Tag Archives: Avant-garde pop

Adam Ant – Adam Ant Is The Blueblack Hussar Marrying The Gunner’s Daughter (2013)

Adam Ant - Adam Ant Is The Blueblack Hussar Marrying The Gunner's Daughter (2013)

Adam Ant has a rough time of it since his last album. Two counts of affray, after throwing a car part through a pub window and brandishing a World War II revolver, followed by attempting to smash in a neighbour’s patio door, resulted in him being sectioned under the mental health act for 6 months in 2003.

However, here he returns with the much-anticipated new album.

Stylistically, it’s a real mixed bag, to be honest. The album starts well with Cool Zombies, sounding a bit like Fleetwood Mac’s Second Hand News off Rumours (1977), Marrying The Gunner’s Daughter has an 80’s electro-funk sound to it, while Dirty Beast begins with a very cheesy 80’s rock intro. Valentines reminds me a little of Sparks’ Sherlock Holmes off Angst In My Pants (1982), whereas Shrink is a hard-hitting industrial rock track reminiscent of Nine Inch Nails or more recent Gary Numan. There’s only one track that really sounds like old Adam And The Ants; How Can I Say I Miss You.

The vocals sometimes sound laboured, often multitracked and out of tune; while this does give a demo-like feel to the album, at times it gives it outsider charm, such as on Darlin’ Boy, Dirty Beast, and Punkyoungirl, and on more listens, it just feels “right”.

And, that’s the key to this album, it’s a real grower. It’s unusual, but not overtly and I think reflects a disquiet mind. On first listen, it might sound a bit amateurish, a bit hit or miss, or not quite complete, but I urge you to give it a chance.

Favourite tracks: Cool Zombie, Who’s A Goofy Bunny, Shrink

Spotify link: Adam Ant – Adam Ant Is the BlueBlack Hussar Marrying the Gunner’s Daughter
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Lucrecia Dalt – Commotus (2012)

Lucretia Dalt - Commotus (2012)

Lucrecia Dalt is a bassist and singer-songwriter from Colombia, who resides in Barcelona.

On this, her second album, she has presented 12 dark pop tracks, often dense and muggy, but always haunting. Turmoil exemplifies the album’s aesthetic: a simple slow-tempo drum beat move inexerably forward; a deep dark minimalist bass hits; Dalt’s chilling vocals weave in the middle distance; and Morricone-esque guitars outline the most of a chorus you are going to receive. The simple but effective (and affecting) melodies take you on journeys; each track, a new adventure.

I am reminded of soundtracks when listening to Commotus, especially those of Morricone, Badalamenti, Mansell.

This album is fantastic minimalist but creative pop; actually very experimental, dark and dangerous. Like a musical journey through a haunted forest. Who knows whether these spirits are malevolent or benevolent?

Favourite tracks: Escopolamina, Turmoil, Mohan.

Spotify link: Lucrecia Dalt – Commotus
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