Ultravox
The Island Years

THE REVIEW

An exclamation point can sometimes really make a difference.
It is this sign that distinguishes the two vital periods of a group among the most influential of the entire new-wave scene.
John Foxx formed them in 1976 and after 3 albums left to pursue an intriguing solo career.

This collection includes the best from these three albums, indeed released under the Island label. Subsequently, the group would continue to produce excellent albums, but the sound changed, losing the subliminal neurosis of the beginnings. Ultravox! were characterized by an exceptionally successful mix of decadent glam-rock, neurotic and sick punk, and alienating electronics. Their arrangements were occasionally really surreal.
It can undoubtedly be stated that, although they were born when punk was emitting its first resounding cries, they were actually already in the post-punk era. This says a lot about the quality of the group, which, although sufficiently famous, still doesn't quite receive what it should today. For foresight, genius, and "zeitgeist," they can only be compared to the great Wire of Colin Newman.

A track like "Dangerous Rhythm", for example, from their first self-titled work, gathers various influences, deforming them under an anguished lens, with a sense of fear of the future that perhaps Ultravox! played with first. A semi-danceable muddy rhythm gets entangled between Foxx's very ""Roxy Music"" singing and minimal guitar punctuations. Everything leads to an irresistible chorus with a catchy melody. The collection also contains the B-side of this single, the aseptic "My Sex" another little gem of minimalism, with an almost orchestral synth haze, while Foxx's voice recites in such a detached tone as not to let even a drop of emotion show.
The next track "I Want to Be A Machine" is the first extraordinary masterpiece of the record. A song both warm and icy at the same time, steeped in poignant romanticism, oppressed by a tragic doomsday atmosphere. An acoustic guitar starts quietly to underscore Foxx's neurotic tone, more desperate than ever; gradually, the spirals of Currie's precious violin emerge until this crescendo is abruptly interrupted by a bass explosion. The drum enters obsessively, overlooked by the crying of the violin, which in the finale, when everything seems over, gives way to chilling contortions, accompanied by stunning percussive tribalisms, until Foxx's peremptory voice declares the end of this claustrophobic mental nightmare.
The other masterpiece is from the second album, "AH! AH! AH!", and it is the melancholic "Hiroshima Mon Amour", the quintessence of their romanticism. It unfolds on a melodic synth carpet with a deviant march, from which Foxx's epic voice rises emotionally, occasionally interrupted by a warm and alluring sax, which makes the piece even more tearful.
How can one escape the unforgettable chorus of "The Wild, The Beautiful, & The Damned"?
Neither should the faster episodes be forgotten, like the explosive energy of "Young Savage", an intelligent and convulsive punk, or the rockabilly pantomime of "Rock Wrok".
"The Man Who Dies Every Day" seems like a cover of what the new Ultravox will be, revisited by the old Ultravox!, as well as "Slow Motion". However, there is a noticeable drop in inspiration present on "Systems Of Romance", yet, this continues the discussion begun by its two illustrious predecessors.

Considering that this collection is found in stores for 5 euros, in case you still haven't understood what it is about, reread the review and evaluate the quality-price ratio for yourself.