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┌────────┐
────┤ Info ├─────────────────────────────────────────────────────────────────
└────────┘
Artist | The Comsat Angels
Title | Waiting For A Miracle
Genre | Indie Format | Album
Source | CDDA Time | 105:10
Label | Demon Music Group Store | 2015
Catalog | EDSK 7086 Rip | 2016
Bitrate | 247 kbps Size | 195.26 MB
Freq | 44.1 kHz Encoder | Lame 3.98.4
┌────────┐
────┤ Tracks ├─────────────────────────────────────────────────────────────────
└────────┘
CD 1/2
01. Missing In Action 4:00
02. Baby 2:57
03. Independence Day 3:46
04. Waiting For A Miracle 2:56
05. Total War 3:47
06. On The Beach 3:40
07. Monkey Pilot 4:23
08. Real Story 3:44
09. Map Of The World 3:49
10. Postcard 4:08
11. Home Is The Range (Bonus Track) 3:33
12. We Were (Bonus Track) 4:11
13. Ju Ju Money (Bonus Track) 4:14
14. Work (Bonus Track) 4:07
CD 2/2
01. Red Planet (Bonus Track) 2:42
02. I Get Excited (Bonus Track) 2:56
03. Specimen No. 2 (Bonus Track) 2:29
04. Independence Day (Demo) (Bonus Track) 3:05
05. Real Story (Demo) (Bonus Track) 3:44
06. Target Talk (Demo) (Bonus Track) 3:40
07. Living In (Demo) (Bonus Track) 3:56
08. Total War (John Peel Session) 3:59
09. Independence Day (John Peel Session) 3:24
10. Baby (John Peel Session) 2:57
11. Ju Ju Money (John Peel Session) 4:19
12. Real Story (John Peel Session) 3:44
13. Monkey Pilot (John Peel Session) 4:23
14. Waiting For A Miracle (John Peel Session) 2:55
15. Home Is The Range (John Peel Session) 3:42
┌────────┐
────┤ Notes ├─────────────────────────────────────────────────────────────────
└────────┘
Erroneously regarded as a synth pop band - and, every now and then, as a
band that peaked with a song placed in a scene of Real Genius - The Comsat
Angels were one of the finest bands of the post-punk/new wave era. Often as
moody if less dramatic than Joy Division, their first and best albums -
1980's "Waiting For A Miracle", 1981's "Sleep No More", and 1982's
"Fiction" - featured abstract pop songs with sparse instrumentation, many
of which were bleak and filled with some form of heartache. The albums were
almost unrelentingly sullen, but they were always transfixing. The band
then fell prey to various commercial pressures for several years. In the
90s they resurfaced with a pair of powerful albums that resembled logical
extensions of their earliest work, and then they vanished again.
"Waiting For A Miracle" is a sorcerous first album, at least once it sinks
in, after short-to-long phases of puzzlement, bemusement, and fascination.
Its songs of romantic ruin, paranoia, and doubt are spare, inelastic, and
ceaselessly on edge. Even when the songs are at their bounciest and most
alluring, they have an insular and alien quality. The instruments are
played with intrepid simplicity, but when they're heard as one, they sound
peculiar and complex - the results aren't unlike slow, stern spins on Pere
Ubu's "The Modern Dance" and "Street Waves" - albeit with insidious lyrical
hooks that are innocuous to the eye and startling to the ear.
Acting as something like a minimalist garage band with one foot in the past
and the other in the future, with Andy Peake's memory-triggering organ
bleats offset by structural abnormalities and twists, the band does come
across as a little timid from time to time, unsure of how far to take its
uniqueness, but it's only another factor that fosters the album's insistent
nerviness. "Total War," a razor-sharp examination of a relationship
snapping under the pressure of buried mutual contempt, threatens to stop as
often as it appears to be on the verge of taking off, carries a circular
arrangement, and provides no release. It was the album's 'other' single,
nearly as conventions-stripped as PiL's more venomous "Flowers Of Romance"
(released the following year).
"Independence Day", on the other hand, gave the band its greatest
commercial success, wrapping all the band's strengths in one concise
package, from the brilliantly paced shifts between the sparse and the dense
to the balance between the direct and the indirect. Apart from the barren,
ominous kiss-off that is "Postcard", each of the remaining songs sound like
singles, even if they never had a chance at putting the band on Top of the
Pops (this is a band that called itself 'doomsteady' with a hint of
seriousness, after all). While there are crucial differences that reveal
themselves after deep listening, this album can be appreciated by anyone
touched by other maverick post-punk albums released the same year, such as
Joy Division's Closer, Associates' The Affectionate Punch, Magazine's The
Correct Use of Soap, the Sound's Jeopardy, and Simple Minds' Empires and
Dance.
Remastered deluxe edition featuring the original studio album plus bonus
tracks including b-sides and sessions.
┌────────┐
────┤ Group ├─────────────────────────────────────────────────────────────────
└────────┘