Album Description

Reissue of Scottish new wave act's seminal 1982 release. Includes the tracks 'Love Hangover' and '18 Carat Love Affair'.2000 release.Standard jewel case. ... Read more

Reviews (7)

The number one album in heaven!
Growing up in the 1980s, a much derided decade, I've always been an advocate of pop: it's not a dirty word! & the early 1980s, post-Abba/post-Bowie/post-Chic/post-Moroder/post-Roxy, was an era when pop was at its most inventive. From ABC's The Lexicon of Love to Scritti Politti's The Sweetest Girl, from Cabaret Voltaire's Red Mecca to Simple Minds' New Gold Dream, from The Human League's Dare! to Prince's Controversy etc- this was an era of wild abandon alluded to on the recent compilation 'Death Disco'. Associates' Sulk is probably the masterpiece of the era, an album that on one hand was perfect pop, and on the other wildly experimental. This is the album that just edges out other contenders for greatest album of the era- Sorry for Laughing, The Correct Use of Soap, A Kiss in the Dreamhouse, Avalon, Climate of Hunter, New Gold Dream...

This reissue is as wonderful as it could be- as with The Affectionate Punch (1980), later versions of this were altered/remodelled (White Car in Germany turned up & Nude Spoons was nixed). This version, overseen by Michael Dempsey (an Associate himself, as well as the original bassist in The Cure)is wonderfully remastered, presents the album in its original 10-track format (which is how it was designed- imagine messing with the order of Pet Sounds or Sgt Pepper!) and now with 7-bonus tracks from the era. In addition, there are full-length versions of songs like Club Country (not quite the 12" version, but longer than the original vinyl issue) & the Diana Ross-cover Love Hangover is longer than the version on the 18 Carat Love Affair/Love Hangover single or the take found on 1990's Popera-compilation...

The late Billy Mackenzie with partner Alan Rankine were the main creative core of Associates & composed the majority of the material here (Dempsey co-wrote Skipping with them). They advance on The Affectionate Punch and the era collected on Fourth Drawer Down (1981), which saw them hit alien-pop abandon with songs like Fearless and White Car in Germany (not to forget their hard to find cover of Kites- an obscurity that has sadly not turned up on any reissues thus far & the song that predicts the sound of Sulk).

Sulk sounds like nothing else, it's one of those perfect albums like The Marble Index, Star Sailor, Swordfishtrombones, Tilt, and Trout Mask Replica that sounds like nothing else on earth. The kind of album that makes people listen and go, "What is that?"- Sulk is a record I've played people reared on Bjork, Radiohead, & Suede & blown their minds with. The Bowie-Eno-Roxy-Sparks influences are here, but taken much further by Mackenzie/Rankine, Dempsey, drummer John Murphy, keyboardist/vocalist Martha Ladly and co-producer Mike Hedges- whose 'wall of sound' tops even The Banshees'Dreamhouse. This is an album that rivals Pet Sounds and Smile for ambition, arrangement, and production...

The first five-tracks are seen as the dark half, opening with instrumental Arrogance Gave Him Up (which like bonus-cut And Then I Read a Book was the kind of song they experimented with on the two-volume BBC sessions)- which with closing instrumental nothinginsomethingparticular gives the album a circular feel. Arrogance...is pristine-pop and eons more adventerous that New Order at the time- New Order at least in the UK being revered as the pioneers (sometimes the sole pioneers- which is an overstatement). The first song proper No opens with washes of thunder & then a semi-classical piano refrain and a potent, all consuming ambience that makes me think of Michael Nyman. Mackenzie's lyrics are both oblique & poetic,"Tore my hair out by the roots, planted them in someone's garden...Tearing facial masks in bed, what kind of sequel is this that you dread?." Arguably some of Mackenzie's lyrics can be seen to predict his tragic suicide- No's "Shaved and cut myself again, should have let it slip down further", or Partyfearstwo opening&closing lines, "I'll have a shower and then phone my brother up, within the hour I'll smash another cup." A deeper melancholy lies there...

Bapdelabap and Nude Spoons were both songs cut from later versions of Sulk, here they provide the angular side of the darker half & rival Magazine's The Correct Use of Soap. Bap De La Bap is strange sideways stuff, trance-like rhythms and more oblique lyrics, "Vasco de Gama only voyaged with intent to stare...A labrador sits on a bed with its tsetse tied." The key word regarding Sulk, both lyrically and musically, is ABANDON. A brilliant cover of Gloomy Sunday (a song associated with death, suicide, & tragedy) takes us into the dark and lays the ground for the manic-meltdown of Nude Spoons. This sees Rankine explore manic-guitar and a sound advancing on the hoover-inflections found in 81's Kitchen Person & has Mackenzie's potent vocals drift into mania declaring,"I'm glad this vital heart attack/It clears psoriasis...It lies there canistered for future reference...It lies there canistered with nude spoons euphoria." A key element of pop remains the ability for something to sound alien, but kind of make sense- I haven't got a clue what Nude Spoons is about: which is fantastic and shows Mackenzie was a fabulist who should have been filed between Don Van Vliet & David Lynch. I like not understanding...

The second half of Sulk lets the light back in, Skipping is a gorgeous song that balances funk with melancholy and looks beyond the bleak stuff, "doors lead to other doors, roads lead to other roads- they're simple, they just happen..." It's Better This Way (revisited with a lone guitar & vocal on bonus track The Room We Sat in Before)offers resigned drama, a Banshees/Magazine-sound and a vocal that sounds like Scott Walker colliding with Bjork colliding with...something heavenly!

Next up come the two UK hit singles Partyfearstwo and Club Country, both of which had legendary appearances on Top of the Pops, the former opens with Eno-like ambience before that sublime piano-refrain comes in. Billy's operatic vocals are mindblowing here, especially towards the end as they shift into backing vocals that sound spectral and Spectoral at the same time. Club Country is even better, a more alien-Haircut 100, with an opening sound that predicts the opening of New Order's Fine Time. Like Was(Not Was), Gang of Four circa I Love a Man in Uniform and early Heaven 17, Club Country is a major dance-track- hypnotic and mutant disco at its finest. It even has a moment that sees Billy kind of rap ("sad to see that you're suffering- work hard at being a something"). Rankine's rapid guitar has to be heard to be believed, a post-amphetamine/post-punk take on Nile Rodgers. Club Country is the climax and nothinginsomethingparticular is the end of credits...

nothing... returns in the bonus tracks, retitled as 18 Carat Love Affair and now a killer pop-song with hooks aplenty; its flipside Love Hangover is great fun, though personally I prefer the original! Tracks like Grecian 2000 and Ulcragyceptmol are more alien and experimental; the best bonus track remains Australia (which is actually track 16 and not 15) which is as great as any of Sulk-proper...

Simply put, Sulk is the number one album in heaven!

Excellent remastering.
Others below expound eloquently on the music, so this is just a quick thumbs-up for Michael Dempsey's excellent remastering of the original material which I remember well first time round sounding so muddy that it did take some of the gloss off. Finally the band's brilliance comes through clear as crystal. '18 Carat Love Affair' now shines and sparkles like a diamond, which is very welcome as it's one of the all-time great (if still unsung) pop masterpieces - unlike so much 80's music, Rankine & MacKenzie are beginning to sound distinctly timeless.

Romanticism Avant Garde
"Sulk" is definitely the Associates' finest hour and a stake through the hearts of bands like Human League,A Flock of Seagulls or even Depeche Mode,proving that synth pop could indeed be complex.
This album is,in a nutshell,the album of all excesses.Rankine squeezed in 3 minute songs every electronic effect he got his hands to,creating an organized chaos of extreme beauty.The intricate world built by Rankine found a perfect match in MacKenzie's outworldly voice:part operatic,part Scott Walker,part Bowie(which hinted at the 90's grandiloquence of Brett Anderson,to give one example).
The Associates,though,were't all sonic experiments and obscure intentions("No"),they also created breezy,uplifting pop songs like "Party Fears Two"or the best track on the album "Club Country"(this one has a black heart though).
A synth pop benchmark.

File next to your 'Lexicon of Love'.
The Associates are usually shelved with the more experimental side of New Romanticism , and there is certainly an exotic swagger here reminiscent of an earnest ABC. But a track like 'No', in which a chilling, industrial expansiveness of sound conflicts with rigorously concentrated rhythmic form, is more reminiscent of Joy Division; there is a use of electronics, percussion, dark melodic colour, studied gloom, and a bursting pop sensibility that sounds more like New Order than New Order themselves did at the time. Mostly, it is 'Heroes'-era Bowie who presides over this austere carnival.

Much of the Associates' brilliance arises from the startling production, made up of all manner of found sounds and hubristic overdubbing, resulting in an impersonal, sculptural or plastic quality Kraftwerk might have envied. But one should insist on the sheer pop joy of a song like 'Club Country' or bonus track '18 Carat Love Affair', which is less New Romantic, than simply romantic. Among the enrapturing bonuses is a heartstopping acoustic version of 'It's Better This Way', pointing to the Manic Street Preachers in its thorny beauty.

