Mr Nutley's Strange Delusionarium - 8/10 Vive Le Rock Magazine Review



Eddie Roxy Department S
'Is Vic There' vets come back brighter.

Not many bands come back from their glory days sounding fresher than they originally did, but 1980 new wave punks Department S have finally released their new album after reforming quietly in 2007, and have hit pay dirt.

With four original members onboard, and with former keyboard player Eddie Roxy taking over lead vocals, this record shimmers with '70s new wave and rock 'n' roll.

Famous for their 1980 hit, 'Is Vic There', this time covers of Alvin Stardust's 'My Coo-Ca-Choo' and Liz Minelli's 'Cabaret' ooze sleazed-up pop charm.

Typically English, this is the sound of 1979, neon-lit basement clubs and power pop. 'Slave' rides a '60s groove machine riff and 'Wonderful Day' (featured on VLR's issue one cover CD) is a perfect slice of new wave.

Look out for them on their VLR sponsored tour in November.

EUGENE BUTCHER

Mr Nutley's Strange Delusionarium - 8/10 Punks Reunited Review


Track 1
Clap Now…Opens the funfair theme and cockney voice Intro Powerful guitars appear and a jolly lead with a touch of funk rolls into a rhythmic funky cruse. The vocals are slightly reminiscent of Jello Biafra in places A melodic voice and a great opening song, which features a strong drum beat and the bass is flowing with energetic consistency.

Track 2
Monte Carlo or Bust…A upbeat track here, with a great feel similar to something the Fall might be proud to play, however I am not suggesting they sound like the fore mentioned.

Track 3
Coo Ca Choo…Yes folks it could only be a cover with a title like this…This version isn’t bad actually It’s more in touch with how it would fit in with a modern twist to it, as it’s missing the Elvis impersonation. I like this album so far.

Track 4 
Age Concern…Is more up my street in terms of vocals and being a singer myself. Eddies voice suits this tune perfectly. The bass is very dominant and the guitars are slightly of a ska nature. I like the production of this, a mixture of punk Reggae and funk all rolled into one, highly original.

Track 5 
Ode to Koln…A voice of a news reader intro followed by a distant guitar.Enter a reggae bass and drumbeat to create a great melodic tune and a powerful clear vocal. A moody tune with a nice production. So far this is my fav song with some lovely guitar and Drum work.

Track 6
Wonderful Day…Enter the percussion /bongo Guitars and a strong rhythm section burst in to hit us with a catchy pop song equally as good as their hit from the 80s Is Vic There, though has a more 60s feel to it .It has a nice combo of power and pleasantry to it, definitely one for the jukebox.

Track 7
Going Left Right…I remember this song from Rebellion festival 2010 when the lads performed a memorable gig after an absence for a number of years. This song has a great simplicity to it, a strong bass and the guitar twists are quite impressive By Michael D Herbage. Great stuff this.

Track 8
Is Vic There…Well what can I say about this song that we don’t already know, except that this version is probably even better than the original one. Superb vocal and guitar work. An all round Gem.

Track 9
Positive mention from a radio presenter intro I Want…Another pop song with a great catchy happy feel, If you like to feel good when you hear music then play this, again I can hear many influences from the 60s and the 70s coming out in this, Oh hang on there’s a 50s guitar too followed by a more up to date one.

Track 10
Slave…Vocal sounds great on the intro, upbeat musically I hear THE stones somewhere in there, I guess this cd has it all…Well for all its worth, A thumbs up from me.

Definitely a band that doesn’t visit the recording studio enough.
The beat and guitar work is superb, love this album !!
Go and buy it.

J.STRAP

Mr Nutley's Strange Delusionarium - It's A **** Thing Review


If you were told that a band had reformed decades after their moment in the sun then it follows that it's a cash in. An exercise in the rehashing of the past to appeal to those who are caught in the the grip of rich amber tinged memories. It's rare for these bands to match their past endeavours and ever rarer for them to be surpassed. Yet every once in a while one band comes along and does just that. Everything that they do screams that the past is the past, and even while the may reference it you know it's in the context of celebrating the present as they keep one eye on the future.

Department S are one of those rare beasts. Right at this very moment in time they are in fact 'that' band. With 'Mr Nutley's Strange Delusionarium' they have neatly side stepped expectations and made wrong footing the listener a theme. Misdirection is the name of the game. Take the hit single 'Is Vic There' as an example. Those familiar with it would consider that they would know exactly what they were getting, but they would be wrong.......very wrong. It's now a toned and muscular demonstration of how to grab the attention of the jaded. The casualness of the original is completely lost in the mists of time and to all intent and purpose this is a new song. Every track on the album leads you to a comfortable point, and then it blindfolds you, spins you round and pushes you disorientated in yet another - ultimately rewarding – direction.

