Micro-Phonies (album)

Micro-Phonies
Studio album by Cabaret Voltaire
Released November 1984
Recorded Western Works, Sheffield
Genre Electro, industrial, synthpop, EBM
Length 42:34
Language English
Label Some Bizzare/Virgin
Producer Cabaret Voltaire and Flood
Cabaret Voltaire chronology
The Crackdown
(1983)The Crackdown1983		 Micro-Phonies
(1984)		 Drinking Gasoline
(1985)Drinking Gasoline1985
Singles from Micro-Phonies
  1. "Sensoria"
    Released: October 1984
  2. "James Brown"
    Released: January 1985
Professional ratings
Review scores
SourceRating
AllMusic[1]

Micro-Phonies is the sixth full-length studio album by British electronic band Cabaret Voltaire. Released in November 1984, the album was the group's most mainstream hit to date, with the singles "Sensoria" and "James Brown" gaining popularity, especially the former, due to the music video finding MTV airplay. The album sees Cabaret Voltaire continuing to change, pursuing the more synthpop-oriented direction they had started shifting towards on The Crackdown.

Track listing

All tracks written by Richard H. Kirk and Stephen Mallinder.

No.TitleLength
1."Do Right"6:44
2."The Operative"3:14
3."Digital Rasta"5:40
4."Spies in the Wires"3:19
5."Theme from Earthshaker"2:48
6."James Brown"5:01
7."Slammer"5:37
8."Blue Heat"4:04
9."Sensoria"6:19
Original CD issue bonus tracks[2]
No.TitleLength
10."Sensoria" (12" Mix)7:52
11."Blue Heat" (12" Mix)7:25

Musicians

Video

The video for "Sensoria" was directed by Peter Care, and attracted airplay on MTV.[3] It was voted Best Video of the Year by the Los Angeles Times in 1985, and was later procured by the New York Museum of Modern Art.[4]

Poster

A poster for the album is visible on Ferris Bueller's wall in the 1986 film Ferris Bueller's Day Off.

References

  1. ↑ Raggett, Ned. "Micro-Phonies - Cabaret Voltaire". Retrieved 13 February 2016.
  2. ↑ "Cabaret Voltaire - Micro-Phonies (CD, Album) at Discogs". Retrieved 27 January 2017.
  3. ↑ New York Times, "At the Movies", 14 June 2002
  4. ↑ "Cabaret Voltaire", The NME, 19 July 1985
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