![]() Emerging only for the occasional single and a whole lot of post-modern remixes. After the initial burst of the “Big Wheel” album and the all covers “Berlin Tapes,” Icehouse went into cold storage. Several singles hit the Australian market, but after this point, Icehouse no longer had the worldwide distribution of Chrysalis outside of their native Australia, and more to the point, Davies now released the music on his own label, Diva Records. B-sides from this era featured some Brian Eno covers to telegraph Davies’ intentions, and they did this successfully. The sound was tough and steeped in the glam rock that Davies had cut his rock teeth on. Ware told me of a new album in 1993 that saw Davies forming a new nucleus around some younger players that had returned to a more artistically successful sound. I thought Icehouse had gone to pasture by this point, but my friend, Mr. Following the insular release of “Code Blue,” the band lineup that had stabilized around guitarist Bob Kretschmer, Andy Qunta, et. ![]()
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