2009 three CD set, the latest installment in the critically acclaimed 12 Inch/80s series. This set showcases Electronic, Synth and drum machine 80s genres from Electro to Synth pop to New Romantic to New Wave to Hip Hop, all in their full-length, extended mix glory. Featuring a mix of the classic and the underground, this back to basics collection includes seminal '80s tracks from such legends as New Order, Human League, Simple Minds, Grandmaster Flash, Soft Cell, Japan, Afrika Bambaataa, Heaven 17, Yazoo, Frankie Goes to Hollywood and many more.
The 80s was the decade of the 12 inch. In the UK, all previous instalments of this series sold extremely well and received widespread critical acclaim. The Guardian called the series a "genuine act of music archaeology". From the pop dance genius of Frankie Goes To Hollywood's Relax and Donna Summer's I Feel Love through to the more alternative Lullaby by The Cure, and onto classics such as Teardrops by Womack & Womack… This 3CD compilation has it all, in its full 12" glory.
The series of 12" 80's era CD box sets highlight just what a rich tapestry of output this period had, and reading through the reviews, also how opinions divide so much over track listings.
More than ten years after the Art of Noise left Trevor Horn's ZTT label to record on their own, original members Anne Dudley and Paul Morley reunited with Horn plus 10cc's Lol Creme to record another LP, organized around the work of French modernist composer Claude Debussy. With a guest list including John Hurt as well as Rakim, the album charts the artistic use of sampled breakbeats – pioneered by the Art of Noise themselves – with nods to '80s hip-hop plus their '90s equivalent, drum'n'bass. Though the Art of Noise doesn't sound quite as brash as they did in their '80s prime, The Seduction of Claude Debussy is an interesting showcase of what made the group great.
Some people will seek out the debut album by Lovelock, because the man behind it is Steve Moore of the band Zombi – a New York duo who play faintly absurd horror soundtrack music enjoyed mainly by metalheads. Yet they will discover, in ‘Burning Feeling’, one of the least horrific or metallic records ever. Lovelock is where Moore lives out his oiliest, most moustachioed cosmic-disco-meets-yacht-rock fantasies. Largely paced languidly enough for the cruise ship dancefloor’s erection section, synths fizz like fireworks and vocals, when they feature, are shameless requests for unnamed ladies to disrobe. Despite being a good 30 years out of time, it’s absolutely brilliant.