SECTION 25 The Key Of Dreams LP FACTORY BENELUX 1982 BELGIUM orig FBN 14
€
32
$
37
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Description
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SECTION TWENTY FIVE
Not as strong as some of their Factory Records labelmates -- such as New Order, the Durutti Column, and A Certain Ratio -- Section 25 followed a similar course, providing a link between electronics-based new wave and the burgeoning indie dance movement of the mid- to late '80s. Formed in Blackpool in 1978 by brothers Larry and Vincent Cassidy, Section 25 later added guitarist Paul Wiggin and a drummer who quit soon afterwards. With an early template similar to Joy Division's atmospheric post-punk, the group played around England during 1979 and released its debut single, "Girls Don't Count" (produced by JD's Ian Curtis), in early 1980. After several European gigs supporting New Order, the band signed to Factory later that year & released its debut album, Always Now, in 1981....
"THE KEY OF DREAMS"
1982 LP FACTORY BENELUX RECORDS FBN 14
MADE IN BELGIUM ORIGINAL FIRST PRESSING
SINGLE SLEEVE
WORLDWIDE ONLY PRESSING ON VINYL
Barcode and Other Identifiers
Barcode: none
LABEL: FACTORY BENELUX - WHITE&LIGHT BLUE LABEL - BLUE TEXT
Label Code: none
Catalog on cover: FBN 14
Catalog on labels: FBN 14
Matrix / Runout (Side A, Etched): FBN 14-1
Matrix / Runout (Side B, Etched): FBN 14-2
On labels: rim text reads "Unauthorized Public........Reserved
(Side A only): all selections proceeded from section twenty five.
Made in Belgium
? 1982 Factory benelux
(Side B only): produced and recorded by S.25 at SSRU.
? 1982 Factory FBN 14 Benelux
On Back Cover: Tracklist & Credits
tracklisting
Side A: ALWAYS NOW - VISITATION - REGIONS
THE WHEEL - NO ABIDING PLACE - ONCE BEFORE
Side B: THERE WAS A TIME - WRETCH - SUTRA
grading
RECORD EX but (please, read above description)
SLEEVE VG+ but (please, see pictures and read above description)
The overall sound, influenced by dub, Krautrock, and '60s psychedelia (and, yes, probably Joy Division as well), has changed little from the debut, though the sullen eeriness has gotten more extreme. As a result, the album doesn't quite have the bite of Always Now, as it's sunken in a glum, mid-tempo pit of dejection. It does have a consistency of sound and a good flow to it (the swirling, relatively buoyant "No Abiding Place" comes along at just the right time) but it could just as easily be taken as a samey stretch of pointless murmuring. Let it be said that if you're attempting to shake comparisons to Saucerful of Secrets-era Pink Floyd, which Always Now was likened to, the last thing you should do is conclude your next record with a 15-minute instrumental full of crashing cymbals, meandering guitars, and creeped-out atmospherics...(AllMusic)
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