Author: DjPaulT

September 15, 2025

State Of The Art – Love Remains A Rebel (Germany 12″) (1987)

Burning The Ground Exclusive

Here’s another gem pulled from the Closet 80s — the 1987 debut single “Love Remains A Rebel” by German synth-pop group State Of The Art.

Released on both 7-inch and 12-inch formats, “Love Remains A Rebel” arrived at a time when electronic pop was branching in many directions. The song carries that unmistakable late–’80s European sound: polished synth layers, dramatic vocals, and a driving programmed beat that made it an instant candidate for club play. Fans of Alphaville, Camouflage, and Cetu Javu will feel right at home here, though State Of The Art bring their own mix of cool detachment and melodic urgency.

The extended 12-inch version really lets the track breathe — the sequencers pulse, the synth lines shimmer, and the chorus grows more insistent with each repeat. While the single didn’t make much commercial noise on release, it has since become a sought-after find for collectors of obscure synth and minimal wave. Like so many Closet 80s tracks, it’s one of those songs that might have slipped past you back in the day, only to hit hard once rediscovered decades later.

What makes “Love Remains A Rebel” stand out is its balance of mood and movement — it’s brooding enough for the headphones but still danceable for the floor. A perfect example of the kind of overlooked 12″ that fueled the underground clubs of the era.

Do you remember this one from its original release, or is it a fresh discovery from the Closet?

SIDE A:
Love Remains A Rebel (Extended Mix) 5:04

SIDE B:
Fighting For Spaces 3:46
Love Remains A Rebel (7″ Version) 4:00

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

RELEASE INFORMATION:
Label: Polygram – 888 490-1
Format: Vinyl, 12″, 45 RPM, Maxi-Single
Country: Germany
Released: 1987
Genre: Electronic, Pop
Style: Synth-pop

CREDITS:

Photography By – Thomas Reutter
Producer – Ulrich Herter

NOTES:
Made In West Germany

Buy the 12″ at DISCOGS

VINYL TRANSFER & AUDIO RESTORATION:
-DjPaulT
for BURNING THE GROUND

THE GEAR:
Turntable: Technics SL-1200MK7
Cartridge/Stylus: Ortofon Concorde Music Black
Turntable Isolation Platform: ISO-Tone™ Turntable Isolation Platform
Platter: Pro Spin Acrylic Mat
Stabilizer: Pro-Ject Record Puck
Phono Pre-amp: Pro-Jec Tube Box DS2
Tubes: Genalex Gold Lion 12AX7 ECC83/B759 Gold Pins Vacuum Tube – Matched Pair
DAC: Alpha Design Labs GT40a USB DAC
Record Cleaning: VPI HW 16.5 Record Cleaning Machine
Artwork Scans: Epson Workforce WF-7610 Professional Printer/Scanner

SOFTWARE:
Recording/Editing: Adobe Audition 25 (Recording)
Down Sampling/Dither: iZotope RX Advanced 2
Artwork Editor: Adobe Photoshop CS5
Click Removal: Manual
FLAC/MP3 Conversion: dBpoweramp
M3U Playlist: Playlist Creator

RESTORATION NOTES:
All vinyl rips are recorded @ 32bit/float
FLAC (Level Eight)
Artwork scanned at 600dpi

**24bit FLAC Only Available For Seven Days!

Password: burningtheground

You can help show your support for this blog by donating using PayPal. I appreciate your help.

September 14, 2025

Remembering Stephen Luscombe of Blancmange

It is with great sadness that we share the news of the passing of Stephen Luscombe, co-founder of Blancmange, after a long-term illness. Today, we pause to honor not only the man but also the sound, spirit, and imagination he gave the world of music.

Blancmange formed in 1979 when Stephen Luscombe and Neil Arthur met at Harrow School of Art. What they created together was something rare — a unique voice in synthpop that was both otherworldly and deeply human. In the early days, their equipment was modest, sometimes improvised, yet what they conjured had depth, mystery, and, above all, character.

