LEGENDARY PINK DOTS

During the late '80, I was pretty bored by the music scenario unable to offer something really new and exciting than neo-prog bands imitators of Genesis, and I was looking for something new, but with a more intriguing complexity than the new wave movement, generated from the post-punk and techno-pop.

So a friend of mine introduced me to the 'Legendary Pink Dots' with their 6th album 'Asylum'.

'The Legendary Pink Dots are an Anglo-Dutch experimental rock band formed in London in August 1980' by Wikipedia.

At the first listening they reminded me of the Tuxedomoon with a more complexity in the arrangement, and in the composition of the tracks. After several listening, came out some vague remembrance of the golden age's Pink Floyd of 'Wish you were here' and 'Atom heart mother', Eloy, and the Van Der Graaf Generator of 'the Quiet zone/the pleasure dome' too, but above all, the consciousness that finally, since long time, I was listening something very interesting.

Maybe for a 'modern psychedelic', "The Maria Dimension", "Legendary Pink Dots" and "Chemical Playschool 10" are the best albums to recommend, and they are good, indeed. Personally I still prefer a long and complex structure in a track, such as the traditional way of the prog-rock music, and 'Asylum' can offer this, in its atypical way. I mean please don't aspect the typical prog opera, but just an interesting album with several tracks with some changes of movements within the same song such as mini-suites, and an excellent richness of instruments in the arrangement.

I recommend, among the best songs, 'Echo Police' rich and complex in the arrangement, it is a very example of atypical mini-suite; lovely guitar's solo at the end; 'Prisoner' remarkable for the vocal's interpretation of the singer; 'I am the way, I am the truth, I am the light' a long track, with some strong characteristic of a suite, well arranged and executed, and with an interesting epic mood; and last but not least the gorgeous atmospheric 'Golden Dawn' an emotionally involving song, perfectly arranged, with an inexorable melancholy cadence that flow in a melting guitar's finale.

The Legendary Pink Dots are a typical example of an unwilling prog music band, and I recommend this album to all the prog fans that are looking for something alternative and different, highly creative but with strong features in the beloved genre.

This album, the follow up to the fabulous The Maria Dimension continues in the same vein as the previous album. Pulsing, swirling synthesizer sounds flow around the bizarre, yet compelling lyrics. As on the previous album, the sound brings to mind an updating of Syd Barrett era Pink Floyd, with a bit of early Brian Eno's deadpan delivery mixed in.

While not quite as ear catching as Maria, this album, even after numerous listenings, continues to offer a heaping helping of audio candy ton the discerning listener. I particularly like the interplay between the sax and guest violinist Patrick Q-Wright. True, there is no astounding virtuosity on the Pink Dots' albums, but there is plenty of aural pleasure.

Well into their career, The Pink Dots are now showing why they are legendary. And why they belong on this site. The best description of this album, to me, would be a sound that Pink Floyd probably would have been into had Syd Barrett not self destructed into oblivion.

The music on this album is much more intense, and original than their earlier albums (at least the ones I've heard). There are pulsing, compelling rhythms, with interesting synthesized and acoustic instrumentation. But the true beauty of this album is the lyrics. Surreal, yet well structured, the lyrics evoke Syd Barrett at his best (perhaps even better than Barrett's).

If you want to get into this band, start here.

One of the benefits of managing a record/CD store was getting promos from the distibutors. And the sales reps for the different labels quickly developed an idea of what their customers were interested in. As such, the Caroline rep knew I was interested in all sorts of odd music, and gave me some disks by The Legendary Pink Dots. I doubt I would have ever purchased them.

This album, to me sounds like a cross between 80's synth pop, and Daevid Allen silliness and naivete. The first four tracks were recorded live. Patrick Wright's violin is what makes these interesting. The better tracks, and more prog to my ears are the two parts of The Lovers, with the second part being almost symphonic, and the final track Premonition 16, that makes me feel like Spinal Tap recorded a new wave piece.

Not uninteresting, but not something that compels me to listen again.

