Amazon.com

Directors making strong characteristic decisions about the music in their films are, aside from being few in number, generally people who depend on a particular composer--directors like Steven Spielberg (John Williams), Steven Soderbergh (Cliff Martinez), and John Carpenter (himself). Michael Mann is that rare director for whom musical literacy has less to do with professional partnership than with a hunger for aesthetic exploration. From his days with Miami Vice, in which he spearheaded the integration of pop songs with a scene's motion, Mann has been relentlessly creative in the scoring of his work--setting producer Trevor Jones (a knowledgeable technophile) loose in The Last of the Mohicans wilderness and getting Elliot Goldenthal to blend electronic, hard-rock, and orchestral effects for a haunting score to Heat. The common theme is mood, at times profoundly spiritual, fashionably effete, or resolutely cold. These are the temperaments of Lisa Gerrard, best known for her work with the prototrance act Dead Can Dance, and her sometime partner Pieter Bourke. Their score for The Insider is a rich montage of paranoia and momentum, perfectly suited to Mann's moralistic corporate thriller. Mechanized drums flirt with ambient music while, soaring above, thick clouds of synthesized drones recall Peter Gabriel's fortunate work on the big screen. --Marc Weidenbaum ... Read more

Reviews (31)

Full Of Style And Effect.
Michael Mann is known for the exquisite style in his films, and his soundtracks. Here is another great example, following the masterful soundtrack to "Heat," of Mann showing great style not only in film composition, but musical as well. The music here by Lisa Gerrard and Pieter Bourke is brilliant, powerful, stylish and moving. The first track, "Tempest," casts it's hypnotic spell from the first note to the last. What we have here is a great use of talent with electronic music combined with orchestral. There is an intensity and suspense to the music apart from the film, which is also brilliant. "Safe From Harm" by Massive Attack is especially unique and effective. Every musical piece is done with care and brilliance. This is musical genius vibrating into life. The music here is both beautiful and dark, powerful with a certain edgyness and sadness. "The Insider" was a great movie, one of 1999's best and the one worthy of the Best Picture Oscar, and it's no wonder, considering it has this great music to back it up. I wasn't surprised at all when Gerrard and Bourke received a Golden Globe nomination for their great music here. And let's not forget the effective score contributions by Graeme Revell, especially the track "Polladino Montage." Michael Mann's work is all style and genius, both in film and soundtrack compilation. He knows what artists to get and what type of music to use. Great soundtrack, unforgettable music.

The DEAD CAN DANCE CD I always imagined in my mind
I always liked what Michael Mann was TRYING to do with images and music, but always found him lacking in such fare as "Manhunter" (scoring the climax to 'In-A-Gadda-da-Vida', and such), and pairing 80s synth and cool tunes to images by Dante Spinotti promised so much. For my money, his intent and his manifestation have finally achieved balance in this wonderful film and its accompanying soundtrack. Rallying Lisa Gerard and Pieter Bourke was a smart stroke for a movie of stylish close-ups and internal dramas. "Sacrifice" is a highlight that recalls the best moments from Dead LPs like "Labyrinth" and "Aion". The Norwegian saxophonist Jan Garbarek contributes a typically cold and dreamy edit, and while I could've lived without the concession to pop tastes with Massive Attack, it's good pop, and meshes with the rest of the score rather well. Looking for another companion to the Blade Runner score for that rainy night when existence seems so unfathomable? This is it, babe.

Heavenly
Gentle, beautiful sounds from a master composer and a vocalist from another world.

Upside of this disc is the unique combination of different types of songs and music that fit rather nicely.

Downside is much of this music is already available through other Lisa Gerrard collections.

If you are new to her sound, this is a great one to start with.

Great music, reminds me of the "Pure Moods" series
"The Insider" was an intriguing film describing the true story of Jeff Wigand and how he revealed devastating information about the tobacco company, and then how a CBS reporter named Lowell Bergman took on the fight of his career to air the story on "60 Minutes". It featured great performances by Russel Crowe and Al Pacino, and taut direction by Michael Mann, but also some very cool music too. The music added lots of tension to many scenes, although I really didn't see what the lyrics of Massive Attack's "Safe From Harm" had to do with the film's plot or theme.

However, even without the film's scenes, the music is still great. It features cool synthesizers and electronic drums for a hypnotic effect. I especially love the first track ("Tempest"), which reminds me of the scene where Russel Crowe is watching the "60 Minutes" segment while thinking of his wife and daughter. Just like the "Pure Moods" series, this music is great for listening while you read, write, draw, or study.

My only reason for the 4-star rating is that the CD cover never mentions how long the songs are, and therefore I was a little surprised to discover that "LB In Montana" and "Palladino Montage" are about 40 seconds long, while "Safe From Harm" and "Sacrifice" clock in at about 8 minutes each. But this is just a minor problem, and until a "Pure Moods IV" is made, this CD works just as well.

Cliff Martinez???
Excuse me, people. I only read about this Martinez-guy, but the film credits mention Michael Brook, and if you ask me, most of the musical contribution is from Michael Brook, who worked a lot with Brian Eno. If you like this soundtrack check out Michael Brook albums. He did some more soundtracks like ALBINO ALLIGATOR. He also did a soundtrack for a film called CAPTIVE in 1985 which is out of print. Both CDs are highly recommended if you like The Insider. Michael Brook uses mainly guitar synthesizers and if you have the chance to see him performing live go for.

And the Eno piece has been used numerous times before - see DUNE for example.

For people who like Robert Rich and dark ambient: Gaudi is awful like a marshmellow(has been mentioned above). You better check out the real stuff like "A troubled resting place" (great compilation of his best works) or Rich & B. Lustmord - Stalker.

On Steve Roach: some of his best albums in my opinion are "World's edge", "Dreamtime Return", "Well of Souls", "Desert Solitaire" and "Cavern of Sirens". Very dark and only done with guitar synthesizers is "Midnight Moon". ... Read more

Album Description

The definitive Fall anthology, this 39 track double cd spans the illustrious career of one of rock music's most important bands. Of all the late-'70s punk and post-punk bands, none are longer-lived or more prolific than The Fall. Throughout their career, the band underwent a myriad of lineup changes, but at the center of it all is vocalist Mark E. Smith. With his caustic, acerbic wit and inimitable vocal style, Smith has become a cult legend in alternative rock circles. This double cd set , at the bargain list price of $16.98, is the ultimate collection for both newcomer and veteran fan alike. "Led by acid-tounged poet Mark E. Smith, whose caustic lyrics and accented, amelodic vocals provide the Fall's primary features, the Fall has created a huge body of unique, adventurous and challenging rock.From its experimental beginnings, the Fall has continued to explore and grow stronger...the Fall has made a crucial difference in modern music."Trouser Press ... Read more

Reviews (5)

YEP.
Woah. I bought this cd a couple days ago and it just blew me away! Love the Fall! They're definitely going in my all-time favorites with Sonic Youth, Pixies, Dead Kennedys, etc. Never a dull moment. I'm really looking forward to exploring this band's music in depth...

Awesome Band
I'm not going to pretend that I would have picked the same 39 tracks for a compilation such as this, but I would have picked many of them. The Fall have been a wildly underrated band. They are massive, artistically. The best rock band you haven't heard. The kings of grunge. The best rock band of the past 27 years. A white rap phenomenon. The best at what they do. If you're thinking of checking them out via this compilation, you should.

Drowns out the kids!!!
So you're a member of the class of '77 and now you've bought into the whole middle class. You're in the car with your kids griping about something in the back. Put this CD on and all is fine. The kids can't even understand what Mark Smith is saying, and you can just get in synch with his noise and misanthropy.

The Fall may not have been among the top tier of their era's bands, but Smith deserves face for sticking it out and maintaining a singular vision without descent to self-parody or boredom. He may like repetition, as the lead-off track insists, but it doesn't preclude an interesting artistic vision that makes for a fine compilation.

And it drowns out the kids. I love them, but sometimes it's gotta be done.

How Good Is This?
Beyond measure. I think I own everything this band has ever put out (I could, of course, be wrong), but I still had to have this release. A collection chronologically arranged from the earliest moments to the glorious present where we live and breathe today. 39 tracks that will prove once and for all that under the rubric of The Fall lies a creative force that never faded or dimmed for a second. Or almost, anyway. There are those, um, oh nevermind.

If you don't know the band but have heard those of arcane yet admirable musical taste admit to having great esteem for this outfit, here is your chance to get on board. If, like me, you own a small crate of Fall CDs and you'd like to take only one or two with you on your next trip to Cincinnati to visit auntie, here's one that will help lighten your load.

Fantastic Fall compilation !#!
Their peers have all either disbanded, gone soft, or release a CD only now and then. But the mighty Fall keep on. This is a generous compilation, which spans from 1978 to 2003 and including "39 Golden Greats" - from Rowche Rumble, Prole Art Threat, and Hip Priest, to Crop- Dust.

