(February 2010) It’s difficult for a label to start with a really amazing release; it can set a precedent that’s hard to follow never mind surmount. Hommage Records managed it with the Maskindans double CD, a collection of obscure new wave artists from Scandinavia in the 1980s. The Norwegian label is now back with two new releases, E-man with the E-Man LP and another various artists compilation entitled The Temptation Tapes Vol. 1.
E-Man was the first project of Geir Jenssen, who went under a number of later monikers such as Biosphere. Jenssen’s Biosphere productions are a quite distant from his E-man sound, with minimal synthesizers and vocals preceding his ambient and techno compositions but there are some undeniable hints in the album. The tracks of this LP were recorded between 1982 and 1984 and have been cut by the Queen of Minimal Wave, Veronica Vasicka. Vasicka, and her Minimal Wave imprint, have been receiving increasing publicity; featuring on an Astro Unicorn special and now picked up for a new compilation on Stones Throw.
The LP opens with “The Difference” with halting synth chords playfully toppling over each other with cold indifferent lyrical slices dissecting the analogue twiddling. The track is more of an instrumental than a vox version, with the emphasis being put on the machine sounds and the sonorous spiraling of the vintage electronics used. Likewise, “De Du Da Da Di” is instrumental; with larger brasher bass sounds making their way into the frame. “The Upland Part I” is a wonderfully warming piece of synthesizer music, mirroring some of Jenssen’s later Biosphere sound. The track has some of the qualities of S.C.D.’s music, a work of real music gift that borders into space but remains somehow grounded. “Visjoner” ups the tempo with despondent vocals coiling around the chords before “The Upland Part II”, an aural breath before “Great Nations” brings a typical MW style track. “Hosono” and it’s squelching bass and organ chords finishes the a-side with “Jeg r Moderne” starting off side -b, an addictive new wave number that featured on Masikdans. “The Upland Part III” and “Nibsy the Newsboy” follow, two instrumental pieces of rich synthesizer sounds. “Heave and Hell” moves into slower synth pop lovers style. The track’s measured down-tempo sound echo a number of 80s electro tracks, lonely and unrequited. “The Mission” is an clever work of discordant lyrics and warm synthlines. The final ambient whirrings of “The Upland Part IV” introduces the split original version of “De Du Da Da Di”. Japanese samples melt into a squelching soundscape of synthesizers and space tone.
For its third installment Hommage have opted for another compilation, this time on vinyl. The Temptation Tapes Vol.1 features four artists, Clockwork Orange, Horsemen, Downers and The French Connection, with the latter opening their account with “Catching Butterflies In The Dark.” For the first time Hommage seems to be straying from the traditional new wave sound, with “Catching Butterflies In The Dark” having some elements but a much greater focus on guitars than machines. The track has moments, but pails in comparison to what follows: Clockwork Orange and “Sensation Boys.” The track can only be described as immense. A piece of blinding new wave vision, features haunting vocals wrapped in joyful melancholy as analogue chords meander. Brilliant to finally see on vinyl again. Horsemen and “Summer of Love” are next, with an American Depeche Mode sound. The vocals, that seem to have a US West Coast element, and as the track develops it takes on more of a 90s indie aspect. After Clockwork Orange introduce “Don’t You Know,” with the “Sensation Boys” synths being put into storage as a slow rock ballad surprisingly comes from the speaker. The A-Side ends with “In Line” by The French Connection and some synthesizers thankfully return. The track comes home to lost vocals and discord, with some gentle piano keys adding another rich element to the composition.
On the flip-side of this disparate release the listener is met by the first installment of Downers with “Money Changes Everything,” quite a Heaven 17 looking appellation but the track has none of the finesse of the Sheffield electronic set and simply feels lacking. The French Connection return for their swansong, “Waiting for Moonlight.” The track has a post punk facade to it, with guitars dominating. Clockwork Orange’s final track, “Passion,” is a well-structured synthpop track with a nice brazen bass which makes up for what seems like misdirection with “Don’t You Know.” Horsemen’s last outing on the LP follows in the same line as their first, and despite quite a nice synthline is not a memorable piece. Downers end the record in new esteem, overcoming their first piece on the record with the slow and emotive “December Rain.”
Hommage have achieved something with the E-Man LP. The record brings in so many elements, ambient tones, new wave musings and synthesizer music, to create a wonderfully well-rounded record. The Temptation Tapes seems like the opposite, having flashes of brilliance but also flashes to mediocrity. It seems like a record that is to be a learning experience, and one to build on. As for E-Man, the nail was hit firmly on the head and Maskindans has been followed in style.
Both releases are out now on Hommage.
