Westworld is the way

Press, 15 July 1982, Page 14

Westworld is the way

Theatre Of ' /-.Hate “Westworid" (Burning Rome TOHI, Stiff). •

“The yellow sun was setting in Tombstone . i .’’ Thus begins the debut album by one of the darker hopes for English music this year. Theatre of Hate released three singles and a bootleg album-cassette in 1981, but only this album and the great single. “Do You Believe In The Westworld,” have been released here. Their association with Clash guitarist, Mick. Jones, brought them early attention. Jones produced this, and although there has been criticism of the production, 1 suspect that the end result was just what Kirk Brandon and his company would have wanted. It is a tense, but rhythmic collection of songs. That single is the highlight. As I wrote the other week, a spaghetti western ramble. The version on “Westworld” includes some of the 12” mix. It should be noted that the use of radio broadcasts on records is now a cliche (Cabaret Voltaire and Killing Joke both have done it). But, ride on . . .

Brandon has got an absolutely EPIC voice. It careers right through the instrumental mix on several occasions, such as "Judgement Hymn.” Unfortunately, the anguish is such that I cannot discover what he is saying on most occasions. You will be lucky to get a lyrical insight to "Westworid." A lyric sheet would be. nice, as I have said before. But albums are $l2

— why not get something? "63." a track that originates from a John Peel London radio session, is tremendous. Once again, the drums sound like crashing cans, and Brandon rides: high. The construction is also interesting The verse is underscored by what sounds like one hundred handclaps, then the chorus slides in on the brass sounds of John Leonard. • ■■

"Love Is A Ghost” slows the side down, it reminds me of “Town Without Pity,” the old Gene Pitney tearjerker, for its verse. It works.

The saxophones and clarinets get a bit more space on "The Wake,” but it seems to be a filler. “Conquistador” broods on side two, backed by impressive choir effects. What’s he singing, though? Is this Tombstone? — picture the swirling tumbleweed as the castanets fade into a ...

radio broadcast? It goes on a bit, as Jones and the band sweat to build “atmosphere.”

“The New Trail Of Tears" has a slightly plodding drumbeat, but that is forgotten in the humour of a fairground-type clarinet break. And that voice again .

As side two rides into the dust, you’re left with bruised ears and something more than . half-satisfaction. “Westworld" is a good album, and breaks some new ground. The disjointed aspect of some of the tunes can be overcome. To ease in slowly, start with the very fine "Freaks."

Altered Images “Pinky Blue” (Epic ELPS 4300). ? Altered Images couldn’t be much further away from Theatre Of Hate on the music scale, but the two have one thing in common. If you don't like Kirk Branon’s voice, you will hate Theatre Of Hate. If you don’t like Clare Grogan’s voice, then you .will hate Altered Images, also. Clare’s voice, rather than her looks, are almost the essence of the Images. It is a cloying, but sweet, sound that comes from her lungs. When the voice is slightly more down to earth (“Happy Birthday”) it is at its best. Altered Images’ history is relatively interesting. They come from Scotland. Siouxsie discovered them and asked them to support the Banshees on a nationwide tour. Comparisons were made, but the latest offerings from both bands would indicate that comparisons are wide of the mark.

Although they had two critically acclaimed early singles, "Dead Pop Stars” and “A Day’s Wait,” Altered Images did not hit top gear, success-wise, until “Happy Birthday.” It is an excellent pop song, and the highlight, I think, of the album. The ringing guitars, tambourine, and sharp drums run together perfectly. "Little Brown Head" includes some stirring rockabilly drumming and guitar. “See You Later” , is bright, bouncy, etc., but it does not possess the same hook as "I

Could Be Happy," the included version of which is closer to the 12-inch than the 7-inch mix. That is the stamp of Martin Rushment (Pete Shelley’s, and others, producer). That "interesting” history also includes John Peel, the disc jockey of renown, who virtually "adopted” Altered Images and played "Happy Birthday” on 50 consecutive shows to- break them! He does backing vocals on one track here, and he has probably made this his album of the'year anyway.

Unfortunately, Altered Images and Epic do not i. seem to have the same relationship as Polygram-The Jam. That is. the company is lifting singles of this album as fast as it can. Admittedly, my favourite preceded the album, but "I Can Be Happy.” “See Those Eyes,” (just released here), and now “Pinky Blue" (in England), are out as singles. This is unfortunate. However, it cannot be doubted that they are the best tracks. Neil Diamond’s “Song Sung Blue” gets an airing here, but is hot as much fun as I would expect it to be. It is too close to the tedious original. Summing up. “Pinky Blue" is light and bright, does not demand your attention, and would probably be ideal for those who demand a “modern” party album. Personally, I will prefer to watch Altered Images’ progress On 45. David Swift.