You may not agree with some choices, but for both new and old fans, you couldn't go wrong with purchasing this as you may discover a song you are not familiar with. After all, only the most committed fan would have all their output. ... Read more

Reviews (70)

A bit uneven, but continued Bush's impressive run of albums.
Though many critics believe The Red Shoes conceded too much to accessibility, in fact Bush produced another impressive album which combine her unique spiritual sense with accessibility.
Though not quite as good as "Hounds of Love" or "The Sensual World", owing to collaborations with Eric Clapton ("And So Is Love") and Jeff Beck (the tepid "You're The One") which simply do not work because both guitarists are incompatible with Bush's strong mystical sense, "The Red Shoes" contains several songs that are as good as anything Kate has ever done.
"Rubberband Girl" may sound like commercial funk to the naïve, but Bush's deep voice, wonderful mood changes, and intriguing lyric (a childlike reference to out-of-body mystical states) makes it a wonderful song that I cannot get enough of. "Top of The City" is her most emotionally charged and powerful song ever, whilst "Lily" is an impressive and passionate rocker about the wisdom and fears of a mystic. "Song of Solomon" is a beautiful ballad about a woman's search for sensual desires, which gains from its use of Biblical themes and the voices of the Trio Bulgarka. "Why Should I Love You", a collaboration with Prince, is the most complex song on the album, but is exceptionally beautiful - spiritual but romantic. "Eat The Music", which likens fruit to sexual desire, is a wonderfully joyful tune quite in contrast to her previous albums.
However, it must be said that the second half of the album is a bit of a let down, for "Constellation of the Heart" and the title song fail to rival the passion and mysteriousness of "Rubberband Girl, "Eat The Music" and "Lily".
In summary, an impressive and moving work that is not far below "The Sensual World.

Kate's low point
Let me start off by saying that Kate is among my favorite female artists and has released some of the most daring and expressive material throughout her career. Sadly this doesn't have any. It seems like she's trying become more commercially accessable while still remaining Kate ("The Sensual World" was more daring). The songs are uninspired and the collaberations fall flat ("Why Should I Love You?" springs to mind). The only interesting track is "White Stripey Lie" where she plays a rather twisted guitar solo (pretty good for a pianist).

Kate is at her best when she takes risks and challenges her audience (I'm talking "The Dreaming" and "The Hounds Of Love"). The only challenge to "The Red Shoes" is how long it takes you to hit the eject button.

If this CD was released by someone like... Oh... Pat Benetar, it would be considered an artistic triumph. But as it is we don't expect much of her. We do have a right to expect more of Kate Bush... Much more.

Great Singing is Genreless
This is my 54th review, but the first one of a "pop" (defined here as a non-vocal jazz and non-classical) album. It's an album that every devotee of singing should have, regardless of individual preferences. It's a tremendous, emotional album. "Song of Solomon" is one of the most gut-wrenchingly emotional songs ever performed; I'd put it right up there with Abbey Lincoln's "When I'm Called Home". The rest of the album is nearly that good: "And So Is Love", "Lily", "Constellation of the Heart" and "Why Should I Love You" will stick with you, years after you hear it. Ms. Bush has the type of voice that can purr and then roar on a dime; she effectively communicates about every type of human emotion imaginable. Very highly recommended, regardless of what kind of music you like.

It's all about fearless love really...
One of the most missed artists of modern music reality is withought doubt Kate Bush . Although there are many ladies around who have the guts to fully open their souls and reveal their sensitivities to the fans ( Bjork , Tori Amos , Tanya Donelly , P.J Harvey ) Bush still stands out for being a person so dedicated and focused on human love , it makes me wanna cry everytime i realize it .

Considering the fact that " Hounds Of Love " was maybe the best british record of the 80's and " The Sensual World " a ( much much more than just a ) great album by a female singer-songwritter , her 1992 is undeniably not the earthshattering third masterpiece in a row . It had it's good moments and it had it's bad ones .

The epic sadness of " So It's Love " with it's haunting flutes and Clapton's guitar playing is so rich in feelings and deeply affecting while " The Constellation Of The Heart " has a greek tragedy touch in it with Bush discussing and arguing with the backing vocals about what she should do with the challenge of love . Furthermore , " Top Of The City " is powerfull and sweet and even the initially harmless latin folklore of " Eat The Music " features lines like " does he conceal / what he really feels ? / he is a woman at heart / and i love him for that / let's split him open ! " which make it highly addictive . On the other hand , " Song Of Solomon " ( in which Bush asks from her lover just his ' sexuallity ' ) is maybe too bold , maybe too vulnerable to make it , " Rubberband Girl " although catchy in a twisted way doesn't carry the emotion of Kate's past singles ( Cloudbusting , This Woman's Work ) while " Moments Of Pleasure " is somehow more easy to admire than to enjoy .

George Michael named his recent new album " Patience " because it took him eight years to deliver it . With that in mind , Bush should name hers " Lots And Lots And Lots Of Patience " though it's not the ( more than ten ) years that have passed since The Red Shoes' release that have made her fanbase so hungry for a new offering. It's the fact that this album was such an unexpected farewell which despite some uneven moments , it showed an artist on top form , interested in exploring new sounds and certaintly not a music career close to it's end .

On Second Thought...
When I first purchased this CD in '93, it didn't immediately grab me the way "The Dreaming," "Hounds of Love" and "The Sensual World" had, and I actually eventually sold it. Now that I've discovered it again a decade later, I can't imagine what I was thinking. Perhaps "The Red Shoes" just takes a little maturity and experience on the part of its listener to be more fully appreciated. Whatever the reason, "Rubberband Girl," "And So Is Love," "Moments of Pleasure," "Song of Solomon," "Lily," "The Red Shoes" and "You're The One" are now, in my opinion, some of Kate's greatest recordings, both lyrically and musically. When she sings "On a balcony in New York, it's just started to snow" in "Moments of Pleasure," I can't even explain the depth of warmth, joy, sadness, hope and regret that simultaneously spill forth. How can that happen?! Astounding. (P.S. - it will add some pleasure if you watch the classic 1948 film "The Red Shoes" that inspired this set.) Cheers, Kate! I'm not ashamed to admit I was dead wrong the first time around. ... Read more

Reviews (8)

Fantastic remastering job
What the previous reviewers have said about the excellent remastering job on this compilation is an understatement. The remastering is easily 10 times better sonically than the original and 100 times better than "The Complete Stone Roses" on Silvertone which sounds terrible next to the standard first CD or this compilation. I'd also wager that John Leckie (producer/engineer of the best Roses material) actually remixed "She Bangs the Drums" with more background vocals and better reverbs/outboard gear...it sounds like an actual remix-check it out...it's that good!

This band is easily one of the best English bands of all time. There's a reason why fellow musicians and the critics continually rate the first Roses CD as one of the top 10 English rock CDs ever released.

Delectable
Me oh my, what an outrageously good record this is. I had never heard of The Stone Roses until my brother played me "I Wanna Be Adored" a few years ago. I loved the song, but I thought they would be a band very much like The Smiths or The Cure (which isn't a bad thing at all, I just wasn't interested at the time), so I never followed up and bought any of their albums. Thankfully, my father received this cd from my brother for his birthday a few months ago, and I've had the pleasure of listening to it everyday since then. All of these songs exude an indomitable vitality that lends an extra cachet to the already stellar music. There is a distinctive 80s sounds to The Roses, but after listening to all the material present on The Very Best Of, it's apparent that these songs transcend their era and will always remain as timelessly great pop confections. Highlights of this recording include the ebullient "What the World is Waiting For", the dreadfully pleasing "I Wanna Be Adored", and the anthemic numbers "Made of Stone" and "I am the Resurrection". I highly recommend this to all.

Without a doubt the one to get for Americans
I agree with a lot of the comments made below, especially waiman. I had the first CD years ago as I've always loved the British scene, but never had their early singles or the 2nd CD. When I looked into it, there was quite the discussion in both review sections between this and the Complete Stone Roses as to which one was the better compilation. First off, this one sounds far better and if you like to listen to your CDs on a decent home theater or car stereo there is no choice. Ever make a CD mix with other CDs and throw in something from the first CD or Complete? You will notice the drop in quality. Secondly, this one has Love Spreads which, at least in Chicago, was their big hit on MTV and radio. People tend to remember the "she's my sister" video when thinking about the Roses, at least people I've met and tried to convert. That's good in a way... this compilation has the song and will introduce the casual music fan looking for it to their superior sound from earlier work. It basically has all the essentials... I bought it on Amazon, and now own every Stone Roses CD including Garage Flowers so it truly converted me. Yes, it would have been nice to have some of the B-sides, especially Mersey Paradise, Going Down and Where Angels Play, but I'm hard pressed to think of a track that would be dropped to make room. Some may say anything from Second Coming, but I like the fact that this CD is TRULY Complete. Also, in my opinion only, the Very Best of has the superior version of Elephant Stone. You will play this CD over and over and not get sick of it if you like upbeat, positive anthems. It was actually incredible that most of these songs were from their first CD... they sounded like a band that had totally perfected their sound. Any fan of the Flaming Lips "Soft Bulletin" should check this out.. it's an essential addition to your CD collection. You will not be dissapointed- nobody I've played this for, from my friends stuck in their hard rock closemindedness to people who only listen to what's on the radio, has not praised it.

A pretty good collection
If you only buy one Stone Roses cd. Buy the first album. If you buy two Stone Roses CDs buy this too. What you get are 15 classic Stone Roses tracks (all the best from the first album, all the singles, and the best tracks from Second Coming). Remastered. My only real complaint is the absence of some substantial B-sides (Mersey Paradise, Standing Here) and the inclusion of the shorter version of "One Love." Other than those minor compaints this is an essential collection for any Roses fan.

