FEATURE:
Vinyl Corner
The Sugarcubes – Life’s Too Good
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UP now in Vinyl Corner…
is the debut studio album from The Sugarcubes. Although Björk leads the band, the record is a lot more than her stunning voice. Life’s Too Good is a perfect Pop record that mixes in silliness with the serious; there are different tones and sounds that weave together. Of course, Björk’s vocal gymnastics help take the songs over the edge. Released in April 1988 by One Little Indian in the U.K. and Europe, the album was an unexpected hit. Few thought that Life’s Too Good would translate outside of the band’s native Iceland; in 1993, Björk launched her solo career with Debut. Piecing together strands of Post-Punk and Pop, there is a lot of clout and wonderful performances, but I think it is the infectiousness and joy of Life’s Too Good that means it stays in your mind. In terms of huge singles, they do not come much huger than Birthday. With a wonderful sound and Björk at her best, the U.K. press were keen to catch on. Although The Sugarcubes were courting attention and love from the British press, they were reluctant to have their faces plastered on magazines. Preferring greater control of their music and less exposure in terms of the music media, The Sugarcubes did get offers from big labels, but they recorded Life’s Too Good on One Little Indian so they could assume greater control of their work. I would encourage people to buy the album on vinyl, as it is a marvellous work that can really cheer the soul. Before 1992, I had not really encountered any Icelandic records.
Of course, there were plenty of Icelandic artists putting out music prior to The Sugarcubes’ arrival; few that could produce something accessible and hugely popular. Before long, there was greater interest in Icelandic music; Life’s Too Good not only influenced the scene in Iceland, but popular artists like Florence + the Machine have been affected. In terms of debut importance, Life’s Too Good pushed the boundaries of Rock and Pop; it put Iceland more firmly on the map, and the album still sound so alive and fresh twenty-eight years later. I want to bring in a couple of reviews before I wrap things up here. I think, in 1992, there were a couple of positive reviews; many might not have known what to do with an album such as Life’s Too Good. Maybe the idiosyncrasies of Björk and the band were a little too out-there at the time. In the years since, Life’s Too Good has gone down as a cult classic; so many corners have been keen to praise a wonderful record. This is what The Line of Best Fit had to say in 2015:
“Much like The B52’s and Talking Heads, The Sugarcubes proved that post-punk could be playful and seriousness could be silly. "Birthday", despite being The Sugarcubes’ defining moment, isn’t indicative of the debut as a whole, though. In fact, as with some of the best LP’s, it’s hard to place this album within a specific genre, a persistent theme even in Björk's previous venutres. Having begun recording music as early as 1977, when she released Björk Guðmundsdóttir - an album of sickly sweet covers of rock songs - she soon found herself in bands that were similarly averse to the restrictions of meaningless categories.
Björk's idiosyncratic voice might be the main prevailing aspect here, but however fleeting their existence was, The Sugarcubes were very much a band, with each member having their own respective pedigree in various other outfits prior to their formation. All members had previously been in various post-punk or experimental groups - their origins tracing back to the likes of Theyr and of course KUKL - while some even collaborated with Current 93 and various members of Psychic TV. The creation of The Sugarcubes was a direct result of the negation of the anarcho-punk route (KUKL released two record on Crass’ label) and the desire to create something more accessible. Einar’s spoken word contributions are as imperative as they are bizarre, and the contrast between his inane discourse and Björk's more popular vocalisations gives the band their famed uniqueness.
Despite its moments of innate pop brilliance, there remains a dark chaos on Life’s Too Good - repressed, but ever-present. An understated classic, and by far the band's best album, it still sounds vital 27 years since its initial release. It's strange but accessible, silly but genius, and ultimately unfailing from start to finish”.
So long after its release, Life’s Too Good has grown in importance and status. Although Björk would depart from the band not long after Life’s Too Good, I think she sounds completely in her element here. The songs burrow into the head and, when we are stuck indoors and cannot get out to gigs, I would recommend Life’s Too Good to ease any anxieties.
In their review, XS Noize dived into Life’s Too Good and highlighted its brilliance:
“Life’s Too Good had a popiness in attitude that brought the 1980’s listener in and then presented them with the band’s post punk heritage, Goth vibes and darkness. There are some critics who have always felt the album would have been better without sans Einar’s vocals, and that he was the proverbial fly in the ointment. What many of them would have loved, was if he had been ditched to enable Bjork to be entirely front and center. However that was never the intent of the band. The tension of Einar’s asides and vocals presents something that would be missing from songs like Motorbike and Deus if he was not there. He is the surreal musical Dali reeking havoc with the songs that would have been almost too perfect until his ridiculous interruptions and sometimes unsettling rap. He singlehandedly made sure the listener understood The Sugarcubes wanted more than mainstream acceptance.
The band would put out Here Today, Tomorrow, Next Week in 1989, it would not perform as well commercially as Life’s Too Good. They released a third album, Stick Around For Joy, in 1992 which would fare better. In 1991 Bjork had decided to leave the band to start her solo career but was contracted with The Sugarcubes to do one more record and unlike many artists honored her contractually obligations. The Sugarcubes would open for U2 on their Zoo TV Tour in Oct and Nov 1992, and then disbanded. Bjork would continue onto her stellar solo career with the release of her aptly titled Debut; which would launch her reputation and a solo career that has now stretched for over twenty years.
A band that was meant as a joke ended up becoming indie legends. Ever insightful about their unconventionality, they left it to the critics and listeners to answer the question of what good taste and art were and whether or not the band’s output could be classified as either. If you are serious about understanding the development of Indie Music you need to give this album your consideration”.
I love the music from the 1980s, but I am not sure many would associate The Sugarcubes with a typical ’80s sound. They sort of arrived from nowhere and created this sensation. Almost thirty years after Life’s Too Good was unleashed into the world, this album still manages to sprinkle its magic. If you can get it on vinyl, please do – if not, then you can stream it. I am going to play it now and…
SURRENDER to its wonder.