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Customer Reviews of Systems of Romance

In my quest for having a complete collection of Ultravox albums I also bought (when I could find them) back catalogue recordings on vinyl of their previous incarnation with John Foxx. That 'Systems of Romance' was the last album I found was a rather cruel twist of fate.

Ultravox mk1 were very much 'arty' and experimental, leaning more to bands like early Roxy Music, David Bowie and to a lesser extent The Velvet Underground. The first album - 'Ultravox!' was pure 'art rock' weirdness, whereas their second 'Ha! Ha! Ha!' succumbed more to the influence of the then current Punk/New Wave movement.

With 'Systems of Romance', their third and final album with John Foxx, they seemed to say to hell with everything and all that was around at the time. Locking themselves away in Germany with some primitive synths, electronic musical equipment, guitars, bass, drums and the guidance of the late lamented German producer Conny Plank they came up with a master piece.

The year was 1978. Punk was still spewing bile, Disco was big and only bands like Kraftwerk were allowed to make electronic music. Then along came this album....

From the opening strains of 'Slow Motion', Systems of Romance proves its significance. Fat synth lines cavort with drums, guitars and the 'extremely English' vocals of John Foxx. It sounded totally unique, and only when Gary Numan (a fan of this album) came along a year later with 'Are Friends Electric?' and 'Cars' did this electro crossover musical style become accepted.

Every track on this album is worthy of a listen. 'Quiet men' and 'Dislocation' are pure electronica, whereas 'Some of Them' is pure New Wave. Others fall somewhere between these two. The mix here is dancey, uplifting, surreal and at times very dark. That Ultravox can move so easily between different musical styles and instruments yet still retain their signature sound proves what a unique band they were.

The stand out tracks amongst a collection that is already superb can be picked simply because of the influence they had on the forthcoming New Romantic movement.

Slow Motion:

Rich with heavy, fat synths, neurotic guitars and a disjointed drum pattern. Foxx's vocals fly high above this to make a compelling, weird, yet strangely catchy song.

I Can't Stay Long:

Driving, rhythmic, lush synths and mournful guitar. A strangely moving song with some brilliant vocals and lyrics. Also quite surreal in places: 'I want to glide the long green light of a July afternoon, sliding down a vague conversation'. Lyrically beautiful.

Quiet Men:

Kraftwerk like, also similar to pre 'Dare' Human League. Strangely danceable, catchy and infectious. Must have influenced early Depeche Mode, Soft Cell and OMD.

Dislocation:

Bowie like vocals, eerie electro music, thunderous synth. Not the sort of song to listen to in the dark........

When You Walk Through Me:

Great Warren Cann drum pattern, Robin Simon's guitar also shining brightly. Strange rhythm, great vocals and unsettling lyrics.

Just For A Moment:

Haunting, eerie, creepy, downright disturbing electro track with beautiful short piano piece in the middle. Foxx's vocals have been 'treated' to make it sound even weirder. The sort of song that leaves you with a shiver down your spine.

John Foxx has a fantastic voice that is both emotional and powerful, as well as embodying 'English eccentricity'. His lyrics are artistic, at times moving, at others surreal; all the while painting a lush landscape of imagery that is both light and dark. A line from 'I can't stay long' sums up his lyrics perfectly - 'Everywhere seems to be, just a flicker, from a silent screen'.

Robin Simon's guitar style is unusual, moving and powerful without ever resorting to standard rock clichés. His playing on this album is revelatory, eccentric, pure genius. He later went solo, and also played in Howard Devoto's Magazine. He should have gone on to be a guitar great.

Billy Curry brought in keyboard skills, violin, viola, and classical music training. He fused 'pop' with his classical style and made it work, such as interjecting the short, beautiful piano piece into the disturbing 'Just for a moment'. On other songs he added lush synthesized strings, or fat, rumbling, quirky analogue synth sounds.

Chris Cross' bass playing is simplistic, yet rhythmical and at times unusual. It is also worth noting that the bass synthesizer lines were played by him. He creates a backbone to which the band can attach themselves to.

Warren Cann is like Chris in that his drum lines are simple yet unusual. Note as well in the fade out of 'When you walk through me' he used the same drum pattern again in the fade out to 'Reap the Wild Wind' a few years later! He also deserves recognition for the electronic drums and rhythms, using primitive programming and ingenuity. The 'drums' on 'Dislocation' are in actual fact a synthesizer being looped onto tape!

