For those unfamiliar with the band’s history, they emerged from the post-punk scene with the assistance of Andrew Eldritch: they toured with the Sisters of Mercy and Eldritch put their first two singles out on the Sisters’ Merciful Release label in 1982 and ‘83. Although Si Denbigh (later of The Batfish Boys) would later return to the Sisters fold as nurse to the legendary Doktor Avalanche, the relationship soured and the Violets headed off on their own Rebirth label, releasing a string of singles and a compilation album before calling it a day.
Two further compilations followed, but the band were quiet until they reunited for some live shows in 1997. What started out as a nostalgia trip saw a creative rekindling, and now, after much arduous work and countless sidetracks, the band emerge with their fan-funded debut album, 31 years on from their debut EP. Was it worth the wait?
Now, I consider myself a fan, but will admit a degree of trepidation. There’s always a very real danger that reformed bands simply cannot capture their original spirit, that their efforts are half-arsed, half-baked and embarrassing, sullying the memory of their former glories.
Some two years in the making ‘Made Glorious’ lives up to its title. Yes, it has all of the band’s trademarks of yesteryear – they’re still propelled by a drum machine, albeit one that’s infinitely more sophisticated than the tinny little thing that graced their early recordings, and the standard of programming has improved, too (although the basic sounds and patterns were part of their rough ‘n’ ready charm) – but it also sees them branching out and blooming in ways only previously hinted at.
The first track, ‘Made Glorious’ has all the ingredients of the Violets’ sound from the later years of their first in-carnation, with a keen pop edge reminiscent of ‘Walk into the Sun’. The dual vocals that defined the Violets’ sound from the outset still provides a strong focus and contributes to retaining their identity. It works well, too, especially on tracks like ‘Dress 4 U’ (which appeared on the ‘Trinity’ EP back in 1997) where Denbigh’s baritone growl contrasts with Rosie Garland’s sultry singing style.
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‘Billion3’ is darkly serpentine, and ‘Tokyo Flow’ twists and squirms through dark electrogoth alleyways, taut and claustrophobic. ‘Little Punk Thing’ is punchy and adrenalized, and there’s a bump and electro grind to ‘Discoboy Must Die’ that proves their more sophisticated songwriting abilities haven’t completely supplanted the angular edginess of their former incarnations.
‘A Room with No View’ and ‘Of Roses’ bear more than a passing resemblance to classic Bowie laced with a dash of the Psychedelic Furs. Both good things, and again marking a distinct evolution for the band. The theatrical piano stomp of ‘Ramming Speed’ proves to be a real departure and is unlike anything else they’ve released previously, further demonstrating the expansion of their sound and style. ‘We Are All Gods III’ also continues to expand the band’s sonic palette and combines a thumping EBM backbeat with a chugging guitar and sweeping violin.
With 16 tracks – effectively a double album, and that’s not counting the bonus disc of remixes, etc. - ‘Made Glorious’ is a substantial document. Yes, it’s unquestionably one for the fans, not least of all because they funded it, but it’s also a strong album that goes way beyond recapturing the vibe of the Violets’ heyday and shows they’ve still got a lot to offer. If there’s any justice, it will see one of the lesser-heralded bands of the post-punk era connect with new audience. Even if there’s no justice, at least those who’ve stuck with them all these years have finally been rewarded, because ‘Made Glorious’ was indeed worth the wait.
The March Violets Online
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