Sulk

Product Information

Having created the blueprint, and set the bar high, with Fourth Drawer Down, the release of Sulk was a revelation. From Fourth Drawer Down to top drawer, Sulk is an album like no other before it, and one of which the likes will never be heard again. Intrigue and Delight Rankine left the band in 1982 and established himself as a producer, working with artists such as Paul Haig and the Cocteau Twins. In 1986 he started a solo career and recorded three albums. Divine Comedy recorded a version of "Party Fears Two" on their album Victory for the Comic Muse in 2006, Parlophone – 00946 365372 2 1 Plus, released a few months after ‘Sulk’, the original double A Side single ‘18 Carat Love Affair/Love Hangover’ reached #21 in the UK Singles Chart in July 1982. This Limited Edition recreation of the 7” single is available for the first time on Gold Cassette, housed in a card wallet.

We wanted other textures in there and that was always going to be an awful lot of analogue keyboards, which I never played on tour. I remember one night everyone said they were going to a club Vote up content that is on-topic, within the rules/guidelines, and will likely stay relevant long-term. Sulk is the second studio album by Scottish post-punk and pop band the Associates. It was released on 14 May 1982 on their own Associates imprint of Beggars Banquet Records for the UK and throughout the rest of Europe on WEA Records [2] [3] and in the US on 4 October by Sire Records. a b "ASSOCIATES | full Official Chart History | Official Charts Company". Officialcharts.com . Retrieved 16 June 2021. I would say that we were less careerist and didn’t fit. An awful lot of our songs were about not belonging. That New Romantic shit? We didn’t fit into that and we certainly didn’t fit into a highly polished ABC thing.RANKINE: I remember when Bill came down to Edinburgh. I had a flat I was sharing with my girlfriend – and Bill had to stay where the rest of the band was staying. He came to me after two days, and he said, “Man you’ve got to get me out of here, I cannae take it any more, there’s too much testosterone.” Within two days, Bill was sleeping on the couch in the lounge, and we were listening to Giorgio Moroder and the Munich Machine. So we were absorbing all of that, and Low and Heroes, and the stuff that was happening with Eno and Fripp. Bill and I had so many things to draw on. We loved the cinematic stuff. We loved the way that you could play with people’s emotions. At the same time there was a pop sensibility. Bill and I used to warm up in the studio and we’d do “Let’s Spend The Night Together” by the Stones, or “Brown Sugar”, and Bill would be camping it up, and suddenly we’d just shift and we’d be doing “The Look Of Love” and Bill would be imitating Dusty Springfield. Brilliant and Full of Depth It's not easy to pull off and album that goes from the gothic angst of "It's Better This Way" to the pop grandiosity of "18 Carat Love Affair" in one, but this does it. It's a wonderful demonstration of the range of The Associates. Spitz, Marc (27 October 2009). Bowie: A Biography. Crown/Archetype. p. 296– via Internet Archive. The Associates new wave band. Reynolds, Simon (2009). Totally Wired: Post-Punk Interviews and Overviews. Faber and Faber. p.265. ISBN 978-0-571-23549-0.

ALAN RANKINE: I heard him a couple of weeks before I met him. He was a diffident character. Quite aloof. He seemed like a fish out of water. Coming from Dundee to Edinburgh he was quite self-preserving until I got to know him a bit better, but that took place over just a couple of days. If you are a dyed in the wool Associates fan or you’ve never dipped your toe in the water before, buy this album. I’d hate to think there are people on this planet who have never experienced Sulk. They don’t know quite what they are missing. The Room We Sat in Before" is a demo version of "It's Better This Way" featuring just electric guitars and vocals, and produced by Chris Parry, owner of Associates' previous record label Fiction Records. DEMPSEY: I never saw Bill and Alan disagree about doing anything. They had an instinctive understanding. Billy would hum whatever he wanted, and within a couple of seconds, Alan would be barking out the chords.

MICHAEL DEMPSEY: I half-joined while I was in the Cure. The Cure were on the same label, Fiction, so we’d meet in the bar at Morgan Studios. I also remember meeting them up in Edinburgh, though I can’t see how. I remember meeting them in a bedsit, and sitting round a Dansette record player, with Chris Parry, the Cure’s manager. The Cure were there as well, Robert and Lol, and we were listening to the record the they made, Boys Keep Swinging. Straight away I was impressed.