Category Archives: The TVD Storefront

Graded on a Curve: Joshua Abrams, Excavations 1

Bassist Joshua Abrams’ discography is loaded, and with accumulated credits considerably more diverse than the norm. As a young Philadelphian, he was a member of The Roots, and after relocating to Chicago, he’s played with, amongst others, Godspeed You! Black Emperor, Bonnie “Prince” Billy, Tortoise, and Jandek. As a jazz explorer, his connections include Roscoe Mitchell, Fred Anderson, Peter Brötzmann, Hamid Drake, Kidd Jordan, and Nicole Mitchell, but he’s probably most noted for forming the beyond category Natural Information Society. Abrams’ latest release presents him solo, and for lovers of advanced abstraction, it’s a killer; Excavations 1 is out June 15 on vinyl through Feeding Tube.

While not a native of Chicago, Joshua Abrams carries forward the city’s jazz tradition exceptionally well. Although he’s released one CD as leader of the Joshua Abrams Quartet (2013’s Unknown Known on Rouge Art), his name has been established through steadfast collaboration and the sturdy output of groups. First there was Town and Country (five albums, all but the first for Thrill Jockey, between ’98 and ’06), and beginning in 2010 (with four releases and a joint disc with Bitchin Bajas) there is now the Natural Information Society.

This is not to suggest that Abrams is a diligent adherent to the precedent set forth by the Art Ensemble of Chicago and Air. To the contrary, he’s clearly the leader of NIS (in fact, many of the records are credited to Abrams, though, interestingly, all except the debut Natural Information and the Bajas collab feature textless front covers), and of the comparisons I’ve run across, the one to Don Cherry feels quite right, in large part through a persistent disinclination to adhere to a single stylistic path.

As anyone familiar with NIS knows, they utilize instrumentation both trad (frame drum, tabla, gongs, bells, harmonium, dulcimer, and Abrams’ guembri) and electric in a blend of psychedelia, minimalism, drone, Krautrock, and yes indeed, jazz. All with a refreshing eschewal of hierarchy, with Abrams less a leader than a shaping coordinator, which brings me back to thoughts of the Windy City.

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TVD Live Shots:
Hall & Oates and Train
at the Xfinity Center, Mansfield, MA, 6/7

PHOTOS: LAURA KILGUS JENKINS AND CHRIS JENKINS | Moments before coming out on stage, energy built as familiar images of hit vinyl record labels showcasing their most famous singles were displayed vibrantly on the large illuminated backdrop. “Rich Girl,” “Kiss on my List,” “I Can’t go for that”—an exciting sample of what was to come. Rock & Roll Hall of Famers Daryl Hall & John Oates entered the open air amphitheater, kicking off their New England show with “Maneater,” “Out of Touch,” and “Say it Isn’t So.” The duo pulled at both guitar strings and heart-strings showcasing songs that have truly been the soundtrack of the lives of the thousands present.

In the midst of their North American summer tour, co-headlining with fellow award-winning hit makers Train, Hall & Oates had fans singing along to a song showcase from dozens of albums at their show Thursday, June 7, at Xfinity Center outside of Boston.

Along with so many favorites from a nearly 50 yearlong musical career, they took the stage with something fresh as well. Ahead of this momentous summer tour, Hall & Oates and Train together released the single “Philly Forget Me Not.” The new track marks the first time Hall & Oates have released a new song in over 15 years, since “Do It For Love” in 2002.

The show featured full sets from the three artists, but mid set Hall & Oates welcomed Train frontman Pat Monahan back on stage to treat the audience to a performance of the new song, which had fans of every generation on their feet—some playfully paying homage to their musical idols with wigs and ’80s throwback mustaches. The new song is a salute to Hall’s hometown. “This song pretty much describes my feeling about Philly, my music home,” said Hall.

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TVD Radar: Turn It Around: The Story
of East Bay Punk
2 LP
set, Blu-Ray/DVD in stores 6/22

VIA PRESS RELEASE | After the successful theatrical run of their documentary, TURN IT AROUND: THE STORY OF EAST BAY PUNK, Green Day and 1-2-3-4 Go! Records are set to release a BLU-RAY and DVD combo pack and soundtrack of the film on June 22, 2018. All sets are available for pre-order now here.

