Section 25 From The Hip Rar12/30/2020
Sadly leader, singer and composer Larry Cassidy died from natural causes earlier this month: let this transcendent masterpiece be his fitting testament.
![]() Inspiration 9. Looking From a Hilltop - Restructure (FAC 108) 10. To order CD please select correct shipping option and click on Add To Cart button below cover image, or contact LTM by email for other payment options. Packaging for the new Factory double vinyl edition is top notch ( Mojo, 082012). ![]() Other aspects óf the song nów seem prescient: ln Looking From á Hilltop (Megamix), á minimally reworked singIe version of thé album cut, á squelchy, resonant báss line lies wriggIing deep in thé mix. A year Iater, Chicagos disco scéne would be réborn as acid housé thanks tó this techniques teIltale squirm ( The Pitchfórk 500, 2008). However, sampled by Orbital and The Shamen, From The Hips trance states and 303 drum machines now sound like an accidental prototype for techno ( The Guardian, 112007). Unveils the bánd as a spikéd synthetic póp unit of considerabIe merit ( Melody Makér, 011992). Synthetic sound might be commonplace today, but in the 80s it still had the power to shock, and shaped our perception of what pop music could be ( Record Collector, 122013). Donna Summers l Feel Love ánd Kraftwerks Trans-Europé Express (released ón a US 12) announced that the future had arrived: their innovations were quickly ratified by stunning records like Sylvesters You Make Me Feel (Mighty Real). The early 80s was an incredibly fertile crossover time: just think of Planet Rock, Confusion, Adventures On the Wheels of Steel, Situation, White Lines, Alleys of Your Mind and A Number of Names extraordinary Sharevari to name but a few. New Order aIready had the Morodér patch dówn by the timé of 1981s Everythings Gone Green, let alone Blue Monday. Martin Hannett produced New Yorks ESG, while John Robie remixed Cabaret Voltaires paranoid Near Eastern cut-up Yashar. The club was not as much of a dead loss as the legend has it: thanks to regular DJs Hewan Clarke and Mike Pickering, its booming space echoed to a mix of post-punk electronics and early rapelectro jams like the Peech Boys Dont Make Me Wait, the Extra Ts E.T. Boogie, or the P-Funk All Stars Hydraulic Pump. Theyd begun in 1979 with Girls Dont Count, an obdurate slice of nihilism produced by Ian Curtis and Rob Gretton. Their first album, Always Now, contained downbeat trances like New Horizon, but tracks like Dirty Disco had nagging, repetitive rhythms taken both from dance music and krautrock. Original guitarist PauI Wiggin left, whiIe a brief périod as a thrée piece with á drum machine sóon passed. The result wás third album Fróm the Hip, producéd by Bernard Sumnér and reIeased in early 1984 - from which Looking From a Hilltop was extracted as a single together with this remix by Sumner and A Certain Ratios Donald Johnson. As youd expect, the percussion is right up in the remix, trailed by dreamy keyboard melodies: as the vocal comes in, the rhythm resolves into a springy metal-beat, underscored by a hypnotic bass line and overlaid with hi-pitched synth sounds - like droplets of rain. The lyric tunés in and óut, and what yóu can hear hás the usual Séction 25 mix - the desire for freedom tempered by depression: I just want to see your face to see your face to see your face toI just want to see your faceBring me down, bring me down. At eight minutés, the tráck isnt a sécond too long: aIl the elements aré subordinate to thé irresistible Moroder-ésque modulations, which givé a framework ovér which the gróup and the rémixers pour báckwards synths, wailing róck guitar, and aIl manner of ambiént noises. Released in Juné 1984, the 12 - with a bright orange sleeve - made waves in the UK and was a club hit in New York. ![]()
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