Queer

"Queer" is the eighth and final studio album by the British pop group Thompson Twins, released in 1991 by Warner Bros. It followed their previous album, Big Trash, which had only moderate success despite producing the Top 30 hit "Sugar Daddy."

Before Queer, band members Tom Bailey and engineer Keith Fernley experimented with dance music under the name "Feedback Max." Their track "Come Inside" gained popularity among DJs but, when released officially as a Thompson Twins single, it stalled at number 56 on the UK Singles Chart, leading to the cancellation of the British release of Queer.

The album was released in the United States and Germany in September 1991, with Warner Bros. employing a unique marketing strategy. Pre-release singles were sent to radio stations under a mystery format, simply labeled "Come Inside" with a question mark for the artist name. While it performed well on Billboard's dance charts and in gay clubs, the subsequent singles "Groove On" and "The Saint" did not achieve significant success.

In 1992, the band contributed to the Cool World soundtrack with "Play With Me," a remix of Queer's "Strange Jane," which was also released as a single but failed to make a substantial impact in the UK.

After Queer, the band rebranded as Babble, delving deeper into electronica with two more albums: The Stone and Ether.

The album Queer by Thompson Twins was recorded at their Sugar Shack Studio in London over a seven-month period starting in the summer of 1990. The title and title track were suggested by Tom Bailey as a way to make a statement, drawing inspiration from Edith Sitwell's ode "Waltz." Despite some objections from their record label, Bailey welcomed the controversy, viewing it as refreshing.

In a 1991 interview with The Advocate, Bailey articulated the meaning behind the title, emphasizing that it was about reclaiming the word "queer" and challenging societal norms. He noted that it transcended its typical association with sexuality, viewing it instead as a symbol of freedom and a political statement.

The album aimed to break away from what Bailey considered "safe pop music." The lead single, "Come Inside," explores themes of intimacy and connection, drawing inspiration from William Blake’s poem "The Doors of Deception." Bailey described the song as a metaphor for both physical and emotional openness, critiquing how people are often hesitant to explore new ideas while being more willing to engage physically.

The official press kit for Queer described the album as a "dazzling exercise" that defies traditional pop conventions, offering listeners a rich tapestry of themes and sounds. It promised a magical experience for those seeking depth beyond surface-level explanations.