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Lene Lovich - March (1989)

vom: 06.05.2022

Downloads:

264

Hochgeladen um:

09:58:55

Öffentlicher Name:

Mamami

Format:

mp3

Beschreibung:

[img]links/images/splogo.jpg[/img]

[center][url=https://postimages.org/][img(width=500 height=494)]https://i.postimg.cc/QtqcCz1Z/000.jpg[/img][/url][/center]
New Wave

Lene Lovich; born Lili-Marlene Premilovich; March 30, 1949) is an English-American singer, songwriter and musician. She first gained attention in 1979 with the release of her hit single "Lucky Number", which peaked at number 3 on the UK Singles Chart and made her a leading figure of the new wave music scene.
Born in Detroit, Michigan, Lovich moved to England at the age of 13, where she met guitarist and songwriter Les Chappell, who later became her long-time music collaborator and life partner. She developed an interest in art and theater, enrolling at the Central School of Art and Design where she took saxophone lessons. In 1975, she joined the band the Diversions and shortly afterwards wrote the lyrics to Cerrone's single "Supernature". After the band broke up, Lovich started looking for another band to join and contacted the radio presenter Charlie Gillett, who got her to record a demo of Tommy James and the Shondells' song "I Think We're Alone Now" and played it to Dave Robinson of Stiff Records, who decided to sign Lovich.[3] The song was released as a single and appeared on her debut studio album Stateless (1978), which produced the single "Lucky Number".
She released two more albums, Flex (1979) and No Man's Land (1982), on Stiff Records. In 1989, she independently released the album March, before her 15-year hiatus. She focused more on her family but came back in 2005 with the release of her album Shadows and Dust.

Lene Lovich is most commonly compared with Nina Hagen, but the flavour of this album reminds me much more of Siouxsie and the Banshees. Lene Lovich has a kind of ladylike artistry which transcends the sort of shit starter, humorous, punk ethic of Nina Hagen’s music. I didn’t fall in love with this album straight away as the vocals are not entirely to my taste, being a bit squeaky in places, and there’s altogether too much xylophone featured on it to suit me, but it did grow on me, and it does carry its own special atmosphere.
The album is decidedly witchy, not in a pagan sense, but more evoking images of black cats, broomsticks, and pointy hats. Released in 1989, March is actually evocative of Gothic New Wave from much earlier on. A specific effort has been made on the part of the producers and composers to make sure the programming and synthesizers sound more “eighties” than a lot of other contemporary music from the same year. 
Overall, I was left with the sense that Lene Lovich was probably a bit more sensitive than the genre in which she found herself

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