Narrated by Iggy Pop, TURN IT AROUND: THE STORY OF EAST BAY PUNK features Grammy® Award-winning Green Day front man Billie Joe Armstrong, Grammy® Award-winning Metallica lead guitarist Kirk Hammett, Grammy Award®-winning producer and Rancid front man Tim Armstrong, Kathleen Hanna, Miranda July, Disposable Heroes of Hiphoprisy and Spearhead front man Michael Franti, Minor Threat and Fugazi’s Ian Mackaye, and over 100 more interviews with artists and musicians from California’s East Bay punk music scene. Executive produced by Green Day, TURN IT AROUND: THE STORY OF EAST BAY PUNK spans over 30 years of the California Bay Area’s punk music history with a central focus on the emergence of Berkeley’s inspiring 924 Gilman Street music collective.

The documentary, which Rolling Stone named one of the “best music docs of 2017,” made its world premiere as the opening night film of 2017’s 16th SF DocFest, followed by an initial two-week sold-out theatrical run at the Alamo Drafthouse Cinema in San Francisco. The hometown opening was followed by many sold out screenings in over 100 theaters in cities across USA and Canada in tandem with Green Day’s Revolution Radio World Tour, with the theatrical campaign launching with a three-week run at IFC Center in New York City and culminating in Los Angeles for one night only on three sold-out screens at the ArcLight Hollywood. Along with it being an Official Selection at the 2017 SF DocFest, the documentary was also part of the 2017 Calgary International Film Festival and the 2018 Albany FilmFest.

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Graded on a Curve: Fleetwood Mac,
Kiln House

We remember Fleetwood Mac’s Danny Kirwan who passed away on Friday, June 8 with a look back from our archives. Ed.

Long before Fleetwood Mac became thee greatest soft rock band of all time—1977’s Rumours sold approximately 17 billion copies, and everybody from the Shah of Iran to the killer whale at the San Diego Zoo were humming “Go Your Own Way”—Mick Fleetwood’s flagship was a bona fide English blues band. And charting said flagship’s Mac’s Columbus-like course from trad blues wannabes to soft rock heroes makes for an edifying listening experience.

Take 1970’s Kiln House. Guitar slingers Jeremy Spencer and Danny Kirwan were in. Former guitar hero Peter Green was out. Christine McVie provided backing vocals, but was not yet a member of the band. Stevie Nicks and Lindsey Buckingham were doing whatever it is rock gods do before they become rock gods. Pursuing careers in professional badminton, perhaps. Anyway, Kiln House is a far more curious bird than Rumours or its groundbreaking predecessor, 1975’s Fleetwood Mac.

If Kiln House is short on the pop gems that stud Rumours and Fleetwood Mac, it’s light years away from the band’s blues origins as well. The truth is Kiln House is all over the place. Just check out the guitar heroics on such great tunes as “Tell Me All the Things You Do” and “Station Man.” And from there Mick and Company veer crazily from old school rock’n’rollers (a kick-ass cover of Fats Waller’s “Hi Ho Silver”) to country parody (the hilarious “Blood on the Floor”) to rockabilly tributes (a wacky cover of “Buddy’s Song,” which is credited to Buddy Holly’s mom, and “This Is a Rock,” which lopes and shuffles along at a lackadaisical but irresistible pace, putting anything ever recorded by the Stray Cats to shame).

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TVD’s Press Play

Press Play is our Monday recap of the new and FREE tracks received last week to inform the next trip to your local indie record store.