Outstanding Remaster
The comments below mine notwithstanding, I think this is a great CD and a fantastic remaster. Sure, there was a prior compilation but it was not as complete as this and was not remastered as perfectly as this disc was. The difference in audio quality is quite dramatic, in my opinion, between this disc and the first compilation. ... Read more

Album Description

UK two disc, remastered reissue of 1982 album includes 9 bonus tracks - John Peel Session #5, first broadcast 15 September 1981 'Deer Park', 'Look, Know', 'Winter', 'Who Makes The Nazis?' - Kamera 7inch single, April 1982 'Look, Know','I'm Into C.B.' and live tracks 'Session Musician', 'Jazzed Up Punk Shit', 'I'm Into C.B. (Stars On 45 Version)', 'And This Day', 'Deer Park' and 'And This Day (Revisted)'. Castle. 2005. ... Read more

Reviews (2)

Wonderful aliveness
This album wakes you up.You too want to Invent Words.Loooooove them.Bless them all.I play the alternate version of "Who Makes The Nazis" over and over and can't get enough.It's so organic.Has actually MADE ITS WAY into my novel.Yes, I am writing a novel.The Fall is helping me.>:-)

The Fall at their most controversial!
'Hex Enduction Hour', The Fall's mammoth fourth album, stands along with 'This Nations Saving Grace' as their greatest achievement. Realeased in 1983, a year after the amazing 'Perverted By Language', 'Hex Enduction Hour' was shaping up to be the final album that Mark E. Smith was planning to release. That was until the finished album was released to huge underground success (not hurt by the infamous opening lines to 'The Clasical'). In the wake of its success, the band decided to keep it going for a little while longer (20 years!). Many of the band's best songs come from this album, in particular 'The Classical', 'Just Step S'ways', and 'Who Makes the Nazi's?', the latter of which helped fuel the fire of controversy surrouding the album. Also, the closing song, 'And This Day', is arguably the best of The Fall's loooong tracks, clocking in at over 10 minutes. I'd go as far as to say that this is the least compromised album in he Fall catalog, although more than likely, very few actually were.

This import only reissue is worth the hefty price tag attached mainly because of the difficulty in obtaining any other rare or out of print version of the album(I had the old version on backorder for over a month on both Amazon & Insound!). And even better, there is an entire bonus disk of live tracks, John Peel sessions (RIP), and the 7" version of the cataclysmic b-side 'I'm into CB'. Long liner notes, written by Daryl Easlea, are included also, which trace the orgins and importance of the album. If you are a Fall fan at all, there is no reason not to pick this album up. It marks the mid point in their near perfect run of 80's albums that began with 'Grotesque'(included 'Perverted By Language', 'The Wonderful and Frightening World Of...', 'This Nation's Saving Grace') and culminated with 'Bend Sinister". A wonderful and frightening world indeed... ... Read more

Amazon.com

Although Love Is Here, Starsailor's anxious, soulful, folk-and-urban-blues-nuanced debut won't be a culture shock to any British pop-scene follower who experienced, say, Tom McRae's 2000 debut, it certainly jolts the core beliefs and common cultural values of the U.K. indie scene. Nothing about Starsailor is remotely "alternative"; cool dads will appreciate them every bit as much as the hip kids. Not only is tender-aged singer James Walsh proud to admit to being influenced by Van Morrison and Tim Buckley (blimey, it's like punk never happened), he is also gifted with a larynx as gnarled, emotionally articulate, and demonstratively tremulous as the underrated Roger Chapman. Love Is Here is an assured classic, whose exposition of impending mid-life crises and buttoned-up desperation (typical lyric: "I need to be alone while I suffer") is conveyed through shuffling jazz percussion, metronomic acoustic guitars, and keyboards that veer between decorative cocktail piano and ice rink organ (courtesy of former crematorium organist Barry Westhead). Are Starsailor the future of British pop? Let's bloody hope so. --Kevin Maidment ... Read more

Reviews (121)

For britpop fans plus more
s a fan of britpop, I have seen the rise of the epic sounding bands, Blur,
Oasis, Charlatans, Verve, Suede, etc. as well as the new rise of the
introspective, mostly acoustic bands, Travis, Coldplay, Badly Drawn Boy,
etc. Starsailor can not only top these 2nd type of bands, but can hold
their own with the Epic bands as well. When I first heard this album I
thought wow these guys are really good, then I got the chance to see them
live and I was completely blown away. Now its one of the only british cds
in heavy rotation of my cd player. Startng with Tie Up My Hands the band
immediately grabs you with the emotion in James Walsh's voice. As you go
on through their single Alcoholic, a fantastic song drenched with emotion,
through Fever and She Just Wept, you will be stunned to know just how young
Mr Walsh really is. Then as if the moody emotional music can't get any
deeper, the band turns it up an unleashes their nod to the epic styles with
Good Souls. As I have heard some friends of mine call it, the best song to
raise a beer and shout along with. Overall, while I remain a huge fan of
Travis, Oasis, Blur, etc. Starsailor has achieved a level above most of
the average Britpop albums that have come out as of late.

Stellar debut
After a strong start in their native UK, Wigan band Starsailor release their debut in the US...and it was well worth the wait. Beginning with the captivating "Tie Up My Hands," Love Is Here is an impressive collection of emotionally-driven songs about loss and hope. Musically, it is filled with catchy folk/indie melodies that are sure to appeal to fans of Coldplay, Travis, Tom McRae, Neil Young, Turin Brakes, Doves, and the Verve.

The strength of the albums lies a great deal in singer/guitarist James Walsh distinctive voice. Very few singers have the ability to convey such depth and emotion as Walsh's, which is particularly evident on the more acoustic-based tracks, "She Just Wept" and "Coming Down." While his style is reminiscent of Tim & Jeff Buckley meets Richard Ashcroft, Walsh is a standout because of how he much he constantly sings from the heart. It's quite breathtaking. Also, an equal amount of credit for Starsailor's musical accomplishments has to go to keyboardist Barry Westhead. His contributions lend a great deal of texture to the songs, especially during "Fever" and "Talk Her Down."

If Love Is Here is any indication, Starsailor is sure to be a band that will go far and I look forward to hearing more of their music in the future.

Needs Work and Critiquing
I was rather disappointed with this. I really like their second CD. However, this one failed to impress me. I like there first few songs and then a couple at the end. All though some of the lyrics were almost too dark and didn't seam to flow well with the song.
I do hope the band continues with more music. I just think they need to work on their technique.

From listening to the previews
From listening to the previews the guys voice sounds like it has a tint of wales singer Tom Jones, Im pretty big on my british music and im not impressed; I find the music boring and predictable.

They're "Good Souls".
I must say, everytime I hear this I like it more and more. They're quickly becoming a favorite among the groups that they're often compared with, and I'm really liking the piano lately. At times they can be a little dramatic, but that doesn't detract from the enjoyment of the album. I think "Good Souls" was the only song with airplay around here, but "Poor Misguided Fool", "Lullaby", and "Way To Fall" are all excellent as well. The whole thing is really good front to back actually. They're not as emotional as "Coldplay", or as complex as "Radiohead", but if you like the British scene, or good music in general, you should like "Starsailor". ... Read more

Amazon.com's Best of 1998

The female presence in 1998's releases has been a near tour de force. PJ Harvey, Hole's Courtney Love, and Garbage's Shirley Manson all stormed the music scene with dynamic performances. But none can match the effortless vamp and allure of Curve vocalist Toni Halliday. Her voice has always been dark, seductive, and utterly commanding, and with Come Clean, she and partner Dean Garcia have created a danceable, riveting album that burns the feet and strikes a nerve. If you think their sound is suspiciously similar to Garbage's, remember--Curve were here first. --Beth Bessmer ... Read more

Reviews (30)

An Excellent Disc, Deserves More Attention
Anyone who has seen the television show NIKITA may have heard of Curve, but I hadn't, not until I bought the soundtrack anyway. That series of opening guitar riffs and the ensuing over-the-top lyrics intrigued me. So on a recent trip to Ottawa, I purchased a copy of their only album that seemed to be available in the Great White North...and was promptly blown away. This CD has everything, and its sound changes radically, catering to a broad range of tastes. Those who like nothing but noise, powerful and loud will simply love Chinese Burn, Sweetback and Forgotten Sanity. Those who prefer the softer, more soothing types of music will dig Recovery, Beyond Reach and Alligators Getting Up. I was amazed when I found out that only two musicians are involved. Dean Garcia makes it sound like a full stage of musicians are performing, while Toni Halliday's simply awesome voice can be altered to suit the mood of the music. The only song I really didn't enjoy was the title track, for which I had high hopes. Dean's beats sound fine, but from the moment Toni turned out that screeching, grating voice (which I really didn't believe could hae been hers) I knew I had found the only audible chink in the proverbial armor. That aside, Come Clean is an excellent buy, and I sincerely hope they can attract a larger following in North America. K.R. Tamminen

Wonderful return from Curve
A return after a 5 year absence sees no decrease in quality. It all starts off with the single 'Chinese Burn', a thunderous rhythm track, all beats and vitriolic lyrics. 'Coming Up Roses' is one of my favourite Curve tracks. Quite reserved in terms of noise, no wall of sound etc. It features textured electronic analogs along with a pounding drum loop.

'Something Familiar' is a pure pop/rock track. Chiming guitars combine with more aggressive guitars to form a strong, powerful song. Other highlights include the fast paced 'Sweetback' and the albums' last track 'Recovery', which leaves us wanting more.

An extremely underrated album mainly due to the fact that in 1998 the music world was disintegrating into the whole boy-band and girl-band hell it is now. Well it's their loss, Curve will always have a strong following no matter what because they are one of the few talented and genuine music groups out there.

