For my first Head Heritage album review I thought I should write about something very important to me; something which changed the way that I listened to music after I heard it. This album was ‘Force The Hand Of Chance’, by Psychic TV, which I first heard, as a 13 year old, back in 1989. At the time I was a huge Marc Almond fan and devoured anything that bore his name. One day, on entering a local 2nd hand record shop (which I would eventually go on to work in), I noticed the striking image of the original vinyl LP hanging on one of the walls — I immediately had to remove it from its plastic sleeve, to check it out. For anyone who has seen the original album cover, you can’t help but take a 2nd look. It features a rather grizzly looking skull, which has been punctured by (what I assume are) arrows, on a sharp blue background. What’s also noticeable is a Psychic TV cross, engraved into the forehead of the skull, like some tribal marking. To be honest, as an impressionable teen, this scared the hell out of me, yet fascinated me also. I flipped over the sleeve to be confronted by 2 of the members of the group (Genesis P‑Orridge & Sleazy Christopherson) wearing grey, religious gear. It really looked so different to what I was used to. I was used to Marc Almond, but mainly his more ‘standard’ records — I was used to Dead Or Alive, New Order, Depeche Mode….but this, this looked like a whole new, rather frightening world, which I was excited by, but which also scared me. I then saw the name of Marc Almond, listed as vocalist on a couple of tracks. Ok, I then knew I had to buy it, but at that moment in time, I wasn’t ready to – not just yet. It was also quite expensive — around 12 pounds — so I would have to save up, which would also give me some time to prepare for this monster that I just knew I had to listen to. It also came with a poster, featuring more pics of Gen & Sleazy in their preacher get up; and also a free album, entitled ‘Themes’, which, according to the label, mentioned that instruments used included various forms of percussion and Tibetan Thigh-Bones!!

After a few weeks, I finally plucked up the courage to buy it. I rushed home, immediately put the album onto my hi-fi, set the needle and waited to be blown away. After the first few opening bars of ‘Just Drifting’, I’d already decided that I had wasted my money. You see, ‘Just Drifting’ is an acoustic ballad, sung by Genesis — a love song for his wife, Paula. It features a rather slushy, standard string arrangement, courtesy of Ken Thomas and, for perhaps the less cynical (as I was at that time), no sense of irony at all. Obviously, I now like this song very much and my more mature mind can see behind the slushiness, but at the time it was such a disappointment after expecting so much. I pushed the needle onto track 2, ‘Terminus’ expecting the worst. But, this was better — a 3 part Burroughs themed nightmare. ‘Terminus’ opens like the soundtrack to a Western; all sharp, wavy guitar & hand percussion. Over this, Genesis recites sub-Burroughs text – ‘…across the way a boy was grinning, hard on visible in torn, grey pants…’ — pretty effective as a 13 year old, believe me. I had not been confronted by anything like this before, so this got my complete attention – you can almost feel as if you are in Algiers itself. At about the 8 minute mark, all hell breaks loose and guitars start to screech and burn as if hell itself has been awoken — and then…it just stops….all that noise and then…..nothing. However, what comes next is one of Alex Fergusson’s most beautiful pieces of music. Haunting acoustic guitar, with yet more text from Genesis. This part only lasts about 1 ½ minutes, but is so special. ‘Terminus’ is what made me give the album another chance, as I was almost ready to throw it out after originally hearing ‘Just Drifting’. Next up is the first of the 2 Marc Almond tracks, ‘Just Drifting’. On first hearing, I was delighted, as this is more ‘conventional’ pop music. A nice little ditty; guitar, bass and slight percussion; and with Marc Almond’s over accentuated backing vocals – this originally got continuous plays, even though it’s nothing really special – just a good advertisement for Alex Fergusson’s musical ability. What follows is another 3 piece-suite. ‘Caresse’ starts with another Alex Fergusson solo acoustic piece, followed by the slushy string section from ‘Just Drifting’ – though I remember liking this part on original hearing – maybe it was because Genesis was not singing this time! Part 3 is just basically the vocal stylings of Caresse herself — Caresse being Genesis & Paula’s first born. The track ‘Caresse’ is a little disjointed, as it jumps from piece to piece, with no real links. However, it’s a nice end to the original side 1.

Side 2 of the original album opens with Marc Almond track number 2. ‘Guiltless’ is a fine Marc Almond piece – and that’s what it is, basically a Marc Almond song. Maybe this is what inspired his Marc & The Mambas period, as it does bare comparison with that more than anything else. Marc sings his little heart out, with more strings from Ken Thomas and punctuated percussion. Suddenly a bass rumbles into action and pushes the track forward, as the strings become more and more fierce and the percussion more stable. A vocal duel between Marc & Genesis erupts, with ‘See it and go for it’ becoming the phrase of the day. The track ends with some rather calmed strings. I loved this track originally, and by this time was utterly entranced with this album. Some more acoustic noodlings from Mr Fergusson heralds the arrival of ‘No Go Go’. Originally, this piece was used in the Psychic TV ‘First Transmission’ video – the one that got Genesis into so much trouble 10 years or so ago. It was actually used as a sort of intermission in proceedings, and does the same kind of thing here. Taken out of concept of its original use, it just exists for the purpose of existing and doesn’t really do anything else. It opens with electronically produced helicopter blade effects, with Alex Fergusson’s semi-rock guitar over it and some percussion….and that’s it…for about 3 minutes. The less said the better really, but it’s ok. The penultimate track is the absolute corker – and a song that Psychic TV played live for about 7 or 8 years after this – ‘Ov Power’. A strutting, funky bass, jazzy horns, and electronic percussion form the basis of this little groover, whilst Genesis barks out orders, at times impersonating a rabid dog – hmmm! This is another track that got me going all those years ago and one that I played the hell out of. Lastly we have ‘Message From The Temple’. Some luscious strings are augmented by an ever-so slight drum beat, whilst tattoo-ist and piercer Mr Sebastian tells us of what Psychic TV (and most importantly The Temple Of Psychick Youth) are all about. This is a hugely effective track and utterly fascinating, whether or not you agree with what’s being said. This ends the album perfectly.

When the needle lifted from the album on first hearing, I sat for about 15 minutes, trying hard to take in what I had just heard. It HAD been everything I had hoped it would be – even more so. Although I love ‘Force The Hand Of Chance’, it’s not my most favourite album – maybe not even my most favourite Psychic TV album (‘Dreams Less Sweet’ is more a cohesive and musically interesting release) – however, it is certainly the most important, as it started me off on the musical path I have been on for some years now. I hate to think what I could have been listening to now, if I had not heard this album all those years ago! My biggest thanks should go to Marc Almond though, for had he not been on the album in the first place I may never have even considered buying it. Thank you, Marc : )