Stephen’s role in Blancmange was pivotal. He was the architect of the sweeping synth textures and rhythms that gave the band its signature sound. Tracks like “Living On The Ceiling,” “Blind Vision,” and “Don’t Tell Me” simply would not carry the same magic without the sonic landscapes Stephen built beneath them. His work gave Neil Arthur’s vocals the perfect canvas to hover, soar, and whisper across.

Though Stephen had to step away from touring due to health issues, his influence never faded. Even as Neil continued Blancmange in later years, the echoes of Stephen’s contributions remained a vital part of the music. Releases such as the retrospective Everything Is Connected remind us of just how much of Blancmange’s enduring character was shaped by his vision.

Beyond the music, Stephen embodied resilience and creativity. Even as illness limited his ability to perform, his presence was always felt. He inspired Neil, collaborators, and countless fans who recognized that Blancmange was never just about hits, but about nuance, experimentation, and emotion.

Today, we mourn the loss of Stephen Luscombe. But we also celebrate him. His legacy is one you can feel in every note of the songs he helped bring to life — the magic, the textures, the strange beauty that remain timeless.

Stephen may have left the stage, but the sound he created will continue to resonate.

Rest in peace, Stephen. Your music lives on.

-DjPaulT

September 12, 2025

State Of The Art – Shout And Run (Germany 12″) (1988)

Burning The Ground Exclusive

In the late 1980s, Germany’s music scene had already become a vibrant melting pot of synths, glossy production, and sometimes melancholic vocals. Bands like State Of The Art may not have become household names globally, but within the synth-pop / new wave circuit, they crafted songs that captured both the energy and the restlessness of that time. One standout among their catalog is “Shout And Run,” released around 1988/1989.

Background: Who are State Of The Art

State Of The Art formed in the mid-1980s in Cologne. The core members included Stephan Koch (keyboard, vocals, production), Frank Schmitz (guitar, vocals), and Georg Koch (drums, programming).

They released a handful of singles: “Love Remains A Rebel” (1987), “Love Will Keep Us Together” (1988), and then “Shout And Run” toward the tail end of their activity before their disbandment/reformation under a new name (“Boys On Parade”).

The Song: Atmosphere, Themes, and Style

“Shout And Run” is built on the classic synth-pop foundation: synthesizers, upbeat drum machines, catchy melodies, and a blend of urgency and gloss that was characteristic of late ’80s pop in Germany (and elsewhere). The title alone suggests motion, tension, desire to break free (“run”) paired with a kind of confrontation or exclamation (“shout”).

Though full lyrics aren’t widely circulated, the song’s drift seems to contrast restlessness with a need for expression. The “shout” is a metaphor for being heard; the “run” implies escape or distancing. There’s something energetic—maybe even defiant—in that combination.

Chart Reception and Legacy

Though State Of The Art never released a full LP before their first disbandment, their singles had modest success in radio charts. “Shout And Run” came after “Love Remains A Rebel” and “Love Will Keep Us Together.” It was their third single and helped cement their place in the German synth/pop / radio music ecosystem of the time.

“Shout And Run” charted (Germany, radio) around #20 in early 1989.

Though the band would eventually change form (later becoming Boys On Parade) and evolve, songs like “Shout And Run” remain interesting touchpoints—they hint at what could have been had the band had more exposure, or had the LP followed through.

Why “Shout And Run” Matters

It encapsulates the tension of the era: between moving forward and being heard, between the synthetic and the human.
It shows how even bands without massive international fame contributed depth to the synth-pop movement.
For listeners today, it offers nostalgia but also relevance: themes of escape, expression vs suppression, urgency — those still resonate.

If you’re exploring the history of synth-pop, particularly in Germany, “Shout And Run” is one of those gems that’s worth rediscovery. It may not have topped global charts, but it’s part of the tapestry of that musical moment: electronic textures, emotional pulses, and a voice that wants to break through.

