Some years ago a thirteen year old Robin Catling signed up for a fan club: Ultravox, a band that rose out of the New Romantics and synth-pop pioneers to write mature and complex music, blending electro and classical.
I followed, from the Vienna album, with it's noir cinema, art-school pretensions; through Quartet, Rage in Eden and Lament; the stunning live album Monument; the faintly ridiculous U-Vox; right through to the single Loves' Great Adventure, a kitsch, middle-aged mistake. News of the original lineup reforming - Midge Ure, Billy Currie, Chris Cross, Warren Cann - arrived with some trepidation on my part. Read more of this post
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