I'll have a shower, and then write a review up
Why didn't The Associates make it? They were spot on as far as I can tell. Billy Mackenzies vocal range is increadible, really stunning. The tracks are all well produced, and the CD reproduces this a ton better than my fading vinyl album. My wife and I were listening to it, and trying to think who they reminded us of. Eventually we hit on Echo and The Bunneymen, with Ian Mculloch being a scouse Billy.

If you like your 80s pop, you'll like Sulk. My fave tracks are Party Fears Two (is he spitting at the end of this?) and Country Club.

RIP Billy. Here is one fan who will enjoy meeting you at the end of the CD! ... Read more

Amazon.com

Saint Etienne have unbelievable musical cred. Indie-poppers love them for covering the Field Mice's twee classic "Kiss and Make Up" and rediscovering the reclusive '80s girl group the Dolly Mixture. Electroniacs dig them for being early movers in the disco revival. Everybody else loves them for being our generation's ABBA. But it wasn't enough--they wanted to cash in on the Northwest grunge scene by signing to Sub Pop! Fear not. Good Humor is a far cry from grunge. It is the cleanest, lightest, loveliest confection to grace any American label in ages, let alone the heavy, crunchy one. Longtime Saint Etienne fans will notice the clean focus of the electronic arrangements on Good Humor as well as the fancy horn section and the amazing, woozy bass playing of their Swedish producer, Tore Johansson. Haul this record out to bring back your favorite summer day or when you're wishing life were like a Mentos commercial. --Lois Maffeo ... Read more

Reviews (45)

The Best Saint Etienne CD
This album seems quite different from other Saint Etienne albums in two ways. First, there are no instrumentals or odd "experiment"-like tracks. Instead, ther are 11 pop songs, everyone of which would make a good single. Second, there are less electronic samples and rythyms. Only the first track "Wood Cabin" sounds at all electronic to me. The single "Sylvie" is a great disco sounding song with a beautiful piano intro. "Mr. Donut" is a very pretty slow song. "Goodnight Jack" is also one of my favorites, with a cool ending part, "...She's going to run..." that is different musically from the rest of the song. Overall, this is my favorite Saint Etienne album; I even like it better than the "Too Young To Die" singles collection. However, now for the bad news. Do not, I repeat, do not buy this CD with out the extra CD "Fairfax High". This contains 11 more tracks that are all great too. In fact, I would go so far as to say that I like the extra CD even better than the great regular album. So, do what you have to do to find the out of print two disc version, and pay what you have to pay to get it . Good luck; I'm not selling my copy.

Saint Etienne's Best (in my opinion)
This is a wonderful album. I bought it after watching the video for Paul van Dyk's "The Riddle (Tell Me Why)" and I haven't regretted the decision at all. Being a super Cardigans fan (comparing Etienne to the Cardigans works well since they share a pretty similar likeness stylistically-bubble gum retro pop), I jumped on getting this album. Out of all the albums of Saint Etienne's that I've heard thus far, this one sounds most like the Cardigans Life CD (which I consider their best). Bright soothing retro pop fills this excellent effort, which I feel is one of the best CDs in my collection. Etienne took some of the experimentation out of their music that their earlier albums are known for (and their later albums for that matter) and instead focused solely on the song writing, which I think shines through quite nicely on this disk. Songs like "Sylvie," "Been So Long," "Erica America" and "The Bad Photographer" fill me with instant unadulterated joy whenever I hear them. There is not a lousy track on here, which I can't fully say about some of their other albums (no matter how good the rest of the tracks were). I recommend getting all the Etienne albums, but I'd start and end with this one, because it is just that good. Complex, yet simple; soothing, yet uplifting; brilliant in just about every way. There is definitely something good going on here. There is a mood and theme running through the disc that makes it live up to its name: "Good Humor". It seems they had a good humor while making it and you'll have a good humor when listening to it. Enjoy!

Put yourself in the best of humour!
This is truly a charming, refereshing album, meant for you to soak up the enjoyment.
All though it is by no means a "heavy" album, the lyrics do not insult your intelligence, and are especially thoughtful in the last song.
Each song has a memorable melody and spiffy, sort of 60s-sounding arrangement.

Fans of the Cardigans earlier work should certainly fall for this album as have I!

Treat yourself today :]

Saint Etienne - a breath of fresh air
Everytime I listen to this CD it takes me away. They just deliver a certain, happy, goodness feeling - with Sarah's smooth voice.
'Sylvie' is my favorite track - which by the way offers great remixes too.
If this is your first Saint Etienne CD, I don't think it gives you a full picture of the musical talents - I'd probably suggest 'Tiger Bay' as a first Saint Etienne CD purchase...but if you like 'Tiger Bay' then you will love 'Good Humor'

Best SE effort to date
Good Humor narrowly beats out Fox Base Alpha as SE's best effort to date. I have the two CD release and tend to view the album as a single 80 minute song that happens to be split into 22 tracks.

The trademark SE nostalgia/melancholy sound is pleasing throughout. SC's vocals are exceptional as evidenced by the fact that, though I have listened to the album countless times, I find that I know few of the lyrics because the vocals blend so seamlessly with the rest of the sound that they function more as another instrumental layer than as words on top of music.

If you are a long-time SE fan then you undoubtedly own the two disc version of this one already.

If you are new to SE, Good Humor is an excellent first album to try to see if you like the sound - with the caveat that, when you discover that you do like the sound, you will want to find a copy of the two disc version before long. ... Read more

Reviews (6)

Answer to the Question
The name of the song is O.B.E. which stands for Out of Body Experience. It is a sample of Precious Things by Tori Amos. You can find the song on Urbal Beats vol. 1

As far as the album is concerned there are some great songs and some blah songs. I find Track 2 and 3 to be excellent.

i have a question for you rabbit in the moon fans........
could someone please tell me the tittle of the song and album that the song that has all three letter words in it is called?

More great remixes from the Florida based act
A wider selection of groups and acts to be remixed than the previous volume which tended to concentrate more on other electronic artists work.

Top tracks are remixes of Garbage's 'Milk' turning it into a techno groover, and the great remix of Banco de Gaia's 'Drunk as a Monk', which is transformed into a breakbeat techno piece.

A very good addition to your electronic and dance music collection.

Kick buttock cd!!!!
Rabbit in the Moon kicks buttock. I first heard their music at the same time I saw their live show -both blew me away!! Their sound is truely unique. It is it's own genre of music. I was amazed by their blend of sound - ambient and peaceful, but dark and powerful at the same time. I would not call it trance, but it puts you in one. While watching them they threw out this cd and hit me in the face with it- literally. Soon after that i listened to it and it hit me again with it's infectious blend of beats and sounds. Highly recommended!! SEE THEM LIVE!!!!!!!!!!

Remixes bring old into new
This cd is a great retrospect of others music - with that patent R.I.T.M. style. It takes you along a great trance-dream journey. A must for the techno collection. This band is one to watch in the new millenium.

And you should see thier stage show - nothing typical about this. See a rare R.I.T.M. performance when or where ever you can. True visonaries.

(They might be performing at Utlra-beach fest in Miami in early March. The concert was on the sand in Miami Beach last year with 20 other artists...sponsored by MTV. Come on down) ... Read more

Reviews (15)

Accomplishments And The Rites of Three
After finding myself ensnared by the mastery of Failure and the depths of the sorrow it conveyed, I wasn't quite certain that a new Assemblage 23 album could measure up to the high standard its former namesake set. When I purchased it, however, I opted to keep an open mind and let those high hopes reside with me because Contempt had been great before Failure had eclipsed it. Anyhow, after receiving my disc and greedily lapped up song after tasty song, I saw my concern was all for naught because, it was still a successful outing that could hold its own with many of the works available.

Many people can be cited as saying that this isn't another Failure, insinuating that that was a mark against its triumph when, in fact, I would stray against that opinion. In fact, I would say that Tom Shear's newest attempt is argumentably in league with his last two releases, with songs reflecting the duality of emotion and the multifunctional aspects of that organ called a heart, drifting through sorrowful plateaus and seething forests of words that seem to encompass the human condition. Beginning with "Opened," an almost prophetic response about the rights of perception and being victimized by sight, and winding into "Drive," an emotional proclamation that douses reasoning into the sorrowful plights that sometimes find us chasing demons away behind the wheel, it is apparent that we once again find ourselves on that emotive freight train that Shear so masterfully constructs. Furthering this is the lyrical craftsmanship lent to songs like Cocoon and Lullaby, two of his more memorably polished vocal outings, and in the proclamation that he is leaving behind a legacy with his works in the song Document.