Curve's late 90's masterpiece
"Gift" is the album that hooked me onto Curve, but it was the Lunatic Calm remix of "Chinese Burn" that shined the light on them for me. I was curious about this band that one of my all time favorite electronic artists had remixed a song from, so I searched for the original track and found it here on "Come Clean". I couldn't find it in stores, so while I waited for it to be delivered, I picked up "Gift" and really liked what I heard. Then "Come Clean" came in.

Although my first listen didn't captivate me, through repeated use, this has come to be one of my favorite CDs of all time! A beautiful yet sinister blend of rock, techno, and gothic hues, Curve's 1998 album picks you up and shakes you until the last track ends. Its a wild ride in some places, but in others it sits you down and seduces you with relaxed vocals and sounds. Then it gets right back up and throws you around again.

Each track is beautifully written and mixed. They all sound different from each other while maintaining a sense of identity. Its awsome.

If you wanna get into Curve, I'D suggest starting here. Then pick up "Gift", "Doppelganger" (and Pubic Fruit if you love Doppelganger), and finally "Cuckoo" if you wish to pursue more. Any of their albums are a great buy, but if you get ANY Curve disc, I'd suggest this one for sure. It greatly sums up their power and potential, in my opinion.

Mainstream Goth...oh joy
hmmm obviously people arent gonna like this review cause generally the people who actually like the album post their comments but for those who are actually looking at an un-biast opinion, this band is good if you want easy to listen to mainstream sounding stuff, but the fact of the matter is most people who like Goth like underground and not-so-known music, which usually is a lot more tasteful and alot less easy to listen to(meaning you might not like it first time around but then you get a more colorful taste maybe the next few listens)

I'm still looking for good female vocalist Goth/Industrial bands, though theres alot out there its the really innovative and strange ones that catch my opinion. I'd have to say the best so far is Switchblade Symphony, they have music that is strange and dark, mixed with beautiful
lyrics and of course beautifully talented voices. though their guitar riffs are simple and sometimes theres a repetitive simpe beat here or there for the most part their music is outstanding and creative. anyhow its obviously stupid to go on about another band when the reviews for this one. when it comes down to it, its obviously all about opinion. but just a warning: there are alot of "dark seductive female vocals with eerie ambient music" music around, since thats the majority of the female vocalists goth genre, so if you like this, you might like collide or switchblade symphony or hundreds of other bands as well, if youhave the money to buy them all then good for you

Not Their Best
There's no doubt that a lot of effort was put into "Come Clean". The production is flawless and shines. However, Curve's fourth album does not live up to their previous three efforts. It's almost as if they were trying to change their sound because they weren't successful with their previous albums. "Come Clean" as an album is disjointed and very experimental. It doesn't know what it wants to be or what direction to go in. Halliday is all over the board with her vocal work, and while shining on some tracks like "Something Familiar" and "Beyond Reach", her vocals are wasted on songs like "Chinese Burn" and "Come Clean". If you want to pick up a Curve album and don't have one, I would recommend "Doppleganger" (from their earlier days) or "Gift" (they're latest release). ... Read more

Album Description

Out of print in the U.S., this is the acclaimed British pop vocalist's fourth album. Contains all 10 of the tracks from when she first released it in 1982, including 'Houdini' and the singles 'The Dreaming' and 'Sat In Your Lap'. Also contains the original cover art. An EMI release. ... Read more

Reviews (83)

It's dark, it's dramatic, it's disconcerting
Kate's fourth studio album is uniquely intense. It's dark and angry - there's wailing aplenty and some lyrical gnashing of teeth going on here. This is definitely no picnic.

'The Dreaming' is not officially a concept album, although it sounds like one with its foreboding soundscapes and uncompromising production. In some respects it could almost be a prototype of 'The Ninth Wave' - the conceptual piece on Kate's next album, 'Hounds of Love'. Unfortunately 'The Dreaming' has always been in the shadow of its more commercially viable successor, which is a shame as it is such a remarkable album in itself.

Standout tracks include 'Get Out of My House' - this is an exquisitely furious and dramatic piece of music - listen out for the slamming car door lurking in the percussion! 'Night of the Swallow' and 'Leave it Open' I can only describe as sheer ear candy, while 'Houdini' (in stark contrast) is uplifting and disturbing in equal measure.

I think Kate reaches her creative peaks when she really lets rip - and there is a lot of that going on in 'The Dreaming'. This is a spellbinding album which treats the listener as an emotional punchbag. It'll leave you feeling shaken for sure. Only the brave need apply.

Kate Masterpiece!
This is by far the best of Kate's albums. Kate has really created a unique musical work of art with this album. The Dreaming in my opinion is Kate's best work that she has ever done. The music may seem daunting at first, but you come to love it and really appreciate it. This album has a lot of unique sounds and combinations of music that are characteristic of Kate Bush. When listening to this album you kind of get a feeling of mixed gothic and medieval chills crawling down your back. When you come to the beautiful track of Suspendid in Gaffa it leaves you with a feeling of being stranded in the middle of the English countryside during the eighteen hundreds. The title track of The Dreaming has you envisioning a place of gloom and gray in a world of trolls and medieval horror. In Leave it Open Kate cleverly utilizes synthesizers to distort her voice and the vocals. Kate Bush's voice is at its best in the beautiful Houdini where she pays tribute to the lad. This is an all time classic and great album by Kate Bush. England's best import into the United States.

Kate Bush freaks me out!
This is probably one of the most original recordings I have ever heard. I first heard this back in the 80's and songs such as "Sat In Your Lap", "The Dreaming", "Suspended In Gaffa", and "There Goes A Tenner" still give me chills till this day. It usually goes for cheap prices nowadays so I suggest picking it up.

one of the best pop (?) albums ever.
Okay, I'm not sure what category of music _The Dreaming_ REALLY belongs to. There is an emphasis on vocals, hooks, and strong melodies, yet the sheer musical eclecticism and wild performance make for something quite beyond your johnny-pop music. Perhaps if she had a discography of 1000 albums and she were very popular, she might be afforded her own section (at the music store: rock, jazz, classical, metal, Kate Bush). But this album's defiance of traditional characterizations is no small part of its allure, nor is it a mean artistic feat. This is Kate Bush' perfect marriage of eclectic imagination, enthralling performance, and acute songcraft. Insofar as experimental pop goes, few albums are this listenable and artistically successful.

And that performance...Bush sings like a woman possessed, essentially becoming different characters in each song. "Houdini", with its sensuous, snaky fretless bass and dreamy atmosphere, has Bush singing at times with the sweetness of the dappling of things and at others like an irate lioness. Musically, she is just as brilliant as she is with her voice. Her sense of rhythm and texture is remarkable, as is her ability to transform her influences (both in terms of artists and musical resources) into something very unique and strange. Her reconstruction of Celtic-folk dance on "Night of the Swallows" is sublime; her tense, driving beat and sneaky vocals on "There Goes a Tenner" is indelibly catchy; "Sat in Your Lap" kicks off with an infectious piano & drums shuffle, and Bush's vocals range from snappy utterances ("I see the people workin', I see it workin' for them") to faux-Broadway wails ("just when I think I'm king, I must admit..."). On "Leave It Open", Bush's singing altered with a malicious, metallic effect and is accompanied by chanting male voices and screeching synths, rising to layers of weird vocals caught up in heavy, gated percussion and terminating with Bush's voice run through tape-effects.

Despite this album's weirdness and somewhat introverted nature, it is catchy and unfailingly fun to listen to. This is gold, I tell you. Very highly recommended!

Let The Weirdness In!
By far Bush's darkest AND most eccentric hour. Percussive, dense and lush, not a musical genre is left untouched as a corcucopia of weird musical instraments seam in perfectly with early Fairlight sampling technology. Bush whispers, moans, and screams throughought ten tracks that deal with personal failings and humanity's capacity for wrongdoing. What should be a very weird and unsettling album is smoothed out by immaculate production, rendering it instead an extremely quirkly yet oddly listenable experience. It seems likely that the production airbrushes somewhat over the impact the album is trying to evoke, maybe the only thing that keeps 'The Dreaming' from being a perfect article of pure genius.
Best Tracks: There Goes a Tenner, Night Of The Swallow, Get Out Of My House. ... Read more

Reviews (8)

great album - forget Stone Roses
I never liked the Stone Roses that much... But Solarized is great.its a mixture of rock, 60s psych and interesting dance beats.Nobody else is succesfully fusing these genres these days - except occasionally the Chemical Brothers on "The Test" or something.Lots of great songs, good lyrics, cool psychedelic sounds.Some kind of 60s spirit lives on in Ian Brown despite his violent bludgeoning of a bouncer in SF a few months back - check the web for the footage, its out there!

Very good stuff
Very interesting music with a voice that flows well. The arrangements are clever and are never out of bound.

Tres bon choix!

if you're not a rabid fan of Stone Roses, best take a pass
This is easily Ian Brown's best solo CD, but that, sadly, isn't saying much.It seems like the sleek-sounding tracks were created by studio musicians and engineers, and then Ian Brown came into the studio and sang "over" the tracks.Not all of the tracks are this disappointing.Kiss Ya Lips has a nice low-key groove and a couple of the other tracks will hold your attention for a few listens. But you'll quickly forget this music. Its odd how much of this CD sounds like Massive Attack....

