The project consists mostly of Tim Booth's vocals and lyrics washing over layers of Angelo Badalamenti keyboard and orchestra treatments, with trippy rhythms and some intriguing guest performances fleshing out the structure. Fans of the first Suede album will be pleased to hear prodigal guitarist Bernard Butler serving as supple ligaments for five tracks, especially taut on the assertive "Heart" and relatively cutting "Butterfly's Dream" (James producer Brian Eno and Badalamenti on background vocals). There's nothing overly challenging here, in fact, some of it is annoyingly lightweight, but Booth and the Bad Angel makes for an overall pleasant confectionary of influences, moody pop, and melodic, cocooning atmosphere.
The subtitle of this album reads "The Difficult Third Album," and in fact 27 years passed between Dr. Strangely Strange's second and third releases. Their first album, Kip of the Serenes, was a singsong psychedelic folk record while their second, Heavy Petting, employed more rock and free-form ideas. This album incorporates traditional Irish music, blues-rock, and acoustic rock & roll, thus separating itself significantly from the two earlier releases and perhaps even paving the way for the BMC Band's The Peace Within, which was released in 1998 by Irish blues guitarist Barry McCabe. He also combined the blues with Irish music…
Mike Keane's first album in the Royal Family & the Poor guise was done only after plenty of ups and downs in Keane's own life as well as numerous personnel shifts and incarnations, but the end results were a sometimes delicate and often enthralling combination. It's actually a combination of several different sessions, though most were overseen by Peter Hook of New Order as producer, while the backing lineup of violinist John Neesham and synth player Lita Hira resulted in a distinct, not-rock-as-such sound. The album does very much reflect its time and place throughout. While it would be pushing it a touch to say it sounds exactly like a Factory record of the time "should," the combination of electronic drums, reverbed vocals, and aural mystery on songs like "Radio Egypt" and the particularly fine "The Dawn Song" is both familiar and slightly tweaked.