Overall this album is quite simply ahead of it's time. Had it been released in 1981 maybe it would have gone huge, but sadly it was just too advanced for 1978's listening ears. Comparisons with Midge Ure era Ultravox are unfair, though in all respects Systems of Romance set the blueprint that Ultravox mk2 would use to have greater success.

The quality of recording and mixing is excellent as well as unique, as can be expected with Conny Plank producing. Sadly it sounds as if Island simply dumped it onto CD without any re-mastering. One wonders how much better it could be with some modern technology bringing out the best of an already brilliant album.

Whatever, this is a must have for anyone interested in the early pioneers of electronic fusion. To listen to it one can hardly believe this was released in 1978, and the creativity, songwriting and musicianship shine through. A true gem.

Best of Ultravox with a !
This is apparently the album that inspired Gary Numan to focus on electronics. He heard this album at party held by a friend and the rest, as they say, is history. You can hear the results of this influnce on both the Replicas album (Are Friends Electric?) and the Pleasure Principle (Cars). He later took Billy Currie on tour with him for Pleasure Principle when this incarnation of Ultravox went belly-up.

I had always thought that there was only one line-up of Ultravox as I had come in when Vienna went big. This album was re-released when the Midge Ure line-up went huge. Of course, all but Ure had been in the John Foxx mk1 version. A friend introduced me to this and I wasn't expecting much from this version of the band as I was hooked on Midge & co. Whilst not as sublime as the albums that followed it, you can certainly see the progression from one version to the other.

Billy Currie's keyboard work is as haunting as ever and the band sound pretty tight compared to previous output, which while quite good isn't good enough for me to replace my old vinyl. The group also had an exclamation mark in their name at this point, dropped when Midge came in.

Outstanding tracks: Slow Motion, Someone Else's Clothes, Quiet Men, Maximum Acceleration.

This is the record Gary Numan would have KILLED to make
This is, by far, WITHOUT A DOUBT, the BEST album ever issued under the Ultravox name. As a previous reviewer stated, neither part of Ultravox has been able to replicate this album since the 1979 split.

I won't go into the details of the sound (it has been covered much better in previous reviews), but would like to mention how influential this early version of Ultravox, and this LP, were on the New Wave music of the late '70s--early '80s.

This is the album that inspired synth-rock pioneer Gary Numan to make "The Pleasure Principle", which featured the international hit single "Cars". Interestingly enough, Billy Currie, Ultravox's keyboardist/violinist, played on The Pleasure Principle and also toured in Numan's band after John Foxx and Robin Simon left the group (for a solo career and ex-Buzzcock Howard DeVoto's band Magazine, respectively). If you listen to both LPs in succession, you can certainly tell where Numan got many his ideas (it becomes even clearer if you listen to any pre-PP LPs by Numan-- especially from the Tubeway Army days!).

"Systems" was one of the first post-punk LPs to successfully fuse the sound of dance beats, rock guitars and keyboards/synthesizers into a synth-based music that's completely different from the Yes/Emerson Lake & Palmer keyboard acrobatics that were popular in the '70s. Check the track "Quiet Man" for an excellent example of this: robotic electronic LinnDrum beats, wiry synthbase and keys, and Robin Simon's arty guitar are pointing the post-punk way, even before the term post-punk was in heavy circulation!

Wait a minute,.... electronic dance beats, guitars, synthesizers? Did somebody say "New Romantic", that early 80s craze that gave us the likes of Duran Duran, ABC, Spandau Ballet, and countless others bands with bad haircuts? Ultravox was pointing the way three years before any "New Romantic" had even bought a puffy shirt or put on eye liner.

I first encountered this record (yes, record!) in 1983 when I was a wee lad of 14. I'd been a fan of Midge Ure-era Ultravox, and saw this oddity in a record store in Minneapolis, Minnesota, USA-- incidentally, it was the US release on Antilles, an Island subsidiary. I was floored then, and now, almost 20 years later, I still find myself listening to it at least once a month. Even though pop music has changed quite a bit since 1978, "Systems of Romance" still hasn't lost its magic.