Never heard of this guy until I saw him on VH1
I now know he was the lead singer of the Stone Roses. I happened to see his video on VH1 from his new cd Solarized. It was a freaking great song. I went out that day to buy Solarized and love it. Its one of my favorite cds. I usally listen to classic rock to hard rock and this dude's cd blew me away. I love it. Its too bad I didnt know about him before. His music is like psychedelic 60's with a modern beat. Its awesome! cheers Ty

Three Cheers For Ian!
Having been a big Stone Roses fan for quite some time, I have to say I drifted away from Ian's solo stuff after his first outing (which I personally couldn't get into). I decided to check 'Solarized' out on a whim, and I am so glad I did. This is the best thing I've heard come out of the post-Roses camp. If I had to summarize it, it feels like a trimmed-down, less sprawling version of 'Second Coming'. Ian still dabbles in the synthesized beats and layered vocals, but he keps the songs short and catchy as hell this time around. What a great disc. ... Read more

Amazon.com

Armed with a sharp new drummer and outside producer David Bianco(Pixies, Tom Petty), the three veteran members of Glasgow, Scotland's TeenageFanclub were determined to redeem themselves after 1993's wretched flop,Thirteen. Grand Prix, the group's fourth full album, is fresher,more direct and less cluttered than its predecessor, but it fails to match thegrungy exuberance of the band's debut or the Big Star jangle of 1991'sBandwagonesque, which remains its best effort. --Jim DeRogatis ... Read more

Reviews (19)

Well worth $7.98 -- or $17.98 for that matter
Ignore the unfortunate album title and cover art; this is a solid album, the best "under $10" disc I've seen yet.

Teenage Fanclub writes sincere, buoyant, straight-ahead power pop very much in the Big Star tradition, with lots of vocal harmonies and big blocky guitar chords.

I prefer Grand Prix over everyone's usual favorite album, Bandwagonesque. On Grand Prix, Òthe FanniesÓ explore a bit wider musical range, pen lyrics a bit more articulate and imaginative, and lose the "high school gymnasium" sound. This album is infinitely clearer and more vivid without losing the band's punch.

"Sparky's Dream" is this album's trump card -- ecstatic, near-perfect power pop that positively beams, far and away the best song they've ever written.

Raymond McGinleyÕs songwriting falls far short of Gerry Love and Norman BlakeÕs, as usual, but the 9 Love/Blake songs here make this well worth your time.

Blissful, sun-kissed summer soundtrack....
Teenage Fanclub are so good I can't believe they've failed to break out of indieworld and into the bigtime - still, that's the (lack of) taste of the record-buying public for you. Grand Prix is their best album so far, just shading Bandwagonesque for sheer loveliness. As ever, the Gerry Love songs are the best. The man is a songwriting genius, and if you thought Noel Gallagher was good, just listen to Gerry's efforts on this one - Sparky's Dream, Don't Look Back, Discolite and the gorgeous Going Places - the mono-browed one would kill to write songs like these. Grand Prix mines that seam of melodious guitar pop, sixties style, better than any other 90s album I can think of. Think Byrds, Beach Boys, Big Star, even REM, for that lovely sunny vibe - all jangly guitars and three part harmonies. The album is a bit patchy because of the democratic split in songwriting duties - in all honesty Raymond McGinlay should stick to just playing guitar, but Norman's efforts are pretty good, Tears undoubtedly the best of them. Buy Grand Prix NOW! - it makes the sun shine, even in winter.

Happy, Happy! Joy, Joy!
Just like Stimpy said. An album full of stuff so good Alex Chilton would blush.

Ecstasy inducing.

From Byrds to Beatles
"Grand Prix" leans very heavily upon the Beatles in terms of song and sound style. A very poppy record, it is the most sugary of all the Fanclub's releases. Several winning songs are here but a lack in variation in sound and tempo hurts the overall impact of the disc.
It's still a great cd to own, but I'd get others before this in the Fanclub catalog.

tfc rules
This is the best tfc album ive heard. Believe me. Its excellent. Theres no bad song in it. The best song in this album is "ill make it clear". One the best song ever. Btw, tfc never made bad album. All of their album is excellent. Every album have their own greatness. But this is just the best. i never tired of it. Buy this album. CHeers. ... Read more

Reviews (11)

Pure pop beauty in an expressionistic shell.
Back in the early 90's, My Bloody Valentine befuddled many people with their sound, but more by far were entranced by their lush orchestral sound, somehow made only with guitars. Glider, released around the time of MBV's last album, Loveless, contains four incredible tracks, each more unforgettable than the last. Soon has been called MBV's best song, most notably by Brian Eno, who said that it "sets a new standard for pop." This was my first purchase of the Valentine catalog, and it's a good starting point for those interested in getting a taste of this influential band; the danger in this, however, is that one will not be enough. Be prepared to fall in love with My Bloody Valentine.

the kissing ep
I used to call this ep "the kissing cd" because of the cover. I actually chose this ep over loveless as my first mbv recording because I thought a friend was making me a cassette tape entirely of loveless. *Only to find out it was just two songs* so, I bought this ep first. I'll have to admit when I heard this ep for the first time I was like "this sucks!". Then, later on I heard "off your face" and I loved it. Another great track from this ep is "glider". Nerve-racking to sit through, it's still one of the most creative tracks since "revolution #9". The entire song is baiscly a guitar loop for mabye 2 minutes. The album version of "soon" is a very weak track on this ep and loveless. A very overrated song loved by everyone who has heard both cds. Why? "don't ask why" is a "normal"--so-to-speak album for mbv. Not one of my favorites and the lyrics arn't their best, either. I'd but this mbv cd first over loveless........

Pretty...
The album cover alone inspires me. The music on this 4 song EP is nothing short of production genius. I think the majority of people who've written very eloquent reviews and comparisons of this band have summed up what you've been missing.

The only warning I have...

This album, in my humble opinion, was meant to uplift and inspire. If you are going through a break-up, the last song is a weeper for some of you.

Can't... stop... listening...
I missed out on My Bloody Valentine when they actually existed. I had a quite the virulent aversion to "wimpy college rock" around that time, and that was basically the only thing I knew about them, that they were a staple of college radio. (I missed out on the Pixies for the same reason.) I couldn't be bothered, I was too busy listening to scary stuff like the Melvins and the Jesus Lizard and Helmet. Now I myself have grown old and wimpy. A friend played Loveless (MBV's final and arguably best album) for me a couple of years ago and I was instantly hooked. I'd heard of shoegazer bands, but I'd never heard the term "dream-pop" until I was reading about MBV recently. I can't imagine that this term could be applied to any group more so than MBV; seemingly endless layers of melodies, harmonies and noise, flowing and cascading and intertwining through the air and into your mind... "dreamy" is definitely the word. Anyway, this CD is a great low-risk introduction to their music. If you like it, you will love Loveless. To established fans, it's an absolute must... an appendix to Loveless. The Tremolo EP is definitely in the same vein, but it's just not as crucial... this is the only EP which contains the song "Glider". Most fans seem to ignore this track, but I simply cannot stop listening to it. It's an unusual instrumental, even for MBV. There are no vocal or drum tracks in the mix, only several tracks of swirling, melting, dreamy guitar and bass. It's the most beautiful sound I've heard in quite some time, and I'd be perfectly happy if it was the only track on the disk and cost 10 times as much.

Glider
This EP was my first foray into MBV and probably why i love this release so much. I can't stand to see it sitting on the used shelf so i have bought the record and tapes, giving them away to friends. Starting off with the album version of "Soon" you wonder why this wasn't just called the Soon EP. Very representative of everything on Loveless, i can't complain. Then we get to the sound of an industrial plastics factory with "Glider". Beautifully disturbing. Kevin Shields takes a shot at the mic in one of his better songs "Don't Ask Why". The closer "Off Your Face" has a sort of New Order feel to it and was the reason i bought the album. I like this companion to Loveless and also recommend the Tremolo EP. ... Read more

Album Description

2003 4AD reissue of 1990 album remastered by guitaristRobin Guthrie. ... Read more

Reviews (5)

Fav rock band of all time
Ok here it is this is a band that has changed music forever. Elizabeth Frazer has the most angelic and beautiful voice I've ever heard. I thankfully got to see them in concert 3 times before they broke up in 98. I heard them when I was 16 when I went into record bar and found "Loves Easy Tears" and loving the cover art took the cassette home and the rest is history I was instantly a fan once I played it. I think all the members of the band are still making music but it is sad that they aren't working together. This work has an almost visual feel to it because of the way it makes your body feel as it pulls you into it's web. This album and "Four Calendar Cafe" are my fav twins albums but every album is worth purchasing. Note make sure you get This Mortal Coil because the twins have a few tracks on one of those compilations. It'll end in tears is the name of the cd I think.

hooray for the twins
i can't say much about the remaster because i haven't honestly ordered my own copy yet nor have i the pleasure of hearing it but this is one of my favorite cocteau twins album of all time next to treasure or blue bell knoll. from the opening track of "cherry colored funk" to the closing "frou frou foxes", you can't help but feel a bit light-headed after hear liz fraser's beautiful vocals. not only are the vocals dreamy & sweet but the electrical arrangements here are to die for. let's just say i played this album for so many years( and still do listen to it on a regular basis), it's really hard to believe i've had this album in my collection for over 13 years. i don't really catch half of the words on this cd but i could care less. for all i know, cocteau twins may have made up their own words but the end result is definately enticing & plausible even if that be the case. having said that, this goes on the top of my list as one of the best cds to own in the nineties which still sounds as great today as it did when i first bought it. no favorite tracks unfortunately to list as all of them serve their purpose & each one is simply gorgeous. if you haven't already heard the cocteau twins or have never bought one of their albums, i believe this is the first one you should purchase & the remastered version sounds heavenly to me. enjoy.