Sleepspent – Come Smile With Me
Rodin – Rickshaw Roadtrip
Chris Rivers – Y’all Know Me

The Color Forty Nine – Storyteller
Chris Rivers – I Am He
Badjokes – Clap Your Hands

Cheap Trick – The Summer Looks Good On You

Eric Benoit – Black Currant
James Rose – Head for the Coast
Carry Illinois – Pushing Sound
J Hacha de Zola – Lightning Rod Salesman
Cosmos Sunshine – Letdown
Chris Rivers – Can’t Fight The Healing
Rebekah Rolland – Standing Still
PHOSPHENES – Boy In The Hood
Plusaziz – Murra (مُرّة)
Pale Green Things – Snakes
Broken Baby – Year of the Fat Man
The March Divide – Get In Line
Sara O’Brien & the Community Rocks! Kids – Let Yourself Shine!
Chris Rivers – Dragonfly
Marz Money – The Truth Freemix

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Graded on a Curve:
The Very Best of Mud

Ask your average American about English Glam, and she’ll most likely reel off a familiar list of names. David Bowie, Roxy Music, T. Rex, and Mott the Hoople will top the list. Sweet and Slade will most likely come as afterthoughts. As will the likes of Gary Glitter and Suzi Quatro.

But U.K.’s Glam Rock movement had a glitter-encrusted underbelly that only the most tuned in Americans knew about. Alvin Stardust, Geordie, Chicory Tip, and Mud may have been household names in Merry Olde England, but they’re rock’n’roll trivia answers stateside.

I would like to report that this deep pool of unknown talent opens wonderful new vistas to American Glam aficionados, but if Mud is any example, we didn’t miss all that much. A couple of the cuts on 1998’s 20-song The Very Best of Mud shine, and I’m certainly happy to have them around, but for the most part I can only say there’s a good reason why Mud made even less of a dent on the U.S. pop charts than Slade and Gary Glitter.

Which is too bad, because in many ways Mud personified the populist (read: strictly for the tweens) wing of U.K. Glam. And like most of said members of Glam’s populist under echelon, they owed their relatively brief success to two uniquely English impresarios of star-making machinery. The first was superproducer/label owner Mickie Most. The second was the songwriting/production machine that was Nicky Chinn and Mike Chapman.

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TVD Radar: Gene Clark, White Light vinyl reissue in stores in September

If you stress it, they’ll press it—and sometimes listen.Ed.

VIA PRESS RELEASE | Intervention Records introduces the next 180-gram LP in its (Re)Discover Series, Gene Clark’s stunning 1971 classic, White Light (Cat# IR-028 / UPC 707129301574). White Light’s 180-gram vinyl on-sale date is September 2018.

White Light is a bittersweet and knowing statement from a singer/songwriter at the peak of his creative powers. Having fronted The Byrds, Clark on his own here is stripped down in guitarist Jesse Ed Davis’ stark production. The lyrics, singing, and guitar playing are so powerful that less production here is immeasurably more musically.

White Light’s 180-gram LP is 100% Analog Mastered by Kevin Gray at CoHEARent Audio from the best source available—phenomenal-sounding 1/2″ safety copies of the original stereo master tapes. The results are amazing! The beautiful guitar playing is full and rich, and listeners can hear the full body of the instruments, not just the strings. Gene’s aching vocals have never been so emotive and immediate.

The album art is beautifully restored by IR’s Tom Vadakan and housed in a film-laminated, Old Style “Tip-On” jacket printed by Stoughton.

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The TVD First Date

“It’s 2018, a fascinating moment for music, a moment which I find shockingly easy to discover new music I like, to create playlists of favorite songs, not to mention it’s cheap af. Other than losing my dongle daily or Siri misunderstanding my song request, it’s amazing how effortless it is to listen to “Pink and White” by Frank Ocean several times a day whenever I want.”

“That’s why I think the renaissance of vinyl is important. Convenience is wonderful, but vinyl is powerful. It helps me connect to music uniquely. Vinyl is a multimedia art form. The cover artwork, the guts, the colors and designs, the weight of the record. If I’m purchasing a vinyl record, it means I’m intrigued by a more complete sonic and visual story the artist is trying to tell at that moment in their life. In a world rapidly teetering toward serving-size consumption of so many things, music at the top of that totem, I think vinyl is keeping music listeners like me more connected and engaged with music and with the musicians making it.

