Burning Blue Soul is the debut studio album released by Matt Johnson in 1981. The album is commonly regarded as an accomplished debut,with a mix of guitar riffs,tape loops,experimental electronics and heavily filtered vocals.
The album was re-released in 1993 under Johnson's band's name,the The. Johnson requested that 4AD do this so that all his albums would be racked together in record stores.
Despite rumours to the contrary,all releases of Burning Blue Soul contain the same mix.
Background
The album was made on a budget of £1,800 with Matt Johnson living on benefits in "a tiny bedsit and no money.",due to these circumstances he "would beg,steal or borrow time at the studio I used to work for". Johnson was influenced by musique concrète and tape manipulation at the time of the album's creation,with the majority of the album being created on tape loops as it predated sampling technology. Along with the knowledge he learnt from people working for De Wolfe he would become fascinated with a book by Terence Dwyer called Composing With Tape, which he described as "a bit of a bible" for him. Johnson would then save up for a reel to reel recorder which he would cut up with "little razor blades",creating and incorporating "unusual percussion loops and a lot of third world instruments." This directly influenced the album's sound as well as the "few foot pedals" he was able to afford. which were "a distortion pedal,a tremolo pedal and an echo pedal,and maybe a wah-wah." He described the album as having "a very limited tonal palate."[5]
Recording
The first tracks to be recorded were “Time Again For The Golden Sunset”and “The River Flows East In Spring”,which he worked on with Bruce Gilbert and Graham Lewis,both members of post punk band Wire,for production. Lewis and Gilbert did not produce any other tracks,with Ivo Watts-Russell telling Johnson that he could do it himself as he had "plenty of ideas". Johnson worked with Ivo on the tracks "Icing Up”and “Another Boy Drowning”in Cambridge. The tracks that Matt Johnson self produced were the opening track "Red Cinders in the Sand" and "Delirious" which he worked on with engineer Pete Maben in Forest Gate.[6]
Reception
Roch Parisien of AllMusic praised the album and felt it "thrives on the tension between accessible pop and dissonant experimentation;between joyful wonder and despairing bleakness." calling it "a valuable sketchbook for The The fans interested in dissecting the early inner workings of Johnson's art,but the meandering tape-collages that serve as framework will leave most others cold."[7]
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