Now THIS is a remaster!
After being disappointed in the remastered version of Blue Bell Knoll, I was having trouble deciding whether to purchase another in the Twins' new remaster series. After I tentatively gave HOLV a shot, I was flabbergasted. The sound has come alive! What was previously leaden and muffled has been set free into the sparkling ether. And keep in mind-- I had never considered the production on the original album to be lacking-- maybe a tad overreacting to the bright sound of Blue Bell Knoll two years previous, but rich, full and melodic nonetheless. What a difference thirteen years makes! It's like listening to a brand new release. The sound is no longer so midrange-heavy; the instruments have been lifted and separated just enough to delineate them, while preserving the gauziness of the original. The vocals have a newfound space and importance, as if Elizabeth just got through clearing her throat. And the bass! Chunkier, crunchier, it actually makes my Grados pulsate during 'Cherry-coloured Funk'. This newfound clarity is even more apparent on 'Fifty-fifty Clown', which must be one of the most timelessly futuristic pop songs ever produced. It shimmers more forcefully now, chugs along more insistently, and leaves you wanting more. It's amazing how a good remaster can change your feelings about a song; I had never been a huge fan of the title track, but now I have rediscovered it--it's more balanced, less honk-y. I can honestly recommend this remaster as a must-have for real Cocteau Twins fans, it's that much better. One of the richest, most luxurious albums ever. *** Oh, and fellow Twins fans/reviewers: hey! don't be blithely glossing over the song titles. Elizabeth worked too hard on them for you to dismissively call them "Track 1" or "Track 9". Sheesh. Learn them and use them-- they're windows into the songs themselves. They cross-reference each other and provide a huge chunk of the only insight into Elizabeth's lyrics that exists. Show some respect!

Their best since album Treasure
Their last album for 4AD marks Cocteau Twins's journey from cold industrial sound of 80's to 90's. The thing that has always made me adore their music and records are that every song has so amazingly invented title. You can almost taste those songs in your mouth like Glass Candle Grenades, Orange Pink Red, Pearly Dew Drop's Drops, Ice Blink Luck,...
It's a very magnificent talent for a lyricst to have.

After truly classic albums such as Treasure and Head Over Heels and also some parts of Blue Bell Knoll Cocteau's just
happened to create their most delicious album in their marvellous career. Heaven Or Las Vegas begins with
Cherry coloured-funk and Guthie's guitar work offers Elizabeth begin on low notes and in the chorus she puts out the most hookable vocal works of the whole album. Though Cherry Coloured-funk is quite simple, its melody sounds extremely classic and it is very memorable as well.
Pitch the Baby, Fifty-fifty Clown are all high standard Twin's songs with great ambitions. The Single Iceblink Luck and title track Heaven or Las Vegas are both the two tracks that describe best the albums sound scape. Especially the title track is massively produced and really worth hearing.

As with all their great albums Heaven or Las Vegas has also good songs placed in the B-side of the album, there are real
treasures there like Wolf in the Breast, I Wear Your Ring, Fotzepolitic and definitely gorgeous Frou-Frou Foxes in Mid-Summer Fires.
Like Musette and Drums there's same kind of feeling, though Frou-frou is more comfortable with larger scale of vocal work
of Liz and therefore much more harmony all over the song.

For a superb group that Cocteau Twins were one would've hoped they'd never broke so secretly and with some kind of
dissappointed feelings due to the release of Milk & Kisses -96. Their last recording for 4AD is for me their last huge album
although beautiful stuff kept coming untill the very end.

Jury still out
HOLV is one of my favorite albums of all time. When I found out that remastered were being issued, I was excited and also a little perplexed. There are CT albums with which I could find some (minor) production faults, but HOLV was never among them. However, my copy was aging and beginning to show signs of the dreaded pinhole dropouts, I figured I could not go wrong by replacing the older version with the remastered. The production on the remastered version is quite similar to that on the original version, and i doubt that most casual CT fans or listeners could tell the difference. However, unlike my experience with the remastered BBK album, I found that some of the subtle differences on HOLV actually were detrimental to parts of the orginial album that I had liked. The bass line in Iceblink Luck (3rd track for those of you who, like me, perpetually ignore the song titles) is more subdued in the chorus. Road River and Rail (9th track) begins to fade out at the very last line, whereas the original did not. And Pitch the Baby (2nd track) is less lush than the original, with more separation between the vocals and background music. Overall, the latter is the major difference in production on the remaster: the instruments are somewhat brighter and more separated, as they are on the remastered BBK. But whereas I felt that worked quite well on BBK, I was a bit disappointed with how this affected HOLV. If you have never heard HOLV in its original format, I think you'll find this remastered version to be brilliant and you'll probably love it. But for those of us who have listened to the original version more times than Gene Simmons has had sex, the differences may take some getting used to. One caveat: I have yet to listen to this album through headphones, so there may be more subtle, positive differences that I have not yet picked up on. ... Read more

Amazon.com

When exactly Radiohead transformed themselves from an average alterna-rock band into an avant-garde juggernaut is difficult to pinpoint, but in terms of recording, they took the great leap forward somewhere around the time of their second album, The Bends. While their debut, Pablo Honey, had a few sharp hooks, there was nothing to predict the avalanche of ideas that made The Bends one of the important albums of the 1990s. This EP (which is actually longer than some bands' full albums) doesn't clarify things a bit. The acoustic version of "Creep" that ends My Iron Lung is a sensitive read, but it doesn't explain the structural leap of the title track, which sounds as if the band had relearned how to play their instruments. Most of the remaining tunes are short, quirky numbers that point up Thom Yorke's penchant for melancholy melodies. Those who treasure the art rock of OK Computer or Kid A may find these plaintive pleas for love and understanding almost too simple. --Rob O'Connor ... Read more

Reviews (54)

Another great mini-disc from Radiohead
A mini fallow up to the Pablo Honey album(better know as the creep album) which really takes a different jump from the soft rock Pablo Honey too a more rock'n roll sound of The Bends. The first song, my iron lung, is a song of spacey verses and a chorus of yelled vemon and ramped guitar distoration. Then fallowed by a favorite b-side of most radiohead fans "the trickster", which is a eerie song that remains me of being alone in a house by yourself with your paranoia. Punchdrunk Lovesick Singalong is a very cold love song with a weired Chris Issak harm to it. Permanent daylight reflects the sound of Sonic Youth, and my favorite is a fast ballard called "lozenge of love" which sounds alot like Led Zep. "going to calf.". You never wash up is just Thom and his guitar, while lewis(mistreated) sounds alot like a stereotype of a Pablo Honey song. The acoustic creep is nothing thrilling to the ears(mostly because I've heard it over 1,000 times to date). Its a great EP and I would tell anyone to buy it.

Short, weird, and'll leave you with your mouth open for more
I got "My Iron Lung" over a year ago, and when I listened to it at first I didn't thought that it was THAT special. But since I got curious when I read over the Internet how most Radiohead fans praising this EP, I've decided to give it a second chance. After that, I can honestly say that it's a must. It's a very weird, dreamlike experience; It's sounds a bit like "The Bends", but it's way more loosenup and calm; And it's just quite undescribeable really. "The Trickster" is a very catchy and upbeat song, and I can understand why it is considered as the best Radiohead B-side ever. It's a cute little, yet powerful tune that will not disappoint. Beautiful acoustic or semiacoustic tracks like "Punchdrunk Lovesick Singalong", "Lozenge Of Love" and "You Never Wash Up After Yourself" also makes this a mustpurchase; And along with the raplike "Lewis (Mistreated)" and the almost radiofriendly (Hey, it's short and almost instrumental!) "Permanent Daylight" this makes an unforgettable collection. I really don't have much to say about "My Iron Lung" (The song) since we all know how good it was from "The Bends", and the acoustic version of "Creep" doesn't make the song better or worse; But if Radiohead have decided to put them here also, we should just shut up and accept it.

Radiohead's revolution began here......not with The Bends
Released between 'Pablo Honey' and 'The Bends' and never released in the US, 'My Iron Lung' marks the transition from mediocre to outstanding.

I know that 22 bucks is kind of a rip-off for only eight songs, but every song presented on this unique import makes it worthwhile for any Radiohead fan....especially those partial to 'The Bends'.

'Trickster', in my opinion, is the best track here. I would have loved to have seen this song make it over to 'The Bends' along with 'My Iron Lung'. Here it is only enjoyed by Radiohead completist which isn't neccessarily a bad thing.

for ALL the audiences
For some people, Radiohead tends to be either too poppy with songs like "Creep" or "Anyone Can Play Guitar," or they are too electronica and *weird* with the classic album, OK Computer. But, the My Iron Lung album successfully mixes the voices of The Bends with the instrumentals of OK Computer. Any college student can relate to "You Never Wash Up After Yourself" or "Punchdrunk Lovesick Singalong," and any musician, whether you like this band or not, should be able to detect the creativity and boldness in the music of this album. The power of this band, like the powers of other classic artists, is that they vary their music from album to album, and succeed in not only appealing to a different audience each time, but also retaining their old followings. The My Iron Lung album is a recording for all of these audiences, and won't stop with the OK Computer fans or The Bends fans.

