Date: Sun, 16 Aug 1998 15:33:09 -0400 From: Jeff Keibel Subject: American Dreaming During the month of July, 4AD US unleashed a batch of releases, some reissues, some things that were deleted for a while and some brand new stuff as well. The following is a critique of these specific releases and how they were handled in a reissue context. The music itself is amazing of course... Sound quality on all is good. VARIOUS : Lonely Is An Eyesore No cat. number aside from bar (5263707032) and matrix (4AD703). The worst of the bunch. Avoid this version of "Eyesore" at all costs and buy the UK version (GAD703CD). In what is a cost saving measure, the original CD booklet has been reduced to simply front and back covers only. This still with the rear cover of the CD mentioning "sleeves AND BOOKLET designed by 23 Envelope". Just plain old LAME execution! Date: Wed, 14 Oct 1998 11:05:40 -0000 From: Roy Burns Subject: I'm a rabid 4AD whore!!!! >From CDNOW: ================================ 4AD: A Brief Introduction Few record labels have inspired fans to attach themselves to the label and religiously follow them. Stax, Chess, Bomp, Stiff, Wax Trax; these labels set the standard for companies that defined themselves based on a strong roster of artists. 4AD carried the torch for the post-punk movement but also created new genres with an eclectic roster of artists, who could be called ethereal, dreampop, wall of guitar or Goth. For 4AD, growing talent in a "family" atmosphere meant the artist was given freedom to explore their own talents and ideas while the leader of the label knew when to be involved and when to stay back. 4AD emerged in 1980 after Ivo Watts-Russell received 2,000 British pounds from the owner of the Beggars Banquet record shop (which had just started their own label) to go out and find musicians to record and eventually move to the Beggars label. One of the first releases was by Bauhaus, which was the only band that went over to Beggars. Other notable artists in that first year included future Wolfgang Press members in Rema Rema, In Camera and Mass. Other distinguished acts, who came on board in subsequent years, included future Sony artists The The, Modern English and The Birthday Party (Nick Cave's old band). Rabid 4AD fans (known as 4AD whores) religiously collect everything on the label, whether it was for the artwork that defines every release since 1983 or music like the gothy female post industrial stuff (This Mortal Coil, Xmal Deutschland), ethereal, shimmering rock (Cocteau Twins, Dif Juz, Pale Saints) or older artists side projects (David J., Colin Newman, Lydia Lunch). What follows is a celebration of the first reissues of albums since 4AD became an independent label again after their licensing arrangement with Warner Brothers Records. --Rich Masio ================================ Various Artists Lonely Is An Eyesore (4AD) Lonely Is An Eyesore was 4AD's "concept" compilation to end all compilations. This massive undertaking not only highlighted the label's eight current artists, it also showcased in-house sleeve designer Vaughn (sic) Oliver's 23 Envelope design company (now operating under the name, V23). For this massive undertaking, each artist contributed a brand-new recording (minus Dead Can Dance's "Frontier") while Oliver designed a lavish sleeve and booklet that encapsulated all of his visual ideas up to that point. Video director and artist Nigel Grierson would shoot all of the videos (except for Throwing Muses' "Fish") to be released along with the album. Originally released in 1987, Lonely Is An Eyesore includes brilliant tracks from The Cocteau Twins ("Crushed"), The Wolfgang Press ("Cut The Tree"), Clan of Xymox ("Muscoviet Musquito) and from the underrated instrumental avant-jazz quartet, Dif Juz ("No Motion"). The album also includes the sample heavy, guitar-led "Hot Doggie," from Colourbox, and Dead Can Dance's menacing, Renaissance-flavored "The Protagonist." Only Throwing Muses' "Fish," with its indie-rock jangly guitars and abrasive vocals, breaks away from the stereotypical 4AD sound. This would be the last project on the label to enforce the myth of the "4AD sound" - dark, moody and atmospheric textual songs mainly led by female vocalists or by male vocalists with dark voices. After this project, Ivo broadened the label's identity, sound and roster by signing more American bands - The Pixies, Ultra Vivid Scene and His Name Is Alive - ushering in a new era for 4AD. --Craig M. Roseberry