The sleek lines a chrome flourishes of CLAUDIA BRUCKEN’s immaculate, shiny avant-disco-industrial-techno-pop extravaganza, “Love, And A Million Other Things”, rise like shimmering relics from the good old days when stars were special people put there for the express purpose of turning the monstrous, ugly carbuncle known as reality into a multi-dimensional architectural paradise.
The beauty of “Love, And A Million Other Things”, apart from the controlled ice maiden singing, the impeccable playing and state-of-art production, is the decidedly unfrugal attention to detail paid y Claudia and collaborator Paul Morley to every aspect of the project.
“We were always very attentive to details, from our first record with Propaganda, through to our Act stuff,” reminisces Claudia. “It reflects our love of pop music —
From the radical MOR of “Moment Of Joy” to the SAW-’n’-to-smithereens chart attack pop tack of “Love: In Another World”, to the magisterial grandeur of the current single, “Kiss Like Ether”, Claudia Brücken superlative debut LP makes the kind of noise mass audiences love.
By rights, Claudia should become impossibly rich and famous on the basis of this record.
“I think I should as well,” she laughs. “People tell me I’m obscure, but I can’t quite understand that —