condition (record/cover): NM / VG (ring and edge wear)
Opening with the synth heavy Midnight Summer Dream, the opening for which sounds like something Vangelis might have produced, The Stranglers dip into pure new wave, complete with electronic percussion and spoken word vocals. It’s an engaging (if over-long) start, but it’s easy to see why fans might have found the direction too far removed from the band that recorded Rattus Norvegicus. Rather more energetic is the propulsive It’s a Small World, which taps into the same vein of inspiration as Gary Numan, albeit with acoustic guitars leading the way, while the post-punk backing vocals see hints of Adam and the Ants creep into the mix. Then there’s Ships That Pass In The Night, a track that is built around an insistent rhythm and slinky bassline. It takes its time for the vocals to land, but it’s an effective track, albeit one that’s eclipsed by The European Female. The highlight of the first side, in the wrong hands it could so easily have slipped into lounge pastiche, but it’s incredibly effective here and the production perfectly suits the laid-back vibe, rounding out the first half of the album in style. Opening the second side, the band once again focus on a synth-led track in the form of Let’s Tango in Paris. Reminiscent of the Giorgio Moroder’s controversial Scarface soundtrack (the movie was released in the same year), it’s a rippling piece that slowly expands to include drums and backing vocals, although the post-punk vocal feels slightly at odds with the heavily synthetic backdrop. The final of three singles to be released from the album, Paradise is a strange track, the strained vocals of the band juxtaposed with the slightly robotic delivery of Anna Von Stern and France Lhermitte. Interestingly, it’s a sound that the Manic Street Preachers would resurrect on their Futurology set, but it was the weakest performing of the three singles and it’s a shame the band didn’t opt for the rather livelier All Roads Lead To Rome. Very much of its time, All Roads Lead To Rome conjures up the shiny suits and neon lights of that naïve era, while Tony Visconti’s mix makes it all sound absolutely pristine. With its liquid guitar and arpeggiated synth, Blue Sister sees the album hit a peak, the band successfully bridging the post-punk – new wave divide in a manner, the influence of which is still audible today. The album concludes with the acoustic-led Never Say Goodbye, which, rather oddly, proves to be Feline’s most energetic moment. As such, the album concludes with two of its best songs, as if the band had been feeling their way through the process, and the listener is left optimistic as to where the band might go next.
