Disco Inferno: please help me out

It's nice that you wrote the AMG reviews on the EPs. Negates the need for me to ask for your opinions on those.

Durutti Column (maybe snatches of that "Return Of..." debut) and the Chameleons are definitely vague comparison points. Also, they're at times like an avant-Go-Betweens, with tracks like "The Atheist's Burden"; its melody and the singer's voice carry that Go-Betweens lilt.
There are very pleasing connections for me in the use of sound, with the debut Matt Johnson record, "Burning Blue Soul"; vocals certainly less demonstrative though. "At The End of The Line" I'd suggest was one of those that reminds me at fleeting moments of BBS; a similarly thick, crystalline texture.

Overall, they seem to have a genuinely original sound, and crucially can't be easily pigeonholed. It is a sundazed, avant-pop, I guess... but such a statement doesn't do them justice, esp. considering that within these 5 EPs there is quite a variety of approach.

He he... just listening to "It's A Kid's World", around the 3:30 mark 'til the fade; the Peter Howell Dr Who theme is sampled, is it not? :-) Who would have thought "Lust For Life" could be so productively combined with that...?

I seem to remember Andy Kellman first e-mailing me four years back expressing a bit of jealousy that I ended up doing those before he did! He got to do Loop, though, so we're even. ;-) Glad to hear more copies have arrived!

I got your I Love the 90s stuff yesterday. Thanks for getting it in.

I think it's even more telling thanks to a fantastic comment way upthread by Tim Finney about _DI Go Pop_ (the album):

"D.I. Go Pop" makes much more sense after hearing the EPs. They make the album's rejection of beauty seem more deliberate.

And why'd you send In Debt, but not that?

(Just curious because I thought that was supposed to be their definitive work)

"The Long Dance"/"The Last Dance" is def. one of the only pieces of music that brings tears to my eyes every time without fail. "Second Language" is prettier overall but damn if the sudden explosions of guitar colour at the end of the former isn't the most gorgeously bittersweet thing ever.

anyways, i usually profess not really to care about lyrics in rock music but damn if mr. crause doesn't spit (uh is that the right verb in this context) some of the most arresting lyrics i've heard in a while. especially on "summer's last sound." great delivery too! he's like a more nonchalant, apocalyptic barney sumner. and the coda to "it's a kid's world" is like one of the most achingly gorgeous minutes or so of music EVER. ian, aside from having a severely underrated band, must be one of the most underrated guitarists as well. i covet his tone

They're out of print at least. How hard they are to find is anyone's guess (the Rough Trade stuff that is -- "Summer's Last Sound"/"Love Stepping Out" went out of print so quickly that I only got my copy [as did Donut Bitch his] thanks to Vinita J. from Che/Rocket Girl as a personal gift).

Not to harp on the issue, but this again makes me think of Dome rather than "154." "154" is "154" precisely because the abstract sonic explorations alternate with unbelievably catchy and lushly produced pop. Knowing Wire's studio and songwriting expertise, one can hear Dome as a rejection or perversion of it. I'm interested in "D.I. Go Pop" and very intrigued by the EP's (got them via slsk pretty easily!), but "Go Pop" is hard on the listener in a way 154 only begins to be.

But if you want to elaborate on the comparison I'd be fascinated to read (I did look at the AMG already).

Weird thing is I don't think it is, but then again I'm not every listener.

How then did you understand the "deliberate rejection of beauty" description (I know it wasn't yours, but you seemed to approve)?

I think what makes D.I. Go Pop a difficult album is its dourness: the second half of the record isn't really that distinct from their EP work except that it tends to remains pretty understated and greyscale - "Footprints in Snow" being the big exception obviously. Like, it would only take a transcendent guitar solo to turn "New Year" into a big pop number (by the band's standards) but they obstinately refuse to take that path. Only "A Crash At Every Speed" is actually *difficult* I reckon.

Oh my, that's absolutely perfect! And it explains exactly why I love it so much, as well. Wow.

Can't seem to uncover any further news...

thanks again.

http://www.diunderground.com/images/diphoto.jpg

Still.....they were better than Disco Inferno.

Blind is spelled with a B and an L, not a K.