Tour promotes 'No Man's Land'
Lene Lovich plays first Austin concert
Detroit's transplanted Yugoslavian Lene Lovich has been playing now-you-see-me-now-you-don't with the rock scene, but not by choice.
In 1978, she joined the maverick Stiff Records label along with Elvis Costello, Nick Lowe and Ian Dury. Lovich released "Stateless" and captured the attention of an FM-weary with the single "Lucky Number", a dizzy, daffy, unforgettable hit. The follow-up, "Flex", marked the end of her honeymoon: Stiff/Epic began to lose interest, and by early 1981, she had dropped out of sight. No extensive tours, no albums - only the underpublicized EP "New Toy", which died quietly on the record racks.
Lovich hopes that it's all behind her now. Her latest release, "No Man's Land", is "something I feel very strongly about", she says. "But I was afraid that without my touring, it wouldn't get the exposure I'd like to see it get." Hence, her full-scale American tour, and her first visit to Austin tonight at the Opry House.
So far in the tour, it's become evident that her audience hasn't abandoned her. "Our concerts have tended to be sellouts", she observes calmly but with pride. Lovich fans will notice a new leaning in "No Man's Land" toward electronic texturing, with cohort Les Chappell opting for synthesizers over guitars in most songs.
The similarity to fellow traveller Thomas Dolby's techno-pop is obvious, but Lovich hastens to point out that, "'No Man's Land' should've been released two years ago. Before then, I couldn't afford much equipment and had to borrow a used synthesizer from a sculptor friend.
"When I recorded 'Stateless', although I had a number of ideas, I think I was relying on popular rock traditions. On 'Flex' I was able to experiment a bit more, but the product was still a little rough. On 'No Man's Land', the musical ideas are more technically effective, I'd say."
One area that remains consistent about Lovich's work is her lyrical fascination with romance, communication and the breakdown of both. Although she's reluctant to explain her prose - "I'd rather leave them open so that the audience can participate in the music" - she confesses that they're "very, very personal."
Still, Lovich's desire to break through to universal communication is unwavering. Her recent theatrical production in England of "Mata Hari" succeeded from every conventional vantage point, but Lovich remains dissatisfied. "There could've been more for Mata Hari (her role) to say - "it could've been made more universal", she says. "I'm hoping to do the production again, but without these changes, I won't."
Lovich has plenty with which to occupy herself in the meantime. The unintended hiatus hasn't shut off any avenues for her; indeed, she sees even greater possibilities in 1983. "Certain radio stations have begun to open their mind to different kinds of music, and this is very good", says Lovich. "They're also playing more 12-inch singles, which gives the artist more room to experiment."
"But a variety of music still isn't being played; it's mainly dance music you hear. Some of the European material has been good, but as far as the actual musical content . . . well, it's been lacking."
Enter Lene Lovich - perhaps, this time, for good.
