Shriekback
Oil And Gold

THE REVIEW

The year was 1982, and Barry Andrews on keyboards (former XTC), Dave Allen (legendary bassist of the first two Gang Of Four albums), and Carl Marsh on vocals formed Shriekback. "Oil And Gold" is their third LP and has now become a classic. Ten hard-funky tracks mixed with others that are slowed down and atmospheric. All seasoned with decadent and disorienting keyboards, sometimes with an oriental flavor. From this point of view, Shriekback could be compared to Japan. Their sound was more danceable than Sylvian's group, but above all, it was occasionally tinged with soul due to the presence of soft female choirs, but the aesthetic interpretation of rock shows several points in common. Especially the use of electronics is very similar to Richard Barbieri's nocturnal visions in the slowed-down tracks.

The opening "Malaria", known in the trendiest clubs at that time, is an exhilarating avalanche, an engrossing ultra-danceable funky track thanks to Marsh's singing, who duets with a female gospel choir. Electronics are always very present and blend beautifully with guitar distortions. Undoubtedly a great piece.
The following "Everything That Rises Must Converge" certainly doesn't give you time to catch your breath, insisting on metallic and edgy bass figures. Needless to say, the backbone of this art-funk is the rhythmic section, as powerful as few, present, and incisive.
But as hinted above, the album also thrives on atmospheric moments, the best example being the long ballad "This Big Hush", 6 minutes of splendid dreaminess. Marsh's voice becomes warm and sensual, reciting his psalm accompanied by a languid female voice. In the background, a misty electronic carpet stretches seductively, accompanied by slow drum machine strokes. One of the most evocative tracks of its decade.

The Arabian dance of "Hammerheads", marked by the buzzing of electronic mosquitoes and Caribbean percussion, represents the hybrid between their "slow" pieces and their wild funk impulses, completing an important, well-played, engaging, and sometimes surreal album. A language that has elevated danceable music to high peaks and will remain a splendid example of art-funk. Recommended.