| Track: | Rating: | ||||
|---|---|---|---|---|---|
| 1. Sleepwalk | | | | | |
| 2. Passing Strangers | | | | | |
| 3. New Europeans | | | | | |
| 4. Private Lives | | | | | |
| 5. Astradyne | | | | | |
| 6. Mr. X | | | | | |
| 7. Western Promise | | | | | |
| 8. Vienna | | | | | |
| 9. All Stood Still | | | | | |
All songs by Billy Currie, Chris Cross, Warren Cann & Midge Ure.
With Vienna, Ultravox effectively began their second incarnation. Over the course of their previous three albums, they had crafted a punchy variety of art-punk, largely dependent on Billy Currie's synthesizer effects and John Foxx's atmospheric vocals. The focus shifted on Vienna, with the band moving into a fusion of ambience and artistry that would ultimately make them one of the best bands of the new-wave period. It's not that Vienna wasn't a pop album (it was), but it represented a form of high craftsmanship within the pop idiom that few others could hope to attain. Unlike Trevor Horn's mid-'80s projects, this incarnation of Ultravox didn't subvert pop culture through found-sound collages or mutated song structures -- instead, they refined the pop-song structure itself into an artful creation. If there was an element of Roxy Music-esque condescension in the process (and there probably was, on Currie's part at least), they still managed to pull it off with a remarkable level of success.
This transition, of course, was primarily facilitated by a turnover in membership from their previous album, Systems Of Romance. Both vocalist John Foxx and guitarist Robin Simon left the band after that project, and both were subsequently replaced by Midge Ure -- not an industry name at the time, though he had been a member of The Rich Kids (with ex-Sex Pistol Glen Matlock) and the abysmal teen-pop band Slik (he had also guested with Thin Lizzy during a tour, and was reportedly asked to join the Pistols after John Lydon's departure). There was no guarantee at the time that Ure's presence would work to the band's advantage. In retrospect, though, it seems obvious that Ultravox was the perfect forum for him -- his soaring voice worked perfectly in the band's synthesizer- based creations, and his presence was a major factor in the band's success during the early '80s.
Although the band would refine their sound even further on subsequent releases (reaching the apex of this process on Quartet), they were never more ambitious than on Vienna. This album, and particularly its second half, ranks as one of the more artistically solid creations from the British new wave movement -- and while Ure's Scottish elocution might not appeal to everyone, the album in general should appeal to a good number of fans with progressive inclinations.
The album begins, appropriately enough, with two of UV's UK hit singles -- "Sleepwalk" and "Passing Strangers". The first is an energetic synth-pop tune over which Ure's somewhat awkward vocal tones work amazingly well (if you liked Yes's Drama, this should appeal to you). Cann provides an aggressive beat throughout the song, and Currie throws in a delicious viola solo near the end. "Passing Strangers" isn't quite as good, with Ure's pseudo-croon throwing the pace off a bit -- still, it's a decent enough pop tune.
"New Europeans" might well stand as an anthem for the entire new-wave movement, with lyrics that defend the advent of synthesized technology over the airwaves (amusingly, the opening section of the piece literally features the sound of jagged "new waves" crashing upon a shore). With a great piano hook towards the end, this track represents the best of the movement -- as well as providing a few clues as to why the band was never as popular in America. [Jethro Tull fans who believe that the Under Wraps album was made with Ultravox in mind might note that the line "European legacy" actually appears in this song.]
The highlight of the album, however, rests not in these poppy tracks, but in the three-song suite which nearly winds down the album. "Mr. X" is an extended narrative of a mysterious traveler, with Ure coldly unfolding the story over a lush synth setting (you can practically see the cheap video effects, but don't let that bother you). A viola solo appears at the end. "Western Promise" is a work of studio mastery, with Currie providing some truly strong instrumental material over what can only be called an art-rock setting from the band; the lyrics are a paean to the Far East, sort of. But the greatest piece of them all is "Vienna", with Ure's incredible vocals providing a chilling glimpse into a golden society in advanced stages of decay -- his cry of "This means nothing to me" is no mark of disengaged apathy, but a lament for a lost past. The music, dominated as always by Currie, is a perfect ambient setting.
And, unfortunately, it is here that I must make my one substantial criticism of the album -- with its incredible sense of finality, "Vienna" should unquestionably have been the final track on the album. Instead, the band chose to close the set with "All Stood Still" -- another UK hit, and a very good pop track in its own right, but not a track which really meshes properly with what comes before it. Those with programmable CD players might want to consider queueing this one up somewhere else on the album.
Regarding the two middle tracks ... "Astradyne" is a 7-minute+ instrumental, which unfortunately doesn't quite it as far as the band was intending. Currie takes numerous impressive leads throughout the song, but the piece never quite breaks through as it should. This shouldn't be read as too severe of a criticism, of course (the track is extremely enjoyable as it is), but as a citation of unfulfilled potential. "Private Lives" is a strong art-pop song on par with the album's singles, but lacking much in the way of distinction from them (still, Ure's lyrics about dissatisfaction with party-going decadence have a strong ring to them).
This album marked the beginning of a string of successful projects (both commercially and artistically) which lasted through Rage In Eden and Quartet to Lament. After this, tensions within the band brought their magic to an end, with the U-Vox release having only a few traces of the old majesty. And let's not even discuss Ultravox Mk. III.
For those who want a glimpse of the band in their prime, Vienna and Quartet are the essential choices. Progressive fans should have a particular affinity with this one.
(review originally posted to alt.music.yes on 10 May 2000)