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.