Blancmange

Inception

Blancmange formed in 1979 in Harrow when singer Neil Arthur (b. June 15, 1958, Darwen, Lancashire) teamed with multi-instrumentalists Stephen Luscombe (b. October 29, 1954, Hillingdon, Middlesex) and Laurence Stevens. They took their name from the gelatin-based dessert depicted on their single sleeves. Stevens left early to focus on graphic design. He founded LSD Studio and designed 1980s sleeves for singles by Bananarama, Eurythmics, Annabel Lamb, and Dick Morrissey. Arthur and Luscombe continued as a synth duo.

Irene & Mavis

In early 1980, Blancmange debuted with Irene & Mavis, a 7″ maxi EP on self-press Blaah Music.

A1. “Disco-A-Bomb-Bomb” (2:35)
A2. “Holiday Camp” (3:01)
A3. “Overspreading Art Genius” (2:16)
B1. “Concentration Baby” (2:03)
B2. “Just Another Spectre” (3:05)
B3. “Modichy In Aneration” (3:21)

In 1981, Blancmange landed one song (“Sad Day”) on Some Bizzare Album, a compilation of unsigned electro-pop acts, including B-Movie, Depeche Mode, Soft Cell, and The The.

In December, Blacmange opened for Japan on their Visions of China tour behind the late-1981 Virgin release Tin Drum.

Happy Families

Blancmange released their debut album, Happy Families, on September 24, 1982, on London Records.

The album contains ten originals by the duo. Singer Neil Arthur and keyboardist Stephen Luscombe composed all tracks.

Happy Families features Neil Arthur on vocals, guitars, and electronics. Stephen Luscombe contributes synthesizers and keyboards. Additional musicians include David Rhodes on guitar, James Lane on drums, Stevie Lange, Madeline Bell, and Joy Yates on backing vocals, and Deepak (Deepak Khazanchi) on sitar. Pandit Dinesh contributes tabla.

A1. “I Can’t Explain” (4:00)
A2. “Feel Me” (5:07)
A3. “I’ve Seen the Word” (3:00)
A4. “Wasted” (4:17)
A5. “Living on the Ceiling” (4:11)

B1. “Waves” (4:07; 4:25 initial press)
B2. “Kind” (3:56)
B3. “Sad Day” (4:05)
B4. “Cruel” (4:52)
B5. “God’s Kitchen” (2:54)

Sessions occurred from February to August 1982 at CBS (London) and Battery (London) studios. Mike Howlett produced the album. Walter Samuel, Roberto Arendse, and Mark Chamberlain engineered at CBS. Nigel Green and Andrew Warwick engineered at Battery. “Living on the Ceiling” and “Kind” were remixed by Denis Weinrich at Odyssey Studios. “Waves” was remixed by Denis Weinrich and John Owen Williams, with strings arranged by Linton Naiff.

The album features a cover painting by Michael Brownlow, inspired by Louis Wain.

London Records lifted “I’ve Seen the Word” as the first single (b/w “God’s Kitchen”) on March 26, 1982. The video for “I’ve Seen the Word” features Blancmange performing in a stark, somewhat industrial setting, characteristic of early 1980s synth-pop aesthetics. It primarily focuses on Neil Arthur’s expressive vocals and the duo’s subdued stage presence, often incorporating abstract lighting and simple visual effects to match the song’s contemplative mood.

“Feel Me” followed on July 9, 1982 (b/w an instrumental version).

“Living on the Ceiling” was released on October 15, 1982 (b/w “Running Thin,” with “I Would” on the 12″ only).

B1. “Running Thin”
B2. “I Would”

The video for “Living on the Ceiling” features Blancmange performing in a whimsical, surreal setting that plays with gravity and perspective. Neil Arthur and Stephen Luscombe appear to defy convention by singing and interacting as if on the ceiling, with objects and furniture arranged to enhance the illusion. This playful visual approach complements the song’s quirky synth-pop sound.

“Waves” was released in January 1983 (b/w “Game Above My Head”). The video for “Waves” features Blancmange performing in a visually striking, abstract environment dominated by blue and green lighting, evoking an underwater or ethereal atmosphere. Neil Arthur and Stephen Luscombe are often seen amid flowing fabric or projections that suggest water, complementing the song’s melancholic and atmospheric synth-pop sound. The visuals enhance the dreamlike quality of the music.

B. “Game Above My Head”

“Living on the Ceiling” reached No. 3 in South Africa, No. 5 in Australia, No. 7 on the UK Singles chart, and No. 8 in Ireland. “Waves” reached No. 19 on the UK Singles Chart.

Happy Families reached No. 13 on the New Zealand Albums chart, No. 17 on the Australian Albums chart, and No. 30 on the UK Albums Chart.

Mange Tout

Blancmange released their second album, Mange Tout, in May 1984 on London Records.

The album contains ten originals by the duo. Singer Neil Arthur and keyboardist Stephen Luscombe composed all tracks.

Mange Tout features Neil Arthur on voice, drums, and clarinet. Stephen Luscombe contributes electric keyboards, piano, and trumpet. Gang of Four bassist Dave Allen appears on “All Things Are Nice.” 

Additional musicians include tablist Pandit Dinesh, sitarist Deepak Khazanchi, guitarist David Rhodes, bassist Bobby Collins and Neil Jason. 

