tracks:

01 Piratensender Kolibri
02 Hundertwasser
03 Zimperlein
04 Vogelfrei
05 Javea
06 Tausendwasser
07 Krieg der Zwerge
08 Von der Insel
09 Brauntöne
10 Hagener Wellenreiter
11 Let's gläntz
12 Wer rettet die Welt
13 Alles Inordnung
14 Detlef ist weg
15 Die Kinder ziehen fort
16 Der Prophet
17 Sonntagsfahrt
18 Fantastico
19 Radio Puschkino
20 Auf Widder Hörn

***

Intaferon: Get out of London -12 inch 80's single (Rare bonkers track, gotta hear!!)

INTERFERON GET OUT OF LONDON.rar

Hold Tight
Monday morning wake up yawning
Break an egg, bust my head, maybe it's a warning
Ring on the bell says it's half past eight
Kees on the TV, hey Im gonna be late
I'm walking on the pavement skipping all the lines
so the bears don't eat me send me to the saltmines
Get on the bus but the bus don't stop my feet are sitting downstairs my head on the top
I can't see out the window cuz there ain't no sun
I think somebodys tellin me to G-G-G-G-Get out of London

My feets keep movin and i don't wear any socks
Can't stop singing, head ting-a-lingin
Left my house, now I hang out in a phonebox
Making coffins out of bits of old wood,
Sell 'em cheap to the council though i know it's no good to be a traitor,
collaborator, still i'd rather be a snitch than a cocktail waiter
Commit my crime now pay my penalty later
Okay allright i know i'm doin wrong but save it till tomorrow got to G-G-G-G-G-Get out of london

Last night I lost my purity it started with a kiss, I settled in to revel in a night of bedded bliss
I had a bee in my bonnet, a tiger in my tank
I was on my maiden voyage but my liner just sank
They call me jack of hearts, some would say a knave
My mother was the queen of tarts my baby was a sex slave
Pa's selling weapons to the Red Army Faction
I burn myself in public just to get a reaction
Tattoo my face so my race is run
My car is on fire got to G-G-G-G-G-Get out of London

Don't wear a suit don't wear a smile,
Don't wear my spikes out on the golden mile
Keep my hand on my gun, keep my eye on my mines
Keep my heart on the beat when i'm running through the front lines
Chain Gang chasin' me but I'm quick as a fox
An' i rock my body to the sound of the box
the louder you scream the faster we go
It's an ack ack battery a boom-boom-boom
Helter Skelter flattery coming down soon
Pay packet, jug drug, babies buying fun,
Purdie's on speed I got to G-G-G-G-Get out of London

Run don't walk keep as straight as a crow, I'm waiting for my treasure at the Admiral Benbow,
Blues in my pockets, Reds in my bed, the weights are building bodies and the blacks are pumping lead

A Face in a photo, the beauty is bare tears on her cheek
She's living in a nightmare turn the page to a brand new leaf,
Resolute swagger loot time to be a thief,
Go to task wear a mask four ponies a ton,
Keep out of Sing Sing got to G-G-G-G-G-Get out of London

Everybody in the land turn into a sugartooth beg like a puppy dog,
Brains like a hedgehog
Gimme Ten P and I'll tell you the truth, sell you a wonder drug, elixir of youth
Threw a party for my friends so they wouldn't be lonely
They wouldn't let me in said it's membership only don't worry bout me
Cuz i'm doin fine standin on my head
And sittin on a gold mine
Keep taking the nitro three times a day, Keep out of the cross fire and G-G-G-G-G-Get out of London.

Kissing the Pink -Naked

Kissing the Pink was formed in 1980 at the Royal College of Music in London, England. All of the members lived together in the same house in North London. Comprised of Nick Whitecross (vocals guitars), Jon Kingsley Hall (keyboards, vocals), Peter Barnett (bass violin, vocals), Simon Aldridge (guitars, vocals), Stephen Cusack (drums, vocals), George Stewart (keyboards, vocals), and Josephine Wells (saxophone, vocals). Their first single was "Don't Hide in the Shadows", made with Martin Hannett, but it wasn't until they signed with Magnet Records that they began to get any airplay. They recorded their first album in AIR studios with producer Colin Thurston, Kissing the Pink had wanted Brian Eno to produce the album but Magnet thought Thurston would make a more commercial impact. Kissing the Pink released their first album, Naked, in 1983. recorded their first album in AIR studios with producer Colin Thurston, Kissing the Pink had wanted Brian Eno to produce the album but Magnet thought Thurston would make a more commercial mpact. Kissing the Pink released their first album, Naked, in 1983 The album, Naked, didn't sell a lot of copies but was a favourite with the college crowd, the sheer variety of songs on the album made the album too hard to classify, and thus it was largely ignored.

