I’ve finally gotten around to reading Martin Aston’s giant tome Facing the Other Way: The Story of 4AD, and already I’m revisiting a lot of my collection from that label, many of which I haven’t listened to in ages, including this one.
Lonely Is an Eyesore is another album that’s turning thirty this year, originally released 15 June 1987. It’s a stellar mix that should be in the collection of anyone who listens to classic alternative rock. I’d heard of this import via 120 Minutes, and knew the only places I’d be able to find it would either be Al Bum’s in Amherst or Main Street Music in Northampton. I also knew I’d have to buy the cassette, considering I knew it would be part of my late-night headphone listening.
The album was produced and conceived by label head Ivo Watts-Russell as a multi-format release, provided with its own music video, which I believe was either directed or produced (or both) by Vaughan Oliver from the label’s art collective, 23 Envelope. [As an aside, these videos partly influenced my decision to attend Emerson to study film. A lot of my shooting assignments look very similar in style and composition to the images you see in these videos. Granted, I did not become a filmmaker, but I did use these visual and aural ideas in my future writing.]
Side One starts off with the quirky, sample-heavy “Hot Doggie” by Colourbox, an oddball electronic group more known as being two fifths of MARRS (the band behind the 1987 surprise hit “Pump Up the Volume”). It’s a wonderful opening track, maybe a bit silly, but that was part of Colourbox’s charm: they were like listening to a Big Audio Dynamite clone that played a lot of soul music with just a hint of moody ambience.
Following up is This Mortal Coil, a loose label-wide collective put together by Watts-Russell to record unique covers of his favorite 70s folk songs as well as haunting originals. By this time they’d released two stellar albums, 1984’s It’ll End in Tears and 1986’s Filigree & Shadow, both which I highly suggest. “Acid, Bitter and Sad” is a bit scattered as a track, but its multi-part construction is actually quite similar to the feel of their albums as a whole; the different sections take you on a specific journey, leading you to the next section and sometimes cutting short and leaving you floating in midair.
The Wolfgang Press was one of 4AD’s earlier post-punk band signings (various members were in previous 4AD bands Mass and Rema-Rema) with a deconstructive, sometimes brutalist sound similar to The Birthday Party. “Cut the Tree” is one of their quieter songs but retains their trademark intensity.
Next up is Throwing Muses, then a recent signing (their self-titled debut had been released a year earlier) and one of their first non-UK bands. The Muses, like their labelmates Pixies, were from New England and frequently played the Boston club scene. “Fish” is a very good example of what an early Muses track sounds like: tight and tense, unsure of which direction it’s going in, yet somehow still catchy and amazing. Kristin Hersh’s lyrics are sometimes confrontational and frequently obscure (the album title comes from this song), but the emotions behind them were never hidden.
Side One ends with the first of two amazing tracks from Australian/UK/European band Dead Can Dance. “Frontier” (a demo of a track from their debut album) amazes on multiple levels, from Lisa Gerrard’s soaring vocals to Brendan Perry’s haunting counterpoint drone-hum to the hypnotic oil barrel percussion.
Side Two starts with the always lovely Cocteau Twins with “Crushed”, a gorgeous and uplifting track that features all the CT staples: Robin Guthrie’s chiming effects-laden guitar work, Simon Raymonde’s melodic bass, and Elizabeth Fraser’s unconventional singing style. If you love this track, you will most definitely love the rest of their work.
Following up is semi-instrumentalist band Dif Juz* with one of my favorite songs of the late 80s, “No Motion”. I’ve always used this song as a benchmark that I would love to hit in my own music playing and writing, though I highly doubt I’ll ever reach it. It’s one of the first examples of the experimental post-rock we hear nowadays from bands such as Mogwai and Godspeed You! Black Emperor. Their discography is criminally small but well worth checking out.
* – As an aside, I don’t think I’ve ever met anyone who knew how to correctly pronounce this band’s name. In my head it’s always been /diff jooz/, and there’s a fan theory that the j is silent it should sound like the word ‘diffuse’, but apparently according to Cocteau Twins’ Simon Raymonde, it is indeed /diff juzz/.
Clan of Xymox is one of the original darkwave bands that revel in their goth-like sound, maintaining that dark sound even when their style evolves from dark gloom to bright beauty. “Muscoviet Mosquito” (a much improved re-recording of an early EP track) is unrelenting in its speed and drive, even as singer Ronny Moorings meanders over the top. They would follow this a few years later with an amazing album called Twist of Shadows that did well even in the US.
Finishing up the album is the second Dead Can Dance track, “The Protagonist, and an extremely good example of their more orchestral-esque works (like 1987’s Within the Realm of a Dying Sun and 1988’s The Serpent’s Egg). Often DCD’s music isn’t so much about the melody as it is about the mood and the construction of the track; each attack and sustain is deliberate.
I believe I bought this cassette in late 1987, maybe early 1988, having heard a few of the tracks on 120 Minutes or on one of the college radio stations (I remember WAMH used to use part of “Frontier” for the background music of one of their PSAs about drug addiction). I’d heard of most of these bands but sadly had not owned anything from any of them. However, within a year I’d own most of the Cocteau Twins’ and Clan of Xymox’s discographies, a few of the Dead Can Dance albums (Within the Realm is still my favorite of theirs), and The Wolfgang Press’s 1992 album Queer would be one of my top favorite albums of that year. A few years back Colourbox released a box set of their entire recorded output, which I of course picked up. And every now and again I’ll pull this album back out and give it another listen. I’d be a long-time fan of 4AD mostly because of this album, even as it evolved and changed their signature sounds over the last few decades.
Again — I highly suggest adding Lonely Is an Eyesore to your collection.