The LTM label seems to have dedicated itself to reissuing work byFactory Records bands of the early 1980s who never quite became thenext New Order, Joy Division, or Happy Mondays. So far, they haveheroically compiled full CDs for bands who might only have had only one7" on Factory, or whose work might have been overshadowed by thedominating mythos of that label or of producer Martin Hannett. Lately,LTM has exhumed a band who were one of Factory's strangest signings, aDutch trio called Minny Pops. These two CDs comprise the group's secondLP, 'Sparks in a Dark Room' (here coupled with contemporaneous 7" anddemo material) and 'Secret Stories,' which is a collection of more 7"singles, demos, and excerpts from their third and fourth albums.
The question now is, since collectors have been clammoring for theserecords for so long, have they actually been worth the wait? I'd sayso, but with some reservation. Minny Pops' yet-to-be-reissued debutalbum, "Drastic Measures, Drastic Movements" from 1979, was a bizarremix of noise, new wave, synth pop, and Yello-like cabaret goofiness. Itis one of the most genuinely tweaked documents of DIY electro-pop, arecord which to this day causes heads to be scratched in satisfyingbewilderment. As the group's members aquired careers as record labelexecutives (at Boudisque, Play it Again Sam, etc), the music that theyproduced became more accessible, the noise nearly vanished, andrecognizable industrial-funk genre trappings emerged. If you're awareof the music happening in Belgium in the early 1980s (particularlySiglo XX, the Neon Judgement, and A Blaze Colour) then the gloomymonotone grooves of 'Sparks in a Dark Room' will immediately soundfamiliar. But there's something different here; on 'Sparks,' thereexists an implacable note of self-awareness and humor which seperatesthe album from those by other practitioners of the style. Tunes like "AFeeling" and "Night Visit" are perversely catchy, with lyrics that tendtoward self-effacing. I like that. The humor, however subtle, offsetsthe otherwise overbearing gloom. 
The "Secret Stories" compilation is problematic, though I am glad thatit exists. In other words, if tracks from the band's 1985 reunion LP,'4th Floor,' and their 1983 soundtrack to 'Poste Restante' were notreissued in some form, there would always be someone crying "Whydoesn't someone reissue those other two Minny Pops records I can'tfind?". The tracks from both of these albums, which make up the discs'ssecond half, recall some of Tuxedomoon's post-Ralph schmaltz, with thehumor replaced by opaque melodrama. My curiosity about these longout-of-print LPs is now satisfied, but I don't particularly want tohear the music again. Perhaps that's why the albums were not reissuedin their entirety (a smart move on LTM's part). However, what's greatabout "Secret Stories" are the 7" tracks that make up the disc's firsthalf, including the classic "Dolphin's Spurt" (a different version thanthe one on 'Drastic Measures'), and several wonderfully rough 1981demos. These show the band at their best, a balance of bizarreelectro-funk and edgy industrial disco. The comparison to early Yelloisn't so far off (and, though I don't really want to validate thevenomous English journalists of 1980 who sought to destroy Factorybands by comparing them all to Joy Division... well, with these 7"s,the comparison is tough not to notice), but Minny Pops were more subtleand much darker. With hindsight, it's easy to imagine which other bandsmight have listened to these records before starting bands of their own(especially the Neon Judgement), adding more bombast to the grooves.Listening to both CDs makes me yearn for the profound oddness thatmarked 'Drastic Measures, Drastic Movements,'which is simply notpresent here. Read More