The musicianship is breathtaking in scope, as is the energy and imagination that they have brought to playing . It's very obvious that this is a band who can take an idea and give it life. If relevance in the modern world was their goal then they achieved it, and more. If musical reinvention was elevated to an art form then Department S would be on the receiving end of a Turner

IT'S A **** THING

Mr Nutley's Strange Delusionarium - 4.5/5 @ Sputnikmusic.com


Department S Live
Summary: Department S have not attempted to make any radical changes in musical direction since dis-banding in 1982, but have refined and enriched their previous work while seamlessly slicing in their new songs. 'Nutley' features humour, perception and irony.

‘Clap Now’ opens with the crude voice of a fairground showman talking over a wind-up organ, luring us to a place where nothing is quite as it seems, followed by laughter and wild applause from a ghostly crowd, we are thrown into the depths of retro funk mayhem laced with psychedelic punk and the raw ingredients of a lethal rock cocktail. Eddie Roxy’s commanding vocals with the band’s furious, crashing pace is head-spinning. That’s just the aperitif….

‘Monte Carlo or Bust’ opens up with an original unreleased version recorded as a B-side and produced by Mott’s ‘Buffin’ and Overend Watts, it continues to keep us in a spin as it slides into the present with passages of guitar distortions and feedback. Dripping with fast and furious punk guitar clichés and they know it. It’s hard not to be drawn back to beer-sodden, sweaty nights at the Marquee.

‘My Coo Ca Choo’ ensures no leather jumpsuits are necessary as Roxy says it all with his playful, flirty vocals and a hint of neediness. This track displays one of those gems of guitar-playing from Mike Herbage which demonstrates his passionate mastery of rock and roll chording.

‘Age Concern’ begins with a sample of the original demo recorded 31 years ago, then effortlessly moves into current vocals by Roxy against a back-drop of Stuart Mizon’s reggae-style drum thumping, an effective, simple bass line thanks to Mark Taylor’s understated skills and hypnotic, compelling guitar lines by Sam Burnett.

‘Ode To Koln’ has an evocative guitar solo playing over an newsreader’s archive audio which brings us to the haunting lyrics. A difficult subject matter to listen to but it’s treated respectfully and with no theatrics. Thought provoking arrangement and produced with a sensibility.

‘Wonderful Day’ lifts the mood; it’s probably the most commercial song on the L.P. One to blast out of the car windows, if only to annoy the kids. Crashing guitars, banging percussion, coffee bar bongos, it’s all thrown in and a fine show of Mizon’s aggressive drumming and wild slamming while hitting the bass drum on every beat.

‘Going Left Right’ is always a crowd-pleaser. Burnett’s consistent multi-layered guitar-playing combined with Herbage’s driving solo is sublime. Roxy’s shouty vocals compliment the musical misbehaviour of the band. They’re having fun and it shows.

‘Is Vic There’ is probably the best known track. We are teased with the noise of the mingling crowd and a dreamy piece of guitar meandering, then the familiar opening chords come into play and we’re off. It’s like their home territory but nothing comfortable about this new version, it’s has all the power and energy of the original single but far more effective and intricate, including smashing, evocative and climactic pieces. A tip of the hat goes to Roxy who had big shoes to fill with the lead vocals after Vaughn Toulouse had done such a legendary job with this one.

‘I Want’ contains lyrics that are probably more fitting to today’s capitalist society where Reality TV seduces greed-driven misfits to disposable fame and riches. The end of the track is a driving solo by Herbage that builds into a manic, structured frenzy thanks to Mark Taylor’s pumping bass, Burnett’s masterful phrasing and Mizon’s devilish drumming.

‘Slave’ provides the greatest surprise on the L.P. Roxy delivers a menacing strong, vocal and there’s an almost malevolent tone in which the band communicates. Roxy sleazes in with ‘Girl, won’t you be my slave tonight?’ while the band steam in with hard-core rock music pulsating through the speakers. It’s the final track and there’s no let up. It ends with a delicious and exhausting ecstasy followed by the fairground showman’s satanic laughter….

MIMIVONTUSSLE

Department S - @ The O2 Academy - 15 December 2010


by Mimi at gigreviewer.com

Image Copyright Cutting Edge
Entering the O2 Academy, Islington isn’t far removed from a scene in ‘Midnight Express’. A security guy removes my friend’s bottle of water from his bag and bizarrely pours the contents over the floor but my deadly packet of mints go undetected while the other security guard adjusts her scrunchie.