SIDE A:
Shout And Run (Pattern Event Mix) 5:34

SIDE B:
Shout And Run (Extended Mix) 5:00

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

RELEASE INFORMATION:
Label: EMI Electrola – 1C 060-1 47417 6
Format: Vinyl, 12″, 45 RPM, Maxi-Single
Country: Germany
Released: 1988
Genre: Electronic, Rock, Pop
Style: New Wave, Synth-pop

CREDITS:

Lyrics By – Stephan Koch
Music By – Henry Parlan, Stephan Koch, Ulrich Herter
Producer – Ulrich Herter

NOTES:
State Of The Art are: Frank Schmitz, Georg Koch, Stephan Koch
Made in EEC

Buy the 12″ at DISCOGS

VINYL TRANSFER & AUDIO RESTORATION:
-DjPaulT
for Burning The Ground

RESTORATION NOTES:
All vinyl rips are recorded @ 32bit/float
FLAC (Level Eight)
Artwork scanned at 600dpi

**24bit FLAC Only Available For Seven Days!

Password: burningtheground

You can help show your support for this blog by donating using PayPal. I appreciate your help.

September 10, 2025

Classix Nouveaux – Forever And A Day (UK 12″) (1983)

Burning The Ground Exclusive

By the early 1980s, Classix Nouveaux had firmly carved out their place in the New Wave and post-punk landscape. Formed in London in 1979 from the ashes of X-Ray Spex, the band — fronted by the charismatic Sal Solo — quickly became known for their striking visual style, theatrical performances, and polished, synth-driven sound.

One of the gems in their catalog is “Forever and a Day,” a single released in 1983 from their third studio album Secret. By this point, Classix Nouveaux had refined their sound, moving away from the rawer edges of their early work toward a sleeker, more atmospheric approach.

A Shift in Sound

“Forever and a Day” captures the essence of this evolution. Built on shimmering synth textures, driving bass lines, and Sal Solo’s dramatic, soaring vocals, the track balances melancholy with romantic optimism. The production feels cinematic, reflecting the broader trend in early-to-mid ’80s New Wave toward lush, layered arrangements.

While the band never quite broke through on the same scale as contemporaries like Ultravox or Duran Duran, tracks like “Forever and a Day” show they had all the right ingredients — powerful hooks, emotional depth, and undeniable style.

Release & Reception

Issued as a single in 1983, “Forever and a Day” wasn’t a major chart hit, but it cemented Classix Nouveaux’s reputation as cult favorites in the New Wave scene. In some territories — particularly across Europe and in markets like Poland, where the band enjoyed a surprising level of popularity — the song gained significant airplay.

The single was accompanied by a 12″ release, which offered an extended version remixed ny Phil Thornalley (Johnny Hates Jazz, The Cure) aimed at dancefloors and club DJs. This longer version gave the band’s synth arrangements more room to breathe, making “Forever and a Day” a perfect fit for the era’s club culture.

Legacy

Though Classix Nouveaux disbanded shortly after the release of Secret, songs like “Forever and a Day” have stood the test of time, rediscovered by collectors and fans of the 12″ remix format. The track remains a shining example of how New Wave blended electronic experimentation with pop sensibility — dramatic, stylish, and achingly heartfelt.

For many fans, “Forever and a Day” is more than just a single — it’s a reminder of the fleeting brilliance of a band that deserved a bigger spotlight.

SIDE A:
Forever And A Day (Extended Version) 6:46
Mixed By – Phil Thornalley
Strings – Ann Dudley
Written-By – Mik Sweeny, Sal Solo

SIDE B:
Switch (Full Length Version) 6:41
Written-By – B.P. Hurding, Mik Sweeny*

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

RELEASE INFORMATION:
Label: Liberty – 12BP 419
Format: Vinyl, 12″, 45 RPM, Single
Country: UK
Released: 1983
Genre: Electronic, Rock
Style: New Wave

CREDITS:

Producer – Alex Sadkin
Sleeve – Edward Bell

NOTES:
Rear sleeve: Lyrics reproduced by kind permission of Chappell Music Ltd.

Buy the 12″ at DISCOGS

VINYL TRANSFER & AUDIO RESTORATION:
-DjPaulT
for burningtheground.net

RESTORATION NOTES:
All vinyl rips are recorded @ 32bit/float
FLAC (Level Eight)
Artwork scanned at 600dpi

**24bit FLAC Only Available For Seven Days!

Password: burningtheground

You can help show your support for this blog by donating using PayPal. I appreciate your help.