Level 42
World Machine

THE REVIEW

“World Machine”, the fifth studio effort by Level 42, set the stage for the rift between the Gould brothers, Phil in particular, and Mark King (charismatic leader, as well as a top-notch bassist).

The collaboration endured for two more years, a sufficient time to reach the peak with “Running In The Family”. But by then, the die was cast.

The facts, as simple as in many bands: different inclinations, aspirations, and tastes.

Born as a fusion band, with jazz splashes and funk inclinations, Level 42 were slowly but steadily giving way to pop.

And if, as we said, the successor “Running In The Family” makes the decisive leap, “World Machine” only makes the move.

Take the two extremes of the album; they will help to understand.

Feeling the pulse of the fans, the most appreciated track of the album seems to be “I Sleep On My Heart”. A sentiment that I agree with. A complex track, not very radio-friendly but essential and characteristic in defining the band's traits. Conversely, it was “Something About You” that catapulted them in America, a sugary pseudo-ballad with no stylistic ambition, played decently but without flair or contortions.

Moral: where is the truth?

The prelude is that Level knows how to play, their approach to instruments is polished, superlative in King’s case, but probably an identity crisis was underway.

At the time: not all melodic pop should be written off as mediocre. “Leaving me Now”, in the opinion of the writer, is a substantial, pleasant, absolutely decent track.

But what can those who identified with “Love Meeting Love”, “Love Games”, “Turn It On” think?

And here comes the interesting part: the fan, because they are fans, if satisfied by the past, rarely lets go: but becomes critical, grumbles, takes a certain distance, and that’s fine.

Nonetheless: the album is released in 1985 where King and Lindup make the decision without subjecting it to a plenary interrogation of the rest of the band and veer. They veer with grace, with politeness, but captivated by stadiums, by big stages, they choose to leave corners and small spaces.

They won’t be the only ones, in that era.

Having made this (long, and I apologize) necessary premise, it must be said that the album is worthy, solid, fluid.

Decent is the title track that opens the work, there are pleasant peaks (the already mentioned, melancholic “Leaving Me Now”, precursor of Zarrillo's 5 days, “I Sleep On My Heart”, “Good Man In A Storm” and the verse of “Lying Still”) but also negligible episodes like “It’s Not The Same For Us”.

“World Machine” is indispensable for those who love Level 42, essential for those who want to approach them, necessary for those who have recently discovered them.

Because there is everything: the past, the contingent period, the desire to break out of the mold, the compromise.

And there are also amnesias: tracks that start off great, but then dawdle (I mentioned “Lying Still”).

As I said, in two years, the Gould brothers, Phil and Boon, crucial lyricists of the project, as well as drummer and guitarist, will say goodbye.

The first, will seek a reunion in 1994 during the sessions of “Forever Now”, but just before setting off on tour, as old disagreements resurfaced, he will disembark again.

The second, will remain on good terms to the extent of handling the lyrics for King’s solo album in 1998. A few months ago, he was found lifeless. Heart attack. He was 64.