HIGH TECH, LOW TECH, NO TECH!
Technically speaking, it’s autumn here— and that’s the time when promoters, publishers and pluggers bestir themselves. It’s already served as the signal for Capital Radio and the Institute For Contemporary Arts to inflict another ICA Rock Week upon the public. This one (entitled “Art Rock Of The ’80s: Pop Goes the Easel”) features few entirely new bands—Flesh For Lulu, Beach Authority and Quando Quango have dented the consciousness either at Leeds Futurama or down here in town—and no one extraordinary.
HIGH TECH, LOW TECH, NO TECH!
LETTER FROM BRITAIN
by
Cynthia Rose
Technically speaking, it’s autumn here— and that’s the time when promoters, publishers and pluggers bestir themselves. It’s already served as the signal for Capital Radio and the Institute For Contemporary Arts to inflict another ICA Rock Week upon the public. This one (entitled “Art Rock Of The ’80s: Pop Goes the Easel”) features few entirely new bands—Flesh For Lulu, Beach Authority and Quando Quango have dented the consciousness either at Leeds Futurama or down here in town—and no one extraordinary.
It’s first-night headliners Clock DVA who are likely to boast the most broad-spectrum drawing power. That’s the result of their best-selling “Breakdown” (a bumptious, brassy 45 which features swoon siren Katie Kissoon on assistant vocals)—which is backed by their version of Uncle Lou’s “Black Angel’s Death Song.”