:: REVIEWS ::
World Bowie Convention. Cunard Hotel, Hammersmith. 1983 programme.
Andy Oppenheimer
Music for the Big Bang
Listen now before it’s too late.
This is the first
live date by Andy Oppenheimer, a science editor and Martin Lloyd of Analysis.
Every tune guaranteed to last less than four minutes…
DANGER government health WARNING… Oppenheimer can seriously damage your
health.
(Electronics and backing tapes produced at Feedback Studios Battersea)
Melody Maker. 13 March, 1983.
I had my suspicions with this one. Addressed to “Cassette Review Column” and
overshadowed by a seven-page thesis, it breathed prudish self-esteem. Luckily,
Andy’s four-track cassette said much more than the indulgent accompanying
garbage could ever say.
How about this: Andy is at the impressive stage of synthesizer style the
long-lamented John Foxx once aimed for. That means he is control. It doesn’t mean he’s
still at the starting post with Gary Numan; nor does it mean he’s
got lost in a maze of grave inward searching like Orchestral Manoeuvres.
Andy offered us four cameo glimpses of a developing world. His world. See,
he’s been heavily involved in science for the past five years – but
let’s bring that word “control” to the fore again. Otherwise
you’ll go thinking he’s some nuthead professor. He’s
not.
His music is subtle, bubbly and ultimately could sell if given the right push.
His ideas (lyrically) are well-thought-out, incisive and provocative. His voice
has honourable intentions but needs to be more forceful.
More specifically: “New Mexico” plants itself confidently between
Bowie’s “Low” and Eno’s more commercial work; “Security
Risk” is more uptempo, more original; “Behind the Shades” is
a masterpiece tell-tale of insecurity; “Cold War” is hard,
uncompromising and well, cold. Not far off early Human League but far enough
off to be individual.
Andy Oppenheimer: perfect for that middle synth market between Yazoo and Kraftwerk?
Sounds. 19 March, 1983.
A “new voice from the world of science,” says a statement to introduce Andy Oppenheimer (pictured here). It continues: “a futuristic thinker…. Deals with the ambiguous and tense conditions of the modern world.” I’m all for dealing with the modern world but there’s an agonising lack of tenseness in Andy’s four tracked tape (seemingly untitled). One piece, a musical trip through the scene of America’s first atomic tests, ‘New Mexico’, does have a weighty and impressive dose of melancholia. Unfortunately the following ‘Security Risk’ is far less effective, rather like plain Dep Mode-ish synthy pop, not improved by Andy’s drone-like singing. Both the other tracks similarly fail to capitalise on the majesty displayed on ‘New Mexico’.
Soundmaker. 26 March, 1983.
Mr ‘O’ is a fluent young man, so I’ll
let him introduce himself to you as he did to us in his professional-looking ‘media-pack’.
Andy is a futuristic thinker, but deals imaginatively not with the far future… but “with
the ambiguous and tense conditions of the modern world, its hopes, fears and
emotions.” Just to get things clear to you dear readers, and I quote: “…Andy’s
aims are to imitate/reiterate the Geiger rhythms of the dancefloor, to combine
art with science, high-tech anxiety with Optimism.”
In fact the music comes from the well used synth/sequencer/drum machine family.
It is well played and has some interesting rhythmical textures, but it just
does not make the required impact. If put to the iron-test of competing for
the public’s attention with the recent Coronation St dramas, I fear Mr
Oppenheimer would come out a very definite second!
Starzone party programme. Camden Palace, London, October 1983.
Oppenheimer Analysis
Andy Oppenheimer and Martin Lloyd play their second
only live performance tonight after their successful debut at the Bowie World
Convention. Andy, a
science editor and Martin Lloyd of Analysis – write and compose all of
their material. Every tune guaranteed to last less than four minutes…
DANGER government health WARNING… Oppenheimer can seriously damage your
health.
(Electronics and backing tapes produced at Feedback Studios Battersea)
Electronic Soundmaker. March, 1984.
Some sparkling electropop from Andy who’s currently
looking for new backing musicians to carry on with some of the same ideas and
a bit more live work. The tracks are characterised by smooth chord progressions
with typical Juno 60-type sounds, over danceable electronic percussion and
generous use of arpeggiators and sequencers. Some nice voice-like effects too,
while the vocals themselves help to add a little weight (and perhaps gloom)
to what might otherwise, given the success of New Order and Joy Division, be
a rather lightweight effort. Some heavier dance rhythms on later tracks though,
and comparison with the best of Telex and Depeche Mode wouldn’t be unfair.
Starzone 14 [The magazine of David Bowie]
![Starzone 14 [The magazine of David Bowie]](reviews/review3.jpg)
…And
not forgetting
Andy Oppenheimer – Out of the Cold War, into
the fire
Following debut appearances at the World Bowie Convention
and Starzone party in Autumn 1983, Andy Oppenheimer has since played live
at a variety of venues,
including the European Science Fiction Convention, Brighton, supporting of
all people, Hawkwind, plus several extremely successful dates at the Bell – a
popular London venue whose regular Monday slot, The Out House, hosts up and
coming alternative/gay performers.
Now Oppenheimer Ransom, after forming a new duo with Chris Ransome, they recently
supported Bronski Beat at the Electric Ballroom and Erasure at the Bell and
plan to do much more live work in 1985. Tapes containing 12 Oppenheimer songs
are available from Analysis Tapes, 2 Pelham Road, London, SW7 and are heartily
recommended.
