Perry Farrell's Satellite Party Ultra Payloaded by: Tom Bradbury Tue:17-Jul-07 Label: Sony BMG Year: 2007 WB rating 70 out of 100

Perry Farrell’s Satellite Party may not exactly be in sync with the zeitgeist, but if you are a fan of late 80s/early 90s alternative music (back when it was alternative and not indie) you will find much to like on Ultra Payloaded. It is by no means cool or edgy by today’s standards, so it would be easy to dismiss it pretty casually, but that would be a mistake, as this is a surprisingly hook-laden album. Farrell’s new songs range from brain-dead party anthems to gentle ballads, and there is even a post-humous appearance from the late Jim Morrison.

Opener ‘Wish Upon A Dog Star’, which kicks off with New Order’s Peter Hook on bass, contains all the hallmarks of vintage Farrell – his distinctive phrasing, sensuous tone, general ethereal presence - and together with a soaring melody it’s a compelling combination. Hook’s bass playing also adds a lot to the song, providing his fragmented groove, the signature rhythm of Joy Division and New Order. Lending his skills to the biggest party track on the album, ‘Kinky’, Hook, Farrell and the band save what could have been an absolutely disastrous song, the industrial sounding guitar and light speed drums meaning it could slide easily into any party mix from 1993.

In contrast to ‘Kinky’, a few of the latter tracks on this album could best be described as easy listening, to varying extents of pleasantness or horridness. ‘Awesome’ sounds like it was carved out for the Armageddon soundtrack, although it’s about 10 years too late for that. An over the top string part accompanies Farrell as he repeatedly sings the word “awesome”, the results too corny for words. A far better song in the same vein is ‘Milky Ave’, its corniness toned in an endearing way. Silky, affected guitars – the effects deck is straight out of 1988 – caress Farrell’s words, as he gently croons over delicate strings. Unlike ‘Awesome’, it doesn’t sound too forced and it is far more believable, in its nostalgic California suburban feel. ‘Mr Sunshine’ doesn’t quite have the same melodic power, but it is lifted by Farrell’s surprisingly versatile voice, ranging from Leonard Cohen-esque guttural rumblings to suave, early Jim Morrison-styled smooth talk.

Speaking of Morrison, he appears on the eeriest song of the album, ‘Woman In The Window’, an unused Jimbo vocal resurfaces over 35 years later to haunt us. Playing like a long-lost coda from the 60’s, Morrison sings: “Just try and stop us/We’re going to love”, the retro feel strengthened with a Manzarek style organ. The combined feel of this Doors homage is ultimately more of a curiosity than anything else.

Unfortunately, Ultra Payloaded does suffer from a degree of disposability, as a few of the songs sound like they were outtakes from a late 80s album. ‘Hard Life Easy’, featuring Flea and John Frusciante from the Red Hot Chili Peppers, is uninspiring, as if they were merely going through the motions – like some sort of nostalgia trip to their late 80s selves.

As such Ultra Payloaded may not be any sort of a major artistic statement, but it’s a lot of fun. It has its cringe worthy tracks, but also enough strong ones to prevent any “Dude, just give up already” observations. Farrell’s voice continues to defy the laws of ageing, sounding almost exactly like it did 20 years ago, and it is probably his talent that hold this album of varying material together.