While I would recommend any of Assemblage 23's works to the listening masses and would hope that the memorization that quality craftsmanship induces would be allowed to lurk into your mind, I also understand that there are oceans of opinions out here holding up all sorts of ill-advised banners. So, if you still doubt whether you would like it, see what is available to listen to here or see what Metropolis has for your previewing pleasure. It will not disappoint.

Not as successful as Failure!
Call me morbid, but I do not like normal techno on the account that it is too happy. Tom Shear's Assemblage 23 project is not usually called happy, primarily because its best album was about suicide. Failure, the previous album, mixed moderately hard beats with much foreboding and quite dramatic synth work, creating a feel of "Depeche Mode minus the Prozac". However, even though Defiance manages to show musical mastery of the electronic medium, it manages to be so damn happy that it is hard to tell that it is Tom Shears work.

Industrial Dance Music (aka EBM) is basically a mixture of Industrial and Synthpop. Defiance is heavily based upon the synthpop from its synthesizers, and neglects (for the most part), the beats and hardness of its Industrial side. As a result, it feels quite similar to recent Apoptygma Berzerk, and not an angsty depression-fest like the previous album.

Even though it isnt sufficiently Industrial for my taste, I will concede that the synthwork is as good as Failure, and just as beautiful. However, the happier feel of Defiance seems to negate much of the foreboding mood generated by Failure. However, it is certainly not all bad, in fact there are some utterly brilliant tracks, these being Document, and Drive, each of these managing to be as good as Failure's tracks, and almost as dark in mood.

Overall, if you found Failure too angsty then this album will work for you, but on a musical level, it isnt as powerful nor moody. 3 1/2 stars

uplifting?
is it just me or is this quite a step towards positive, as compared to the depressive contempt and failure? i actually like this cd the best out of all 3 albums. he voice seems to have finally lifted and doesnt sound so much like a robot anymore!

EBM = Dance music for the simple minded
I'm sorry, I don't mean to offend anybody, but to say that the best Artists that EBM has to offer are 2-Dimentional would be giving them too much credit. I thought I saw a wee bit of hope in Assemblage 23's Failure, but then he came out with this garbage. Failure would be a better suited title for this album...
If anyone is interested in listening to Intelligent Dance music filled with Depth and Emotion, I highly suggest looking into PsyTrance (often referred to as the next evolutionary step from EBM/Industrial)... The debut album from Eskimo would be a good start.

awsome
this was one hell of a good cd!! ... Read more

Reviews (6)

Groovy Train
Hadn't heard this for a long time, till I picked it up in a used CD bin for a buck. Wow this record has aged well, great grooves splashed with dancehall, reggae and more. And with Ryder's unmistakeable vocals layered on top of everything...get on this groovy train, you don't need a ticket...

Stop being a menace
Pretty much a Happy Mondays continuation, but less frantic. 'Straight' was a big hit in the UK, and is a surprisingly successful album, mixing bizarre stream-of-consciousness narration with indie beats, a bit like The Fall but happier. It came out at the heigh of britpop and helped soundtrack the summer of '95, with 'Reverend Black Grape', 'In the Name of the Father' and 'Kellys Heroes' getting masses of airplay on the briefly funkified Radio One. They're all fun singles - lots of beats and guitars and samples with Shaun Ryder over the top and Bez probably dancing somewhere in the studio - and the rest of the album is just as well-crafted. 'A big day in the north' is an atmospheric sort-of-ballad, 'Tramazi Party' is a shout-along terrace-anthem that never was, and it peters out towards the end but is still good fun.

It shouldn't really work, but it does - Ryder can't sing in a conventional sense, he has a vocal range of one wobbly semitone, but his semi-rapping, semi-whining voice is amazingly soulful, and whilst dancer and hanger-on Bez doesn't even appear on the record his vibe seem to exude forth from the speakers. The production is deviously clever, putting the above into a professional framework, and it's basically the Happy Mondays, but more modern.

Best of all, 'Kelly's Heroes' contains the all-time classic lyric 'Jesus was a black man, no, Jesus was Batman, no no no - that was Bruce Wayne!'. And a completely incomprehensible chorus.

Simply superb
'Its great...' is a stupendously good album that swaggers jauntily out of your stereo and infests your house with a sleazy, addled vibe. Like all things nasty, you know its not really good for you but you just can't help reaching for the volume control. Number eleven is the setting of choice.

Its as if the Happy Mondays had never split up only the music is slicker and more precise and provides a marvellous backdrop for the wailing, pestering rhyming of Shaun Ryder's nonsense lyrics, undercut with a velvety delivery provided by Kermit. The album fuses heavy beats with a large dollop of funk, wailing guitars and throbbing baselines and, there is no other way of putting this, positively oozes out of your speakers.

The closest reference point is Pills, Thrills & Bellyaches by the Happy Mondays but 'Its great...' takes the next step with a crafted and polished version of the Mondays mayhem that is all the more amazing for Ryder's long absence from any recording studio.

Don't hesitate one second more - this one is worth your hard earned cash.

Original and Brilliant
This is easily one of the best CD's I own...this music is just so amazing! Nothing comes close to Big Day In The North, In The Name Of The Father.....BUY IT NOW!!!!

Class
It's the best album I've ever heard:it's beyond reproach. Nothing (NOTHING) has come near to equalling "Reverend Black Grape". Unstoppable. ... Read more

Amazon.com

The glue that sealed the disparate parts of 1997's Polydistortion is considerably less binding on Gus Gus's second album. This Is Normal comes on like a mix tape of dreamy digitalia, deceptively flip Europop, and jazzy house tracks. Iceland's favorite nine-member arts collective is no doubt digging the confusion. Of the album's 11 tracks, 8 are commandeered by Daniel Agust's wondrous voice, which is boyishly strident and ethereal by turns. On "Ladyshave," the Kula Shaker-esque single, he enacts a seduction scene, enticing a lover (himself?) into the shower, only to lose his identity in the process. The succinct vocals of "Bambi" carefully twin the song's chamber-pop reserve, creating an impression of sublime ardency in the process. In comparison, the three cuts sung by Hafdis Huld are less immersing, but the trip-hop soundscapes of "Teenage Sensation" and "Blue Mug" provide a lush framework for her elegant phrasings. For the band's more dance-oriented fan base, "Very Important People" has the sheen of a sun-splashed Funky Green Dogs track. The album's inevitable remixes should kick its remarkable, if somewhat buried, grooves to the fore. Gus Gus is a complex, contradictory project. At its best, This Is Normal gives a glimpse of the blue flame locked inside its glossy northern soul. --Steve Lafreniere ... Read more

Reviews (28)

This Is Good
One of the most interesting bands of late nineties` electronica, Gus Gus are also one of the most underappreciated. That`s unfortunate, since "This Is Normal", their sophomore album, stands out as a terrific piece of pop, house, techno, trip-hop, jazz, ambient, electro and club music.

It`s a diverse and gripping effort, presenting intriguing and complex soundscapes that quickly become addictive. The band has both male and female voices, which are used to great effect and contrast well with the moody, icy and cold atmosphere of the record. The lyrics are ambiguous, making an interesting combination with the feel of strangeness and weirdness that most of the songs evoke.

As one can guess by the excellent cover, "This Is Normal" is a futuristic, lush, experimental and seductive album, containing great moments like the offbeat electropop in "Starlovers", the subtle soundscapes in "Blue Mug", the delicate and smooth melodies in "Bambi" or the dark and claustrophobic ambiance in "Snoozer".

This is a consistent, well-crafted and innovative release, way better than its disappointing and more commercial follow-up "Attention". It`s also a proof than there`s more to find in Iceland than the overrated Bjork and Sigur Ros.
Highly Recommended.

Yeah, it's Euro......but so what?
_This is Normal_ comes across much different than gusGus's first release, 1997's _Polydistortion_. For one, it's a lot less experimental and idiosyncratic, relying instead on ultra-slick kicking production and groovy songs, and yet manages to remain characteristically gusGus. That a band could produce Europop and manage not to be utterly commercial and derivative is a miracle.

Highlights are "Ladyshave," which is finding itself ubiquitous in car commericals (although they never include the lyrics in the commercials, listen and immediately find out why), "VIP," which is another of Magnus Jonson's high-pitched 70's flashbacks, and "Bambi," in which Daniel Agust is accompanied by the strings of the Icelandic Symphony Orchestra in a heartfelt love song. These are but the best tracks, the others are for the most part fantastic. The only reason this album gets four stars from me is due to the disappointing "Blue Mug," in which gus Gus could have done much better.

A bit better than Normal
This is a great CD with some upbeat pop tracks (Ladyshave, Starlovers), tripy stuff (Teenage Sensation), sort of funk (Blue Mug, Love vs Hate) and two very beautiful songs, Bambi and Dominique. Bambi has echoes of Morcheeba's "Rome Wasn't Built In A Day" but this is a more subtle song. This CD will never go down as one of the great albums of all time but it is a little piece of buried treasure worth unearthing.