Best Radiohead 'album'
I was well shocked when i first listended to this cd, as i was formally a total avid punk fan, i found radiohead boring, slow and depressing, but slowly i listend to it, and it really does grow on you! If you listen really carefully, you can hear the 3rd guitar slowly building up etc. If you hate radiohead, i seriously recomed cheching this out first as it totally changed my opinion on the band, and my music taste on the whole. All the songs are 10 out of 10, and i could not give any bad points about this album if i had to! Brilliant! ... Read more

Album Description

Released to commemorate their 2004 tour of Japan, EMI isissuing this 10-track mini-album that features allnon-album tracks,'2 +2 = 5' (Live at Earls Court),Remyxomatosis (Cristain Vogel Mix), Fog (Again) (Live),Paperbag Writer, Scatterbrain (Four Tet Remix), I Will (Los Angeles Version), I Am Citizen Insane, Where Bluebirds Fly, I Am A Wicked Child, Gagging Order plus an enhancedcomponent which features '2+2 = 5'(Live at BelfortFestival). 2004. ... Read more

Reviews (8)

4.5 actually. Not a perfect album, but damn close
This CD takes all the best b-sides from Hail To The Thief singles. The worst song on this album has to be 'Remyxomatosis', which is just...wrong. Not all of the other versions of HTTT are mistakes though. I personally prefer the live '2+2=5', the Los Angeles version of 'I Will', and the 'Scatterbrain' remix over the album versions. The "You have not been paying attention" part of '2+2=5' is done with all the energy that the album version should've had. The b-sides 'I Am A Wicked Child', and 'I Am Citizen Insane' are probably both equal, but the latter may be a bit repetitive for some. 'Paperbag Writer' definitely takes some getting used to, and even once you're used to it you probably won't like it much. It's really eerie sounding. 'Gagging Order' and the live version of 'Fog (Again)' are both beautiful, sad songs. They make this EP worth it for me. I always stop the CD before 'Where Bluebirds Fly' because it's just messed up. It starts with a click beat then comes in with what sounds like cluster chords on some weird synth thing, and then has strings that come in over top of the frenzy, except it's slower and seems out of place. It definitely creates the feeling of bluebirds though.

Overall, I actually like this more than HTTT. If you do plan on getting this, I suggest that you don't buy it on Amazon, because I bought it for $13 canadian, and I've seen it in other stores for a max of $19 canadian.

I am citizen insane!
After quite a few listens to this album, I believe this is one of the best things I have heard from Radiohead. The remixes sound a bit strange to start with but they grow on you. This is definitely not just a buy for fans. I think it showcases how different yet perfect music the band can write. A pleasure to listen to, thanks again Thom!

Note: All the copies with errors were recalled so you should get a copy without them.

Almost 50 BUCKS!?!?
I know, I know. It's an import that's enhanced and it's limited edition. Blah, blah, blah. But come on. It's consumer rape to charge over 4 dollars per song (counting shipping). For that kind of money it had better come with a full score transcription of each tune AND cook me breakfast in bed at least once a month.

Radiohead is a great band. These songs are great. But you could buy 3 or 4 other records for the price of this thing. It's rip. And it's unfortunate because I'm quite sure that Radiohead themselves would agree with me.

Take your armor off you're not under attack
I really like this EP. Its different and definitely grows on you. A lot easier to warm to than many of their albums. I like all the songs. Favourites are 'I am Citizen Insane' and 'Gagging Order'.

This is awesome
I picked up this EP a couple of weeks ago and it blew me away. This is superior to the Airbag mini that was aimed at the US. As to the production quality, it is great. I still don't know what the other reviewers are talking about. One reviewer was talking about the 4 Tet RMX of Scatterbrain: Skttrbrain and mentioned that any skips fit right in with the song. I agree with that and I would actually argue that what might sound like skips are probably intentional. (I could be wrong.. who cares). What one might take as production flaws, I view as deconstructionist experimentation. At any rate it sounds good coming out of my speakers.

As to the multi media stuff, at first I couldn't get the video to work and couldn't open the pictures. The video will work if you have the latest version of Windows Media Player. Open Media Player first and then open the movie file from Media Player. You will be treated to a live performance of 2+2=5 that is really cool. All in all, well worth having. ... Read more

Reviews (29)

Unlike anything you've ever heard.
Chances are, you don't have anything else like this in your cd collection. I've been listening for 13 years and still have no real comparisons. Only the "Cocteau Twins" or a darker "Enya" come to mind...but not really. Though some of their stuff has kind of a tribal sound to it, most of this collection is more gothic, more medieval. I always envision this music coming out of some cathedral, in a far away and mysterious place, hundreds of years ago. That's what's so wonderful about "Dead Can Dance". They can transport you to places other music cannot. I also enjoy both the male, and female vocals, on the tracks that have them. I honestly think that someone would enjoy most of their albums equally, but this does give you a taste of many of them. This is a good place to expand your knowledge of music through time.

Anywhere Out of The World
Dead Can Dance puts out some of the most beautiful music I have ever heard. Their music is a blend of middle eastern, new age, and goth music. The only other DCD album I own is "Towards the Within". The album didn't really set fire to my ears but I still wanted to hear more from this now defunct group. I found a copy of "A Passage In Time" on one of my recent excursions to my favorite record store. I really wanted to hear it when a buddy of mine on a message board I post on mentioned "Ulysses", and my curiousity was piqued almost immediately. The song itself is an enchanting haunting song that sends chills down my spine every time I listen to Brendan Perry sing. I really dug the first two tracks "Saltarello" and "Song of Sophia". What really resonates with me is the production work. Whenever I listen to Dead Can Dance, I feel like I am listening to them perform live. Just amazing. The one flaw with this album is that towards the end of the album, the music starts to sound repetitive and my mind drift towards other matter. Maybe I just shouldn't listen to it at the office and towards the end of the day when I start getting restless and bored. Nevertheless, excellent album. I definitely will have to look further into DCD's catalog.

Before Enigma/Deep Forest/Delerium there was... DCD!!
Took me a while to really get into Dead Can Dance but now I can't imagine not having them in my CD collection. I've always loved exotic, ambient and meditative music and Dead Can Dance are unlike anything else I've heard. This compilation consists of a rich mixture of tribal, choir, medievil gothic, world and ambient soundscape. I don't feel it's fair to categorise DCD as merely 'new age' or 'gothic' when it is both and a whole lot more. I've hunted for music like this for so long before I was even aware of DCD and it's all here. Very raw, minimal, sensual and soothing without being ruined by added layered synths and electronica. Stripped down and peaceful. One of the best CDs I own.

Excellent collection for casual fans!
This 1991 release "A Passage In Time" is a 16 track sampler of Dead Can Dance's dark, brooding, and must I say, even terrorizing compositions that the Perry/Gerrard duo made between 1985 and 1991. Most of these songs I think were wise choices for this collection and must I say, even with some of the songs from different albums, sometimes having totally different moods, the songs flow almost without any major road bumps. "Ulyssus", "Cantara", "Kingdom of The Blind", and "Enigma Of The Absolute" are the shinigng gems on this CD. The "Ulyssus", and "Cantara" song combo is awesome as the former merges well into the latter. The main flaw to this collection is that it completely overlooks their self-titled debut album. The two last songs "Bird" and "Spirit" were recorded solely for this album. While still enjoyable to a degree, they don't rank up there with some of their earlier classics from their 1980s works. Still, there's no denying that this is a great CD for DCD starters to own. For veteran fanbases though, I would recommend their regular proper studio albums instead but for those who love the last two songs on here, this CD is a must-have.

Definatley worth buying...
This is one of the best albums I've ever owned. It was the first Dead Can Dance CD I ever bought. It kept me company through many depressing nights, and brought me much relief. It is a graceful blend of new age, goth and other sounds that are hard to describe, and Lisa and Brendan have two of the most beautiful voices I've ever heard. Thank you... ... Read more

Amazon.com

The Soup Dragon's only commercially successful release, Lovegod was a definitive album of a short-lived but blissful movement in alternative dance that began in the late '80s and ended in the early '90s. Lead with fellow Scotsmen Primal Scream and other proto-trip-hop bands like the Happy Mondays, the Charlatans U.K., the Stone Roses, and the Farm, the scene revolved around community--masses joined in various forms of often chemically enhanced euphoric states, dancing till breakfast and beyond. Like Primal Scream's Screamadelica, this album follows a path clearly cut by the Rolling Stones. Their hazy, blues-on-Ecstasy psychedelic grooves fueled the club-going shoe gazers swaying in place for what could have been forever, while at the same time uplifted souls (and soles) with money-maker shakers like "Backwards Dog" and a cover of the Stones' "I'm Free." Because of its combination of timeless rock influences and its preturntablism dance sensibility, Lovegod has aged well, losing little of its capacity for elation. --Beth Massa ... Read more

Reviews (4)

Not as good as I remember it . . .
. . . but still a fun album. I hadn't listened to this for maybe ten years or so, when I happened to spy it in a used bin at a local record store. I picked it up, and was, honestly, a little disappointed - was this the album that I played to death back in school?

A few songs in, I began to realize that, while this was the same album, my tastes had grown a bit more sophisticated over the last decade. Flaws that just zoomed over my head, back in the day, have become a lot more obvious to me.

