By the time 1986 rolled around, Icehouse had already cemented themselves as one of Australia’s premier new wave/synth-rock acts. Measure For Measure, the band’s fourth studio album, would represent a further shift in refinement for the band, particularly following the rawness of 1984’s Sidewalk, as their sound evolved beyond the post-punk energy of their earlier works into a more lush, cinematic soundscape that would further embrace synthesisers and ambient textures.
Impeccably produced, mixed, and mastered, Measure For Measure is a pleasure for the senses as the music contained within isn’t the only extraordinary aspect, as the album’s artwork is stunningly beautiful and is amongst the greatest that Icehouse ever released. If you haven’t already, consider picking up the CD reissue from 2012. Not only does it sound exceptionally good, but the foldout digisleeve design takes the album’s artwork to another level of immersion and appreciation.
Speaking of immersion, regardless of how you choose to listen to this classic album, you’ll be met with a warm and full-bodied sound and a sonic signature that isn’t often associated with the shrill clarity of the early digital recording era. While I simply can’t recall how previous editions sounded, I can say with certainty that Steve Smart (Studios 301) did a fantastic job in remastering not only Measure For Measure but all of Icehouse’s studio albums for the 2012 reissue series.
The only challenging aspect when listening to Measure For Measure is whether or not you should include the bonus tracks, particularly the core CD-era bonus material, Too Late Now and Into The Wild. Both are exceptional, but to maintain the album’s original linear structure, given these songs weren’t included on the original vinyl and cassette releases, I’ve decided to stick to the original 10-track album structure, from the original Australian release, via the following playlist. However, if you’re after the bonus material, including the additional live tracks, click here for the complete Bonus Track edition.
Paradise opens the album with a pulsating synth element that adds to the overall atmosphere of the song as well as playing into the style of the album as a whole. Sonically expansive and immersive, the greatest aspect of Paradise is Iva Davies’ magnificent vocals, which hover over the entire musical bed. It’s an utterly perfect mix as there isn’t a single element that is overshadowed, and with the hypnotic groove and cinematic styling, Paradise is the perfect combination of art-rock and ambient pop.
No Promises, despite being the first single from the album, had previously been released on the Boxes (Original Motion Picture Soundtrack), from 1985, and was included in an original composition and a reprise, but it is this re-recording that stands out as the gold standard. Driven by a shimmering synth-pop rhythm and an uptempo beat, No Promises is another exceptional tune. More importantly, however, it showcases just how expressive Davies is as a vocalist, for his vocal reach knows few peers, especially regarding the high notes and control he has over his delivery.
Mr. Big shifts the tone of the album, somewhat abruptly, yet the more you listen to the record, the more you’ll appreciate the shift from Paradise and No Promises to this rockier, glam-infused tune. It’s Icehouse amongst their most playful, with a healthy dose of crunchy guitar riffs, a sassy delivery, and brass instrumentation by Simon Lloyd that shines and adds to the overall vibe of this addictively good song.
Angel Street returns the tempo to one that’s a little more contemplative while the near out-of-phase musical styling adds incredibly textured layers to the song. Is it a favourite? Not really, yet something is compelling about Angel Street. While I wouldn’t seek the song out on its own, I thoroughly enjoy it each time it plays within the album’s linear structure.
The Flame is a slow-building epic. The mood and atmosphere captivate and encapsulate the senses via the song’s three-dimensional soundstage, resulting in one of the greatest songs Icehouse ever recorded.
Regular Boys, as with No Promises, was originally part of the Boxes soundtrack, and although the original and reprise are solid, this re-recording is arguably better. However, it does present another significant structural shift in the album’s mood and tempo. While I’m used to it, having listened to this album since the 80s, I fear newcomers may get lost in the mid-tempo, synth-heavy style of Regular Boys, particularly if they only listen once. Interestingly, this shift wouldn’t be so dramatically noticeable should you have the Australian vinyl or cassette editions of Measure For Measure, as Regular Boys was positioned as the opening track on Side 2 of those releases. Hence, in the time it took for you to flip the record, or turn the cassette, the senses had time to readjust.
Cross The Border has always been a personal favourite, but despite the tribal percussion style, intricate melodies, and overall rock edge, what I would have once considered to be the best song on the album now takes a backseat to The Flame, proving that as artists evolve, so do the fans. Still, Cross The Border is a standout tune that suits the album’s structure perfectly.
Spanish Gold is a smooth, upbeat number that works remarkably well within the band’s ambient pop-styled framework. Presented in a hazy, almost dreamlike style, Spanish Gold represents another unique entry in the Icehouse catalogue, one that showcases their willingness to evolve beyond their core roots.
Lucky Me is one of the most abrupt rock-structured tunes Icehouse ever recorded. Still, the rawness shows diversity, and it’s a style that Davies and co would develop further via the more industrial Big Wheel album in 1993. Yes, it can be seen as being somewhat out of place on this release, but as alluded to earlier, once you’ve listened to the album several times, you’ll consider it to be perfectly normal and well-aligned, even with the more delicate songs on the album. Perhaps this is one reason why I appreciate such a diverse range of music, as this is one of the albums that I grew up listening to.
Baby, You're So Strange is utterly brilliant. The swagger, riff-heavy, distorted and crunchy styling, combined with Davies’ gritty, yet smooth, vocal delivery, makes for not only one of Icehouse’s most flamboyant numbers, but is a glam-rock masterpiece that is an ideal counterpart to the works of legendary acts such as T. Rex and David Bowie. It’s also a wonderful song to close the record on, and while CD/Digital releases have additional songs, Baby, You’re So Strange is the perfect album closer, for it will compel you to listen to the album again.
Measure For Measure is a masterful fusion of sophisticated art-rock with a touch of 80s pop accessibility that is, at times, unfortunately overshadowed by the exceptional Man Of Colours release from the following year. Still, some may find this era of the band to be too polished and experimental, especially when contrasting it against the band’s rawer rock-oriented origins. For this fan, however, Measure For Measure is the perfect evolutionary bridge that blends seamlessly with the music that has come before, and that which came after, and is amongst the greatest releases from 1986.