MAGAZINE

Surprisingly soon after jointly founding the seminal Buzzcocks legendary weirdo (and, man, is he weird) Howard Devoto left them to form Magazine, presumably as he fancied trying his hand at something a bit more artistic and pretentious. As I said in the introduction it was moves such as this that really made the scene so exciting. Within a year of the stripped minimalism of punk reigniting rock'n'roll people like Devoto were smashing their own boundaries and producing far more ambitious music than even the out-dated proggers were capable of. Indeed, I imagine Magazine were almost as influential as the Buzzcocks as I bet most of the quirky, keyboard dominated new wave bands of the eighties (XTC spring to mind) were devoted (pun intended) fans of this album. The creepy keyboards, dysfunctional guitar riffs and disembodied vocals combine brilliantly on the album to produce an almost gothic atmosphere of paranoia and technological isolation (I'd wager Thom Yorke was making notes and all). Although the album sounds creepy throughout the tempo and feel of the songs varies quite significantly. Indeed, perhaps the cleverest aspect of the entire album is the arrangements. The roaming introduction to the opener, "Definitive Gaze", brilliantly but unpredictably sets up the actual song whilst the switch in "The Great Beautician in the Sky" is perhaps the highlight of the entire album. From a Big-Top style circus anthem (no kidding), about mid-way through, it switches into an up-tempo paranoid jig with Devoto threateningly jeering about "knowing your secrets". It is actually a rare occurance for Devoto to be the voyeur as usually, lyrically at least, he is the one being betrayed and spied on. In terms of straight-forward arrangements the most commercially appealing song (and, appropriately, their most famous) is the neurotic "Shot by Both Sides" which is, by far and away, the most normal "punk" song on the album. I've no qualms with saying it deserves its classic status, though. For me the highlight, both lyrically and musically, is the disturbing and pulsating "The Light Pours Out of Me". The thudding, monotonous bass riff is essential in setting up Devoto's dramatic atmosphere which culminates in the confessional chorus. Personally I think the metaphorical comparison of light with "goodness" is a very evocative one and it is not hard to imagine a man losing his sanity and virtue feeling like light is gushing through holes in his skin to leave him hollow, empty and engulfed in darkness. I guess the feel of this album is quite similar to Joy Division's Closer although, as well as being merely great rather than peerless, I get the feeling that, whereas Curtis really meant it, Devoto is playing more of a role. Certainly I'd say Curtis was genuinely depressed as opposed to the general nuttiness of Devoto. (It is worth noting that both bands originated from the same Manchester scene.) As with "Shot by Both Sides" political intrigue dominates the genuinely creepy "Motorcade". I don't know what the lyrics are actually about but Devoto doesn't make it sound like anything pleasant. Album closer "Parade" also has a general feel of unpleasantness and amoral antics. Indeed it seems similar to Closer's opener "Atrocity Exhibition" - "we must not be frail, we must watch". Reasons for denying this album the 10* mainly stem from the fact "My Tulpa", "Recoil" and "Burst" never stay with me beyond their endings, although I've got the impression the latter is sufficiently slow and creepy. You will also no doubt be fascinated to learn this is one the cheapest CDs I've ever bought first-hand - a mere £4. Indeed, the CD is so cheap they can't even be bothered giving it its correct name (the spine says Real Live) but, quite frankly, it is entirely worth the price of a couple of pints. It is yet another near-masterpiece from such an amazing musical scene.

From: Nathan

Sorry to spoil the fun, but I was listening to The Buzzcocks' Singles Going Steady today and I realized that Devoto completely rips off the guitar riff in the song "Lipstick" for "Shot by Both Sides". Am I the only one who notices this? I assume you haven't heard the song before because the rip-off sounds incredibly obvious. I mean, he copies it note for note. You'd think Devoto would pick something a little more obscure than his old band to steal from. Maybe he did it subconsciously. Ah well, it's still a good song.

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