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THE REVIEW
"...This means nothing to me, oh Vienna!"
Epic and glacial, "Vienna" is one of the iconic songs of those early '80s when the charts were dominated by synth-pop (Memorabilia, Just Can't Get Enough, Enola Gay), and the first signs of a kitsch hedonism were emerging, which would make them one of the most maligned decades in the history of music.
Experimental and poignant in its dark romanticism, "Ah! Ah! Ah!", on the other hand, is one of the fundamental albums of the first wave of the "new wave", with the ensemble still in the hands of John Foxx, a figure bearing more than a passing resemblance to Peter Green (remember him?). The singer with the shy and uncertain voice would leave Ultravox! right after the release of the LP following this one, retreating into an isolated life after a few solo albums.
What makes this album so essential? The violin? The keyboards? The fusion of punk elements and decadent melodies? Or perhaps that strange force that seems to emanate from the instruments? Probably the credit is due to the vitality that swept through that crazy year (1977), energy that drove everyone to go "beyond", to experiment with new sounds, new effects. Bowie and Eno had paved the way; it was their task to carry the work forward. The themes and atmospheres of the compositions are those typical of a certain new wave characterized by chronic pessimism towards the future, seen as inhumane and dominated by machines.
Their second work (after the self-titled album from the same year, produced by the Midas King in this field, the ubiquitous Eno) begins with "Rockwrok", a crescendo of rhythm and robotic beat. Next is "Frozen Ones", a track that well represents the band's eclecticism: the tension accumulated in the slow and chilly start dissolves in a fiery ending. "Fear In The Western World" is similar to the second part of the previous piece but has the misfortune of being right before a masterpiece: "Distant Smile". The piano initially lulls us only to leave us in the hands of a mix of schizophrenic instruments. "Man Who Dies Every Day" has a suspended and evanescent rhythm, while "Artificial Life" is built on wonderful keyboard effects and a co-protagonist drum action. "While I'm Still Alive" has a biting guitar that captivates but suffers the same fate as "Fear In The Western World": it is soon forgotten because of the ethereal, melancholic, eternal "Hiroshima Mon Amour", with our Foxx's singing never so moving. Tear-inducing.
...how I stopped worrying and learned to love the bomb...
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Summary by Bot
Ultravox's 'Ha! Ha! Ha!' is a seminal album of the first wave of new wave music, marked by its fusion of punk elements and synthesizer-driven melodies. Fronted by John Foxx, the album features experimental sounds and dark romantic themes. Highlights include dynamic tracks like 'Rockwrok', 'Distant Smile', and the emotionally powerful 'Hiroshima Mon Amour'. The record captures the vibrant and exploratory spirit of 1977, influenced by pioneers like Bowie and Eno.Tracklist Lyrics Videos
Ultravox
Ultravox are a British band associated with new wave and synth-driven rock. Early recordings (often credited as Ultravox!) featured singer John Foxx; from 1979/1980 the group fronted by Midge Ure achieved major commercial success, with “Vienna” commonly cited as their signature work.17 Reviews
Other reviews
By luludia
The day John Foxx left the group was declared a national day of mourning.
Here, all together and all in one go, you have ice, heat, chaos, and intelligence, which, in one word, means a bomb.