Difficult second album test passed
Normal for Gus Gus is very weird for us. But that only helps the music. From songs like 'Ladyshave' you can hear the group have lost none of their touch since their last album, 'Polydistortion'.

A much more complex album in comparison to the often barren soundscape of 'Polydistortion', this album however does lack some consistency when you compare it to its predecessor. Nonetheless, a good follow up.

What is the capitol of Iceland, Alex?
I only know of two bands from Iceland. The other one is
Sigur Ros. I can't say how I like them compared to Gus Gus,
as I've been avoiding them, even though I keep hearing how
great they are.
Then I remembered Gus Gus, and how this cd was virtually a
permanent part of my car for the better part of a month.
Parking brake off, no cars coming, Gus Gus playing, now we can go.
The quality of This Is Normal could inspire me to buy an album
with an alienfetusangel on the cover. That's the highest praise I can give. ... Read more

Reviews (13)

Good For A Few Songs
This album is alright, although its certainly nothing great or ground-breaking. The first half especially is bland and sounds like the lesser material that was released in the late 80's/early 90's era. Then the second half kicks off with the hit single "Unbelievable" which is of course the song that made us buy this album in the first place. The next few songs aren't quite so catchy in comparison, but they offer up some pretty nice synth chords delivered in accordance to the mid-tempo dance beat that resonates throughout most of this release. Now the last song, "Longtime" is nothing short of a hidden gem. It took me a few listenings to discover it, but now I like it much better than the famous, yet overplayed aforementioned hit. This song has the best sounding vocals and an excellent synth hook! If you're willing to buy a rather sub-par album for a few really great songs, be sure to listen for it!

Pump the volume, sing... and daaaaanceeeee!!!
I have this cd for nearly 10 years and I still enjoy it as much as the very first day I heard the hit Unbelievable. It's a refreshing music, it makes you feel happy inside and you can only think in singing and dancing! Following albums, Stigma and Cha Cha Cha are really desapointing, both far away of this first album, definitely my favorite of the decade in pop music. Did you see them live at those days? wowww!!!

you'll dance to anything
This is the soudtrack to a 1991 short film of a 19 year old drunk sorority pledge puking in the restroom of a 7-eleven on her walk back to the dorm.

Eh, mostly forgettable
I've never had any crushing biases against flash-in-the-pan dance sensations, but unfortunately, there's usually a good reason they don't last. Such is the case with EMF. The songs are bland as heck, the singer doesn't have any range (okay for one dance megahit, anathema for an entire album), and in all, this album comes across as a by-the-numbers potboiler. Schubert Dip tries hard to build on the success of the one hit, but the end is...well, mostly forgettable.

Eh...mostly forgettable
I've never had any crushing biases against "boy bands". It's just that...well, there's a reason most of them are flashes in the pan, and Schubert Dip is a classic example. Unbelievable, of course, is the big selling point; the rest of album is mostly bland and forgettable. There just isn't any variety or creativity here. Of course, it doesn't help that the singer has a *really* limited vocal range; okay for Unbelievable, doom for an entire album. Ultimately, Scubert Dip is a typical by-the-numbers potboiler that's...well, mostly forgettable. ... Read more

Amazon.com

You can litmus-test yourself with the name alone. If you don't appreciate the stained-glass humor of a trio of corseted female cellists warping the moniker of the Mad Monk, chances are you're going to despise the creepy, Gothic-edged sonatas on this sophomore CD, easily one of the year's most curious releases. Get the gag? Good. You're in for one hell of a strange sonic trip, with campy bandleader Melora Creager as your wisecracking guide. "Strange" as in a nimble plucking of Lesley Gore's "You Don't Own Me" chestnut. Or an intensely fiddled send up of the DeBeers jewelry commercial, "Diamond Mind," with Creager commanding: "I want that diamond!/I want that thing!/A tennis bracelet, a ring!" Elsewhere, the disc is alternately jarring ("LeechWife," "Olde HeadBoard") and gentle ("Rose K," "Herb Girls of Birkenau"). Creager's subject matter gets downright sinister at times. Where else can you hear yarns concerning the ancient medical practice of leech application? Heel to shovel, Creager digs deep into the catacombs of the surreal until you have no choice but to dig Rasputina. --Tom Lanham ... Read more

Reviews (46)

Encore!
Rasputina isn't for everyone. They weave strange tales, sometimes dark, sometimes humorous, sometimes both, with an atmospheric blend of Victorian affectations and pop music sensibilities. Their music is inspired, if somewhat uneven. Some of the songs are narrated in a deliberately stilted, Victorian schoolmarm style, or with a little girl's voice. The remaining songs are sung by the thin, high, haunting voice of Melora Creager.

Their first album, "Thanks for the Ether" had the tone of a scary tale whispered over a campfire. Although there were a couple of fast-paced, near rock songs, the album created its atmosphere through the slow, portentious sounds of the cellos.

How We Quit the Forest puts the cellos to use as rock instruments. They do this brilliantly. Personally, I find that Ether is a more consistent and haunting album. The rock cello has its limitations. However, I'm pleased that the band is moving on to new sounds, and maintaining a high level of quality throughout.

My favorites are the slower songs that might have been included on Ether - Herb Girls of Birkenau, Sign of the Zodiac, and Rose K. If you're a fan of Ether, you should get this just for those songs. The album has a couple of misses - Dwarf Star is just plain annoying, and Diamond Mind is a lame joke that goes on far too long. The more rock-inspired songs (Olde Headboard, Leechwife) are catchy and fun. I'd love to see these performed live.

Rasputina isn't just a "goth" band, but has a quirky inventiveness that can't be easily labelled. Not for the faint of heart, but another rewarding album from Rasputina

Not what I'm used to
As a more mainstream person, I generally don't listen to the off-centre bands. But Rasputina was recommended to me on a message board, and so I listened to a couple of tracks and decided I loved them. Hence I ordered 'How We Quit the Forest' (with 'Thanks for the Ether' and 'Cabin Fever' coming later). I've been listening to it, and it takes some getting used to. I'm still not sure I like 'Dwarf Star' or 'Christian Soldiers', but there are some songs on the album that are amazing. 'Signs of the Zodiac', 'Rose K.' and 'How we Quit the Forest' are probably my very favourites, with Melora's voice fitting well into every mood. The cellos are amazing. The women give them incredible range and they are lovely in some places, and a tad creepy in others. Overall, a purchase I am pleased with. Australian stores should make Rasputina more widely available.

Another great album from Rasputina
Finally, I have the second album from Rasputina. I wasn't really sure what to expect from this album having owned and listened to all of their other albums before being able to purchase this one. Having listened to it fully, I can honestly say that 'How We Quit the Forest' is a high-class, beautiful album full of wonderful songs that will make you laugh, possibly cry, dance and enjoy to the fullest.
If your a fan of 'Thanks for the Ether', Rasputina's first album, you will definitely love the softer and more flowing sounds of 'The New Zero', 'Rose K.', 'Signs of the Zodiac' and 'Herb Girls of Birkenau'.
If your a 'Cabin Fever!' fan, you will definitely love the rocking vibe that emanates from songs like 'The Olde Headboard', 'Leechwife', 'Trenchmouth' and 'Things I'm Gonna Do'. Of course Melora has included some joke songs, which are 'Dwarf Star', 'Diamond Mind' and 'Christian Soldiers'.
All of the other songs...which only amounts to 'You Don't Own Me', 'Mayfly', 'How We Quit the Forest' and 'Watch T.V.' are what I like to call pure forest. You couldn't really mix them in with any other album. They sound beautiful on their own and they fit perfectly with the feel of the album itself. They have a sort of haunted quality to them. I swear I get misty every time I hear 'Watch T.V.'. It is such a wonderfully written and played song.
On this album, Melora really explored the notion of cellos as being able to sound like a guitar in many songs. I think it really shows how the band has grown over these past few years. They continue to produce good quality music that I will always enjoy.
Here's a quick synopsis of the songs on this album.
The Olde Headboard-3 stars This song has great lyrics and a beat you can really dance to.
Leechwife-3 stars This song is the first of the 'hard-core' songs you'll find on this album. It has quirky lyrics and a great melody.
You Don't Own Me-3 1/2 stars Excellent cover of a great song.
The New Zero-4 stars This song has such a haunting melody. You can't help but fall in love with this song.
Rose K.-3 1/2 stars Such a sad song with a beautiful tune and sweet lyrics.
DwarfStar-2 1/2 stars This song makes me laugh every time I hear Melora say famous.
Signs of the Zodiac-4 stars Also a beautiful song. Another chilling melody with wonderful lyrics and an interesting topic.
Trenchmouth-4 1/2 stars I absolutely love this song. It makes me laugh and I love the lyrics. They have a sort of 'Plantation' feel to them.
Herb Girls of Birkenau-4 stars Another song that gets me teary. If you really listen to the lyrics and hear the music in your head, you can almost picture the scene. It's amazing.
Mayfly-3 stars Another silly song. It also gets me a giggling.
Christian Soldiers-2 stars The only reason I give this song 2 stars instead of three is because its so short. I think Melora really could have taken off with this song.
Things I'm Gonna Do-3 1/2 stars The lyrics alone give this song a point. They are quirky and beautiful all at the same time. And the rocking melody really makes you want to dance.
Diamond Mind-3 stars This song is a perfect insight into the mind of any woman. So enjoy.
How We Quit The Forest-4 stars Being the title song, it has a lot to live up to. But it fills the shoes of the role perfectly.
Watch T.V.-5 stars This is my favorite song on the whole album. It is soft and rocking, beautiful and quirky all at the same time. During the verses, it is a slow quiet song. But the bridge is loud and harsh while still keeping the lovely sound of the rest of the song. A perfect finish!
To sum up, this album is a perfect example of the variety of Rasputina's work and talent. A definite must for any fan or for anyone looking to become a fan.