My vinyl collection is all over the place. My grandmother gave me her collection, consisting of Sinatra, Herb Alpert, The Four Freshmen and the like. I’ve since ballooned my collection with artists that inspire me, make me want to dance or clean the house. My favorites over the last couple years have been Crosby Stills and Nash, Simon & Garfunkel, Vestiges and Claws by Jose Gonzales, Fields by Junip, The Waterfall by My Morning Jacket, Clouds by Joni Mitchell, Burst Apart by The Antlers, Sufjan Stevens (the state albums), a Hall & Oates greatest hits, as well as a lot of my friends’ records like Land of Blood and Sunshine and JE Sunde.

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Graded on a Curve:
Neil Young,
Time Fades Away

Neil Young’s years spent “in the ditch” (his words) remain, for me, the most vital of his entire career. As the hippie dream fell apart so did Young, and on albums such as 1975’s Tonight’s the Night (a “howling facedown with heroin and death itself,” in the critic Robert Christgau’s words) and 1973’s live Time Fades Away Young proceeded to disintegrate, sick unto death with the deaths of his junkie friends and dissatisfied with the folk-rock box he’d put himself in with 1972’s mellow Harvest, the LP that made him a superstar.

On Tonight’s the Night the songs bear an almost unbearable weight of sorrow, and Young’s mournful wildcat yowl is a million miles away from the peaceful vibes of Harvest; one can only imagine what Harvest’s diehard fans must have thought of it, just as it’s hard to imagine what his concert-going fans made of the never-before heard songs on Time Fades Away, on which Young and his Stray Gators ripped into such raw, electrified (and electrifying) numbers as the title track, the great “Yonder Stands the Sinner,” and “Last Dance.”

Me, I’ll always think Tonight’s the Night is the greatest LP ever made about the demise of the Age of Aquarius, but Time Fades Away has its pleasures as well, even if Young himself has dismissed it on multiple occasions, saying in 1987 that it was “the worst record I ever made—but as a documentary of what was happening to me, it was a great record.” And on the original, unreleased liner notes to 1977’s Decade, he again expressed his unhappiness with the tour and ensuing record, before saying, “… but I released it anyway so you folks could see what could happen if you lose it for a while.”

So what we have here is as sort of rock version of F. Scott Fitzgerald’s The Crack-Up, with Neil coming to pieces in the spotlight, as it were. Fortunately Young is hardly the best critic of his own work, because despite his bad memories of the tour that brought us Time Fades Away, the resulting LP is tremendous—not nearly as chilling as Tonight’s the Night, for sure, but a howl of pain and disaffection nonetheless.

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TVD Radar: Jason Isbell, Sirens Of The Ditch (Deluxe Edition) vinyl reissue in stores 7/13

VIA PRESS RELEASE | New West Records is set to release Jason Isbell’s Sirens Of The Ditch (Deluxe Edition) on July 13th, 2018. Originally released in 2007, Isbell’s solo debut was met with critical acclaim upon its release with SPIN calling it “…a gorgeously whiskey-soaked country-soul masterpiece,” American Songwriter declaring it, “…a decadent debut,” and Pitchfork stating that it was “…a strong debut full of the kind of confident, charismatic songwriting that just can’t be taught.”

Co-produced by Isbell and his former Drive-By Truckers bandmate, Patterson Hood, Sirens Of The Ditch was recorded at the legendary FAME recording studio (Otis Redding, Aretha Franklin, Wilson Pickett) in Isbell’s hometown of Muscle Shoals, AL. “A lot of old soul musicians came through here in the late ‘60s and ‘70s and helped define the Muscle Shoals sound, so that influence was always in my environment, but on this record I really tried to capture that,” Isbell stated in the album’s original press release.

On Sirens Of The Ditch (Deluxe Edition), Isbell is joined by Brad Morgan of the Drive-By Truckers on drums, and former Drive-By Truckers member, Shonna Tucker on bass. Several musicians pop in for cameos including the iconic Muscle Shoals Rhythm Section players David Hood (Patterson’s Father) and Spooner Oldham on “Down In A Hole,” John Neff of Drive-By Truckers on “Dress Blues,” and Patterson Hood on “Shotgun Wedding.”

