Find album reviews, stream songs, credits and award information for The Voice of America - Cabaret Voltaire on AllMusic - 1980 - The Voice of America introduces itself with a… Judging from his irritated tone, odds are the lyrics have little to do with bunnies jumping over dandelions or anything nearing pleasant -- it's that lack of definition that makes things all the more unsettling. “Shadow of Fear feels like a strangely appropriate title. The instrumental "Landslide" is painfully short at two minutes, with a bopping machine beat and barely perceptible vocal samples that dart between the left and right channels. Cabaret Voltaire are back with their first new studio album since 1994’s The Conversation. Watson's work in the band at this point isn't as noticeable as before, but the drop-in samples on "Yashar" of intense voices asking where all the people on earth are hiding give a sense of where he still turns up.
Unlike a fair portion of CV's studio output, Red Mecca features no failed experiments or anything that could be merely cast off as "interesting." "War of Nerves (T.E.S.)" There are tangible bumpers (the record is buttressed by squealing/wheezing interpretations of Henry Mancini's music for Orson Welles' Touch of Evil), so by that aspect there's a tangible center. The band eventually turned to live performance, often sharing the bill with Joy Division. In one incident, Mallinder was hospitalised with a chipped backbone after objects were thrown at the band. 4. Check out Pitchfork’s “The 33 Best Industrial Albums of All Time,” featuring Cabaret Voltaire’s 1981 effort Red Mecca at No. The sickly and sometimes demented drones of cacophony are twisted and doctored in new ways and make for more compelling listening. It certainly wasn't the first time CV had remade themselves without losing elements of their past work (even re-sampling a passage originally recorded over ten years earlier on "Soul Vine [70 Billion People]"), and Plasticity was an excellent reworking of the house blueprint into the growing fringe of techno not necessarily produced for the dancefloor. 01 Be Free02 The Power (Of Their Knowledge)03 Night Of The Jackal04 Microscopic Flesh Fragment05 Papa Nine Zero Delta United06 Universal Energy07 Vasto08 What’s Goin’ On, © 2020 Condé Nast. All rights reserved.
The second session, with Nort and Eric Random on drums, guitar, and percussion, is a touch murkier at points but only just. The band formed in Sheffield in 1973 and experimented widely with sound creation and processing. The current situation didn't have much of an influence on what I was doing—all the vocal content was already in place before the panic set in—but maybe due to my nature of being a bit paranoid there are hints in there about stuff going a bit weird and capturing the current state of affairs.”. Generally speaking, The Voice of America has more of an anchor than Mix-Up with its increased use of rhythm, whether it's from those rickety drum machines or actual drums. A song like "Breathe Deep" may have things like Richard H. Kirk's sax and clarinet lines over the stripped-down polyrhythms of Alan Fish and Stephen Mallinder, yet the way Mallinder husks the vocals and the claustrophobic feel of the recording don't entirely lend themselves to just going ahead and tearing the roof off the sucker.
The material on this site may not be reproduced, distributed, transmitted, cached or otherwise used, except with the prior written permission of Condé Nast. Probably both. Some thinly veiled advice for the listener, perhaps? On the closing "Messages Received," the structure is similar to that of "Nag Nag Nag," but all the assaultiveness of that song is wiped away and turned into a melancholy number, helped especially by an emotionally drained vocal turn. Not as spectacular as what would follow, and not without its own set of thrills. In "News From Nowhere," it sounds as if recordings of dive-bombing war planes have been intertwined and distorted, which is only part of the thrill; there's a dubby rhythm that's equally anemic in the background. Find album reviews, stream songs, credits and award information for Plasticity - Cabaret Voltaire on AllMusic - 1992 - Re-emerging with a much more original sound after… A little self-mocking humor?
Dashes of Richard H. Kirk's synthesizer are welded to Chris Watson's tape effects for singed lashes of white noise, best heard on the lurching "Sly Doubt" and the jolting "Spread the Virus." View Cabaret Voltaire song lyrics by popularity along with songs featured in, albums, videos and song meanings. It is their first live album, after Chris Watson left the A grainy programmed rhythm and Kirk's sickly guitar manglings dominate the sleazy "Split Second Feeling." Re-emerging with a much more original sound after their 1990 house album, Kirk and Mallinder for the most part rely on abstract electro-inspired ambient-techno with extended voice-over samples for Plasticity. "Wait and Shuffle" is even, dare it be said, perkier, with a brisk, reggae-touched drum and bass combination and some sprightly keyboards playing around with the sax wails and further found-sound oddities.
"Premonition" is the most antagonistic moment, placing a number of electro-surges behind a deep, growling voice that can only be described as comic doom.