visage

One of the very first albums I ever owned was Visage, by Visage.

Released in 1980 it is quite remarkable how well this record stands the test of time. Sure the synths are perhaps a little dated and the occasional drum machine sounds slightly clunky, but on the whole it really doesn’t sound 31 years old.

Partly this is to do with (mostly) real drums and bass - as with Gary Numan’s best stuff, the songs are rooted by ‘real instruments’ with loads of treated guitars and keyboards (plus some chirpy saxophone) over the top. And it’s interesting how much burning guitar is present. Midge Ure, (fresh from his stint in punky New Wavers the Rich Kids, where Rusty Egan was the drummer, and from his deputizing as Thin Lizzy’s tour guitarist after Gary Moore abruptly left) contributes loads of screaming guitar, and Magazine’s John McGeoch plays snarly choppy licks (alongside his Magazine bandmates bassist Barry Adamson and keyboards whizz Dave Formula). Both the instrumental "The Dancer" and the lovely Clint Eastwood homage "Malpaso Man" feature some surprisingly heavy guitar.

The vocals often blend Steve Strange’s not terribly strong voice with the distinctive Scottish brogue of Midge Ure – this works superbly. Later Visage songs often sound somewhat weedy and this is primarily down to Steve singing solo, and exposing the weaknesses in his voice. 

One of my favourites is the closing instrumental "The Steps" – slabs of massive synths attempting to sound like a church organ and deeply booming drums create a wonderfully atmospheric conclusion. It's filmic and huge and miles away from the delightfully light "Mind Of A Toy". With it's musical box theme and the sounds of children playing (seemingly essential to all New Romantic albums) "Mind Of A Toy" was a very successful single, but has perhaps dated the most of all the songs on this album. Other highlights include the brilliant opening statement of intent "Visage" and "Tar, an unusual attack on cigarettes – which makes it perhaps more and more relevant as the years pass.

But it’s "Fade To Grey" that still stands out as an absolutely classic song – the pretentious French lady, the warmly buzzing synths, the snappy drumming, the eminently danceable rhythm and the supremely catchy chorus – it’s the blueprint for virtually every other New Romantic song.

It almost makes me want to don some makeup and wear ridiculous clothes… well almost...