Music
Naïve Art, Red Flag's first album, was acclaimed by critics as a mixture of classically oriented melodies, driving dance beats and industrial sounding samples and fills.
The 1994 album The Lighthouse stood out as being stylistically unlike any of the band's prior or subsequent recordings, with highly ambient, tranquil melodies.
The 2000 release of the highly acclaimed and dark album, The Crypt, marked a new darker and more industrial style for Red Flag. Though often compared at the time to some of the music hailing from Europe's futurepop movement, Red Flag's music has been characterized by a unique style set apart from any other electronic music; distinguishing Red Flag in terms of melodies, vocals, and an expertly crafted electronic style all their own.
The releases of both Fear of a Red Planet and The Bitter End were harshly criticized by critics in the synthpop genre, who were unaccustomed to and unaccepting of Red Flag's increasingly dark style, lamenting what they considered the gloomy and dark aspects of these albums compared to Red Flag's earlier synthpop works. Only in later years were these two albums noticed anew in the goth and darkwave genres, by both fans and DJs, where they are enjoying a resurgence of interest and airplay.
Codebreaker t133 fared no better in 2003, with synthpop adherents than preceding albums. The uptempo album with all songs set to a beat of 133 per minute was more danceable than some prior Red Flag works but the album failed to catch on.
Red Flag's 2002 remix album, Who are the Skulls?, featured other synthpop artists such as Information Society's Paul Robb, Cosmicity, Provision, and Rob Rowe of Cause & Effect. The concept of the album was to organize a project in answer to the many requests from other remixers to work with the band.
In 2007, Chris Reynolds resumed recording as Red Flag and released the exceptional album Born Again to acclaim among the gothic community.
Read more about this topic: Red Flag (band)
Famous quotes containing the word music:
“The further jazz moves away from the stark blue continuum and the collective realities of Afro-American and American life, the more it moves into academic concert-hall lifelessness, which can be replicated by any middle class showing off its music lessons.”
—Imamu Amiri Baraka (b. 1934)
“The music is in minors.”
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—F. Scott Fitzgerald (1896–1940)