Rather than capitalize on the easy success of revamped Bauhaus, Daniel Ash has chosen to explore new musical regions solo. The result is a daring and baroque album that combines the essence of early Love & Rockets with innovative electronic sounds.
Daniel Ash's third eponymous album distinguishes itself from his previous productions. Though Foolish Thing Desire and Coming Down could be regarded as projects aside, Daniel Ash is a successful concept album where the musician experiments with new ideas and sounds. Forsaking the big techno production of Lift , the last album by Love & Rockets, this disc has a raw "do-it-yourself" sound (it was recorded DJ Keoki's home studio). On the majority of the pieces, Ash establishes an electronic rhythmic structure to which he then incorporates his emblematic guitars and unearthly voice. The result may be surprising at first listen, but one ends up succumbing to the sounds of the album.
The heady and unbridles "Hollywood Fix" is a sort of depraved echo of "Resurrection Hex" with sharp guitars. "The Money Song" marks with its originality, mingling an obsession for money with omnipresent Jungle percussion. Ash ventures into House with the noisy instrumental "Mastermind" and especially the bewitching "Burning Man". "Come Alive" is a furious techno-punk-industrial bomb in the vein of Primal Scream's "Exterminator". The excellent "Ghost Writer", "Chelsea", " Sea Glass" and the somber trip-hop "Trouble" will reassure fans of Love & Rockets and Tones on Tails that they have not been forgotten. Besides "Rattlesnake", a not very memorable Enigma-like instrumental, "Kid 2000" is the only really tedious piece which a child's voice makes all the more unbearable. As for the singles, the charming chorus and perfect cool of "Spookie", would be perfect on a retro film soundtrack and gives David Holmes a run for his money. Finally, the superb "Walk on the Moon", a song that took shape during a creative evening with Sean Penn, Milla Jovovich and Twiggy Manson, showcases the artistic dimension of the album.
While Bauhaus and Love & Rockets have marked the music of their respective eras, it's time for Daniel Ash to finally be recognized for his work.
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