Keith Writes:

I liked Patrick’s idea of trying to present sounds from the 80s and 90s that did not necessarily conform to the perceived notion that somehow the 80s and perhaps lesser so, the 90s had a uniform sound; more led by the studio rather than the musicians.

I have not only sought to “prove” this but also to give a platform to some of the European artists from that time that made and continue to make great music.

My main influence for starting to collect contemporary and near contemporary music from Europe was initiated by an album by that most European of US bands, The Walkabouts – see below.

Patrick Writes:

Intrigue: Progressive Sounds in UK Alternative Music 1979–89 is a meticulously curated compilation assembled by Steven Wilson, renowned for his work with Porcupine Tree and as a solo artist. Released on February 10, 2023, this collection delves into the experimental and progressive facets of British alternative music from the late 1970s to the late 1980s. 

Wilson’s intent with Intrigue was to highlight the conceptual depth and ambition that persisted in the 1980s, countering the perception that such qualities vanished post-1977. He notes, “Ambitious, weird and thrilling music was all around you in the ’80s—if you looked in the right places.” The compilation features 58 tracks from artists like Wire, XTC, The Stranglers, Ultravox, The Durutti Column, Cocteau Twins, Kate Bush, Tears for Fears, and many more, showcasing a diverse range of sounds and styles.  

The Walkabouts – Disamistade – Train Leaves at Eight – 1999

Keith Writes:

This album made a huge impression on me and sparked interest in contemporary music from Europe. I had long been a fan of The Walkabouts and their very literate style and lyrics.

The band, which came together in Seattle, had long been popular on the European circuit and this particular album contains fourteen tracks all written by European artists. I have chosen for this programme, a track from some of the artists represented on this cover’s album.

The album title is a version of legendary Greek musician Mikis Theodorakis wonderful theme.

Flowers – “Icehouse” single – 1982

Patrick Writes:

Flowers were formed in Sydney in 1977 by Iva Davies.  In early 1981, Flowers signed to Chrysalis Records for European, Japanese, UK and U.S. releases; but they had to change their name due to legal restrictions and to prevent confusion with a Scottish group The Flowers.

Paolo Conte – Blue Tangos – Un Gelato il Limon – 1979

Keith writes:

Paolo Conte is an Italian singer, pianist, songwriter and indeed also a lawyer. His third album, ‘Un gelato al limon’ was his first commercial success.

His compositions mix Italian and Mediterranean sounds withelements of French Chanson and Latin-American rhythms.

Blue Tango is a good representation of his work. 

Big Country –“Porroh Man” – “The Crossing” – 1983

Patrick Writes:

A track that displays ambition through the use of different sections. The song’s title references the “Porroh man,” a figure from H.G. Wells’ short story “Pollock and the Porroh Man,” which explores themes of superstition and psychological torment.

Kayah & Bregović – Śpij Kochanie, Śpij – Kayah & Goran Bregović– 1999

Keith writes:

Goran Bregovic is of Croation and Sebian parentage and is widely accepted as the foremost composer from within the Balkans.

He has composed soundtracks for over a dozen films (also see below) and his work reflects his Slavonic and Gypsy roots.

Buggles  – “I Am A Camera”  “Adventures In Modern Recording” – 1981

Patrick Writes:

From the bands second album, originally recorded by Yes on their album “Drama” as “Into The Lens”, while Horn and Downey’s were in the band.

Solex – Rolex By Solex – Solex Vs. The Hitmeister – 1998

Keith writes:

Solex is the nome de plume of Dutch musician Elizabeth Esselink.

Using the records in her own record store, she created her music on an antique 8-track recorder, singing original lyrics over her musical creations. 

Slightly wacky…but in a good way.

Enya – “Storms In Africa” – “Watermark” – 1988

Patrick Writes:

I love the atmosphere and the bubbling synths in this one. The layered synthesizers, create a soundscape that evokes the vastness and mystique of the African landscape.

Françoiz Breut – La Femme Sans Histoire – Françoiz Breut – 1997

Keith writes:

Once a commercial illustrator, Breut is a writer of moody and melancholic pop. 

She has collaborated with a number of well known names including US band Calexico who themselves are similar to The Walkabouts insofar that they embrace European traditions.

Bill Nelson – Empire Of The Senses” – “The Love That Whirls”– 1981

Patrick Writes:

His second solo album. The track reflects Nelson’s ’80s shift towards synth-driven music, while retaining the melodic sensibilities of his previous albums.

Vinicio Capossela – Il Ballo Di San Vito – Il Ballo Di San Vito – 1996

Keith writes:

Often described as “the Italian Tom Waits” and indeed Waits has often worked along side musicians that have in their turn have featured for Capossela. For example, the guitarist Marc Ribot lends a hand on the track that I have chose to feature here this evening. 

This album was where Capossela chose to break-away from a more American styling and incorporated a truer European tradition which fused waltzes, polkas and even Greek rebetiko.

Like Françoiz Breut (above) Capossela has also worked with US band Calexico.

I can recommend an excellent compilation of Capossela’s work over last thirty years which is entitled The Story Faced-Man.

Muse – “Sunburn” – “Showbiz”

Patrick Writes:

From their first album, a track with a sense of scale. This track helped establish their early identity: dramatic, intense, a little dark, and full of emotion.

Stina Nordenstam – Viewed From The Spire – And She Closed Her Eyes – 1994

Keith writes:

Taken from the second studio album by Swedish singer-songwriter, Stina Nordenstam, the selected track Viewed From The Spire is good representation of this highly regarded album that was recently included in the best 500 Albums of the Nineties Ultimate Classics magazine.

Like many of the artists that I feature in this programme, Nordenstam is a regular collaborator and has worked with Brett Anderson (Suede), Vangelis, Yello and others.

Air – “Le Femme L’Argent” – “Moon Safari” 1998

Patrick Writes:

A track with its influences firmly in the 70’s. the album marked a significant moment in electronic music, blending downtempo, chill-out, and space pop elements to create a serene and futuristic soundscape.

Karin Krog – Don’t Just Sing – Bluesand – 1999

Keith writes:

Born and largely based in Norway, Krog has a enjoyed a long and successful career which commenced in the early 60s and she has recorded and performed with many of the jazz greats such as Dexter Gorden, Steve Swallow, Jan Garbarek and John Surman. 

Krog gradually moved towards a more electronic style after marrying the above-mentioned John Surman.

The track selected here is from her Krog / Surman 1999 album Bluesandwhere she her vocals are electronically treated. Surman accompanies her on soprano sax and synthesizer.

Passengers – “Always Forever Now” – “Original Soundtracks vol 1” – 1995

Patrick Writes:

A collaborative project between U2 and producer Brian Eno. It exemplifies the group’s experimental approach to music, blending ambient textures with rock elements.  

An extended version of “Always Forever Now” was featured on the soundtrack of Michael Mann’s 1995 film Heat. 

Goran Bregović Feat. Scott Walker – Man from Reno – Toxic Affair OST – 1993

Keith writes:

A terrific collaboration with Scott Walker here from the OST to the 1993 film Toxic Affair. As we heard earlier in the programme with the collaboration with the singer Koyah, Bregović is a natural and innovative musical foil.

This track can also be found on a terrific “Best Off” entitled Ederlzi. It also contains a fantastic co-write and performance with Iggy Pop.

Crash Test Dummies – “God Shuffled His Feet” – “God Shuffled His Feet” – 1993

Patrick Writes:

Features a distinctive synthesized guitar solo by guest musician Adrian Belew.

It features scenario where God invites people to a picnic in a garden, leading to a series of existential questions about life, death, and the afterlife. In response, God tells a parable about a boy with blue hair, symbolizing individuality and societal judgment.