pop

30 years on: Frankie Goes To Hollywood – Welcome to the Pleasuredome

Posted on by 5:4 in Retrospectives | Leave a comment

For reasons as much to do with priorities as anything stylistic or aesthetic, pop music doesn’t get featured on 5:4 very often. But it would be remiss of me not to make some mention of today’s 30th anniversary of one of the most exhilarating debut albums ever made, Frankie Goes To Hollywood‘s Welcome to the Pleasuredome, originally released on 29 October 1984. i was 11 at the time, and discovered the album among the record collection of my best friend’s mother (i encountered Thriller the same way). First contact was more to do with the packaging than anything else; two vinyl records in a gatefold sleeve covered with wonderfully bizarre, perverse paintings imitative of Picasso, featuring imagined beasts engaging in a Dionysian orgy and entering two-by-two into the head of a giant phallus (see below). What 11-year old boy could resist the temptation to go further and hear what sounds had been married to these outlandish images?
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An inner conflict of cosmic proportions: Man Without Country

Posted on by 5:4 in CD/Digital releases, Featured Artists | 1 Comment

Many’s the time i decide to write about a composer, group or artist & find it almost unconscionable that i haven’t done so already. That’s overwhelmingly the case with Man Without Country, a duo from south Wales whose unique brand of dreamy electronic pop has been doing the rounds for a little over two years. Indeed, it’s tempting to begin with an apology for not featuring them sooner. Still, definitely better late than never.

If you were to combine the heartfelt melancholy of Keane, the aloof, breathy detachment of Pet Shop Boys, the late-night wistfulness of Go West & the viscous, transcendent haze of M83, you’d begin to approximate the essence of Man Without Country’s music. Choosing their name, they say, as it “carries an instant intrigue […] it derives from ‘a sense of not belonging’ “, Tomas Greenhalf & Ryan James hit the ground running two summers ago with their first EP, King Complex. Both in its entirety & in just the title track (which remains one of their best) can be heard the duo’s predilection for a mode of expression that employs both the gentlest of soft edges as well as timbres & textures that cut like razor wire. It’s a dichotomy that works because it must, being the means to what is ultimately a very emotional end, declared with unflinching honesty in their lyrics. Read more

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