Real Life
Real Life keeps punk’s energy while giving the instruments much more room to change its direction. Magazine’s songs are driven by Barry Adamson’s bass and Dave Formula’s keyboards as much as by John McGeoch’s guitar. Howard Devoto stands at the centre with a tense, distinctive voice. The arrangements support his character without simply following him around.
Definitive Gaze is a strong introduction. The rhythm has an awkward, almost reggae-like movement before the keyboards open up a different mood. The song can sound inviting and unsettled in quick succession. Those changes make it clear that the band is interested in more than decorating a straightforward punk song with a synthesizer.
Shot by Both Sides keeps a more direct connection to that background. Its guitar riff and fast movement make it easy to grasp, while Devoto’s delivery gives the urgency a nervous edge. The Light Pours Out of Me is an even stronger group statement. The instruments pull together with enough force to suggest an anthem, but the vocal keeps the mood from becoming comfortable.
Parade slows the pace at the end. Piano, keyboards and saxophone make a softer arrangement, though the words and voice remain at odds with any easy idea of romance. The contrast is effective because the album’s sense of unease survives the change in volume and speed.
Devoto is not a powerful or flexible singer, and some of the more theatrical writing can feel overstated. The attraction often lies in the arrangements rather than in a surprising song structure. Yet the combination has a clear identity. Real Life gives memorable tunes a strange, restless setting, making an album that is accessible enough to invite you in and uncomfortable enough to hold your attention.