You don't own me
I can't honestly say I am a big fan of Rasputina. Their music has always been an acquired taste. I only own "How We Quit the Forest" and "Lost & Found 2nd Edition" ep. I loved "Lost & Found" but I have never been too sure what to think of the trio's brand of chamber pop on "How We Quit the Forest" because sometimes I get the impression they play and sing off-key on purpose. The first couple of songs on the cd "The Olde Headboard" and "Leechwife" made me scratch my head. I didn't think that the guitars really had any place on those songs. Plus the girls' singing sounded off-key. Nevertheless I have heard much worse singing from the likes of Twitney Spears and Hilary Duff. Thankfully the cd gets much better after "Leechwife", beginning with "You Don't Own Me". My favorite song is "The New Zero". I thought the band sounded really tight musically on this song. It had a really nice melody. I also loved "Rose K.", another great song. I wasn't too sure about "Dwarfstar". "How We Quit the Forest" is one of those cds that have its ups and down through out the cd. Definitely not one of the most consistent cds I own but it is still a solid album. It sure beats listening to the garbage I hear on the radio nowadays.

Perfect for your collection.
Rasputina has done it again. This would be one cd you would not want your Raspy collection to be without. Their beautiful music is amazing on cd..imagen them live! They are 1,000 times better in person and really...what band can truely say that? Rasputina will always be in my heart. They are the most important musical influence in my life. A must have for any true fan! ... Read more

Reviews (13)

For a Remix EP, still not a bad job from the Boys!
I rate this album lower than some other PSB albums I own because of it's short length. The inclusion of remixes of two of their early B-sides, "In The Night" and "Paninaro" would later be included on the double collection "Alternative". They're still pretty good, and I also like the lengthy versions of "Suburbia-The Full Horror", "Opportunites", "Love Comes Quickly", and especially the Boys' classic "West End Girls". All in all, not really too bad, not as good as the "Discography" compilation, but still worlds better than the purely awful "Disco 2". But that's a story for another time...

Disco!
Pet Shop Boys is the only "electronic" band ever having managed to catch my taste.

The album »Disco« contains remixes of 6 great PSB songs. All of these long versions are great, though sometimes a bit too long because of unnecessary playing around with a specific sound or theme. The last track »West End Girls« is far too long, and you wish the album would be over halfway through that song. But especially »Opportunities« and »Paninaro« are more than worth the investment in this EP.

Disco
Disco~ Pet Shop Boys is another case where greed and the love of money starts to rule. The remixes just plain suck and there is no excuse to realese this piece(...).

Not the best.
Remix albums are rarely perfect, but this one by the Pet Shop Boys is below average. Included is the amazing Shep Pettibone remix of "Love Comes Quickly", which extends the original, emotional, beautiful italo-disco tune. But this is unnecesary if you've got the double CD version of "Please" with the PSB's own extended version of "Love Comes Quickly" as it's virtually the same as the remix. The remix of "In The Night" is nice too, with it's thumping beat and extended length, but the rest of the tracks fall short of greatness, or even being all that good.

You get the entire version of "Suburbia", which upon hearing you'll realize why the edit of it is so much more popular, and there is a reprehensible version of "West End Girls", which reduces the original masterpiece to a standard, boring, plodding dance number with weak beats.

Recoomended mostly for hardcore fans and collectors, otherwise, you'd be better off buying the double disc version of "Please" as it has many similar remixes of the same tracks, only better.

Pet Shop Boys - Remixed.
"Disco" is an album featuring remixes of singles from the duo's debut "Please," as well as the rarities "In the Night" and "Paninaro." The best of these remixes is the extended version of "Suburbia" and a re-working of their Number One hit "West End Girls." Although the album served as little more than an appetizer before the release of their second disc, "Disco" is a solid remix effort that has pleased PSB diehards over the years. ... Read more

Amazon.com

The name of Gillian Gilbert and Stephen Morris' solo project, The Other Two, is a joke about their status as the least acknowledged members of New Order. But the duo's Reprise/Qwest debut, The Other Two and You, is evidence that without Peter Hook and Bernard Sumner, the best they can produce is flaccid pop with tired techno beats. For extracurricular activity, the pair should stick to scoring Fox TV's America's Most Wanted. --Jim DeRogatis ... Read more

Reviews (9)

This album possesses an unnaturally optimistic vibe
This album resonates with an innocent, emotional, glorious shine...its a truly uplifting effort, that portrays a depth and a truth that is incredibly light, and warm...its an album constructed around a rhythm teeming with a relaxed yet suggestivve passion..it is infectious in the most subtle of ways, but a subtleness which is incredibly apparent...Gillian Gilbert has a gorgeous, tranquil voice, and just puts a smile on you're face...this is an album you want to play when life gets overwhelming, to inject you with a soothing pleasure. Will you find New Order here? No. But will you find an extension of the New Order essence? Yes. This is a direction which new order hints at and suggests in several songs (Bizarre Love Triangle, 1963, All Day Long to name a few...) a direction comprised of conveying an emotion further then it can typically be replicated...making you FEEL feelings that are difficult to feel unless they are naturally triggered..."Selfish" is a prime example of making a dent in your emotional system by merely hearing a sound coming forth from your speakers...few bands have this power, However, the album "Brighter then a thousand suns" by Killing Joke is a MUST buy for anybody that is infatuated with this "deeper" sound. The Other Two and You is a solid album, not every track is award winning, but the majority of the album is catchy and instrumentally intriguing (Don't even pay a moments notice to the CDNow review, it couldnt be more wrong), and the tracks "Tasty Fish," "Selfish, "Night Voice," "Innocence" truly make this album a worthwhile addition to you're collection.

Half good pop music, half mediocre filler
This album has some very good songs; the melodic synthesizers on the wonderful "Selfish" are irresistably catchy, and "Tasty Fish" and "Movin' On" are also quite good. Gilbert and Morris only had half an album's worth of songs though; there's a lot of filler late in the CD, pointless instrumental tracks that hardly pass as songs. If you listen til the end, at least you'll be rewarded with "Loved it", which is a pretty good piece of filler. New Order/Electronic/Monaco fans should get it, at least for the good stuff. It has an unusual combination of all synthesizers except for real drums. Worth it if you can find it used.

Come back, you Two!
The Other Two; Just a New Order side-project in most people's eyes. But even though they only put out two albums, what was contributed to their music revealed the other side of New Order that brought beautiful melodies, light-heartedness, and positive messages to the band. This album is the best one! Gillian's vocals are so pure and pretty!I think it would be really cool if The Other Two did a third album! Come on back you guys! The world needs you!!!

Some great tunes...
... but not a great album overall. Worth it to complete a collection and get a few of the great songs.

believe it or not, it's actually worth your money
Sometimes you buy cds and end up listening to one or two tracks and the rest is just blah. Well, when i bought The Other Two And You years ago, i STILL listen to the ENTIRE cd to this very day. I initially bought this for the 2 AMAZING singles "Tasty fish" and "Selfish" which were dance club staples in every San Francisco DJ's record stash circa 1995. You may not know the titles, once you hear the melody--it'll all come back to you. The crowd used to go CRAZY at "Selfish." True, the other tracks may not be as memorable, but guess what---they aren't [that bad] either. I can leave this entire cd on and listen enjoyably without rushing to hit 'fwd'. Practically every song is danceable so if you are worried about slow/ambient tracks, dont worry--it's all uptempo, fast, and electro-pulsey. Overall, i'd classify The Other Two as "New Order Lite"--actually more like OMD than anything New Order, which is the test of whether you'll like this cd.

