Race is the third studio album released by Australian new wave band, Pseudo Echo. It was released via EMI Australia in 1988 and RCA Records internationally in 1989. Race resulted in a musical change for the group as it mirrored the music landscape at the time; dominated by big hair, big guitars and rock. While the album no doubt alienated the majority of the bands fan base, it equally attracted a new breed of rock loving fans.
"Long Plays 83-87" is the first compilation album released by Australian new wave band, Pseudo Echo. It was released in 1987. It included extended and dance versions of their previously released singles between 1983-1987. It was released on CD in 1990. Michael Sutton of Allmusic gave the album 4 out of 5 stars, saying: This compilation shows that in the '80s Pseudo Echo was able to combine dance music and rock & roll as deftly as its Australian peers in INXS. Singer Brian Canham may not have had the snake-like charm of INXS' Michael Hutchence, but his brooding voice makes these songs sound more mysterious than they normally would. The lyrics are often superficial and repetitive; however, the hooks are dynamite. Pseudo Echo just wanted to get bodies gyrating, and Long Plays 83-87 offers the perfect way to get into the groove.
Before Depeche Mode inherited the techno-pop crown, Ultravox reigned over the electronic landscape. Pseudo Echo were one of Ultravox's most loyal fans, and their affection for the pioneering new romantics gushes from every synthethic groove on Love an Adventure. Thankfully, being a facsimile wasn't enough for Pseudo Echo. The cover of Lipps Inc.'s disco classic "Funkytown" was their only U.S. hit from Love an Adventure, and it was sadly misrepresentative of the album's stylish, hook-loaded dance rock. On "A Beat for You," driving hard rock riffs puncture Pierre Gigliotti and James Leigh's wall of synthesizers. Vocalist Brian Canham has a darkly erotic voice that only new wave groups seem to breed – imagine a cross between Jim Kerr of Simple Minds and Midge Ure of, no surprise, Ultravox. Pseudo Echo want people to move their feet, and this album is stocked with dancefloor scorchers such as "Living in a Dream", "Listening", and the funky "Try". "Funkytown" may have given Pseudo Echo a glimpse of commercial success, but the rest of Love an Adventure proved that they were capable of more.
This is probably Peter Greenaway's most famous (or infamous) film, which first shocked audiences at the 1989 Cannes Film Festival and then on both sides of the Atlantic. A gang leader (Michael Gambon), accompanied by his wife (Helen Mirren) and his associates, entertains himself every night in a fancy French restaurant that he has recently bought. Having tired of her sadistic, boorish husband, the wife finds herself a lover (Alan Howard) and makes love to him in the restaurant's coziest places with the silent permission of the cook (Richard Bohringer). Though less cerebral than Greenaway's other films, featuring deadly passions reminiscent of Jacobean revenge tragedies of the early 17th century, the picture still offers the director's usual ironic and paradoxical comments on the relations between eating and sex, love and death.