Anne Clark ‎– Our Darkness

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Versions (8)

Cat# Artist Title (Format) Label Cat# Country Year
INK 125 Anne Clark Our Darkness(12", Single) Ink Records INK 125 UK 1984 Sell This Version
106 967, 106 967-100 Anne Clark Our Darkness / Sleeper In Metropolis(7", Single) 10 Records, 10 Records, Red Flame, Red Flame 106 967, 106 967-100 Europe 1984 Sell This Version
601 615, 601 615-213 Anne Clark Our Darkness(12") 10 Records, 10 Records 601 615, 601 615-213 Europe 1984 Sell This Version
80221 Anne Clark Our Darkness(12", Maxi) 10 Records 80221 France 1984 Sell This Version
INK 125 Anne Clark Our Darkness(12", TP) Ink Records INK 125 UK 1984 Sell This Version
COL 664435 6 Anne Clark Our Darkness ('97 Remixes)(12") Columbia COL 664435 6 Germany 1997 Sell This Version
COL 664435 2 Anne Clark Our Darkness - Hardfloor 97 Version(CD, Maxi) Columbia COL 664435 2 Germany 1997 Sell This Version
none Anne Clark Our Darkness(12", Ltd, Promo, W/Lbl) Columbia none Germany 1997 Sell This Version

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eyqq

eyqq

April 20, 2018
referencing Our Darkness, 12", Single, INK 125
The "Hardfloor" remix is an what not now to be simply said... "Doubting all the time. Fearing all the time" - Party music!
jonarmst

jonarmst

September 27, 2016
referencing Our Darkness, 12", Single, INK 125
Heard this on a Ron Hardy mix "Live at the Music Box 1985". Classic dark New Wave electro
jancito303

jancito303

October 15, 2014
referencing Our Darkness, 12", Single, INK 125
This predates Detroit by 1 year? Say what?? Alleys of your mind or Shari Vari predate this by a good 3 years and this ain't very techno/electro anyways, so I am lost on that comment.

Anyways, the interesting thing about this single is that it sounds like what KLF later based their "What Time is Love" on. KLF later went on to complain to Frank De Wulf about copying their rip off. Talk about hypocrisy.
Alain_Patrick

Alain_Patrick

September 4, 2007
edited over 11 years ago
referencing Our Darkness / Sleeper In Metropolis, 7", Single, 106 967, 106 967-100
If there's is an exactly middle way between Synth Pop and Electro, is this one: Anne Clark's "Sleeping In Metropolis" became a standard of both genres. The line of synths are the spine of "Sleeper In Metropolis"'s futuristic aura.
The lyrics are a kind of a warning about one's accommodation in the deepness of his dreams as opposed to the harsh reality that surrounds us. It's about our fight against our insignificance - but we are "confined in the helpless safety of desires and dreams - We fight our insignificance; the harder we fight, the higher the wall(...)".

tonymasud

tonymasud

November 3, 2005
edited over 13 years ago
referencing Our Darkness ('97 Remixes), 12", COL 664435 6
That hypnotic melody and Anne's lyrical genius is one of those things that has worked for years now. When it came for the remixes in 1997, both camps went in different ways. Hardfloor went for their trademark acidic rerub while playing with the vocals and adding effects to it to enrichen the sound. Ramon & Oliver used their usual snareroll with a repeating vocalline in the breakdown to climax in a spectacular matter. Total Eclipse however kept it psychadelic and went for a dark and fast interpretation with a minimal vocal in favour for using the melody as the main drive while using the bassline to push it near the edge.
Richard_23

Richard_23

December 12, 2004
edited over 14 years ago
referencing Our Darkness, 12", Single, INK 125
Our Darkness (130 BPM) is one of those almost perfect eighties dancefloor singles: easy to mix, danceable, and just a little dark. Anne Clark's spoken word vocal style works well here.

The subtle Razormaid Mix (available elsewhere) tweaks the original to near perfection: just enough to satisfy those who don't like the sax break without annoying fans of the original.
alant1000

alant1000

April 30, 2004
referencing Our Darkness, 12", Single, INK 125
Excellent 80's punk techno / nu wave. Don't forget this is 1984 and predates Detroit by 1 year. Listen to it now, and if still feels modern. Sad punkish lyrics about splitting up, reflects the scene of the lost and troubled youth in England during the early 80's. Still played today by the likes of Derrick may and considered a nu-wave classic. Shame about the sax in the second half of the record tho..