It's still one of my most favorite cds. May not be groundbreaking now, but now in 2001 it STILL sounds fresh and modern--pretty amazing. ... Read more

Reviews (50)

Thank God they're back!
After a somewhat mediocre effort in their last self-titled album, Erasure bounces back w/ an album that is refreshing yet stays true to their roots. Erasure knows how to a write an actual song with REAL LYRICS and REAL MELODIES! How many techno bands have come and go after only a few albums due to a lack of originality and musical talent? Looking at the current scene of "Eurodance" music, most techno bands simply put together a drum machine, repetitive synthesizers, and lyrics that could have come from a drunk clubgoer @ 2am (i.e. Vengaboys "We Like to Party").

Like most Erasure albums, Cowboy gets better and better the more you listen to it. My personal favorites are "Precious" and "Save Me Darling". I've always enjoyed listening to the subtle musical writing that Erasure employs. Whether it's a synth sequence that only appears briefly in a song, or abrupt key changes ("Save Me Darling"), or the way various background instruments come together in harmony, all are classic attributes of that trademark Erasure sound.

The premiere techno-pop group of the 80s & 90s (& beyond), Erasure once again is the benchmark for which all other techno groups must measure themselves against.

An impressive return to form!
After a couple disappointing albums, it's VERY refreshing to hear the emotion and soul back in Erasure's music. From the opening notes of "Rain", you know this is a classic Erasure album unfolding before your ears. Not a bad cut out of the bunch, and the "bonus" covers of "Rapture" and "Magic Moments" are a fun way to end the disc. It's as if they went straight from 'Chorus' to 'Cowboy'! -Mike Brady

give Erasure a break... and "a little respect"
I agree that this isn't Erasure's finest album, but my gosh, it's not that bad! I've been listening to it a lot lately, in fact.

This album has some sentimental value for me. The first (and only) time I have seen Erasure live in concert was a promo tour that they did prior to the release of Cowboy, playing small venues, like Numbers in Houston. And I met a guy there that would provide my first "experience"

Anyhow, if nothing else, I think that In My Arms is one of their finest singles ever, bar none. In fact, I think that In My Arms resulted from an evolution that started with Chorus and continued with Always. Sonically, I think few other singles match its "frisson".

If you pay attention to the lyrics, you will detect a water theme that runs throughout the album. This theme starts, obviously, with Rain. On the promo tour, Andy sang Rain, and it was thrilling to hear a future single before hearing it on disc! The crowd loved it. On the studio album, Rain works beautifully in tandem with the next track, Worlds on Fire. Another reviewer described this song as a "skip over", which baffles me. It's a poignant, melodic song that reminds me a little bit of Turns the Love to Anger (from the Chorus album), not so much in how it sounds, but the message. "We are space, a lonely race, a speck of dust upon the face."

Reach Out and Touch Me, though catchy, never fully satisfies me, probably due to the male backing vocals, which do not mesh well with Andy's. Also, what bothers me is that "dum, dum-dum, dum, dum" hook that sounds like it came from the single, Stop!, just taken down an octave.

Don't Say Your Love is Killing Me has its fans, but I find it highly disappointing. It is the only Erasure Single released to date that sounds like, "Okay, let's crank out a single." Even the video that Erasure made for it was stupid.

Another pair of songs that work very well with another is Precious/Treasure. Precious sounds at first like a ship pulling into a foggy harbour, and then like a gathering storm. Lyrically and sonically, it's a very dense song, painting a vivid picture for you. This is one of those songs that you "drink" in, not just hear. Treasure does sound like a coda to Crown of Thorns. Instead of just a lazy sample, it adapts the idea behind Crown of Thorns. The lyrics are a bit confusing as to the specific message, but I think of this song as a lament about the American expansion into the Wild West. The refrain is one of the most soaring ones ever composed by Erasure, and that "Wild West" riff before the final refrain is pure genius.

As a gay man, I find "Boy" to be a little off-putting. Andy sounds very much like a bitter old queen, admonishing a lover who obviously wants a bit of "fun" on the side.

How Do You Say does sound trite and stale to me... other fans think better of it, but I don't

Things get better with Save Me Darling. I love that pulsating vibe thoughout, and the lyrics are kind of campy, and definitely catchy. It's Not Just a Love Affair is another bitter ex-lover anthem, but not so irritating as Boy. The beginning is a bit mawkish and torchy, but the hits its stride two-thirds of the way through.

The two bonus tracks leave much to be desired, just a couple of lame covers. I think the fans would have liked one or two more original tracks! Rapture isn't half-bad, but Magic Moments is just too corny to digest.

On the whole, Cowboy has enough good bits in it to satisfy you, if you are a fan or a casual listener.

Cowboy
Cowboy~ Erasure is one of their worst efforts to date. It is like they did not even try very hard. I agree with one reviwer, this is Erasure on auto-pilot and that is not very good even for Erasure.

Erasure on autopilot
Maybe I expected too much from Erasure after the back-to-back successes of "I Say I Say I Say" (1994) and "Erasure" (1995) - two brilliant yet completely different records. By comparison, "Cowboy" seems relatively uninspired. It's Erasure on autopilot, if you will.

The key components of the Erasure sound are certainly here: Andy Bell's soaring vocals and Vince Clarke's electronic wizardry. But there's a lack of variety to the material and a sense that they're playing it safe. The spark of ingenuity that marked their previous two records is missing.

There are definitely some tuneful tracks here, particularly "Rain," "Worlds on Fire," "In My Arms" and "How Can I Say." But nothing here matches the brilliance of "Sono Luminous" or "Take Me Home," or the infectiousness of "Run to the Sun" or "I Love Saturday." Some of the songs - particularly "Save Me Darling" and a treacly rendition of "Magic Moments" - are positively cringe-inducing. There's also a tepid cover of Blondie's "Rapture," a misfire that foreshadows 2003's disappointing "Other People's Songs."

Since "Cowboy" does capture the form (if not the substance) of Erasure's sound, I do recommend it to anyone who just can't get enough of the band. But if you want to hear Erasure at their best, take a pass on this one. ... Read more

Reviews (4)

If you like PiL, you'll love it
I happen to disagree with Jed, the reviewer above, but I think lots of people may agree with him. He is right about one thing, which is that it does sound like an album made in 1989, which to me is an album that crosses over between sophisticated arrangements and slightly chincey arrangements. It seems like quite a few albums did come out like that, but for me and many, the late 80's were a weak spot in the rock genre anyway. If you can put that aside, you can really start to see that this album was mixed, arranged, and written the way it should have been. I do mean that in a complimentary way. If you like the PiL vibe itself, you'll probably like this album all the way through. If you like only a couple PiL songs, you will probably only like Happy and Disappointed, maybe a few others. I do actually like Lydon's ostentatiousness, in his singing and as a person, and if you don't, then you are probably creepy anyway.

well, isn't that what friends are for?
"Disappointed", in my opinion, is one of THE BEST songs of the 80's. If you've ever had a 'friend' that messed you over, this song could be your anthem. Besides that, it just sounds wonderful. The whole CD does. I have always liked John's voice, as well as his wisdom. 9 is the only PiL we have on CD as, but we plan to get more..

A good continuation...
Though the last reveiw was extremely blasphemous... i would have to argue that though this album doesn't sound like the earlier works... neither does alternative music in these days... popular alternative music changed and PIL did an excellent job of changing with it, this album has a few newer sounds that are still good to hear and also retracts a bit in a few songs to earlier styles, this album is a good starter because if you like this one, you can choose which way to go for your next PIL purchase... if you like the newer sound, go for the newer albums, but if you appreciate the older sounds go for the earlier ones...

it grows on you
The worst thing about this 1989 album by PiL is that it sounds like an album that was made in 1989. I thought this was the most horrid piece of garbage when i bought it a few years ago used. however, many listens later i can say that while there are a few disgusting, cringe-inducing tracks on here (warrior, like that, sand castles) the other songs are actually excellent, having interesting lyrics and great musicianship. The other thing that really keeps this album (and all PiL albums, for that matter) from being perfect is john lydon's voice. Whiny, fruity, and unlistenable he is, which is funny since i think he was an excellent singer with the sex pistols. he should have stuck to the growling, yelling, and adlibing that he did so well at that time. Not a good intro to PiL. Go ahead and buy it if you have a lot of patience or if you have a taste for albums that sound like they were made in 1989. ... Read more

Amazon.com

Normally, an artist such as Bjork with a mass audience across the globe steadily eases off as the back-catalog starts to grow. However, Medulla, the fifth proper studio album from Bjork is without a doubt the most challenging collection of music she has ever released.

Amazon.com Special Content

An Interview with Björk
Björk shared her thoughts about the directions she is taking with Medulla in our Amazon.com interview.

... Read more

Reviews (8)

Matador does another one
As a follow up to the first Everything is Nice - this newest of Matador compilations features some pleasant new music to enjoy. Running the spectrum from Pavement with two quite nice songs (including an alternate version of Grounded which is, in many ways, better than the original) to the always pleasing Boards of Canada hit Roygbiv and the flash in the pan Burger/Ink - there is almost certainly something for everyone here. And with three discs for under twenty dollars, it's hard to go wrong with this purchase. I could have done without some of the Arab Strap and Bardo Pond songs - but once again, something for everyone.

