Ultravox
Brilliant

The "Ultravox" return after more than a decade of silence, aside from compilations, a historic formation of that electronic rock-pop so popular in the '80s and which influenced many followers, first among them the Depeche Mode. They make a grand return with this "Brilliant" which marks their comeback with the original line-up featuring the warm and emotional voice of singer-guitarist Midge Ure, who many remember for the song "Breathe," used in the advertisement of a well-known watch brand...

The album steers away from the not-so-exceptional last productions like the poor "U-Vox" from 1986, "Revelation" from 1993, and, despite being better in all respects, "Ingenuity" from 1996. An "Ultravox" album is certainly not listened to for the technique, which has always been rather limited, but for the flair and emotions that the London quartet, now a quintet with the addition of a second guitarist named Vinny Burns already present in the second-to-last album, know how to create. The first thing that stands out is that the CD, consisting of twelve tracks amounting to almost fifty-three minutes, is composed of titles with just one word...

Nothing particularly new under the Sun, mind you, the tracks are in the full "Ultravox" style of the early '80s, but I think it's unreasonable to ask a band to overturn their natural style, which, except for rare cases of musical eclecticism, would probably lead to questionable results. A strong point of the songs, besides the voice and guitar of the aforementioned Ure, are, as always, the keyboards of Billy Currie, who sporadically also plays the electric violin, creating the right counterpoint to the lines of bassist-keyboardist Chris Cross, (who is not the inventor of bras...), and paving the way for drummer Warren Cann, as always essential but effective.

Getting into specifics, "Flow" and "Rise" are very good and closely resemble the atmospheres of the last "Genesis" ("Calling all Stations" in particular), while the opening track "Live," the excellent "Brilliant," and "Hello," which, but I think it's obviously a coincidence, has a main theme very similar to the homonymous song by Cesare Cremonini, seem to come out of their excellent "Quartet" and "Lament" respectively from 1982 and 1984. Also very pleasant are "One" and "Remembering" that bring us back to the emotions of the unforgettable "Vienna" from 1980 with dreamy musical atmospheres and a Midge Ure who is inspired and convincing. Good as well are the electronic "Fall," the energetic "Satellite," and the poignant final "Contact," perhaps a bit too "sugary."

A decidedly pleasant record enhanced by an excellent production, even though it should be said that this genre is very easy to "render." The times of "Vienna," "Rage in Eden," and "Lament" are definitely behind us, but given the "direction" some "modern" productions are taking, it's nice sometimes to make a "dive into the past," perhaps a bit nostalgic but certainly rewarding.