Once through passport control, we make our way to the stage where Department S opens with ‘Clap Now’, a track originally produced for them by Mott’s Dale Griffin and Pete Watts. They had to go on stage 30 minutes earlier than scheduled due to Riders of The Night being cancelled at short notice, but already the floor is bouncing as people make their way from the bar.

Eddie Roxy on lead vocals strides across the stage like a designer-clad black panther. He never takes long to warm up a crowd. Former Back to Zero member, Sam Burnett, is on guitar and plays with eloquence and direction, though you could be forgiven for thinking he has a Crystal Maze to get through. Mark Taylor plays throbbing bass with a natural cool-mannered delivery while providing backing vocals with Burnett.

The Mighty Stuart Mizon already breaks out a sweat as he mercilessly attacks the drums, he’s more than the heartbeat of the band; he’s the cardiac arrest and completely unstoppable.

Mike Herbage (‘Bage’) on lead guitar is a joy to watch, his focus and pure pleasure in the music he produces is obvious to all. Anyone who has seen him live will be familiar with his hard-driving, layered guitar playing while maintaining a distinctive sound of his own. His fingers fly around the fretboard in the midst of technically dazzling slide guitar. He’s not afraid to take risks while making it all look so easy.

Moving through crowd-pleasers such as ‘Monte Carlo or Bust’ and ‘Age Concern’, we are treated to a new version of Syd Barrett’s ‘Lucifer Sam’. The unmistakeable opening chords flow beautifully into fast, assertive rhythms which dart deep beneath Roxy’s commanding vocals as he drapes his arm around Taylor’s shoulders, reminding me of a vintage Bowie and Ronno moment. The chemistry on stage between all band members is reminiscent of The Faces, when musicians really connected with each other.

Department S give each song its own twist, and even their old material has been re-worked without hurting the originals such as the poignant ‘Ode to Koln’, while new songs are equally enjoyed as the upbeat ‘Wonderful Day’ demonstrate. ‘Slave’ is introduced as ‘one for the ladies’. We’re teased with a gentle guitar intro and rich Lou Reed vocals, then assaulted with punked-out, demonic sounds. They don’t seem such well-behaved boys now.

All too soon, we near the finale and their rousing version of ‘Is Vic There?’ is met with a huge cheer on each cartwheeling chorus. Moving swiftly into the classic, bass-driven ‘I Want’, Roxy strides off-stage after wishing us all a happy Christmas and thanks everyone for a great year.

The rest of the band play out and are completely in sync as Bage leads the way; they create a moment of rock and roll clarity which is palpable.

Appearing in countless gigs in 2010 including festivals such as Blackpool’s ‘Rebellion’ and Belgium’s ‘Sinners Day’, Department S have proved they are the most uniquely exciting band to have reunited with their own colours and characters, and have musically collaborated with the likes of Glen Matlock and Marco Pironni. Wheels are set in motion for an album release early 2011. The late, great Vaughn Toulouse can rest easy, the boys did good.

I would have reviewed From the Jam but I only stayed for three songs and was so drenched in beer and gob from the nice balcony people, I decided that even Bruce Foxton’s half-hearted scissor jumps couldn’t entice me to stay any longer. Foxton knew he’d get a tough time from the Riders’ fans and issued a warning after their first number, but he later stormed off stage leaving the rest of the bemused band doomed for another soaking.

Will I go and see From the Jam again? Nah.

Will I go and see Department S again? Hell, yeah!

SUB-STANCE REVIEWS


A broad abroad by Jo-Ann Greene - Goldmine #594, May 2, 2003:

Stiff Records
Department S were one of the bands that emerged out of the late 1970s British punk scene but never, ever, truly fit there. Fronted by the flamboyantly mysterious Vaughn Toulouse, the group developed out of an imaginary band, Guns For Hire, whose renown exploded nationwide after the "members" flooded the market with badges and T-shirts advertising the group. Encouraged by the interest that a band could garner simply from having a catchy name - including, believe it or not, a coterie of scenesters who frequently insisted that they'd actually seen the band play - the men responsible picked up their instruments. Having earned the interest of The Specials' Terry Hall, they cut a 2-Tone flavored demo that won them a record deal, then promptly played a shambolic live show that saw them feted as rock's latest second coming. So, they did what all self-respecting legends do and self-destructed on the spot - only to promptly reform as Department S. Over the next two years, that band would live up to all the promise (and much of the hype) expended on Guns For Hire, debuting with the still-classic, much praised minor hit single "Is Vic There?" in 1980. The following year they signed with Stiff Records and cut an excellent album - only to reel with horror when they discovered that the label had no intention of releasing it. Rather, when a couple of further singles failed to pick up on the interest generated by "Is Vic There?," Stiff dropped them, leaving the group to fold up their tent in 1982. A decade later, this sad story reached its tragic conclusion when Toulouse died of an AIDS-related illness. The Department S catalog began stirring soon after, the first reissues appearing on the Mau Mau label in 1993. Now the entire catalog, including that unreleased album, five live tracks and an early demo, has been gathered together on Sub-Stance (LTM, U.K.), a 22-track anthology that should go a long way in re-establishing Department S as every bit the legend they once threatened to be.