A great sampler for a great price.....everything is nice...
Three CD's with some of the most interesting bands from the last decade....Pavement, of course, JSBE, Mogwai ("X-Mas Steps" great track that...try listening to this when it's raining...), Chavez, Guided by Voices, Yo La Tengo, Sleater-Kinney(who are on Matador in Europe...)and more. But it's the ones who maybe have not exploded over in these states yet that are surprising...namely, Unwound (okay, yes, so maybe they are now making a name for themselves...with a dangerously weird track with growled wordless vocals), Cat Power (both tracks awesomely sparse and haunting...), Solex (Dutch version of Pizzicato 5 maybe?), Bardo Pond (weaving and crunching guitars in a sea of noise...brilliant and groovy...)and of course, the goofy and genius Lynnfield Pioneers (shades of 60's meltdown, funk and god knows what else...). Get it-- it's cheap and it's genius.

The best indie pop in one little package
Not all of the bands included in this box set are great, but as a sampler/retrospective it works. I applaud Matador for doing something like this for the fans, when it would have been 10 times easier not to do anything at all. Even if you don't like Cat Power that much or think Mogwai are self-indulgent, it doesn't matter. You get Guitar Wolf, Modest Mouse, Bardo Pond, JSBX, Cornelius and (seemingly) hundreds of others. You can't go wrong, especially when you stop to consider that if a major label had done this it would cost you about $40. Buy it. Enjoy it. Be happy. After all, Everything is Nice.

A great compilation, a great jumping point
This is a great starter album. I had heard of about a third of the artists on here, but now I'm very interested in hearing more of some of the more obscure ones.

(I'd also like to add that, as a dancer, this is a great set to put on and improv with for a few hours)

Very Inexpensive Sampler of a Wide Variety of Music
As in the other reviews, I'll say that one of the things which attracted me was the incredibly low price. You get 3 brand new CDs for almost the price of one used. And the variety of styles and groups represented is another plus--I've read about a lot of these groups in the pages of _Alternative Press_ and _CMJ_, but this is the first time I've had a chance to hear them. There's hiphop and techno and guitar-based rock. You can't beat a deal like this! ... Read more

Reviews (16)

The pinnacle of British industrial rap
Dear God, I can't believe a band this good never got popular. "Dos Dedos Mis Amigos," PWEI's last album, is an exercise in genre-bending brilliance, sometimes furious, sometimes funky, and often both. The hard-edged sound of industrial is most prominent, but there's also an obvious hip-hop influence and some dashes of metal thrown in just for good measure. Of course, none of these qualities lend themselves to commercial success, but "Dos Dedos Mis Amigos" is easily one of the most intelligent albums I've had the pleasure of hearing in a long time. To steal a quote from Forrest Gump, this album is like a box of chocolates: you never know what you're going to get. And did I mention that they're British? For some strange reason, everything seems to sound better with a British accent.

The politically-charged opener "Ich Bin Ein Auslander," and "Fatman" are ominous in both sound and lyrical content, with aggressive raps backed by thunderous industrial beats that should have Ministry fans grinning from ear to ear. In contrast, the smooth rapping and jazzy tone of "Familus Horribilus" slow things for a more laid-back, even funky, feel. The electrified rave-up of "Cape Connection" is actually danceable, and it's nicely followed up by the dub-tinged atmospherics of the seven-minute "Menofearthereaper." On the masterful "Everything's Cool," Clint Mansell and Graham Crabb alternate their menacing voices over a dizzying musical background complete with snatches of distorted metallic riffage. The angular rhythms of the anthemic "R.S.V.P." are sure to get heads banging in no time, while "Babylon" closes out the proceedings with a quiet, though still eerie, sound.

In conclusion, all I can say is that albums don't get much better than this one. Mainstream music seems to be getting stupider by the minute, so it's really too bad these guys didn't catch on. We could use them right about now. I also recommend Ministry and Strapping Young Lad for fans of this album.

An excellent album from one of music's most unknown bands
I first read about the poppies in the August 94 edition of Rolling Stone, with Trent Reznor on the front--the same issue that mentioned a then little known band - Marilyn Manson. I didn't see PWEI until December of that year, but by then, I was hooked. From the racist put-down of Ich Bin Ein Auslander to the bust on the royal family (remember, this was 1994) Familus Horribilus, this is probably the poppies best album, an infusion of trance, hip hop, light industrial...an influence felt even today..check in used cd stores..it WILL turn up.

Well Above Average
I have not heard PWEI's other work, but from what I have heard, this is their most serious album. Ich bin ein Auslander is a great track that caught my attention on the radio a few years back. I left this CD on the bottom of a stack for some unknown reason and now I can't get it out of my CD player. Reasonably hard or more psychedelic guitar riffs tie in nicely to infectious beats on nearly every track. As noted by other reviewers, the lyrics are solid and insightful. The first two tracks are very energetic, and familus horriblus is all out funky. Underbelly and Fatman are both guitar driven and full of social commentary. Home is more tripped-out and techno but still enjoyable. Cape Connection has a very hard driven beat and would be good in a club. Meanoffearthereaper is SOOOO cool and funky -- occasional spoken word over yet another great beat, with added keyboards to keep it interesting. Everything's Cool is another rocker, and a good one at that. RSVP is my least favorite track; it really seems to be filler to me, though it is tolerable. It is more punk than the rest of the CD and doesn't fit in. The closing track is a slow ambient song that is mellowing if not outstanding. Overall, the quality contained in the first nine songs is great and the last two songs are, well, ok, but they don't detract from the rest of the album. Pertinent lyrics, combined with solid riffing, and terrific beats -- not many albums can claim that. If you can find it, GET IT IMMEDIATELY.

Some Bad With the Good
It's always worthwhile to hear boths sides of a product to fully understand what you're buying. Unless you're into a British version of classic Beastie Boy material, this CD from PWEI is the only one from the group worth buying. I say this because of 2 tracks that are near masterpieces of something that still to this day sounds incredibly fresh and hints at extremely profound yet overlooked potential from a band overlooked. Those tracks being "Kick To Kill" and "R.S.V.P." respectively. Both songs are a perfect merge of unforgettable drums with a hint of synthetic beat follow-up and scratchy guitar with studio quality, yet have a live garage band feel. Alone they make this alblum worth purchase as they serve a purpose to excite and raise deep appreciation for something never done as well since from any band in this genre: a techno, punk rock theme that doesn't date itself. Unfortunately, the rest of the alblum is benign, which is strange since it lives up to the past alblums from PWEI on dark, strange techno-rock material that bands like Nine Inch Nails were careful to avoid. They further deviate and make all the more obvious the "whoa, you were on to something" attitude you'll give after a listen of those 2 special tracks. Why they didn't delve further into the magic heard in them is anyone's guess as a few more tracks like so would of easily made this alblum out-shine and leap ahead anything NIN and Trent Reznor had at the time and still haven't seemed to utilize, but because they didn't the techno-rock merge appeal is left in the hands of bands like KMFDM, NIN, etc. whom have just slightly grazed that commercial magic and mainstream capability that "Pop Will Eat Itself" had in the palms of their hands if only for 2 lonely, overlooked tracks in time.

a dark and yet beautiful record
i saw this band open for NIN in 1994. they are amazing. the drums are the heart of this band and there are some phat beats and wicked music here. they lyrics are very dark (note to reviewer moforising: the lyrics to FATMAN are "pretty little people throw up to stay thin")
there are other lyrics i love such as "convinced by the mirror that her figure's getting bigger"(from the song underbelly) and "if they come to ethnically cleanse me, will you speak out & will you defend me? freedom of expression doesn't make it allright, trampled underfoot by the rise of the right" (from the song ich bin auslander)
now you see the tone of lyrics. it might not be your cup of tea. it is very bleak but i like that. the music is industrial but still retains a rock edge and is melodic without losing that edge. i highly reccomend this album ... Read more

Reviews (6)

My first introduction to trip hop music
Back in 1996, I was heavily into primarily dance music (house & trance) with a smidgeon of punk (not the Good Charlotte sort of garbage) and alternative music. A roommate of mine at the time worked at local radio station and brought home free cds for everyone. One of the free goodies I got was the single "Curlylocks" by Baby Fox. I loved what I heard. It was nothing that I had ever heard of at the time with its slick icy melodies, slow electronic beats, and sensual female vocals. At the time, I did not know this was trip hop music. I eventually got the group's full length cd ("Normal Family") that had "Curlylocks" on it. I recently excavated "Normal Family" from one of my many piles of cds and slipped the cd into my stereo. Baby Fox reminds me of Portishead, Motorcycle, Hooverphonic, Olive, and Telepopmusik with their slick, laid back beats and ethereal female vocals. I almost forgot why I loved this cd so much several years ago. It is truly ahead of its time before chill out music became the rage on the electronica scene today. All the songs on "Normal Family" are top-notched. I could not find one song that I didn't like. I especially love "Ladybird", "Curlylocks", "In Your Dreams", and "Alienway". It is a shame that this band was short-lived. Considering just how big chill out music is today, Baby Fox definitely could have sustained a career in music today. "Normal Family" is one of those forgotten gems that got sidetracked by the current music scene at the time. I'm glad I re-discovered Baby Fox.

A nifty and addictive little number
I first heard Baby Fox in an Ice Cream Store and my first question to the server was " Which Portisehead album is that?". Baby fox is like the dub induced love child of The Selector, Portisehead and R.L. Burnside. Heavy old school Ska, Oddly Dark and Trip Hoppy and a Slide and Drone Blues quality that all blend together to make something quite cool.
This is easily the type of CD you can put on and play all day long. Very addictive and ambient but much much more than background tunes. While it is not on my desert island list, it is indeed in heavy rotation in my play lists.

if you like LAMB
you'll probably dig this..kinda trippy-hop if you will. a decent little record.

wonderful
What can i say,i have never got tired of listening to this cd,brings back many memories for me.What can i say,probably the best album ever made.

ridiculously good
i bought this cd on a whim, cause i thought it looked pretty cool. i immediately fell in love with it--it's sexy, dark, and crazy. perfect for those late night sessions chillin' in a blacklit room with a bunch of friends . . . ... Read more

Reviews (4)

Out with a whimper...perhaps not.
The two main methods of evaluating a work of art are to either take the work as it is and judge it simply by its own merits, or, to engage in a contextual analysis, considering the work in relation to the context out of which it was produced. While the merits of the Mondays have generally opposed such a contextual critique, since not only does their work stand on its own, but also they were much more trend setters and scene builders than followers, this last album deserves such a treatment. As nearly everyone agrees, including, from what I understand Shaun Ryder himself, this is their worst album. But does that mean it is a bad album? This I cannot say for certain, although I like it enough to play it on occasion, but not as much as the previous three.

...Yes Please! is the result of a waning music scene, the over-indulgence of drugs, internal bickerings within the band itself, a misguided recording session in Barbados presumably to keep some of the members free from H but allowing them open access to booze and crack, and the choice of record producers Chris Frantz and Tina Weymouth of Talking Heads fame in lieu of Paul Oakenfold (from the Pill-n-Thrills album), who was the first choice, in order to get the album out to help salvage the struggling Factory records. In an interview with Ryder, the erstwhile Mondays headman admits that their fourth installment should have been postponed for a while, letting the members embark on a break from one another and pursue some individual projects, as well as the chance to work with Oakenfold who had captured so well what many might call the quintessential Mondays sound. This, however, was not to be, and as they say the rest is history. The resulting ...Yes Please! is the product of bad circumstances and a lack of vigor and vitality. It's sound is much more forced and contrived at times. (Add to this the fact that Ryder did not have lyrics for the songs until after their return to Britain.) Moreover, again according to Ryder, some of the members of the band were recalcitrant to the direction that Ryder wished to go, which would have been similar to the first Black Grape album. From what I understand, even some of the Black Grape songs were written during this time and could have/should have been Mondays songs.

Nevertheless, ...Yes Please! is not without its merits. Ryder is still on his mark as a lyricist, and to a large extent captures the mood of the time and portends the demise of the Mondays. The music is much more sparse than what the Mondays had done before, and at times captures the tropical holiday feel of the Caribean. (Interesting too, they recorded in Eddy Grant's studio!) Monkey in the Family and theme from Netto are two of my favorites, but others have remarked on Sunshine and Love and Stinkin Thinkin. Actually, it's fair to say that nearly all the songs are solid. What is different, however, from the other Mondays albums is the absence of any track that achieves the anthem-like status of such songs as Tart Tart, WFL, Kinky Afro, Loose Fit, Step On, and, well nearly all the tracks from Pill-n-Thrills. In short, ...Yes Please! lacks any truly memorable moments. While not a bad album, it is also not a really good album, and had it been recorded by any other band it would probably drift off into obscurity.

This is an amazing album!
This is an amazing album! It's for only the hardcore Happy Mondays fans.. like me! STINKIN THINKIN is perfect and so is NETTO!

The grooves are thick along with the beats.. the music is much more funky and disco like that previous stuff.. Too bad it's not as commercial as PILLS and THRILLS but that's kind of why I like it! "ANGEL", "DUSTMAN", "COWBOY DAVE", "LOVECHILD", "TOTAL RINGO" and "SUNSHINE AND LOVE" are all amazing! The beats are all thick and funky and Ryder is out there! ... !

boo-yah!...

PEACE! Todd E. Jones

cowboy dave always duz bad things!
i like it because the song cowboy dave rules! all the other songs get boring.

bad.........
cowboy dave is the worst song yet ... Read more

Reviews (2)

EVERYTHING THE HEAVIES TOUCH TURNS TO GOLD!!!!
WHAT COULD BE BETTER THAN A CD FULL OF BNH REMIXES??? THEY CONTINUE TO BE ONE THE MOST POWERFUL GROUPS IN THE ACID JAZZ REVOLUTION.

great remixes and some awesome new stuff too
This collection of remixed BNH hits and some new songs is great for fans of their music. Most of the remixed songs are from the Brother Sister album but with a twist that makes buying this CD worth it. The vocals of Jan Kincaid in "Keep Together" are a refreshing change from the female vocals we're used to. The new songs are great too. If you're looking for a CD you can groove to, definitely check this out. ... Read more

Album Description

Boy meets girl. Boy hurts girl. Girl makes boy pay. But she of course does so while cooing and flashing a sweet smile.Most often described as synth-pop, the music of deathgirl.com blends with the sugary, sweet vocals to create a trance-like memory of every person that did you wrong and the revenge you only wished you could have had. Often sweet, often brutal, the music and the lyrics will remain in your head forever. ... Read more

Reviews (17)

Put the CD in and Press Repeat...
This is the best CD from a New Artist I've heard in a very long time. I've temporarily abandoned listening to my musical mainstays to devour this one for awhile. It has stood the test of time after many, and I do mean MANY rotations, and I believe this too has earned a long-term spot in my CD Changer. The synth-pop beats are intricate, yet catchy. The music jams way harder live, but they come off great on CD as well. Most of all, the singer, Melissa Emily, has the look, the emotion, and the ability to translate her feelings into a heartfelt song, wether dark or lighthearted...the fact that she's hot doesn't hurt one bit either. In any event, I HIGHLY recommend this CD. Personal Pics: "Shake me Down", "Shimmer & Go", "Sliver" and "Look at Me"...hell, Like I said, Just put the CD in and press repeat, the whole thing is great! Deathgirl.com-Pop Music for Scary People!!!

Deathgirl.com.. once you hear them you will love!
I found this band on a whim, and immediately fell in love with them. They were under a "goth" label but I think its hardly that. Melissa comes up with some amazing pop songs that carry a good rock lyric. She isn't singing about flowers and candy, she's singing about people she hates "I know that I don't like you, you're so cheap.." she sings. The last track features a great rhythm and beautiful lyrics. I recommend this cd to anyone who likes a good kick in the...True it may be a bit pop sounding, but at the end of the day you'll realize this cd is worth every penny. The only track I could have done without is the first track "Daddy" it just sounds like a mess of music and vocals that really does NOT sound like ANY other song on the album. Great CD, it quickly became one of my favorites! I wish this band would have made more before they called it quits..

A good alternative buy
I've been venturing a bit with my musical purchases. I've never liked what can be found on the radio - so I rely heavily on finding one good album and then stretching myself out from there via Amazon's "other albums buyers purchased", this was one of those buys - and I'm glad I did!

This album has the darker tones that I've been into, such as Tapping the Vein, but it also is a little more upbeat in the rhythms... definitely something to bounce along to while working!

THIS IS GOOD MUSIC - THE WAY IT SHOULD BE
While the world is being destroyed by the modern Pop explosion, Deathgirl.com has come to save our ears. After a first taste one might be reminded of Garbage, one girl three guys, basicly an alternative band. But they definetly have a sound all there own. Melissa's hypnotic vocals will bring you to a trance like state. While the music will keep your body moving. One of the best bands I've ever seen live, I can't wait to see them make it big in the main stream. If you can't get to a live show, buy this CD. If you do get to a live show, buy this CD. Bottom line, BUY THIS CD!

Don't Miss Out!
This is electronic pop at its best. Although the word "pop" does not do it justice; "rock" is the better word. Imagine GARBAGE with more of an edge. For those of you within driving distance of Metro Detroit I recommend seeing them live. The rest of you should grab the CD. A major label should grab them up quick. ... Read more