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Blancmange announce a “Best Of LP” and tour

Everything Is Connected – The Best Of 1979 – 2024 released with 11 UK dates in May/June

It may come as surprise to some people that Blancmange are still a thing. As a food type it certainly seems to have disappeared in a sea of quinoa and tofu canapes. To me the very word evokes memories of smoke filled public bars, vinyl roof Ford Capris, The Sweeny on TV and your older brother daubed in Old Spice, each consigned to the litter bin of history. In stark contrast Blancmange are very real and now London Records have released a new compilation to bring you bang up to date with their best tracks, 38 to be precise with ‘Everything Is Connected: (The Best Of Blancmange 1979-2024)’ (out on London Records, 10th May 2024).

In the early ‘80s Blancmange infused the emergent synth-pop scene with oblique lyrics, wry British humour and occasionally tabla-tinged sonics, an unlikely mix which saw them soar into the Top 10 with singles such as “Living On The Ceiling”, “Blind Vision” and “Don’t Tell Me”. And since 2011’s ‘Blanc Burn’ album they’ve taken that singular style into a new century and somehow become more prolific than ever.

‘Everything Is Connected’ shows that Blancmange’s roads less travelled are just as remarkable as their big hits. While some of the songs may be new to you, their textures are familiar: primary-coloured electronics with a hidden edge, or a rain-spattered bleakness that’s somehow comforting, often delivered with blunt Northern humour. It’s like discovering new rooms in a house you thought you knew. 

Vocalist and songwriter Neil Arthur says:

“I’m really lucky to be able to make the music completely on my own terms. Within myself there are no limits, there’s a massive palette inside and I will try anything.” 

Blancmange’s history has also been shaped in unexpected ways. Neil met multi-instrumentalist Stephen Luscombe at the Harrow School of Art in 1979, and as synths weren’t readily available, they toyed with experimental homemade instruments which at least sounded vaguely like synths. Signing with London Records in February 1982 they embarked on one of the great Imperial Phases of synth pop. These were Radio One hits secretly nourished by Can and Captain Beefheart, making the band a regular fixture in the charts and on Top of The Pops, but after half a decade and ten UK hits the sheen had started to wear off. With the grandeur of the Royal Albert Hall as their backdrop, in 1986 Blancmange made the curtain call for part one of their story.

Neil and Stephen did stay in contact, often joking that they should do more stuff together one day. Eventually they realised they weren’t really joking about it, re-emerging some 25 years later with  2011’s acclaimed album ‘Blanc Burn’. Sadly Stephen left shortly after due to ill-health, but reconnecting with the spirit of Blancmange unlocked an astonishingly prolific side to Neil, resulting in seven more Blancmange albums in the space of a decade (not including the instrumental series ‘Nil By Mouth’) – excerpts from all of which feature on ‘Everything Is Connected’. In 2022 and some 40 years after the release of their debut ‘Happy Families’, Blancmange re-signed to London Records for their most recent album, ‘Private View’ (2022), happily closing a circle and showing once again, that everything is indeed connected.

Alongside the collection is the new track “Again, I Wait For The World” (released 13 March) – although “new” is, admittedly, a half-truth. Neil had first written the song with his pre-Blancmange band L360 way back in 1979. It kept nagging at him, so 45 years later he finally finished it. Oddly, parts of it sound simultaneously like they come from both 1979 and 2024, but overall it sounds like it comes from neither. With its distinctive vocals, wry wordplay and a deft blend of future-facing electronics and vintage synths it’s testament to Neil’s inimitable, enduring creativity.

‘Everything Is Connected’ is available to pre-order HERE. The 2CD and digital formats compile an extensive 38 tracks, while the ten-track vinyl makes conciseness a virtue.

Neil Arthur will follow ‘Everything Is Connected’ with a Blancmange UK headline tour which includes a London show at the Islington Assembly Hall – tickets are available HERE. In inimitable Blancmange fashion, support comes from Neil himself in one of his many other collaborative projects, The Remainder, who are completed by Finlay Shakespeare and Liam Hutton.



16th – Newcastle, Wylam Brewery

17th – Glasgow, St. Luke’s

18th – Birmingham, O2 Institute

23rd – Nottingham, Rescue Rooms

24th – Leeds, Brudenell Social Club

25th – Manchester, Academy 2

26th – Colchester, Arts Centre

31st – Bristol, Trinity


1st – London, Islington Assembly Hall

2nd – Brighton, Old Market

3rd – Southampton, 1865

Tickets on sale here:



  1. ‘Sad Day’ (original version)
  2. ‘I’ve Seen The Word’
  3. ‘God’s Kitchen’
  4. ‘Feel Me’
  5. ‘Living On The Ceiling’
  6. ‘Waves’
  7. ‘Game Above My Head’ (12” version)
  8. ‘Blind Vision’
  9. ‘That’s Love, That It Is’
  10. ‘Vishnu’
  11. ‘Don’t Tell Me’
  12. ‘The Day Before You Came’
  13. ‘What’s Your Problem’
  14. ‘Lose Your Love’
  15. ‘Why Don’t They Leave Things Alone’
  16. ‘Drive Me’
  17. ‘I’m Having A Coffee’
  18. ‘The Western’
  19. ‘Just Another Spectre’


  1. ‘The Fall’
  2. ‘Last Night (I Dreamt I Had A Job)’
  3. ‘Jack Knife’
  4. ‘What’s The Time?’
  5. ‘We Are The Chemicals’
  6. ‘Anna Dine’
  7. ‘Distant Storm’
  8. ‘I Smashed Your Phone’
  9. ‘Not A Priority’
  10. ‘Mindset’
  11. ‘This Is Bliss’
  12. ‘Clean Your House’
  13. ‘Commercial Break’
  14. ‘Some Times These’
  15. ‘Reduced Voltage’
  16. ‘Take Me’
  17. ‘Again, I Wait For The World’
  18. ‘Wish’
  19. ‘Empty Street’


Side One

  1. ‘Living On The Ceiling’
  2. ‘Waves’
  3. ‘Blind Vision’
  4. ‘Don’t Tell Me’
  5. ‘The Day Before You Came’

Side Two

  1. ‘What’s The Time?’
  2. ‘Distant Storm’
  3. ‘Mindset’
  4. ‘Reduced Voltage’
  5. ‘Some Times These

About The Author

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Andi Callen (Contributing Editor)

Original punk. Done everything there is to do in music, except run a record label! Addicted to noise and taking photographs of live music. Based on NW England, I've previously contributed to Louder Than War, MancAndi, The Punk Site, and Backseat Mafia, where I was Punk/Post Punk & Live Editor. Part of the original review team when Rocksound Magazine first started.
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