From Mohair Sweets:


Fans of Department S will agree on two things; their stay was too short, but the results were definitely sweet. Department S' modernist approach - freely drawing on influences as wide ranging as Roxy Music, the Clash, Kraftwerk, and the nascent Mod revival - included the utilization of synths, dance percussives, creative guitar flourishes, and futuristic fashion and then served it all up with an edgy knowingness, cunning, and passion. The band were definitely "mods" in the truest sense of the word; be seen, be heard, be cool, stay one step ahead style-wise, and always, always stay firmly in the groove. A run of classic - though shockingly only mid and low-level chart entries - singles and energetic, high-profile stage appearances solidified a growing legions of fans (Smash Hits cover shots and Top of The Pops appearances didn't hurt either) but sadly it all went pear shaped after the label (Stiff) started dicking about, terminated their contract and refused to let the newly recorded LP out of their hands for anything less than a whole heap of cash. Oh well, shit happens. Especially in the music biz! For all the lost followers who have been pining for a hot new collection of the band's recorded legacy what we now have here is the all the singles and their b-sides (no foreign versions though), some killer live tracks showing just how good these guys really were, and a rare unreleased demo track in "Another Route Home." Y'know they can tout all the rubbish of the 80s they want on their "Lost 80s Weekends" and all that kind of crap but Department S fans know who the real heroes of the 80s were. Vic is here!

From Uncut magazine, March 2003:


With NYC's bright new hopes (Liars, Yeah Yeah Yeahs) openly worshipping at the altar of scratchy early-80s UK punk-funk (PiL, Gang of Four), it now seems doubly outrageous that Department S were denied the release of this like-minded debut at the time - "Whatever Happened To The Blues" alone is 20 years ahead of Radio 4. An even greater shame that singer Vaughn Toulouse (who died of AIDS in 1991) isn't around to savour the overdue recognition this should grant him - SIMON GODDARD




The Band With No Cult

From Whisperin & Hollerin:


As we all know, the road to pop stardom is littered with also-rans and chancers, many who can easily and deservedly be dismissed as 'One-Hit Wonders.'

But fate can also be equally cruel to artists who show true potential and fall by the wayside due to a combination of bad luck, circumstances and - often - a gross lack of faith from the self same record company that initially welcomed the unfortunate band to their collective bosom. DEPARTMENT S sadly fell into this latter category. Those of you out there who can still recall them will no doubt remember their one (actually bloody great) brush with stardom, the punchily atmospheric "Is Vic There?" that hit the Top 30 in April 1981 and brought Top Of The Pops appearances, unstoppable hype and - perhaps inevitably - the band's premature crash and burn barely 12 months later.

Over (crikey) two decades later on, "...Vic" still sounds as potent and smart as ever, led by Mike Herbage's scorching guitar, mysterioso keyboards and Vaughn Toulouse's charismatic baritone. It's as impressive an introduction as any band could wish for, but it's by no means the whole story, as "Sub-Stance" proves, proffering 22 tracks in all; ransacking the band's entire (and unfortunately slim) archive.

The first 12 tracks are DEPARTMENT S's criminally unreleased album (Stiff rejected it, refusing to release the master tapes for less than £50,000, thus causing the band to splinter) and listening to it now you wonder why they invested such little faith in this fine quintet as these songs drip with charisma and distinctiveness. Indeed, while DEPARTMENT S may have been spawned by two disparate movements (Mod and New Romantic respectively), by the time they got to record these songs - with BLONDIE engineer David Tickle at the controls - they were a powerhouse.

