by Dan LeRoy
When they recorded the follow-up to their surprisingly successful debut, the members of Visage appeared to be dealing from a position of strength. But the dance club-fueled, style-obsessed new romantic movement that had propelled the group to success in England was already crumbling, and frontman Steve Strange had begun to take his role as the movement's figurehead a little too seriously. The Anvil, rumored to be the subject of a multi-million dollar feature film (a project that never materialized), emphasizes Strange's penchant for melancholy and melodrama. Where the band's debut undercut such pretensions with humorous tracks like the twangy &Malpaso Man,& only one tune here -- &Night Train,& with a rubbery bassline and blasts of brass backing a tongue-in-cheek tale of intrigue -- dares to take liberties with Visage's moody image. Still, with backing from the same core of post-punk all-stars (Ultravox's Midge Ure -- who co-produced the album -- and violinist Billy Currie, as well as Magazine keyboardist Dave Formula), Strange and drummer Rusty Egan sound just as good as before, and despite once again closing an album with a forgettable instrumental (&Whispers&), almost all the band's efforts on The Anvil are extremely well-crafted synth pop. Two, in fact, are essential new wave artifacts. The title track takes a despairing look around clubland, setting Strange's best-ever lyric to a grim parody of a hit in the meatmarket disco it describes; it suggests he'd become disillusioned with the scene that had spawned Visage. &The Damned Don't Cry,& meanwhile, is even better, a ghostly groove that comes closer than anyone would have thought possible to recapturing the haunted magnificence of &Fade to Grey,& the band's signature hit. [Note to collectors: The 1997 One Way reissue appends two bonus tracks to the running order. Welcome is the rocked-up remix of &We Move,& one of Visage's best singles. The dance mix of &Frequency 7,& a bleeping and buzzing electro-instrumental, is fun but nonessential.]