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the liner notes' commentary (Hair - Japan CD)

Hair/liner

(English full translation)

HAIR / PHILLIP BOA AND THE VOODOOCLUB

Finally, Phillip Boa and the Voodooclub's album was released in Japan. That's scary, no, great news. It's a German group with some kind of esoteric band name, many people would have avoided the imported records. But from now on, I won't let you say that. They have kept their pace steadily and built their own world. Anyone who found this masterpiece will surely be convinced of the group's future.

The other day, a new group from Germany, Jeremy Days, with the strong producer duo of Clive Langer and Alan Winstanley, gave us a fresh sound. Phillip Boa can be said a main performer of the modern German neo-impressionist groups. His appearance will make the scene around there even more noteworthy.

Irrelevant to the UK, where only groups that follow the shadows of The Smiths and The Jesus and Mary Chain appears, new and creatively motivated artists appeared from the surrounding areas such as the US, Ireland and Germany. They are attracting a lot of attention, Phillip Boa and the members must be held in high esteem even among them.

That's only natural. In this album in particular, the approach of fusing lovely pop songs and primitive rhythms, and coexistence of experimental attempts, each lets us hear various aspects that have been refined. But it still has a perfection with a total flow. And this broad musicality is exactly the right approach in these times when various musical styles erosion each other intensely.

Now about the group, the formation began in the summer of 1984, when Philip Boa, now 26 years old, solidified the idea of the band with his girlfriend Pia Lund, who had learnt classical piano. The wave of Neue Deutsche Welle (German New Wave) represented by DAF had already come to an end by then, one can imagine that the situation was quite bad. Anyway, the two started working based in Dortmund, a city near Düsseldorf, while gathering members.

They released the debut album "Phillister" in May 1985, also established their own label, Constrictor, to continue working at their own pace. The name became known by some people also in Japan around since the release of their second album "Aristcracie" (November '86). They were also introduced in the UK through the Red Flame label, their presence gradually came to be noticed.

The third album "Copperfield", which was released in January last year in their home country, was decisive for such a reputation. Produced by John Leckie, known for his work with XTC and The Fall, distributed by major Polydor, the album confirmed the band's reputation on German and independent scenes.

The album actually further refined and cohered the previous sound approaches. Primitive and free rhythms intertwine with psychedelic vocals, there was a sound that could be easily understood by more people.

Only less than a year after such a content-rich album, they created an even more powerful work. The group's current fulfilment needs no reiteration.

By the way, here are the current members. Of course, the central figures remain Phillip Boa (vocals, guitar) and Pia Lund (vocals, keyboards). Unique percussion, a hallmark of the group is played by The Voodoo (what a name) and Der Rabe. And Max Nobel is the bass player, making up a five-piece band. Guest players joined in, but basically the five are trying various approaches. They actively helped fellow artists on their label, Constrictor, made a full sound on Christian Hound's album. There is no doubt that more unique people will appear from these circles in the future.

I almost got sidetracked. An even bigger talking point on this album will be the gorgeous producers. Firstly, Tony Visconti, who unusually also played guitar himself, is so famous for his work with David Bowie and T. Rex. And Nigel Walker, who has worked with Japan and Joe Jaxson, is a sensitive sound-maker. In addition to these prominent figures, Jay Burnett, an apprentice of Arthur Baker who has experiences with New Order and Run-D.M.C., and Tony Taverner, who worked with The Jam, Motörhead and others. A total of four producers are named.

Well, it's not a boutique, so they don't have to have a lot of producers like famous brands to make a good work. In fact, that often has the opposite effect. But as far as this work is concerned, it shows with excellent results. The different personalities of each producer are cleverly reflected in the sound, that makes the nucleus of the group is firmly at the centre. Listeners can feel the tentacles of free creativity stretching in all directions, moving around with vigour.

Such an expanse gives a particular sense of scale as a group. It's clear that the giant of modern music, Stockhausen, and The Velvet Underground who should be said as the Beatles behind the rock world, are held in the same esteem in them. That's a very modern sensation, as the same as the thrill of lined up with punk numbers that even smell like hardcore and decadent pop numbers that like making your brain melt.

The infantility heard in the second track "Container Love ", which was the first single cut over there, and the following "You Sent All My Letters", is reminiscent of Der Plan and the like. That has the same modern German roots as the experimental numbers led by Stockhausen. The punkish developments heard on "Primitive Man" and tracks 9, 12 convey a proper continuity from the cover of Velvets "Waiting For My Man".

When I first saw only the title "Waiting -", I felt like "why now". But when I actually listened to the song in this way, I was convinced that they already have acquired the expressive ability to sing the depth of this song.

Also, the flow of the second half, in which "Boleria" is divided into rock and classical styles, makes it feel like a suite, it seems that it will be quite enjoyable to read into it. On the other hand, track 6 "Happy Spider" brings the group name The Monochrome Set to mind suddenly, and straightforward beat numbers like tracks 16, 18 also convey a different appeal.

For someone like me, who can only enjoy works and groups that are full of creative motivation, whether the expression on the surface of the sound is pop or experimental, such an album is just like a treasure trove. And I'm convinced that this is a feeling shared by all those who now have this disc in the hands and are listening to it.

Shunichi Otaka
31 March 1989