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"Seventh Dream Of Teenage
Heaven," Love and Rockets |
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Love and Rockets
began life in 1985 from the ashes of acclaimed underground Goth pioneers
Bauhaus. The trio of David J., Haskins, and Ash reunited to expound the
dark style of their former for more expansive and ambient textures woven
within influences as far and wide as sixties' psychedelia and latter day
Synth Pop and nearly everything They were successful… in time. Their "Seventh Dream" debut offered the lighter vocal timbre from Ash fronting a polished percussive luster that lent to a more adaptive if not altogether turnaround from the melancholic character of their former life. "If There's A Heaven Above," and "The Dog End Of A Day Gone By" are yet evocative of the Bauhaus magic only enhanced with brighter brush strokes that recall the colorful charms of a Cure and astral acoustics of The Church, with starry, dreamy sequences spilling over often and again. The style was increasingly exploratative, delving into a New Wave dance dynamic, Beat Pop and club mix passions particularly for their precursory singles, the "Ball of Confusion" Temptations' cover, and "Inside The Outside." "Seventh Dream" was indicative of a revitalized band getting their wings and the sky was the limit. The reissue features six bonus B-sides and remixes, highlighted by three versions of "If There's A Heaven Above" plus tons of vintage photos and revealing member commentary and liner notes-the complete package well documenting the infancy of an adventurous new scene creative force. "Express," originally released in 1986, saw Love & Rockets revved up and moving faster, anxious and edgy. "It Could Be Sunshine" set forth something of a disturbing trend here opposing the otherwise mellower expanse of their predecessor, coming out with a notably electric angle and trashy percussive distortion. It led a sudden charge through a rugged musical terrain-"Kundalini Express" features a plausibly catchy guitar lick as the transfixed vocals shot through a dual listening channel for added effect, while "All In My Mind" was clean, crisp acoustic Rock, "Yin and Yang" rode side saddle on a fast moving trip through the folksy fields of Dylan, and "Love Me," pure dark wave with sensuously slow dance passages embodying the spirit of romanticism bred to affable techno resonance. The "Express" reissue includes seven bonus tracks including the (Barrett years) Pink Floyd cover of "Lucifer Sam" following on the insatiable slow burn of "Holiday On The Moon," and preceding the conclusive remixed versions of "Yin and Yang" and another "Ball of Confusion." The expanded booklet features song lyrics, flashy photos, and funky haircuts. Funny how we've never heard Love & Rockets and Smashing Pumpkins ever mentioned in the same sentence… just a thought. 1987s "Earth.Moon.Sun"
is the last of the reissued trilogy. It brought with it an ethereal quality
and heightened Electric in a synthesized sense and undermining the rambunctious rhythmic demeanor of "Express," "E.S.M." recalled the Modern Rock and rave up vital to Idol plus a Pop exuberance successfully detailed on their "No New Tale To Tell" breakthrough hit. The reissue comes with the barest essentials of the three, featuring only the additional (slow) version of "Mirror People," and faithfully restored packaging on a Lennon-friendly, Bowie-flavored commingling. L&R went on to do one more self-titled release in '89 before a five year break, later resurfacing at varying intervals in the 1990s culminating with their final 1999 "Lift" release and concurrent Bauhaus reunion. Revisiting their first three recordings further exemplifies their contribution to the Modern Rock spectrum. Often overlooked, their influence borrowed from greatness and incorporated a revisionist philosophy to their music that like a bright shining star, flickers and fades with the passage of time but will never burn out. Released by Beggars Banquet - Reissues Review by Vinnie Apicella [va85@columbia.edu] P.O. Box 20252
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