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  1.  (6579.1)
    Good god no.

  2.  (6579.2)
  3.  (6579.3)
    I had this on a much-beloved compilation tape from UNDERGROUND magazine. Still sounds good to me.

    • CommentTimeOct 25th 2009
    In my defense, I didn't even know it had a video, much less that it involved an inflatable castle and what is apparently Richard Branson.
  4.  (6579.5)
    never really into xtc but 'making plans for nigel' is a great tune (primus did a pretty good cover of it too).

    clock dva was always one of those bands i think i'm going to like due to all the industrial records connections but still don't.
  5.  (6579.6)
    This was by far my favourite Clock DVA. The rest all left me a bit cold, as I recall.
  6.  (6579.7)
    it's got all the right ingredients for me.
    relentless bass-lines, squealing guitar and andrew eldritch / pete murphy esque vocals but i've never seemed to be able to connect with it.
    • CommentTimeOct 25th 2009 edited
    I've only heard Man-Amplified from Clock DVA, which I still dig out from time to time. Lovely mishmash of cybernetics, and essays of big science ideas. Musically more of a minimalist electro thing, with some ambient thrown in for good measure.

    edited to remove link
      CommentAuthorPaul Sizer
    • CommentTimeOct 25th 2009
    Like Ian, I would have plenty of connections to CLOCK DVA, but they never clicked for me. I remember shopping in the WAX TRAX store in Chicago and seeing CLOCK DVA next to Front 242, Pailhead, Front Line Assembly, etc, but for the few 12" I picked up (the only one I still have is "The Hacker"), it had interesting things going on, but I wanted my Wax Trax records to be a little more bangy/clangy.

    Warren, did you ever find what Colourbox was doing interesting? I just pulled out a bunch of their 12"s this weekend and was very surprised how well their cut up/sample stuff holds up, given that most "Oh boy, samplers have just come down in price" bands from the mid-80's fall apart pretty quickly.
  7.  (6579.10)
    On their own, I always found them fairly weak and insubstantial, as I recall. I should re-listen to some of those stuff.

    But I did like that one thing they did with AR Kane:

      CommentAuthorPaul Sizer
    • CommentTimeOct 25th 2009
    Ah, yes, M/A/R/S/S, made right before the huge legal tsunami of sample clearance. I've got two 12" versions of this; one with all the original samples, and one with a few non-cleared samples switched out.

    The one that was sticking with me was a 4 song EP (no title, with a great 23 Envelope cover of a negative image of two horses screwing). They always has a slight spin toward poppiness, but their sound production always slipped enough interesting stuff in to move them above the rest of the herd. Bomb the Bass always straddled that fence as well. Tim Simenon's newest Bomb The Bass album "Future Chaos" is stunning, if you have an interest.
  8.  (6579.12)
    it was you that bought the other copy of 'underground' ?

    Colorboux were a fine band. they were just too far ahead and suffered for it.
    although some of their output hasn't travelled well 20 years later, 'Philip Glass' is still fantastic

    Can't go wrong with the Human League 1977-1980 really.
    Although that version of Being Boiled, above, is the faux stereo version with added reverb that EMI stuck out to cash in on the 81 success. The original ( grey labelled, not orange ) mono version is by far the better.
    • CommentAuthoricelandbob
    • CommentTimeOct 26th 2009

    one of my true defining moments of the 80´s...
    • CommentAuthorBoga_
    • CommentTimeOct 26th 2009 edited
    Colorboux were a fine band. they were just too far ahead and suffered for it.

    Love their first record.

    M/A/R/R/S sounds incredibly dated nowadays. I kind of feel the same way about pre-chill out KLF, it might have been groundbreaking at the time, but the fact that it's so reliant on now-dated production technology absolutely ruins my enjoyment of the music, not to mention the fact that most of the point of those projects (like M/A/R/R/S) seems to be showing off their cool new toys (ie. The Art of Noise). Colourbox transcend that somewhat because the songs just stand out for themselves, and they were a lot more subtle with the way they used the studio.
  9.  (6579.15)
    • CommentTimeOct 26th 2009
    Right, now we're talking.

    Dance anthems and discordianism / Robert Anton Wilson has to be one of the strangest concepts for a chart topper. And damn if that isn't some of the finest dancefloor production in the history of EVER.
  10.  (6579.17)
    i'll always love the KLF for getting Extreme Noise Terror onto the Brits. Funny as all manner of fuck!
      CommentAuthorPaul Sizer
    • CommentTimeOct 26th 2009 edited
    Both KLF and Art of Noise were the best when they were screwing with the business of making their music. Art of Noise were most potent when Paul Morley was spinning them musical manifestos; after that, they became hi-tech show-offs, although every record they did had one glimmer of their insane peak points.
    Of course, Morley is a genius anyway, so how could you go wrong?
  11.  (6579.19)
    God. Pump up the volume used to drive me up the wall, it was so ubiquitous, though I was a fan of AR Kane. I much preferred "Bomb the Bass "Beat Dis" and the slightly later fun of S-Express.

    Man this takes me back. You guys remember when clubs transformed (almost overnight) from herds of Chino wearing Miami Vice wannabees frowning the night at the bar while their poodle girlfriends danced around gaudy handbags then suddenly they were filled with hundreds of swaety people in tshirts and shorts off their faces cheering like mad and dancing like apes with big smiles on their faces? My friends were all metallers and were horrified by me embracing that scene until they actually got so sick of me raving about it that they acquiesced and never looked back. Heh I recall the Cathouse (the headbangers favourite) in Glasgow shortly after that mashing up Faith No More with 808 state and everyone dancing like maniacs to it.

    Oh yeah... and all this was fields.
    • CommentAuthoricelandbob
    • CommentTimeOct 27th 2009
    @Ian Holloway

    you know i was thinking of that last night when watching the justified and ancient track, then went and saw the Brit award footage. Still brings a massive smile on my face. don´t know whether it´s the awesome mess of a performance or the firing a machine gun into the audience at the end.... brilliant!