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TVD Radar: Bill Mason’s Gettin’ Off vinyl reissue in stores 6/29

VIA PRESS RELEASE | Originally hailing from Columbus, Ohio, where he was born in July 1948, Bill Mason, the son of a Baptist minister, had first learnt music in church. Starting out on piano he switched to organ in his late teens. Mason had come to Bob Porter’s attention when as part of the Bryant group he recorded at Prestige on two sessions in 1971.

Bill Mason proves himself a formidable leader with his solo album, the aptly titled jazz-funk outing Gettin’ Off. The album’s physicality is astounding; Mason is an extraordinary soulful Hammond organist, conjuring spiraling, spellbinding grooves that seem to grow deeper and more relentless with each successive track. He also proves his talent as a composer with originals like “Mister Jay” and the scorching title cut standing tall alongside covers highlighted by Al Green’s immortal “Let’s Stay Together.”

Gettin’ Off features Idris Muhammad on drums, which means a frenzy of funky JB-influenced over-the-top soul-jazz drumming. Featured on bass is the legendary Gordon Edwards (known for his work with James Brown, Weldon Irvine, Funk Inc., Aretha Franklin, etc.) and saxophone duties are handled by Hubert Laws (Quincy Jones, Gil Scott Heron, Moondog). All of the above is carefully overseen by engineer Rudy Van Gelder and producer Bob Porter (known for their work with Herbie Hancock, Coltrane, Thelonious Monk, Miles Davis…and many others).

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Smoke Season,
The TVD First Date

“I can distinctly recall pulling out a 45 RPM record from my dad’s collection. It had a green apple in the center, and I thought it was funny that there was a fruit right in the middle of this small vinyl.”

“I threw it on my little record player and out popped this magnificent sonic magic. It was the song “Don’t Let Me Down” by The Beatles. Those harmonies blew me away and changed my thinking on music forever. I don’t think if I was to have pressed play on a computer to hear that same song, it would have affected me in quite the same manner.

Through the years I developed an affinity for many of the bands and artists I heard on my dad’s vinyl collection; Led Zeppelin, The Doors, Stevie Wonder, Crosby Stills & Nash, Sly and the Family Stone… and the list goes on. The ’60s and ’70s had so much pivotal music made, in all genres. Even with all our technology and hi-fidelity capabilities, you hear countless hip hop artists sampling from this period. If I had to guess, I would say it is likely the most sampled time period that is still relevant and vital in music today. Just listen to “Amen, Brother” by The Winstons. This gem came out in 1969, and since then it has been sampled over 2,000 times. You probably don’t know this group, but you undoubtably have heard at least 1 song containing the famous drum break.”

“Vinyl has always carried a kind of unique listening magic for me since I was born in the age of tapes and CDs. All my early vinyl experiences revolved around finding old Tori Amos, Portishead, or Kate Bush albums on vinyl and re-experiencing music I had already consumed on CDs through the warmth of vinyl.”

“As a band, we try to capture that unique energy through the way we release vinyl. Our most recent release, “Ouroboros” EP, is actually the only place our fans can hear the score for the short film we released in conjunction with the EP—outside of the film itself. We wanted to make sure there was a bold, surprising experience awaiting those who took the time to listen through our vinyl completely.”

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Graded on a Curve:
Big Black,

File under: Music to Hurt Things To. These guys make me think of that line from Fight Club. You know, the one that goes, “I felt like destroying something beautiful.”

I was never much of a Big Black fan for a couple of reasons. For one, they never made me chuckle the way their noise rock brethren in Cows and Killdozer did. For another, I had the hardest time working up any enthusiasm for their drum machine-driven proto-industrial sound.

But time has softened me up to the very unlovable Steve Albini and Company. Sure he’s an awful snot with a jaundiced worldview and a mean word for just about everybody, but you can’t deny he lacks vision. He wanted to make a horrible pummeling caterwaul and accompany it with lots of transgressive lyrics based on stories he read in the newspaper or vomited up from his revolting imagination, and the results can be heard to nauseating effect on Big Black’s 1986 debut LP Atomizer.

The LP credits Albini (guitar, vocals, drum machine programming), Santiago Durango (guitar), Dave Riley (bass) and Roland, who happens to be the drum machine and who I can only presume didn’t get paid. And this despite the fact that on some songs Roland should get top billing.

