I provided this album review to Amazon in 2005 After Penetration collapsed … Read Full Bio ↴I provided this album review to Amazon in 2005
After Penetration collapsed under the weight of crude heavy metal guitar playing on their second LP ("Coming Up For Air", 1979), Pauline Murray and Robert Blamire hooked up with producer Martin Hannett and a varying selection of Manchester musicians (e.g. Vini Reilly, the odd Buzzcock).
This 1980 LP does three things: it provides another setting for the trademark gated drum sound that Hannett introduced and which became a definitive mark of early 80s pop: it makes copious use of then still relatively novel synthesisers: most importantly, it showcases Murray's voice like no other material she performed.
This was therefore an LP about two years ahead of its time. The audience that would buy Human League and later Simple Minds LPs by the thousands hadn't yet formed. Unfortunately, its ethereal sound and dancing rhythms were not punk and not yet popular, so it did not sell well. So fresh was the approach for the times Murray occasionally struggled to find a melody to suit some of the songs and her voice, but when it worked ("Dream Sequences", the bonus "Searching For Heaven") the effect was nearly sublime.
This is the best of Pauline Murray and a document of the emerging sound that would come to dominate 80s pop.
After Penetration collapsed under the weight of crude heavy metal guitar playing on their second LP ("Coming Up For Air", 1979), Pauline Murray and Robert Blamire hooked up with producer Martin Hannett and a varying selection of Manchester musicians (e.g. Vini Reilly, the odd Buzzcock).
This 1980 LP does three things: it provides another setting for the trademark gated drum sound that Hannett introduced and which became a definitive mark of early 80s pop: it makes copious use of then still relatively novel synthesisers: most importantly, it showcases Murray's voice like no other material she performed.
This was therefore an LP about two years ahead of its time. The audience that would buy Human League and later Simple Minds LPs by the thousands hadn't yet formed. Unfortunately, its ethereal sound and dancing rhythms were not punk and not yet popular, so it did not sell well. So fresh was the approach for the times Murray occasionally struggled to find a melody to suit some of the songs and her voice, but when it worked ("Dream Sequences", the bonus "Searching For Heaven") the effect was nearly sublime.
This is the best of Pauline Murray and a document of the emerging sound that would come to dominate 80s pop.
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