A1. “Don’t Tell Me” (3:31)
A2. “Game Above My Head” (3:58)
A3. “Blind Vision” (3:56) Uptown Horns, session bassist Neil Jason, percussionist Bashiri Johnson, backing vocalists Jocelyn Brown, Brenda Jay Nelson, and Dolette McDonald
A4. “Time Became the Tide” (4:49) chamber quartet and flute arranged by Linton Naiff
A5. “That’s Love, That It Is” (4:22) five-piece brass–reeds, percussionist Jerry Marotta, backing vocalists Brenda White and Mtume singer Tawatha Agee.

B1. “Murder” (5:58)
B2. “See the Train” (2:04)
B3. “All Things Are Nice” (4:59) 
B4. “My Baby” (3:59) percussionist Blair Cunningham
B5. “The Day Before You Came” (5:50) trumpeter Valery Ponomarev

Sessions occurred from August to November 1983 at Marcus Music (London), Sigma Sound (New York City), Island (London), and Sarm East (London) studios. Peter Collins produced “Don’t Tell Me.” Blancmange and John Owen Williams produced “Game Above My Head.” John Luongo produced tracks 3 through 10. Dennis Weinreich and John Owen Williams handled remixes on “My Baby.” Jay Mark and Femi Jiya engineered. Matthew Wallace provided engineering assistance.

Mange Tout features design by Martyn Atkins and Marcx.

London Records lifted “Blind Vision” as the first single in April 1983 (b/w “Heaven Knows Where Heaven Is”). “That’s Love, That It Is” followed in November 1983 (b/w “Vishnu”). “Don’t Tell Me” was released in March 1984 (b/w “Get Out of That”), and “The Day Before You Came” in July 1984 (b/w “All Things Are Nice”).

“Blind Vision” reached No. 3 on the US Billboard Hot Dance/Disco chart, No. 10 on the UK Singles Chart, and No. 11 on the Irish Singles Chart. The official music video for “Blind Vision” features Neil Arthur and Stephen Luscombe performing amidst striking visual effects that often distort their figures or multiply their images. The video incorporates a blend of abstract backdrops and close-ups, utilizing a kaleidoscope of colors and geometric patterns to create a sense of disorientation and a futuristic aesthetic that complements the song’s synth-pop sound.

B “Heaven Knows Where Heaven Is”

B. “Vishnu”

“Don’t Tell Me” reached No. 8 on the UK Singles Chart and No. 10 on the Irish Singles Chart. The music video for “Don’t Tell Me” features Neil Arthur and Stephen Luscombe navigating a surreal, almost theatrical set that blends abstract backdrops with quirky props. The visuals often emphasize the song’s themes of communication and perception through playful distortions and the duo’s distinct, somewhat detached, performances.

B. “Get Out of That”

Mange Tout reached No. 8 on the UK Albums Chart and No. 16 on the Dutch Albums chart.

Believe You Me

Blancmange released their third album, Believe You Me, on October 11, 1985, on London Records.

A1. “Lose Your Love” (4:09)
A2. “What’s Your Problem?” (4:13)
A3. “Paradise Is” (3:48)
A4. “Why Don’t They Leave Things Alone?” (4:35)
A5. “22339” (5:23) with Talk Talk bassist Paul Webb

B1. “Don’t You Love It All” (4:35) Hugh Masekela on flugelhorn, backing vocals by Katie Kissoon and Stevie Lange
B2. “Believe” (3:49)
B3. “Lorraine’s My Nurse” (2:31) five-piece string and woodwind section arranged by Lynton Naiff
B4. “Other Animals” (4:19) with London Community Gospel Choir and saxophonist Ronnie Ross 
B5. “No Wonder They Never Made It Back” (3:31) Dick Cuthell on trumpet, flugelhorn, cornet, brass arrangement; Pandit Dinesh on tabla, madal
B6. “John” (4:16)

Sessions occurred from May to August 1985 in London at Air, Garden, Island, Redan, Roundhouse, Strongroom, and Wessex Studios. Stewart Levine produced the album for Ultradelta Limited. Neil Arthur and John Williams produced “22339” and “No Wonder They Never Made It Back.” Stephen Luscombe produced “John.” Femi J engineered, with assistant engineers Karl Lever (Air), Pete Griffiths (Garden), Stephen Street (Island), Johnny Schinas (Redan), David Kemp (Roundhouse), and Phil Bodger (Strongroom).

London Records lifted “What’s Your Problem” as the first single on August 27, 1985 (b/w “Side Two”). The video for “What’s Your Problem” features Blancmange in a visually dynamic setting, often employing fast cuts and overlapping imagery to create a sense of frantic energy. Neil Arthur engages with various symbolic “problems” or obstacles, while Stephen Luscombe oversees the chaotic scenes, effectively conveying the song’s anxious and questioning mood through its restless visuals.

B. “Side Two”

“Lose Your Love” followed in October 1985 (b/w “John”). “Lose Your Love” reached No. 2 on the US Billboard Dance/Club Play Songs chart. The video for “Lose Your Love” features Blancmange in a visually intricate and somewhat abstract environment, frequently employing dramatic lighting and shadows. Neil Arthur performs with an intense gaze, often surrounded by symbolic elements or fragmented imagery that evoke the emotional weight of the song’s title. The visual style enhances the track’s driving rhythm and melancholic undertones.

“I Can See It” (a re-recorded version of “Why Don’t They Leave Things Alone?”) was released in April 1986 (b/w “Scream Down the House”). The official video for “I Can See It” (also known as “Why Don’t They Leave Things Alone?”) features Neil Arthur performing in an urban landscape, often with stark, almost cinematic shots of city life. The visual narrative appears to explore themes of observation and connection within a modern, slightly detached environment, complementing the song’s reflective synth-pop sound.