Pauline Murray & The Invisible Girls- S/T (1980) MP3 & FLAC -Thank You Cudawaver!-

"Exteriors are never real, nobody shows just what they feel."

From the barely controlled (but still beautiful) punk rage of "Don't Dictate" to the often convincing Patti Smith-isms of Moving Targets  to the lush Post-Punk of her solo debut, Pauline Murray & The Invisible Girls, Pauline Murray proved herself to be one of the most gifted vocalists of the Punk/Post-Punk era, who, in terms of ability, was easily the equal of her closest contemporary, Siouxsie Sioux, but in terms of career fortunes, was fated to play the role of obscure cult artist. After the acrimonious demise of Penetration, whose final album, Coming Up for Air, was a critical and commercial disaster to put it mildly, Murray found herself without a band or a record deal but with a reputation that all but guaranteed her a certain level of creative autonomy on her next project. This project would materialize after a move from Newcastle to Manchester with ex-Penetration band-mate and boyfriend, bass player Robert Blamire. While the move was ostensibly to find a more artist-friendly environment, Manchester also happened to be the home of producer Martin Hannett, who, during the course of the preceding two years, had made quite a name for himself as the sonic architect of Joy Division's iconic albums, Unknown Pleasures  and Closer. Hannett's unorthodox recording methods and Svengali-like presence in the production booth had lent Joy Division's work a unique and unprecedented approach to creating a sense of spatiality in the music, something he had borrowed from Dub Reggae artists such as Lee "Scratch" Perry. After deciding to work with Murray, Hannett coupled her with his "house band," The Invisible Girls, which included Hannett on bass, Vini Reilly of Durutti Column fame on guitar, and Buzzcocks drummer John Maher. In contrast to Hannett's better known work with Joy Division, Pauline Murray & The Invisible Girls is, unapologetically, a pop record, but one that dresses its uniformly excellent songs in ethereal textures and dark, often edgy hues. This works to great affect on the opener, "Screaming in the Darkness," which bears the imprint of Hannett's obsessive emphasis on creating space between the various instruments and features one of Murray's most memorable vocal performances, managing to sound fey, melancholic, and stunningly beautiful all at once. And then there's the lovely first single, "Dream Sequence I," one of the poppiest moments on the album to be sure, though Hannett's arrangement is still off-kilter enough to give it some edge. Maybe more so than any other song on the album, "Dream Sequence I" makes it clear that Murray had finally found a sympathetic setting for her soulfully sad voice, especially as she belts out the devastatingly catchy chorus that makes the song impossible to forget. While listening to Pauline Murray & The Invisible Girls more than thirty years after it was first released, it is hard not to wonder how Murray failed to become one of the bigger names of the Post-Punk movement, as much of the album seems anticipatory of (if not a direct influence on) many of the paths Post-Punk was to take later in the decade. Needless to say, this album is, without a doubt, one of the great lost gems of the early eighties.

Penetration- Moving Targets (1978) MP3 & FLAC

"I looked into the hourglass and watched the grains of sand. I wandered through the latitudes and crossed the strangest lands."

The story of Penetration's brief rise to prominence in 1977 on the back of their brilliant first single and their precipitous fall from grace a year later is the kind of thing that could have only occurred in the context of the U.K. Punk scene of the late-seventies. Inspired by The Sex Pistols (at the time, lead singer Pauline Murray was a member of the "Durham Contingent" of their fan club) and having borrowed their name from a song by Iggy and The Stooges, Penetration embodied the D.I.Y. ethos of the original Punk movement by forming and then becoming a mainstay on the scene practically overnight (their second gig was opening for The Stranglers). In retrospect, their first single, "Don't Dictate," was a stunning achievement for such an inexperienced band, and while it is often considered one of the enduring gems of the original Punk movement, even at this early stage in their development, Penetration's taste for New York Art-Rock à la Patti Smith and their proclivity for displaying musical acuity on their recordings suggested that they might not be a comfortable fit for the slam-dancing crowd. However, it wasn't until the release of their debut album, Moving Targets in 1978 that Penetration began hearing murmurs that they weren't Punk enough. In actuality, the band's second single, "Firing Squad," which preceded the album, had clearly signaled that Penetration was quickly outgrowing the aesthetic austerity of their Punk origins. And while "Stone Heroes" comes closest to echoing the unadorned fury that made "Don't Dictate" a Punk anthem, overall, the album pays very little heed to Punk orthodoxy. For example, on "Vision," a moody, atmospheric number that eventually mutates into a glammed-up rocker, Penetration seem to explore a darker, almost Post-Punk sound before lapsing into conventional hard-rock histrionics. However, on "Silent Community," perhaps the highlight of the album, Murray & co. hit on an intriguing mix of Punk aggression and New Wave atmospherics, creating a sound that is reminiscent of Blondie's work of the same period but with more grit. All questions of musical style aside, what is undeniable about Penetration's debut album are the consistently brilliant vocal performances by Murray, who, though not as self-consciously arty or experimental as Siouxsie Sioux, possessed one of the great (and incredibly under-appreciated) voices of the Punk / Post-Punk era.

Penetration- "Life's a Gamble" (1978) Live, Reading Festival

A vastly underrated Punk band featuring the amazing Pauline Murray: