What follows, is taken from the booklet of Acute’s re-release, The Lines – Memory Span covering on this post the rest of the releases of the band and hoping to boost a little the name of the band
Click here to read part 1.
“However, by the time the dust was settling on Cool Snap, the Lines were already moving on.
By 1980, like other bands of the period, the Lines were beginning to show a dub music influence.
Early and unreleased Proof and Lines material also shows that they always had an experimental impulse, drawing on the likes of Can and Faust as well as other avant-garde influences.
Their next release would show them beginning to expand their sound while perfecting their songwriting.
Nerve Pylon, released in early 1981, featured their richest production yet.
On the flipside, Over the Brow, the band fully accepts their dub influences, as the rhythm comes to the forefront, leaving guitar, forns, vocals and sound effects as atmosphere.
This would be the direction that the band would follow for the rest of their career, pairing deeply atmospheric pop songs with dubbier experiments, starting songs with rhythms and atmosphere and adding melody and structure on top instead of the other way around.
While this gave their music new layers and depth, it didn’t do much for their mass acceptance.
Their two releases, the Transit single and the Therapy LP, were recorded at the same time shortly after the release of Nerve Pylon.
During all of this recording activity, the Lines continued to perform playing with the Soft Boys, DAF, Bauhaus, Birthday Party, Theater of Hate, the Cure, 23 Skidoo, the Sound and others, including a spot at the 3rd Futurama festival.
In early 1982 they released the House of Crack/Old Town 12”.
This was followed a year later by The Lines second LP and final release, Ultramarine.
After Ultramarine, the Lines’ pace of performing and recording slowed.
Nick Cash began to play and tour more with Fad Gadget. Rico began engineering sessions at William Orbit’s Guerilla Studios while he and Jo Forty began the Lines’ final sessions.
These recordings – for what would have been the third Lines album – strow further interest now just in electronic experimentation but in electronic dance music.
After a year, the project was abandoned.
It was briefly revived in 1987 but never finished.
As the 80s continued, Jo and Mick concentrated on the visual arts.
Rico spent more time engineering, producing and mixing records, working with the Swans, Renegade Soundwave, Depeche Mode, Wire, Front 242, as well as continuing to work with his friend William Orbit eventually joining Torch Song, Orbit’s collaboration with Laurie Mayer.
In the 90’s, Nick Cash recorded two CDs with Giles Perring as Unmen; he now plays with JC and the Disciples.
Rico eventually moved into sound design work, but continues to write his own music and most recently co-produced Laurie Mayer’s 2008 CD, Black Lining.”