hidden treasure

Eurythmics – In The Garden (1981)

new wave / art rock / neo-psychedelia / synth pop

RIYL – Annie Lennox, Siouxsie And The Banshees’ Kaleidoscope, early Cocteau Twins, This Mortal Coil, Conny Plank productions

Offbeat, ‘leftfield’ or plain weird early work from soon-to-be chart toppers are a phenomenon that never fails to draw me in. Beyond an already unique path in sound and genre, Eurythmics’ commercial-flop debut was a great example. 1981 had Annie Lennox and David Stewart in an odd spot between their upbeat power pop with Tourists and finding their niche as a minimal synth-pop duo. They had the icy keyboards down by now, but a backing band as well, playing an ambiguous new wave-jangle-neo psych hybrid.

In The Garden is a studio creation first and foremost, but it’s knack for ghostly surrealism isn’t too far from how Goldfrapp recorded their debut in a cottage. Picture Annie as a half-woman half-ghost haunting an old mansion or farmhouse in the English woods, and you have the right idea. She hasn’t sounded so haunted before or since. If the cover is any hint, she tones down her usual powerful belts and soars for chilly falsettos and sinister, abstract poems. They tend to echo off into the music in a way that would do wonders for a 4AD group; now I wish Annie sang in such a band. The lyrics follow suit:
‘I’m never gonna cry again / I’m never gonna die again’
’Dust is collecting / But she doesn’t notice / counting forever / she’s a calculator’
‘Another change of light / The underlying truth / request to pack it in / no solutions’

Combined with the uneasy, resonant wide-open space distinct to a krautrock giant like Conny Plank (“All The Young”), this is an album full of surprises. The result highlights many interesting parallels between krautrock and early new wave.  You’ll hear foresty atmospheric touches, bizarre sound effects, and creeping post-punk twang among other curios Eurythmics left behind within a few years.

For all the weirdness (“Sing-Sing”, filled with samples chattering away and Annie singing in French) and sinister undertones (“Caveman Head” with it’s edgy goth rock tease, the horror-inspired b-side “Le Sinistre”), songs like “Belinda” approach a normal pop-rock sound. Part of me wishes they engaged more with those thrilling goth/experimental hints than these upbeat grooves as a result. Still, you can find some fulfillment for that on the bonus tracks “Le Sinistre”, “4/4 In Leather” and “Take Me To Your Heart”’s live version. As it stands, In The Garden is worthy curiosity for anyone drawn to the oddball early eighties.

5-Song Gateways · Artists you should know

5-Song Gateway: Keep Shelly In Athens

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This column highlights favorite genres, scenes and artists with the intent to make it quick and easy to get into them or decide if they’re ‘for you’. I’ll focus on obscure and/or prolific projects.

The huge (as I would argue, overblown) taboo surrounding the ‘chillwave’ sound left many talented groups like this forgotten. I’m thinking another reason for Keep Shelly was their silly name, and how their vocals and lyrics get cheesy. Still, I wound up endeared by this factor more than annoyed. This is shimmery water-fairy music at heart, and as long as you aren’t pulling an all-out ‘bananis and avocados’ with your voice, I won’t complain. These ‘fairies’ have soothing voices and fabulous scenery is everywhere, so I can’t help but enjoy the ride. Beyond that, they’re one of the most ambitious groups I’ve heard in this decade’s synth-dream pop genre/scene/thing.

Here’s the thing: KSIA never were your average ‘chillwavers’. Unlike this scene’s generic corners, Keep Shelly aren’t ones to rehash old ideas. It doesn’t boil down to some woozy synths and pale guitar tones from a nerd writing gushy love songs about his GF. Like Royksopp, they stay adventurous at the same time as having a ‘chill-out’ appeal. They vary a lot from the structures and influences you come to expect from this music. Not every experiment works, but I appreciate their ambition. If this is chillwave, it’s a bold and shiny update. Their one constant member RΠЯ decorates and transforms the songs as much as he wants (on lesser songs, maybe too much!) He has a great taste for expanding on chillwave’s water fixation, so give these songs a good listen if you fawn over aquatic sounds like I do”

1. “Cremona Memories” – In Love With Dusk, 2010

One running trope I love about KSIA is their taste for spontaneous ‘weirder’ or kitschy touches. This song has a throbbing sci-fi synth one moment (1:21), and a Tina Turner sample or vinyl scratch the next. Results will depend on how wild they are, but I love the way it expands songs like this. RΠЯ relies on a fairly simple groove here but throws everything he has over it to keep you engaged. KSIA don’t get too serious, and make things fun when they see fit.

2. “DIY” – Our Own Dream EP, 2011

Film scores aside, this has one of the most epic piano lines I know. A few chords and that’s it, but they play in such enormous and stomping fashion that it doesn’t matter. And those horns! Another great ‘what if’ move from KSIA.

3. “Flyway” – At Home, 2013

Relies on this one fluttery synth, but adds all these subtle riffs to bounce off of it and a weird yet awesome vocoder cameo. Another one where you have to ride the adrenaline rush. The best kind of repetition: purposeful, not too much, addictive, doesn’t take forever to evolve.

4. “Fractals” – Now I’m Ready, 2015

I don’t know, I have a soft spot for well-done wishy washy bittersweet pop songs. That is, if the right people make them, and of course Keep Shelly qualify. Really pleasant melodies, and the hopeful spirit is sweet. I love the way the chorus busts in with that Robin Guthrie guitar (guth-tar?) from the gentler verses. That little chiptune-y solo toward the end makes it even more satisfying.

5. “Hollow Man” – Now I’m Ready, 2015

This is where their ambition shines. The layers, the intensity, the oceanic textures, the twists, the synth soloing, it’s all there. You have break beats, gorgeous synths, windy vocal effects, huge build VS sad, hushed cooldown; vibraphone [!!!] fade-out… An exciting mixture in the end. Thumps like a thunder storm; when it’s music, that’s a good thing.