But on other cuts it’s easy to forget poor Roland because the boys make such an ungodly noise with their guitars, thanks to their use of metal guitar picks notched with sheet metal clips. They achieve a variety of startling and discordant effects via this simple trick; the tinny Chinese din of “Passing Complexion” (think world music as played by guys who never got out of Evanston, Illinois) will give you a good idea of the sonic possibilities. Sonic Youth have nothing on this bunch.

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Graded on a Curve: Lithics,
Mating Surfaces

The homemade quality of the cover to the Lithics’ second album recalls the heyday of DIY post-punk, and it’s an adequate tip-off to the nature of their sound. Many have done it over the years, and it can seem like just as many are doing it right now; and so, it’s necessary to spotlight the good stuff. Across a dozen tracks, the Portland, OR four-piece make clear they didn’t stumble onto the genre last week, but neither do matters unfold as premeditated. Mostly, Lithics connect as confident and inspired, and the songs place Mating Surfaces securely in the keeper column. It’s out now on LP, CD, cassette and digital through Kill Rock Stars; this month, the band will be playing shows with Stephen Malkmus & the Jicks.

A lot of neo-post-punk, particularly the bands displaying an inclination for the early stuff, gets all (too) caught up in the defining aspects of execution, e.g. the stuttering rhythms, the needling guitars, the structural angularity, the skeletal and/ or the shambolic, the whole non-pro yet non-workmanlike nature of it all.

Lithics, who consist of vocalist-guitarist Aubrey Horner, guitarist Mason Crumley, drummer Wiley Hickson, and bassist Bob Desaulniers, don’t skimp on the formal qualities. In fact, any of the cuts from this, their second full-length and first for Kill Rock Stars (the pairing a comfortable fit) could be slipped onto a mixtape of the original impulse made for the curious novice with nary a snag. But what immediately struck me, an experienced post-punk listener, was how well Mating Surfaces’ “Excuse Generator” engaged with those conventions as the song appealingly flowed amongst the jagged.

This can partly be chalked up to practice, but it’s just as attributable to intent, and it’s the combination of attentiveness, diligence, and taste that pushes this effort to the front of the current post-punk class. Horner’s alienated Euro delivery is wholly appropriate for their chosen style, but it nicely avoids the feigned, and the way she rides atop the disjointedly melodic instrumental attack of “Still Forms” is impressive and indicative of the record’s whole.

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TVD Radar: Twilight 22’s self-titled debut on vinyl in stores 6/22

VIA PRESS RELEASE | Craft Recordings celebrates the roots of electronic dance music this summer with a nod to the foundational contributions of a legendary cornerstone of the genre: Twilight 22’s self-titled LP, which contains the smash-hit and electro-staple, Electric Kingdom. This release marks the first-ever official vinyl reissue of Twilight 22, which was cut from the original analog tapes by Dave Cooley at Elysian Masters. The seminal LP will be available on vinyl for the first time since its original release on June 22 (6/22).

’80s electro outfit Twilight 22 was led by computer/ synth-wiz Gordon Bahary, who teamed with singer and co-songwriter Joseph Saulter to create “Electric Kingdom,” a top 10 single that combined elements of electronic dance music and hip-hop into a singular, undeniably addictive sound. Bahary got his start when he was invited to assist the great Stevie Wonder during the recording of his 1976 classic Songs in the Key of Life. Wonder invited Bahary to help out on his next recording, 1979’s Journey Through the Secret of Plants, for which he produced and programmed synthesizers.

Around that time, Bahary met Saulter through a mutual acquaintance (Herbie Hancock), while Bahary was working on Hancock’s Feets Don’t Fail Me Now. Although Saulter was originally a drummer (playing in a Los Angeles-based outfit called Rhythm Ignition), it was his vocal skills that drew the most attention, leading to the formation of Twilight 22 in the early ’80s. Their lone single, “Electric Kingdom,” was one of the seminal moments for electro, but their 1984 self-titled full-length for Vanguard was their last album before splitting up shortly thereafter.

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