Pete Shelley Albums (3)
What The Critics Say
With XL1, Pete Shelley integrates layers of guitar into the electronic synth-pop he essayed on his solo debut, Homosapien. While the result isn't quite as bracing as its predecessor, the music benefits from the guitar -- it sounds edgier, making the record fairly captivating. There's still some weak material on the record, but "Telephone Operator" and "If You Ask Me (I Won't Say No)" are terrific, ranking among Shelley's best. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Homosapien was a super-sad event upon its release in 1981. Buzzcocks fans were aware that the songs were originally intended for the band's fourth LP (even though some, such as the underground hit title track, had been composed before the band began) -- a new work that was set to continue the intriguing, strange, yet powerful and incredible direction the group had taken on side two of late-1979's A Different Kind of Tension, and its three (final) singles recorded in 1980. However, as Shelley settled into London's Genetic studios with producer Martin Rushent to demo these tunes, something unexpected happened. Shelley and Rushent fell in love with the cheesier, one-man-and-a-boop-beep-boop drum machine demos in a time when electro-pop disco was taking over. Tired of the group's sorry financial state, Shelley abruptly disbanded the band via an insensitive lawyers' letter mailed to his bandmates. Homosapien's release followed a few months later, before his fans' shock had dissipated. It can now be listened to in a different light than the inconsolably sad emotions that originally surrounded it. Despite the utterly ridiculous, aforementioned "drum" sound, it's the one Shelley solo effort worth investigating. Unlike XL1 and Heaven and the Sea, the wry, lovelorn pop songwriting inspiration is still with him. But more importantly, this is the only attempt by Shelley to retain the compressed, tight, hard production and vocals of his band work, despite the new genre and the predominance of a 12-string acoustic in favor of the old buzzsaw. More dance-pop than rock, Homosapien still straddles both fences enough to interest lovers of both genres. [Note: Five bonus tracks from XL1 are tacked on the Razor & Tie reissue, where the two Homosapien B-sides, "Keats' Song" and "Maxine," would have made more sense.] ~ Jack Rabid, The Big Takeover, All Music Guide
What The Critics Say
Heaven and the Sea isn't quite as dance-oriented as Pete Shelley's first two albums, nor does it have the nervous pop energy that was a hallmark of those records and his work with the Buzzcocks. Instead, it's a layered and textured release, given a polished, mature production which ironically only emphasizes the lack of notable songs. There are a handful of relatively strong cuts on the record, but even they don't match the high points of its two predecessors. ~ Stephen Thomas Erlewine, All Music Guide