Tracklisting

1.The Last Film (3:23)
2.Frightened in France (3:22)
3.Watching Their Eyes (3:13)
4.Love Lasts Forever(5:32
5.All For You (4:01)
6.The Last Film (Hymn Version) (3:14)
7.Big Man Restless (3:45)
8.Desert Song (3:24)
9.Broken Body (2:47)
10.Maybe This Day (3:38)
11.In Awe of Industry (2:15)
12.Mr. Blunt (2:56)

http://www.mediafire.com/?mdfqmizm2zw

My verdict: UNMISSABLE SYNTH POP CLASSIC! HIGHLY RECOMMENDED!

Modern English -After The Snow (1982)

(1982) In a strange paradox, I feel like, most of the time, this album is underrated or forgotten about because of its one huge song Forgotten because of popularity and perhaps a bit of over saturation. Of course, 'I Melt With You' is the definition of classic One of those perfect pop singles that defined an era and, through its universally articulate lyrics, simultaneously transcended that era for generations to come. Wonderful stuff. And one of those rare moments where a song is so good it feels, in retrospect, like a poetic victory for truly creative and genuine music.

Originally released in 1982 on the British 4AD label, it must have sounded like an epic masterpiece at that point. Foreshadowing where fellow post-punkers-turned-pop bands like the Cure and New Order would go in the near future, it can now be asserted as the most perfect mashup of arty post-punk dissonances and pop catchiness. Its closest contemporaries were probably similarly minded albums like the Sound's All Fall Down or Echo and the Bunnymen's Heaven Up Here (and this one makes the most sense because it was magnificently produced by Hugh Jones, who handles production duties on After the Snow just a year after his work with the Bunnymen) But we're a bit ahead of ourselves Allow me to indulge the Bunnymen comparison for just a bit more.. It's fitting that Hugh Jones worked with Echo on Heaven Up Here — perhaps the darkest and artiest album of their catalogue— in the same year that Modern English made their first album; itself a strange and drugged out affair that was certainly more goth than anyone would have guessed if they were working backwards through the band's discography I mean, just have a look at the cover. The music isn't excessively weird, it's just much more psychedelic and downright trippy than most people would imag
ine for what is essentially a new wave album. A single (which can now be appropriately viewed as somewhat of a proto-shoegaze tune) was released and promptly ignored. After the band released Mesh and Lace, they were dubbed competent Joy Division knockoffs and nothing more was thought of the issue A year or so later, in a turn of events nobody in the most astute of ogic would have foreseen, they re-emerged with 'I Melt With You and had a minor British hit Its accompanying album was a fantastic mish mash of uber-pop ushly layered arrangements, reflective melancholy and a toned down but still present experimental edge Seriously, as rock albums go, this one is as about as diverse as they come The albums starts off with the wonderful second single 'Someone's Calling' and its excellent opening simile: 'Turning round as if in flight.' That's a descriptive lyric for this album, as well. The whole thing has the feeling of changing direction, slowly and methodically as to not miss anything in the process From there, the rest of side one presents the band at their boundary-pushing best. If you just hear the songs on the surface there will be plenty to latch onto: hooky vocals, catchy riffs, a dynamite rhythm section. But if you really sit down with these songs, there are layers upon layers of things about them that wil reward repeated diligent listens. The best argument for that is that one-two punch of the stuttery and poignant 'Life in the Gladhouse which is followed by the big epic and album spiritual centerpiece'Face of Wood.' Sounding like the Cure before they even managed to get there, it's an absolutely beautiful song that finds a balance between the first album's artsy ambiance and the band's newly discovered sense of melody and songcraft.

Side two kicks off with 'I Melt With You' and, I'll just say it right now it's the poppiest thing on the album, by far. Anyone who bought After the Snow anticipating another seven or eight songs like 'I Melt With You' got ripped off, plain and simple. It's funny that they chose to start side two off with the mos accessible thing on the album because the rest of the songs are much more subdued and meditative. The title track and 'Carry Me Down' seem to mirror the initial sentiment of change that started with 'Someone's Calling.' Even the more paranoid and darker'Tables Turning' that closes the album retains a specific vibe started by the title track. It's amazing how much ground this album covers n just eight songs and that it does that so convincingly is even more impressive It took about a year for the album to be picked up for North American release on the Sire label. It was the band's first American release.

After the Snow is one of the best albums in the entire post-punk cannon. Easily one of my favorite albums ever, I still get a little annoyed when I bring up Modern English and all most people know s 'I Melt With You. Any self-respecting new wave fan should know this album front to back.

http://rapidshare.com/files/140853465/Modern_English_-_After_The_Snow__1983_.rar.html