This is another lush psychedelic journey courtesy of those barmy Orangemen , the Legendary Pink Dots, purveyors of strange sounds and bizarre moods and stalwart defenders of the space vibe in the 1980s, when prog was an excellent cadaver indeed. What makes their brand of lunacy so appealing is that they have maintained the Planet Gong weirdness and infused it with some admirable personal traits, the voluptuous violin of Patrick Wright, the stifling guitar growls from Barry Gray, slippery keys handled by Phil Knight and of course, the deadpanned vocals of singer Edward Kaspel , aka The Prophet. This is a snippet laden affair with 15 mini-tracks that sort of flow together helter-skelter but it works in some enchanted way. Things can be pretty standard on tracks like "Echo Police", as well as outright leftfield (get the pun?) on the smelly "Gorgon Zola's Baby" (now that's cheese!) or the seedy "Fifteen Flies in the Marmalade" with a violin riff lifted from Bedrich Smetana's classic Moldau and kookie vocalizings. The haunting voice boots up the "Femme Mirage" program, full of desperate illusions, Arab violin swindling evocatively, oasis guitars and sparse instrumentation coloring the musical dunes. By sheer fluke, a quirky piece like "The Hill" appends to the poetic confusion even more idiosyncrasy and keeps the tension sweatingly palpable. Yes, it's weird, folks, so be warned. Satanic on "Demonic", outright histrionic on "Prisoner" and epic on the 11 minute + "So Gallantly Screaming" where the Dutch lads decide to pick on the poor US of A by editing a line from the "Stars & Stripes" and going on a First Amendment joyride (We Canadians know American history!). This is not surprisingly the album's highpoint as the width offers freedom enough for major introspection and instrumental liberty. Ambient yet bizarre, obtuse and somehow veiled, Kaspel shines here. On the Jesusian "I Am the Way, the Truth, the Light" er?. John 14.6 (we Canadians know our religion especially if we are skeptics), Edward the Prophet goes nirvana on us, deliriously preaching to some imaginary higher order. The violin shows its catty appeal once again, in collusion with the ruffled axe and the pillorying beat. Bees are! A choice piece of holy bread dipped in sweet wine. Other wacky tracks pursue the course, little ditties like the celestial "Agape", the bombastic electronica of "Golden Dawn" with its flinching electric guitar solo, the ominous and unhinged "The Last Straw", the ultra sarcastic "Message from Our Sponsor"(where the ambient copters flutter and Lucifer rants) , the unbalanced "Go Ask Alice" (vocal fx in Dutch) and the ungodly 8 minute closer , vacuously titled "This Could Be the End" which really highlights the Lucy in the Sky with Diamonds philosophy that keeps these trekkers tripping!

I enjoy listening to LPD when I feel my sanity leaving me, generally caused by the massive ongoing daily stupidity we are all faced with in daily life. Was it not Albert Einstein who said "Only two things are infinite, the universe and human stupidity, and I'm not sure about the former" . Not their best album (5 of those will come up very soon from 1988-1992) but a pleasant enough intravenous of banana colored freeze. 3.5 loonie bins

I was extremely pleased with the inclusion of this rebellious crew from the Netherlands into the prog community as they occupy a large section of my collection (like the equally prolific Bill Nelson) and fully deserve all the adulation possible, keeping space/psychedelia alive in the "dry" years back in the 80s when haircuts and synths ruled. Check out their bio on their web page , it's a ride worthy of Gong, Hawkwind and some of the punkier electro bands of the times (Trisomie 21, In the Nursery, This Mortal Coil etc?). Charismatic singer Edward Ka-Spel has a unique voice and delivery, a strange mixture of Robert Calvert (always a good thing), Daevid Allen, Howard Devoto and Julian Cope, reciting as often as singing over the classic 80s metronome beat, guitar flashing through the synthesized whirlwind that keeps things organic (using the er? organ) and contrasting sonic alterations throughout. There are some splendid pieces here such as throbbing opener "MMMMMM", the placid "Geisha Mermaid", the robust "The Jungle" a track that really carves out the appeal, having all the cosmic planets aligned, supple bass careening ever forward and drawing the other soloists along including a screeching violin and rattling guitar swaths that spin comfortably on their axis. But it's the massive and incredible "The Lovers" title track is a two part affair that has a perplex definition of the cosmic sound and hesitates little in exploring the farthest universes. Daring to start with elegant piano is a bold enterprise but keyboardist Phil Knight is a pure musician and delivers in longing melancholia. The supreme violin makes another charming return, drenching the arrangement in a lush orchestral balm that soothes and somehow disturbs as well (just like a love relationship I guess). The two tracks sandwiched in between the two Lovers parts serve as added instrumental fodder, the short "Silvertude" being purely electronic in spirit and the more vocally involved "Flowers for the Silverman" (Silverman being Knight's stage name!) slipping into deeper absurdia, the in your face bass rolling beastily along and Edward doing some weird hippy-trippy singing while the violin cattily shrieks once again. A great track this that Gongsters will adore! "The Lovers Part 2" reunites everyone with the divine piano and the sleek strings , Edward whispering sensuously into the microphone, enraptured by the carnal bliss and the overt classicism of the music. The romantic violins are overpowering yet blend well within all the bizarre effects challenging the casual listener to pay attention. "Curious Guy" hovers near humorous Robert Calvert territory, cold, visceral and sexually perverse ("I would like to lick your secret valleys, I am a curious guy!"), with simply brilliant chorus, mood and atmosphere, the edgy violins pushing the piece along with a surprise funky danceable mid-section. I mean this is fun. "Premonition 16" ends this pleasant little psycho foray into the curious world of the Pink Dots, blazing mellotron and hushed vocals supply the vaporous backdrop for an elongated spoken Ka-Spel rant (winking at Michael Moorcock) , clocking in over 11 minutes and flinging one into far-flung horizons that defy normal constraints. "Gliding so far the eye cannot follow, where do they go, we'll never know" (lyrics from "Beauty Queen" by Roxy Music). This is exalted space rock, probably closer to Syd Barrett and early Gong than anything structured like Eloy or Hawkwind. To this day, the band remains devoted to its fans and doing their own thing, touring and releasing albums along the way. I am a fan of their music and it does deserve to be checked out, albeit prudently. This is one of their good ones.

