Andy Partridge, who writes and sings most of XTC's songs (9 of 11 tracks on this album are his), is one of those vocalists you either love or hate. I count myself among those who love his, and partner Colin Moulding's, quirky music. Andy's voice has a strained, slightly off-key quality that meshes perfectly with his clever, acerbic wit. It's been the centerpiece of some of the most enduring and varied pop songs of the New Wave period of British rock: "Life Begins at the Hop," "Senses Working Overtime" and "Dear God." And, with the release of Apple Venus, Vol. 1 in 1999, Andy returned to the rock world with a vengeance. Literally!

There'd been a seven-year drought for XTC fans between the release of Nonsuch in the spring of 1992 and the appearance of Apple Venus. It was a difficult period for the band; Andy's divorce, the group's protracted battle with their former record company and ongoing financial woes combined to staunch the flow of new XTC material. But, with the exception of "My Dictionary," one of the most venomous, but hopefully cathartic, post-breakup songs ever, Apple Venus is more upbeat than fans might have expected. Of course, this album launched the band's own Idea Records and the future certainly looked rosier.

Apple Venus, Vol. 1 begins with one of the album's most dissonant tracks, "River of Orchids," a move that, perversely, seems designed to scare off potential new listeners. But the clashing rhythms, vocal triplets, pizzicato strings and contrapuntal horns soon segue into the clean pop sensibilities of "I'd Like That." "I'd smile so much my face would crack in two/Then you could fix it with your kissing glue." This is classic XTC with its catchy acoustic guitar and handclaps. And it's obvious that XTC's lyrics have returned to form as well with the artfully awkward, "We'd laugh because each drop would make me grow up really high, really high, like a really high thing, say a sunflower."

The next four tracks, starting with "Easter Theatre," share a lush, layered, outdoorsy mood that harkens back to the Skylarking album and songs like "Grass." This suggests that Partridge took more away from his studio time with Skylarking's producer Todd Rundgren than bitter memories. The last of these four songs, "Greenman," is a marvel. One can easily picture maypole dancers cavorting to this complex mix of synths, strings and unusual percussion elements.

Next up is the aforementioned "My Dictionary," a song I'm pleased not to have directed at me. "S-L-A-P is that how you spell 'kiss' in your dictionary? C-O-L-D pronounced as 'care', S-H-I-T is that how you spell 'me' in your dictionary? Four-eyed fool you lead round everywhere." This is easily the most powerful song on Apple Venus and its secret is that all the anger is contained in the lyric. The string arrangement is melancholy but the melody is almost perky. And even Partridge's vocal delivery is more weary than enraged, suggesting that these deep wounds are, in fact, healing.

Colin Moulding clocks in with his second composition "Fruit Nut" immediately following "Your Dictionary," and while it's a nice break from Partridge's idiosyncratic vocals, the song is rather lackluster. In fact, the album doesn't really regain its momentum until "Harvest Festival," which returns to the album's earlier rural mood. "The Last Balloon" then wraps up Apple Venus, Vol. 1 in grand fashion. It's a sweeping piece highlighted by soaring trumpet and flugel horn solos courtesy of Guy Barker.

All in all Apple Venus, Vol. 1 is a solid, but not exceptional, album from XTC. It's not about to win them legions of new fans but those of us who regard Andy Partridge and Colin Moulding as one of the premier combos in popular music will happily add this disc, and its rockier follow up, Wasp Star: Apple Venus, Vol. 2, to our collections.

- Rambles
written by Gregg Thurlbeck
published 3 December 2005