The Associates: Have the years been kind?

You are to please tell her that my estimation of her has grown even stronger.

"Mona Property Girl" (and its superior incarnation "A Girl Named Property") should be pretty obvious...it's a rambling about females being looked upon as Earth-mothers/all-giving goddesses and having tribute paid to them by naming things after them as a sort of worship or as a means of comfort or company (like the song says) taken to silly proportions... ("Mona property girl...Mona property world...Mona office blocks...") I think it's a funny song, probably my favourite by Associates.

(Though at this second I listen me to "Mona Property Girl.")

Michael Dempsey gave a cryptic reference to further tracks for release at the end of his brief liner notes for Double Hipness, though I wonder if he was more referring to the still unreleased state of Affectionate at that point. Still though, hmm.

(i love sulk, yes i do)

It's absolutely astounding. Björk being a massive fan of Mackenzie's makes sense but in the Sugarcubes or solo I've never sensed her work to be quite as...*searches for the word*...careening, shall we say.

It's also a case where all the stories about the recording and the run up to it, what went into it, what they tried, etc. all make sense. You read PR guff all the time about how some band's third album (which Sulk sorta was if you count Fourth Drawer Down's singles comp as the second) is going to be the Experimental Shift in Style What Is Different or soundbites about 'there were no rules in the studio, we decided to come in fresh' or whatever and they create something with a boring drum loop and keyboard part. Then there's this.

There's a double CD of singles WEA released last year with that and "Kites" on it.

Almost picked that up yesterday at Amoeba but it's a bit much for two songs, even with credit -- I did, however, quite happily find the first of the two BBC session discs used, which made me astoundingly happy. Also found one of the three archival rereleases of Billy's late solo stuff that One Little Indian put out -- the organization of it all is unclear, but the three discs are apparently an overview of everything that surfaced on Beyond the Sun, Memory Palace (the Haig collaborative disc) and Eurocentric, plus/minus some songs. Memory Palace has been rereleased with some extra remixes, so I'll skip that, but Transmission Impossible is what I snagged yesterday -- the more 'torchy' songs he did with Steve Aungle and others, I gather. The remaining disc is Auchtermatic, which I believe covers the more electronic/dance stuff with Aungle.

Fucking hell, they just seem more and more amazing, and I only have Fourth Drawer Down and Sulk! I'm going to obtain the rest once The Affectionate Punch comes out -- it'll be a good time for a Billy Mac buying binge.

It's better than that, though. We should really do a late period Billy Mackenzie S/D...

I'd love to snag Transmission Impossible and Auchtermatic both — I don't know Outernational or Beyond the Sun, but Memory Palace was decent, not terrific. Eurocentric sounded great and got glowing reviews, but went out of print so quickly I wouldn't know. I actually really enjoyed some of the '93 Rankine reunion stuff on Double Hipness quite a bit — nothing like the original magic, but shame they couldn't hold it together.

Maybe someone will recommend a nice convenient accessible song which will change my mind about them completely.

Speaking of production though, was listened to these 2 this weekend and came to wonder about the sounds in Sulk. I read something about the production once but can't remember where. Anyone have any details, specifically regarding the sounds? There's all these bell like sounds that just don't sound like analog synths, but it's too early for FM synths. Were they using a PPG Wave? Any other thoughts?

As do I. But the one thing The Affectionate Punch lacks Sulk's intersection with pop, which of course, is what makes the latter so thrilling.

I think I prefer the songs on the Affectionate Punch as well. A bit less...melodramatic.

Mmmm, maybe — they're both pretty histrionic. But whatever they've retitled "Janice" is def. among their best songs.

Also, Dan, I've read what they used there too, and can't remember. But based on the pads alone, the PPG Wave is a good guess.

Affectionate Punch is one of the great lost post-punk records, along with the first three Sound LPs and the first three Comsat Angels LPs. I hope the reissue rectifies that, much like the Sound reissues did. The Comsats need a proper reissue (even though that 3 disc bootleg set was awesome, the band deserves some money, proper distribution, proper press.)

Sulk is otherworldly. It sits nicely along side Climate Of Hunter as a shining example of 80s avant pop.

you can listen to any of those singles that were compiled on Fourth Drawer Down and think, shit, were these produced yesterday, and why are they still so much better than most of what is "cutting edge" today?

they will always remain a cult band, but one who's influence will probably never be measured in the degree of what it should be sadly... I think it is due to the fact that people still have a hard time dealing with music that has exceedingly dynamic vocals.

i miss them, i really do.

And I bet Sulk informed Walker's songwriting on Climate.

I would venture to say that b/c while Billy and Alan listened to torch songs and the like for inspiration, people today listen to Fourth Drawer Down...