Given that nobody was interested in assisting his efforts to become a pop star, it was no real surprise that Paul Haig turned inwardly and that his next release proved to be experimental and as far removed from a commercial sound as could be imagined.
He was assisted by an old acquaintance, James Nice who, as a schoolboy, had founded the LTM label in Edinburgh in 1983 issuing material by bands previously associated with Factory Records. After attending university, James ended up in Brussels where he worked for Crépuscule and kept his own label going, specialising in the reissuing of long-deleted cult albums and material on the new CD format with some of the biggest sales coming via a Josef K CD compilation and the reissue of the Postcard album by the band. He was keen, however, to issue new albums from scratch and provided a home for Paul to record and release Cinematique in 1991, a wholly instrumental album of imaginary film themes.
At the same time, Crépuscule was determined to do justice to the work that had been shelved by Circa (see last week’s posting for details) and sought about finding a way to have it see the light of day.
And so, in 1993, a full four years after its completion, the album that should have been called Right On Line was released by Crépuscule as Coincidence vs Fate. A three-track CD single was also issued to help support the promotion of the album.
The lead track was on the album, and is Paul’s take on a Suicide song dating back to 1988. It’s quite unlike any other 45 in this series…..and it’s one of his best…..nothing like Josef K, nothing like his electronica period and very like something out of a David Lynch movie.
You might recall that the press release included in last week’s posting refered to the fact that Mantronik had been working with Paul on an update of one of his most dynamic old songs and at long last, it was available. It was well worth the wait.
The final instrumental(ish) track, despite being the name of the parent album, was only available via the single which just seemed to be such a Crépuscule/Haig thing to do.
Neither the album nor the single sold all that well (there’s a shock!!!) and it proved to be the end of Paul’s long relationship with Brussels. It would also mark the beginning of a very quiet period for Paul, with a full five years before any more new music appeared.