TED MCLENDON
ELECTRONIC "Twisted Tenderness" 1999, Clear Productions Ltd.
How in the world do you label something like this? Something so eclectic simply defies categorization. I’m tempted to begin with "pshychadel-tech-rock-house-dance-pop", but even that falls short.
This powerhouse of sound I’m laboring over is "Twisted Tenderness," the latest release from the British brainchild Electronic. What started in the late 1980’s as a side project partnership between New Order vocalist and guitarist Bernard Sumner and former Smiths guitarist Johnny Marr has become a sonic force in a class of its own.
Outside of a handful of singles and remixes, Electronic has released three full-length albums, none of which fall short of masterpieces. Of course, it’d be hard to expect anything less from two musicians who played such prolific roles in the progression of modern music.
Marr, heralded by many as the most overlooked guitarist of the past decade, teamed with Morrissey to write some of the most intriguing and original music in a time when synth-pop and hair bands ruled the airwaves. After the Smiths’ demise, Marr did several studio guitar appearances, and even toured with the Pretenders. Electronic is his only full-length album work since The Smiths.
Joy Division, a band whose cult status rivals that of The Smiths, first met the spectrum of Bernard Sumner’s talents after the tragic death of their former vocalist Ian Curtis. Sumner took to writing vocals and singing as well as playing keyboards and guitar. Soon thereafter, this new order in the band’s lineup influenced a name change, hence New Order.
In cutting edge fashion, New Order went on to forefront the 1980’s club-dance scene. However, the breaking beats and irresistible melodies never subtracted from but were only strengthened by Sumner’s touching lyrics.
Without a doubt, Electronic sounds more like New Order than The Smiths. But to liken them to New Order would be to overlook the intricate detail that is the essence of Electronic. The complexity of each song is captivating, as house beats will bounce on either side of an acoustic guitar and trance loops tunnel gently in and out of a harmonica which is matching time with the drum’s rhythm.
Distorted guitar effects span the sound spectrum and come back again only to meet the most gentle of lyrics. Suddenly you find yourself saying "can they really do that in the same song?" Then as your head begins to bob, hips swing, and feet start tapping, you answer yourself "hell yeah they can do that." And they do it like no other.
There is a certain edge to "Twisted Tenderness" that was never apparent on the previous albums. An edge that is raw with intensity. It builds throughout the whole recording and meets its apex on the ninth track "Prodigal Son." This song is a geyser of over amplification and energy. Marr lets loose like I’ve never heard before. The live drumming by Ged Lynch (formerly of Black Grape) is a brilliant touch of organic instrumentation that compliments the marvelous madness.
The worst aspect of this album is that it’s only available on import. That means some serious cash. If you’ve the means though, it’s definitely worth it.