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| Track list: 1. Low Place Like Home 2. Tesko Suicide 3. 6 Underground 4. Becoming X 5. Spin Spin Sugar 6. Post-Modern Sleaze 7. Waterbaby 8. Roll On 9. Wasted Early Sunday Morning 10. Walking Zero 11. How Do Running time: 46 minutes Released: 1996 |
Going back 20 years again now. I remember when 6 Underground and Spin Spin Sugar were released as singles and not liking either. We change with time I guess, because I got into them later. This album, although it is the one with the songs everyone remembers, is probably the weakest of the three I have (Splinter and Bloodsport are the others). A grubby overtone to this permeates the later efforts, too, but here there the female vocal dilutes it a little compared with Chris Corner's later on. And to be clear I think that grubbiness is welcome here.
It starts right on the money with Low Place Like Home where the loop sets the tone with a ramshackle edge to it, the percussion sounding almost improvised, dulled. The choruses, when they come, inject an edgy guitar and the effect is atmospheric. It is background music, really - better experienced as the soundtrack to some other activity as the loops and hooks lull you into a head nod that feels like it should be in a dark and murky club. This sets the tone for the whole album really - on edge somewhat, seedy, rhythmic.
Friday night and I am doing this; too old now for the "going out" - not that I was ever much of one for that. Relevance? Well I never really hear music like this in the context it was created for - but that's fine; it has a life outside of that context. 6 Underground is a little more melodic, with a softer backing. The loops are there but there are more expansive themes there - an effect of space outside the walls created by the hook. I don't really know why I didn't like this originally... there's nothing to dislike. It is not a masterwork though, actually hearing it back now it sounds a little bland, a bit too radio friendly. The song lacks the grit and grime and it removes the most effective ingredient from the composition. This makes it accessible and pleasant - inoffensive.
Not that the dirtier, darker tracks are offensive at all, but its that slightly seedy atmosphere that makes this music tick, drawing you in and wrapping its tendrils around you. There is an urgency, a desperation, to Spin Spin Sugar. This song stands out from the others to date for that... it is the first time where the vocal really sets off the track behind it and sparks a synergy, the sort of seductive mix that sparks a purchase. I think the tracks generally stand up OK, even when it goes more expansive and away from the inglorious undertones that make the biggest impact.
Waterbaby starts to drift a bit - it has the right tone, but the more ethereal vocal and simple instrumentation over the loops are a bit too empty to have much punch and my attention wavers. Suffice to say that Mastermind is not very interesting on mute! My attention strays further with Roll On - I have a problem with songs like this that use adult imagery (IYKWIMAITYD) in lyrics in that I find it impossible to take seriously and dismiss the entire composition as a bit of a joke as a result. Its a shame because actually here the lyrics actually work with the theme of the album, encapsulating that seediness I keep banging on about, but to be honest the track then loses me totally in its outro as it builds a bigger sound which is a little bit of a mess.
Into the climb-down now and I have to admit that I cannot bring Walking Zero to mind at all before it starts. Every other tune here I have had some kind of aural imprint confirmed (or dismissed) by the play, but that one I am staring at blankly as the singer whitters on about Sunday morning drop outs. This album really is the poor relation to its follow-ups - less of a complete end-to-end album than Splinter (which I would flag as my favourite), and not as many stand out tracks as Bloodsport, which may have the best songs. Actually, the holding up is more marginal after the second half - which suffers from coming after the apogee and not doing well in direct comparison. Fair to say that drifting away is quite commonplace over these last few tracks.
How Do is an interesting closer, though. It ditches all the dirt, climbs up and takes flight - a much more melodic, floaty song. It could have come from an entirely different record but it stands out and works for that reason. There is a nice build and the rise and fall of the melody work really well with the lighter touch in the singing to create an open soundscape. To the point where the electronic loops and hooks that were making the atmosphere earlier on in the album are really out of place here, and actually detract. I don't ever recall being so overwhelmed by them before to the point of them spoiling the song for me but this time, perhaps as I am actually paying attention, they are just a little distracting.