For starters, it's hard to see why "...Vic"s follow-up singles failed, as the manic "Going Left Right" and the dark and challenging "I Want" are within hailing distance of similar genius, but there are loads of other fine tunes here: indeed "Ode To Koln," the strident opener "Of All The Lost Followers" and the band's under-exposed secret weapon "Clap Now" are the equal of any of the singles. Musically, too, DEPARTMENT S seemed to have it cracked. In Mike Herbage they had a ceaselessly powerful and inventive guitarist; in Vaughn Toulouse they had a nicely arrogant front man with a great line in acerbic wordplay (check "Clap Now" and the sarcastic, but sinister ego overload of "I Want" and you'll see what I mean) and the meatily effective Tony Lordan/Stuart Mizon rhythm section had a propensity for bastardised disco beats good enough to challenge Blondie or the Gang Of Four respectively.

Paul Weller
Smash Hits
The remainder of the collection hardly lets the side down, either. Tracks 13-17 represent DEPT S at their best live, running through the singles, "Clap Now" and the unrecorded "Tell Me About It" with verve, consistency and power to spare. "Tell Me..." is considerably more commercial than most of the band's material, but even when they gave it up to the funk like so many white boy outfits at the time they retained their integrity.

Intriguingly, the final clutch of B-sides and out-takes maintain the standard. OK, the daft cover of T-REX's "Solid Gold Easy Action" could be happily jettisoned, but the brilliant "She's Expecting You", "Monte Carlo Or Bust" and Toulouse's ironic suicide scenario "Put All The Crosses In The Right Boxes" suggest that DEPARTMENT S - like all great bands - had established their own special identity with their B-sides alone.

Pressure, circumstances and ego tragically curtailed DEPARTMENT S's obviously enormous potential and the terrible premature death of Vaughn Toulouse from an AIDS-related illness in 1991 places an incredibly sad post-script at the end of the story. Nonetheless, "Substance" is a more than welcome release that should ensure Toulouse and co's work gains at least real posthumous attention. However belated, respect is unquestionably due here. (9/10) - TIM PEACOCK

From Leonard's Lair.com:


History tells us that 'Is Vic There?' was the highlight of Department S's career. A supposed one-hit wonder, the single found its way into the top 30 back in 1980 thanks to increased airplay for this hitherto underground hit. Not for the first time though, the commercial success killed the band.

Can You Hear Me Mother
Faced with the pressure of a record company clamouring for more hits, the members soon split; deciding to do what in modern terms would be to 'keep it real' rather than sell out. Until now the album remained unreleased but the ever-exhaustive LTM Records have seen fit to issue the whole album with various bonus tracks. Although never quite being at the top of the game in their two main forms of music i.e. post-punk and new wave, this is a skeleton worth retrieving from the cupboard. In front man Vaughn Toulouse they had a voice whose demeanour and monotone made him a charismatic figure. They successfully negotiated the usual morose routes by developing a knack for expediency and aggression. There's the white-funk of 'Fighting Irish' and singles 'I Want' and 'Going Left Right' matched 'Is Vic There?' for swagger and military precision. The five live recordings even surpass the originals in some cases, 'Clap Now' in particular packs a much bigger punch than the Substance version. 'Tell Me About It' was their shot at a more commercial route and to be fair it does not compromise their earlier vigour at all. With B-sides of the calibre of 'Put All The Crosses In The Right Boxes' they make as competitive rivals for The Nightingales for lyrical bite and incisiveness. Happily, there's enough material here to rank them above the usual 'Where Are They Now?' status.



No Love Pill

From The All Music Guide:


Fronted by the flamboyantly mysterious Vaughn Toulouse, Department S haunted the fringes of the new wave scene like a batty aunt, looking down its nose at the chaotic strivings of its peers, while the band, itself, managed a career of such controlled chaos that it was no surprise whatsoever to discover that its was originally conceived as a non-existent concept. By the time the parties responsible for that earlier jape finally picked up musical instruments and began to actually play, half the record companies in Britain were chasing them; "Is Vic There?" -- the band's so-memorable debut single -- still bristles with the excitement of the age, a new wave anthem that should have set them up for life. Instead, an album recorded for Stiff went unreleased and, while there were a couple of more singles, Department S had folded by 1982. It would be another decade -- and in the aftermath of Toulouse's death -- before the album was finally given a release, but it was instantly revealed as everything the band had ever promised. Even "Is Vic There?" is occasionally humbled by its highlights ("Somewhere Between Heaven and Tescos", "Age Concern"), while "Going Left Right" stands among the finest songs of the entire post-punk early '80s. Sub-Stance rounds up the entire Department S catalogue, opening with the album and continuing with five live tracks, four forgotten B-sides (including a tremendous cover of T. Rex's "Solid Gold Easy Action"), and an early demo. The resulting 22-track anthology should go a long way toward re-establishing Department S as every bit the legend they once threatened to be - DAVE THOMPSON