{"id":2724,"date":"2015-06-05T18:59:47","date_gmt":"2015-06-05T17:59:47","guid":{"rendered":"http:\/\/eyeplug.net\/magazine\/?p=2724"},"modified":"2011-11-07T16:20:32","modified_gmt":"2011-11-07T16:20:32","slug":"department-s-mr-nutley%e2%80%99s-strange-delusionarium","status":"publish","type":"post","link":"https:\/\/www.eyeplug.net\/magazine\/department-s-mr-nutley%e2%80%99s-strange-delusionarium\/","title":{"rendered":"Department S – Mr Nutley\u2019s Strange Delusionarium"},"content":{"rendered":"

DEPARTMENT S \u00a0–\u00a0<\/strong>Mr Nutley\u2019s Strange Delusionarium<\/em><\/p>\n

Released by Sartorial Records<\/strong> on CD\/Digital download
\nProducer: Kevin Feazey<\/strong>
\nCategory: Post-punk, Reviews, Picks, Music<\/p>\n

Mr Nutley\u2019s Strange Delusionarium<\/em> illustrates why Department S<\/strong> needed to return to unfinished business since they disbanded in 1982. They have not attempted to make any radical changes in musical direction, but have refined and enriched their previous work while seamlessly slicing in their new songs. The tracks include intros which are fantastically surreal and injected with their exquisite sense of humour. However, this L.P is not about incorporating novelty touches but the magical musical mystery which follows.<\/p>\n

\u00a0\u2018Clap Now\u2019<\/strong> opens with the crude voice of a fairground showman talking over a wind-up organ, luring us to a place where nothing is quite as it seems, followed by laughter and wild applause from a ghostly crowd, we are thrown into the depths of retro funk mayhem laced with psychedelic punk and the raw ingredients of a lethal rock cocktail. Eddie Roxy\u2019s commanding vocals with the band\u2019s furious, crashing pace is head-spinning. That\u2019s just the aperitif\u2026.<\/p>\n

\u00a0\u2018Monte Carlo or Bust\u2019<\/strong> opens up with an original unreleased version recorded as a B-side and produced by Mott\u2019s Buffin and Overend Watts, it continues to keep us in a spin as it slides into the present with passages of guitar distortions and feedback. Dripping with fast and furious punk guitar clich\u00e9s and they know it. It\u2019s hard not to be drawn back to beer-sodden, sweaty nights at the Marquee.<\/p>\n

\u00a0\u2018My Coo Ca Choo\u2019<\/strong> ensures no leather jumpsuits are necessary as Roxy says it all with his playful, flirty vocals and a hint of neediness. This track displays one of those gems of guitar-playing from Mike Herbage which demonstrates his passionate mastery of rock and roll chording.<\/p>\n

\u00a0\u2018Age Concern\u2019<\/strong> begins with a sample of the original demo recorded 31 years ago, then effortlessly moves into current vocals by Roxy against a back-drop of Stuart Mizon\u2019s reggae-style drum thumping, an effective, simple bass line thanks to Mark Taylor\u2019s understated skills and hypnotic, compelling guitar lines by Sam Burnett.<\/p>\n

\u00a0\u2018Ode To Koln\u2019<\/strong> has an evocative guitar solo playing over an newsreader\u2019s archive audio which brings us to the haunting lyrics. A difficult subject matter to listen to but it\u2019s treated respectfully and with no theatrics. Thought provoking arrangement and produced with a sensibility.<\/p>\n

\u00a0\u2018Wonderful Day\u2019<\/strong> lifts the mood; it\u2019s probably the most commercial song on the L.P. One to blast out of the car windows, if only to annoy the kids. Crashing guitars, banging percussion, coffee bar bongos, it\u2019s all thrown in and a fine show of Mizon\u2019s aggressive drumming and wild slamming while hitting the bass drum on every beat.<\/p>\n

\u00a0\u2018Going Left Right\u2019<\/strong> is always a crowd-pleaser. Burnett\u2019s consistent multi-layered guitar-playing combined with Herbage\u2019s driving solo is sublime. Roxy\u2019s shouty vocals compliment the musical misbehaviour of the band. They\u2019re having fun and it shows<\/p>\n

\u2018Is Vic There\u2019<\/strong> is probably the best known track. We are teased with the noise of the mingling crowd and a dreamy piece of guitar meandering, then the familiar opening chords come into play and we\u2019re off. It\u2019s like their home territory but nothing comfortable about this new version, it\u2019s has all the power and energy of the original single but far more effective and intricate, including smashing, evocative and climactic pieces. A tip of the hat goes to Roxy who had big shoes to fill with the lead vocals after Vaughn Toulouse had done such a legendary job with this one.<\/p>\n

\u2018I Want\u2019<\/strong> contains lyrics that are probably more fitting to today\u2019s capitalist society where Reality TV seduces greed-driven misfits to disposable fame and riches. The end of the track is a driving solo by Herbage that builds into a manic, structured frenzy thanks to Mark Taylor\u2019s pumping bass, Burnett\u2019s masterful phrasing and Mizon\u2019s devilish drumming.<\/p>\n

\u2018Slave\u2019<\/strong> provides the greatest surprise. Roxy delivers a menacing strong, vocal and there\u2019s an almost malevolent tone in which the band communicates. Roxy sleazes in with \u201cGirl, won\u2019t you be my slave tonight?\u201d while the band steam in with hard-core rock music pulsating through the speakers. It\u2019s the final track and there\u2019s no let up. It ends with a delicious and exhausting ecstasy followed by the fairground showman\u2019s satanic laughter\u2026.<\/p>\n

Mr Nutley\u2019s Strange Delusionarium<\/em> is rock and roll theatrics at its best which display the band\u2019s infectious and consummate musicianship. It features humour, perception, irony and cynicism while inviting the listener to become mystified, enchanted, breathless and always entertained.<\/p>\n

Ends.<\/strong><\/p>\n