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Gyro Buster on Steam
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It was New Romanticism with all the softness and glamour removed. Scream and screw? A blend of school boy naughtiness and inside humor—offered up with a wink and a nod—their attitude hinted at the fact that they never took things quite as seriously as their critics would believe. So while their record label touted them as The Next Big Thing, their inability to transcend the hype relegated them to a momentary phenomenon that sadly fell out of favor.
For now, however, he was simply content to emulate the legacy of the best Mod gods. Droning bass, buzzing guitar and absolutely punishing drums provided the framework for Vanessa Briscoe to scream her way to the edge of insanity. The Human League — Dare! Dare was a huge hit for The Human League, but it also remains a forward-thinking record that has aged better than most.
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Who knew black magic could be so beautiful? This record changed all that, both commercially and stylistically. Depeche Mode — Music for the Masses By , the popularity of synthizer-based pop music was waning.
Masses was their sixth album and proof that they had perfected a mix of sulk-worthy, no-one-understands lyrics and sensual groove. A: We Are Devo! High praise, but not unwarranted: With their debut, the Athens, Georgia quintet seemingly arrived on Earth as rock stars from Planet Camp—combining chugging punk guitars, Farfisa organs, Swinging Sixties sci-fi lyrics and the enthralling vocal silliness of singers Fred Schneider, Kate Pierson and Cindy Wilson.
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The Bangles, on the other hand, had balls—well in a matter of speaking anyway—and they successfully knocked any novelty on its head while demanding to be taken seriously. Talk Talk — Spirit of Eden Call it post-rock, call it psych-jazz, call it experimental mumbo-jumbo. Mark Hollis sings enough just to barely sing, quivering out artful melodic squiggles with his radiant chest-cold tone, slinging spiritual poetry drenched in fog.
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Beneath is a utopian cavern of sonic heaven—double-bass moans, flickers of muted trumpet, sizzling cymbals, violent clashes of electric guitar. Joe Jackson — Look Sharp! Look Sharp! And although the band takes its namesake from its frontman, the rhythm-section of bassist Graham Maby and drummer David Houghton, and the shard-spitting guitar work of Gary Sanford, should not be overlooked. As synthetic sounds came to dominate the airwaves, producers all toyed with the same tricks, giving songs a shorter shelf life. The album also changed the physical look of the Mothersbaugh-and-Casele group with the emergence of their strange, red plastic hats.
Freedom of Choice is a treasure of propelling bass lines and revolutionary synths seasoned with tongue-in-cheek lyrical delivery, blazing the electronic trail for many musicians to come. The nine tracks convey a conceptual scale—the initial dark, battering rain morphs into an effervescent sky with sympathetic ease.
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