Trying to find great, life changing music on television in the Eighties was always a bit of a struggle. As the steady supply of punk and post punk acts that sold enough to get on Top Of The Pops seemed to (with a few notable exceptions) dry up, you needed to look elsewhere. There was Whistle Test, but more often than not that sterile studio atmosphere (almost as bad as the forced enthusiasm of the Newcastle fashionistas on the Tube) failed to spur many of the bands towards anything like excitement. The Jesus and Mary Chain crackled with electricity under red and green lights playing In A Hole, despite being recorded at ten in the morning given their notoriety at the time. Contrast this with their rather tame performance of Just Like Honey and Inside Me on The Tube ten months later. (Pete Townshend liked it though, reminded him of Buddy Holly). There was always that clip of the Smiths recording Meat Is Murder, Morrisey and Marr miming along to Nowhere Fast, Marr looking like Johnny Thunders trying to sneak his way onto the back cover of Revolver. Or what about that amazing footage of The Cramps playing The Most Exalted Potentate Of Love live at the Peppermint Lounge and shown on The Tube. These moments were taped and watched endlessly.
It probably didn’t help that TV executives seemed to be more interested in looking backwards – Sounds Of The Sixties, re-runs of Ready Steady Go. There was even The Golden Oldie Picture Show where they would create videos for old hits and shown at prime time. Where were the opportunities for the new bands to get this kind of exposure? It’s not as if the music was not being made. Sometimes you’d get great bands popping up in the most unexpected places. I remember Iggy Pop disembowling a teddy bear on No. 73, Pere Ubu appearing on Roland Rat, Strawberry Switchblade on Cheggers Plays Pop. These may not have been these bands finest hours musically, but even catching a glimpse of them was enough in pre-internet, pre-Youtube barren times. Sometimes you want something so bad you’ll grab anything.
So, towards the end of the eighties Snub TV came along and we could finally see interviews, videos and live clips of the likes of (off the top of my head) My Bloody Valentine, The Butthole Surfers, Wire, Pale Saints, Pixies, Loop, Teenage Fanclub, Ride (before releasing a record I think), Spacemen 3 etc. etc. For me, this is where Ultra Vivid Scene arrived. Cue slowed down grainy over-saturated footage of a cool looking band in a studio. Built around a prowling two note fuzz bass line, the song is called The Mercy Seat. Phhht! Don’t they know there’s already a song called that? It borrowed the template the Mary chain used for Sidewalking earlier that year. Still it drew me in, high sparkling fuzzy Fender guitars, great melody. I was a goner.
After further investigation it turned out that the band was in fact one man, a New Yorker called Kurt Ralske. Recorded in New York, UVS debut does not stray too far from those home turf giants of art rock Lou Reed and Tom Verlaine. Sung in a detached whisper, Lynn Marie #2 sounds like the song Lou Reed would write if you gave him the chords to Bonzo Goes To Bitburg, while Crash fades in just like Train Round The Bend. Blood Line is as pretty a melody as Verlaine’s Days, while the intro to How Did It Feel would not be out of place on Dreamtime or Words From The Front. He may be a guitar virtuoso but there’s no room here for long, meandering solos. There’s hardly any solos at all in fact. Everything here is designed to support the songs, from the chilly keyboards of Nausea to the One Of These Days-like slide guitars of Crash.
The album itself is full of tales of parties and beautiful cruel muses, icy Warholian goddesses (Lynn Marie, like Lou’s Caroline gets two songs named after her), uptight and strung out in equal measure.
It’s not all genuflecting at the feet of New Yorks finest though. The use of a drum machine colours the songs differently and stops them sounding like they are merely aping the Velvets or Television, and drives them closer to some imaginary crossroads where Chromes Slip It To The Android/Kinky Lover schtick meets Soft Cells kinky pop. The album opener She Screamed – could have been a hit single in more sympathetic era – is more like Metal Urbain piling into the disco on a night out. Like a lot of his contemporaries (Nick Cave, Jesus and Mary Chain, Spacemen 3) Kurt likes his Religious imagery (Whore of God, Hail Mary), and he’s not scared to cop a title from Ballard or Sartre. But most of all there is a romance and tenderness that more than balances any sleaze. This isn’t Real slows down Buzzcocks Walking Distance and adds a lyric about a B-movie sob story mystery. He saves his most heartbreaking lines for A Dream of Love
A dream of love is haunting me
a dream of love is taunting me
Misguidedly labeled shoegazing, this album deserves to be rated alongside the cream of the eras visionary dream pop like My Bloody Valentine, early AR Kane, late Spacemen 3, Mazzy Star et al. An album this good should not be languishing out of print as it currently is. (TT)
3 thoughts on “39. ULTRA VIVID SCENE – ULTRA VIVID SCENE (1988)”
Missed this first time around – my first UVS was Joy from around 89/90, which was an awesome record. They went under the radar for a lot of people at the time and I feel remain that way unfortunately. Great band though.
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Your spot on Huw, dont think they registered for a lot of people at the time. Both of their other records are great, Joy especially.
I find it gently remarkable how Ralske could conjure a “live power trio” record (Rev) that still feels as coherently UVS as these overdub/solo records. He should be sorely missed by pop music.