So what to do then? Part of me wants to strip these right back and keep just the highlights - part of me says keep the whole lot because whilst I tuned out a little in the middle there it has always been a tone I come back to this for not the specific tracks. On balance, I don't need chaff, and I have the tone elsewhere so time to wield the scythe.
It starts right on the money with Low Place Like Home where the loop sets the tone with a ramshackle edge to it, the percussion sounding almost improvised, dulled. The choruses, when they come, inject an edgy guitar and the effect is atmospheric. It is background music, really - better experienced as the soundtrack to some other activity as the loops and hooks lull you into a head nod that feels like it should be in a dark and murky club. This sets the tone for the whole album really - on edge somewhat, seedy, rhythmic.
Friday night and I am doing this; too old now for the "going out" - not that I was ever much of one for that. Relevance? Well I never really hear music like this in the context it was created for - but that's fine; it has a life outside of that context. 6 Underground is a little more melodic, with a softer backing. The loops are there but there are more expansive themes there - an effect of space outside the walls created by the hook. I don't really know why I didn't like this originally... there's nothing to dislike. It is not a masterwork though, actually hearing it back now it sounds a little bland, a bit too radio friendly. The song lacks the grit and grime and it removes the most effective ingredient from the composition. This makes it accessible and pleasant - inoffensive.
Not that the dirtier, darker tracks are offensive at all, but its that slightly seedy atmosphere that makes this music tick, drawing you in and wrapping its tendrils around you. There is an urgency, a desperation, to Spin Spin Sugar. This song stands out from the others to date for that... it is the first time where the vocal really sets off the track behind it and sparks a synergy, the sort of seductive mix that sparks a purchase. I think the tracks generally stand up OK, even when it goes more expansive and away from the inglorious undertones that make the biggest impact.
Waterbaby starts to drift a bit - it has the right tone, but the more ethereal vocal and simple instrumentation over the loops are a bit too empty to have much punch and my attention wavers. Suffice to say that Mastermind is not very interesting on mute! My attention strays further with Roll On - I have a problem with songs like this that use adult imagery (IYKWIMAITYD) in lyrics in that I find it impossible to take seriously and dismiss the entire composition as a bit of a joke as a result. Its a shame because actually here the lyrics actually work with the theme of the album, encapsulating that seediness I keep banging on about, but to be honest the track then loses me totally in its outro as it builds a bigger sound which is a little bit of a mess.
Into the climb-down now and I have to admit that I cannot bring Walking Zero to mind at all before it starts. Every other tune here I have had some kind of aural imprint confirmed (or dismissed) by the play, but that one I am staring at blankly as the singer whitters on about Sunday morning drop outs. This album really is the poor relation to its follow-ups - less of a complete end-to-end album than Splinter (which I would flag as my favourite), and not as many stand out tracks as Bloodsport, which may have the best songs. Actually, the holding up is more marginal after the second half - which suffers from coming after the apogee and not doing well in direct comparison. Fair to say that drifting away is quite commonplace over these last few tracks.
How Do is an interesting closer, though. It ditches all the dirt, climbs up and takes flight - a much more melodic, floaty song. It could have come from an entirely different record but it stands out and works for that reason. There is a nice build and the rise and fall of the melody work really well with the lighter touch in the singing to create an open soundscape. To the point where the electronic loops and hooks that were making the atmosphere earlier on in the album are really out of place here, and actually detract. I don't ever recall being so overwhelmed by them before to the point of them spoiling the song for me but this time, perhaps as I am actually paying attention, they are just a little distracting.
So what to do then? Part of me wants to strip these right back and keep just the highlights - part of me says keep the whole lot because whilst I tuned out a little in the middle there it has always been a tone I come back to this for not the specific tracks. On balance, I don't need chaff, and I have the tone elsewhere so time to wield the scythe.
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