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Kate Hush. "The Whole Stoiy"
(EMI)
Kate Bush is one of the most
misunderstood, underrated talents in
the British musical hall of fam-. Her
music has always been difficult to
classify. Is she newwave, avantgarde,
performance art? The theories vary. "
Since the late 70s, Bush has churned
out some of the most eerie, folk-based
progressive music within the boundaries
of so-called "art-rock." Her resonant,
girlish whine of a voice plus the use of
fiddles and synthesizers and lyrics that
sound like demented parables create a
sound that's had critics both enchanted
and perplexed. A Rolling Stone reviewer
once said that Bush's music sounded
like "the consequences of mating Patti
Smith with a Hoover vacuum cleaner."
Bush is the William S. Burroughs of
the sugar and spice set, sweetening her
dolorous vision with innocent-sounding
vocals and enough Irish underpinnings
to make all the lyrical chaos appear
commonplace. But her unpleasant
imagery and messages are still there,
concealed under lots of orchestration
and industrial fairy tales.
Bush's musical forte is her ability to
probe into the lower depths of fear and
surface with an often-whimsical tale
about the darkness she loves to glorify.
On last year's phenomenal "Hounds oT
Love" LP, the song "Under Ice" told the
story of a girl drowning after falling
into a hole in a frozen lake. It's images
like these that set her apart from the
Nina Hagen-Patti Smith school of
feminine freakdom.
"ft
Ail
WHAT IS
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ECG (EKG) is an abbreviation for an
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reading the graph a doctor can de
termine several facts about .the heart
such as the heart rate, the heart's
rhythm, whether the heart muscle is
receiving enough blood, and whether
there is an enlargement of any of the
heart's four chambers. Contact your
local American Heart Association for
more information.
American Heart
Association
Nebraska Affiliate
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"The Whole Story" is merely a
collection of her best work from
previous albums, although a new cut,
"Experiment IV," is included. "Wuther
ing Heights," "Army Dreamers," "Cloud
busting" and most of her other Eurooan
hits illuminate the compendium,
offering a look at each stage in her
highly obscure career.
Bush has never had a hit in America
and the only exposure she's ever had
have been a few paltry "Saturday Night
Live" appearances and some forgotten
videos on MTV. Some have said she's
merely trying to grasp Laurie Anderson's
visual-performance platitudes and
her live shows tend to fall into them
but that's where the comparison
ends.
Bush is a quirky talent, reaching into
the soggy ashes of surrealism and
pulling out morbid, unsettling interpre
tations of lunacy that are made pala
table by her decorative octaves and
poetic insistence. But her Sylvia
Plathesque lyrical madness will proba
bly keep her deeply buried in the
subterranean "art rock" label, waiting
to be recognized as the one person who
truly deserves a wider audience in
America
Scott Harrah
Love and Rockets, "Express"
(RCA)
In 1983, Bauhaus, the leading voices
in glam death rock, split up, marketing
more successful versions of their
synthesis of "Diamond Dogs"-era David
Bowie and Joy Division in the group's
Love and Rockets and Tones on Tail.
Tones on Tail got Peter Murphy, whose
exhibitionist anguish led Bauhaus. Love
and Rockets got Bauhaus' darkly
psychedelic buzzsaw guitars. I guess
who wins depends on your taste.
Aside from a really miscast cover of
the Temptation's 70s hit, "Ball of
Confusion" that nearly derails the
album on the end of the first side,
"Express" is adventurous, completely
accessible pop that moves from acoustic
balladry to "White Album" studio
psychedelia to midtempo riff-rockers
without sounding like a schizophrenic
hodge-podge. The mood of the hallucin
ogenicjourney is continued throughout.
The classic on the album is "Kunda
lini Express," a song with enough
veiled sexual references to have the
Parent's Music Resource Center pouring
over the Kama Sutra and various other
Hindu texts for months! "Kundalini"
barrels along as if the Union Pacific
had just put up a depot for the Wabash
Cannonball in Haight-Ashbury, chugging
effortlessly on a T-Rex guitar mutation
that should send Power Supply,
Monday, January 26, 1987
especially Duran's Andy Taylor, back to
beginning guitar lessons. Meanwhile,
vocals make detours through the
Beatles' "Strawberry Fields" and the
Stones' "Sympathy for the Devil."
The best thing about "Express" is
that it never tries too hard; it "arrives
without traveling," as the retro-heads
the Three O'Clock put it. Unlike
Bauhaus, Love and Rockets aren't trying
to follow in the footsteps of the
surrealists, dadaists or any other heady
literary movements that Peter Murphy
attempted to plug into through the
edifice of rock 'n' roll.
Love and Rockets' influences might
not be heady or cerebral or anything
like that, but they work and they take
you away to that place where cynicism
is replaced with innocent pleasure.
Charles Lieurance
Suicide, "Suicide" (Red Star
Records)
Martin Rev and Alan Vega were the
founding fathers of punk techno-pop,
but if you think their group Suicide
sounded anything like OMD or even
Ultravox, you'd better move on to the
sports page. Suicide has none of the
calming orchestral effect of the former
group or the dance-floor appeal of the
latter. Suicide was pure assault, pure
confrontation.
This album was made in 1977 but
has been unavailable in the hinterlands
until now.
Suicide's live shows were infamous,
one part minimalist primal scream
backed by monotonal percussive syn
thesizer and another part Alan Vega's
unrelenting malignment of his audience.
Despite the horrific intent of Suicide,
this album manages an amazing versa
tility of moods. The centerpiece is an
epic horror story 'called "Frankie
Teardrop" that's all the more ominous
because the most terrifying elements
of the tale are not communicated
through lyrics but through Vega's
tormented screams and subtle changes
in synthesizer textures. This is a song
to rival the Doors' "The End" and
Dream Syndicate's "Halloween" among
songs illustrative of music's ability to
frighten and vivify.
Suicide also manages the flip side of
this effect in the pained tenderness of
"Cheree" and "Girl."
This album now seems available in
almost every record store with an
import rack. The glimpse into Rev and
Vega's personal vision is not altogether
pleasant, it is, in some cases, hellish,
but for those who find some reward in
such clearly passionate confession and
trial, Suicide is without peer.
Charles Lieurance
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