4 Romeos and Juliets

Occupying a strange place somewhere inbetween New Wave, Psychedelia, Ambient and Progressive Music the LPD never make for easy listening. This album is probably their most accessible and a great starting point for newcomers. All blueprints for their following output can be found here: intelligent, punky pop-rockers, bittersweet balladry, intricate compositions and no-nonsense experimentation. Guided by Edward Ka-Spel's innocent, cheekily childlike vocals, backed by inventive musicianship musical boundries are torn down and new genres unfold. Tradional proggers might have to let go of their ideas of what Progressive Rock should sound like, but in the mid-eighties no post-punk band was more progressive than the Dots.

"The Maria Dimension" (1991) marked a transition in the Legendary Pink Dots' career from their earlier technoGoth ditties (which at times could sound like The Cure on angel dust) into one of the 1990s best psychedelic groups. While the psychedelic quality was there from the start (and "The Tower" and "Asylum" are both excellent albums from the earlier period), by the beginning of the 90s, LPD were starting to stretch out and go epic.

"Shadow Weaver" and its sequel, "Malachai" are the first great products of this new epic era (epic epoch?), and, for me, stand as some of their greatest pieces of music. LPD use what was then the latest technologies to extend 70s space prog into whole new dimensions. I could see fans of Hawkwind and Gong latching onto this material with ease, but I don't see why a fan of Pink Floyd couldn't fall in love here as well. A song like "City of Needles" at times even feels like a much darker version of "Welcome to the Machine" or something from "Meddle." Some of the other material here, like "Laughing Guest," is far more abstract than most Floyd, while a piece like "Prague Spring," with its gorgeous string arrangement, is positively lovely by any standard.

Edward Ka-Spell's lyrical dreams spin out his favorite themes of apocalypse, madness, sickness, Crowleyian magick, UFOs and a desire for transcendence, despite the tendency of human beings to be trapped in cycles of endlessly repeated habits. So, bright happy stuff as usual. On other albums, LPD can actually be a quite funny band. "Shadow Weaver" and "Malachai" are rather serious by contrast, but the music is alive with movement and an astonishing experimental spirit. I should also mention that at the time they were also a great band to see performing this material live.

It's always a little sad to me to find records by the Dots placed in the "Industrial music" section of a record store. Early on they were linked to that whole Wax Trax scene, and I can see some of the connections (including Ka-Spell's collaborations with Skinny Puppy members), but I think LPD were always far more ambitious than most groups tagged Industrial. That's why they strike me much more as one of the best prog groups of more recent times, especially beginning with "Shadow Weaver." Alas, I guess I should just be happy if I can even find their albums at all in a record store. I guess I should just be happy if I can even find a record store period. Sing while you may.

Depressive

The Legendary Pink Dots quickly became Legendary due to the prolific nature of their releases. The rush to record albums was very much underway by 1984, with two albums being released that year. While a core few members have remained largely unchanged through the years, many, many others have come and gone. For "The tower", we find keyboard player Patrick Wright joining the band, while April White (also known as April Iliffe and Sybil Strange-Cargo) appears for the last time. Once again, the album was initially released as a limited production run of 2,500 copies.

The tracks on "The tower" are generally a bit shorter and more focused, while still featuring many ducks and dives along the way. The Syd Barrett influences remain very much in evidence, but the electronic sounds of the 80's are also becoming increasingly dominant. The first title track (Tower one) for example has something of a Visage feel at times, although the latter part of the track is less obvious. Lyrically, the songs can be rather heavy, perhaps even gruesome, with persistent war references. The violin backed "Vigil-anti" talks about "spewing out the trash in the name of the Lord" and the closing "Tower five" ends with the depressive message "You wanted shining heroes. You wanted sparkling knights. But they're gone. You chose your grave. Lie there."

Interesting Bowie style influences come to the fore on tracks such as "A lust for power", where the sparse arrangement and strong electronic beat indicate perhaps the beginnings of a search for alternative directions. Occasionally, we are treated to a female vocal in place of the sometimes wearing voice of Ka-Spel. In this case, Lilly Ak offers a fine performance on the touching "Astrid".

By the time of "The tower", the Legendary Pink Dots had pretty much laid out their stall. There would be variances in their style, but overall fans of the band knew pretty much what to expect with each release. The rather eclectic arrangements of the songs and the distinctive vocals will not be to everyone's taste, but the 80's electronics are familiar enough to offer solace to many listeners.