d o m

Exit quirky English new wave, enter nervous breakdown. To Andy Partridge, it was clear XTC couldn't go on producing the same stage-ready sparks at this point, and this double-LP was something of a sonic renaissance. The band's penchant for spiking the pop punch began a gradual shift towards the pastoral and "arty", yet these tunes could hardly be described as pretentious. Perhaps taking cues from the Talking Heads and The Police (XTC toured with both), world music touches began to creep into the band's mix, and a whole range of state-of-the-80s synth technology helped flesh out Partridge and Colin Moulding's still-maturing craft. It isn't a flashy record by any means (and in fact, I draw more comparisons to minstrel fair music than prog), but with this double LP, it was almost as if XTC had tendered their resignation from the world of straight-ahead pop/rock. Hugh Padgham's production lends the music a spacious, almost distant ambience, even when the drums threaten to leap out of the speakers. "Runaways", "Jason and the Argonauts", and "Snowman" are but a few of the songs from English Settlement that could not have appeared on any of their previous records, such was the complexity of the themes and arrangements. Of course, Partridge would soon explore these avenues to an extent that could no longer maintain the band's breakneck zeal in any capacity — but that's another story. review by Dominique Leone — 2-21-03 —

j o e

XTC were/are not a prog-rock band, and the group's mouthpiece, songwriter/guitarist Andy Partridge, would probably express horror at the thought. However, the band's unique brand of ambitious, expertly-crafted, Beatles-driven pop music has a strong likelihood of turning the heads of prog lovers who may not be familiar with them. Also, they do have some other affinities with the genre: King Crimson's Pat Mastelotto, for example, drummed on Oranges and Apples, and David Gregory professes to liking Yes, etc. English Settlement, a double album released in the early 80s, is often regarded as a watershed for the band. Produced by Hugh Padgham, who also produced such acts as Renaissance, Genesis, and the Police around this same time, it should be no surprise that this album represents one of the more prog-philic efforts of the band. The album opens with three strong tunes, the first two offered by bassist and alternative lead vocalist Colin Moulding. "Runaways" features droning, haunted vocals and sinister, Floydian Moog lines, whereas the catchy and happy-sounding "Ball and Chain" masks utterly depressing lyrics (deceptiveness of this sort is an XTC trademark) about eviction. "Senses Working Overtime" became the band's biggest hit to date, due to its exposure on a then-cool MTV. From this strong launch-off, the album continues to offer an eclectic palette drawing from the dominant influences of British pop for the time. Punk ("No Thugs in Our House"), tweaked-reggae ("Knuckle Down"), and ska ("Down in the Cockpit") share equal footing with highly melodic acoustic ballads ("Yacht Dance," with some sensitive fretwork from Gregory) and an all-around pop eccentricity ("Fly on the Wall," "It's Nearly Africa"). This album is highly recommended for those who liked the pop tunes of the first side of Three of a Perfect Pair, but wished they were a tad stranger. review by Joe McGlinchey — undated —