In the case of this album, I now notice that the beats are kind of rudimentary - in this wacky, idm, post-jungle era, simple 4/4 dub starts to sound a tad primitive. Second, Sean Dickson's vocals are rather weak - he's got the whole Shaun Ryder 'I can't really sing but I'm going to just kind of push it and be earnest and maybe it will work allright' thing going. Ryder pulls it off a lot better.

And then there's this weird thuggishness that seems to be lurking in the background, that I can't seem to put my finger on. Maybe the combination of the simple beats and the distorted guitars is giving me Limp Bizkit vibes or something. Or I could just be imagining it. Whatever the case, it's a little unsettling.

All that aside, there's some good stuff here, and nothing that's totally unlistenable. 'I'm Free' is, obviously, a standout number, but so, to my surprise, is the bonus, 'Lovegod' dub.

This is certainly not an indispensable album, but it is a fun one that's nice to throw on every now and then. Call it 3 1/2 stars, and keep an eye out for it in the used bin.

Great early 90's alternative album.
Nobody I know has ever heard of the "Soup Dragons", but I'm sure glad I did. This is really fun to listen to, and holds up well after 13 years. One of those bands you would see late night on MTV, before grunge took over. They really do have that "Madchester" sound, and are similar to "Happy Mondays", "Jesus Jones", and "Charlatans UK". Though I think they're Scottish. Anyway, it's trippy, very catchy, and you can dance to it if you want. Me, I just crank "I'm Free", and hit the road.

Summer Fun
I first heard this album in the summer of 1992 when I should have been revising for exams. But I spent more time listening to this classic album instead whilst playing Grand Prix on my Amiga. I had forgot how good it was till recently.

Love every song. Reminisent of the WHO to me.
Powerful dance beats, with inntelligent lylics. I think it's very retro sounding of the days of blues fusion rock as in rolling stones, the Who,Hendrex,classic rock and roll at it's modern best. ... Read more

Amazon.com

While the fiery rock & roll spirit of the La's Lee Mavers courses through their veins, the debut album by youthful Liverpudlian mystics the Coral prove they are far more than Merseybeat imitators. The opening "Spanish Main" ("We've set sail again! / We're heading for the Spanish Main!") casts the sextet as marauding pirates, out to pillage musical history for loot. It's possible to hear the influence of everything from Captain Beefheart to Miles Davis, from Spanish mariachi music to Cossack dance rhythms, surfacing between the tight, ragged grooves of "I Remember When" and "Shadows Fall." This album is stuffed to bursting point with ideas that are presented with remarkable clarity. Highlights are the curious, swooping fable of "Simon Diamond" and the insane "Skeleton Key," which finds frontman James Skelly croaking, "Solid gold skeleton key / Opens the most intricate lock / Brother, roll another for me / I am shipwrecked on the rocks!" as his bandmates caw like parrots in the background. --Louis Pattison ... Read more

Reviews (22)

Travel the high seas with The Coral
The Coral's debut album sounds like it came through a musical time warp from the past, which, on some cosmic level probably makes them very similar to the Squirrel Nut Zippers. With reverb-y guitars and a vintage vibe on songs such as "Goodbye","Dreaming of You" or the opener, "Spanish Main," these guys could have played at the Cavern Club in the early 60s. But they are not just re-treads or throw-backs. Nearly every song is inhabited by a variety of stylistic influences, multiple tempo changes and theatrical three-part harmonies. "Simon Diamond" is one example, although it does contain the album's best turn of phrase: "now he's swapped his legs for roots, his arms and soil are in cahoots" Listen, if you can, to "Skeleton Key," and you'll hear a band unafraid to take chances, even if they sound like a klezmer band that got too deep into a bowl of rum punch. With multiple lyrical references to the sea (including their name), The Coral seem to fancy themselves as pirates, plundering various musical styles for their own salty songs. Well-versed musicians, they use any style and any instrument they can to get the job done, from accordions to banjos. The impressive part is that they do all this in less than four minutes per song. It's clever and heady stuff, though not always listenable.

Fun...
...that's probably the best way to describe The Coral's The Coral, or perhaps the vaguest way... At any rate, this is one of the better CD's I've found this year, though I write this a good 4 months or so after I bought it, and I have undoubtedly played it out since that point in time.

The CD's got boatloads of energy, some fantastic harmonies and a great sense of fun. I don't really have much music in my collection like it, though I'm not exactly in the Elite when it comes to that sorta thing. The music is creative, pretty wild and not without its clever and interesting instrumentation. I'm told the music is very Doors-esque, but I've never been a gigantic fan, so I can't really compare.

The first half of this CD is stunning and without QUESTION worth the entire price of the CD. "Dreaming of You", the song that apparently made this album's existence known, is probably the most catchy song I've heard in years, and it's easy to understand how it launched people into buying the album. "Shadows Fall" is also a beautifully conceived piece of... something. Completely hypnotic sounds here. Lyrically the band isn't really my cup of tea, though I resonate with some of the songs, "Siamond Diamond" inparticular.

Like other reviewers have commented upon, The Coral stands out primarily because it's so unlike what we've been hearing so much of in pretty much every direction this day in age. I don't know (or care?) if it borrows from a number of older musical sources, because it's so rare these days to find something this interesting and fun.

Oh, and it's a better CD to listen to in your car whilst driving then to calmly sit down with a pair of headphones on, I've noticed. It'll make even the most depressed person come alive, if only momentarily.

A chest of treasure
If a gang of 16th century English buccaneers gave up being pirates and formed a rock band then The Coral would be that band. Maratime imagery washes over their self-titled debut album. The songs are loaded with lyrics like "we'll set sail again, we're headed for the Spanish Main", "drop the anchor, lift my heart, from stern to stern I'm torn apart", "seek the hull, leave the deck" and "I am shipwrecked on the rocks". Many of the tracks also have rocking, sea-shanty like beats the conjure up visions of pirates and merchant ships. The Coral's first effort is so indebted to the sea that it could almost be considered a concept album - but don't be turned off. Among the oddly original oceanic flotsam is some familiar, retro-rock jetsom. The lyrics, particularly in Simon Diamond, are reminiscent of the psychedelic musings of early Pink Floyd, while the vocal harmonies in several songs evoke memories of The Who. Fans of Aussie rockers The Living End will enjoy the punk/rockabilly feel of 'I Remember When' and the quirky rhythm and melody of 'Dreaming of You' is not unlike The Cure's 'Love Cats'. The Coral's music is not for everyone but those who appreciate imaginative lyrics and creatice, original tunes will love it. Buy it now me heartys! Arrrgghhh!

cool sound, horrible lyrics
The music is pretty fun and i like a lot of the songs but i can't get past their lyrics. And i'm not the kind of music fan that is really into music based on how deep or moving someones lyrics are. It's just on this album they are preditable and annoying like a 7th grader writing a poem. The music is pretty cool and reminds me alot of old psychadelic music; sounds like the doors, only a little weirder. Definately interesting music. Here lies my problem, a song i like the sound of, only having to hear "who are you, who am i, please don't ask, i'll lay down and die." GAY. It doesn't even go with the rest of the song, it is like they stuck a bunch of horrible rymes together. The singers voice is cool, but what these guys need is to hire someone to write songs for them.

,,,
This is a wonderfully diverse album made by a band that can play wonderfully diverse music wonderfully well. At it's worst, it has that vibe of hollow, heartless, but entertaining retro-ism you get from so many "retro" acts. At it's best... well... calling them "retro" is a bit of an insult... they can be beautifully kaleidoscopic and have something that resembles "their own" sound.

It's very enjoyable, and definately worth owning. ... Read more

Amazon.com

This 1984 release set the pace for the band's career, helped define the tone of the 4AD label, and opened the door for a genre that includes Delirium, Deep Forest, and Enigma. While much less dense and textural than more recent DCD, this album begins the group's study of combining global rhythms and instrumentation from various musical eras with contemporary sounds. Here they explore the somewhat Gothic electronic and rock instrumentation of post-punk European pop. Featuring the lush, sonorous vocals of Brendan Perry and Lisa Gerrard, this is a dark, mysterious, and compelling release. Fans of later works will not be disappointed; newcomers will find this groundbreaker a good place to meet Dead Can Dance. --Andy Stevens ... Read more

Reviews (20)

Dead Can Dance Can Do Better...and Has
I had already bought, listened to, and fell in love with two DCD CDs (Aion and The Serpent's Egg) before picking this up, just to add to the collection, only to discover it was the group's debut effort. And I must say, listening to this CD, DCD has come a pretty long way...but still, you can hear the makings of great music.

The whole CD sounds like it's being played in a long tunnel, very echoed and far away, very thin. There are many original touches, and while Lisa Gerrard's voice has matured beautifully, it still sounds quite nice. Brendan Perry's voice I've never been a big fan of, and here it just sounds depressed. The music itself is creative, though dated. Still, the beginning efforts are admirable, at times quite creepy. But overall, I think this is only for real DCD fans who want to see where the duo started. But I think I'd much prefer their later CDs, and I hope to add more to my collection soon.

Nocturnal emissions
Dark, rocky, and somewhat abrasive, DCD's debut is anything but the medieval ambiance many have come to expect from this band. No wonder, since Brendan made his first musical experiences in a punk band. Recalling the sound of Cocteau Twins' debut "Garlands", "DCD" is also a very sparsely produced album; thin electronic percussion, fuzzy guitar riffs, and Brendan's tired-of-life voice are the dominant components on most of the songs. Still, there are also some calm tracks with Lisa's voice, but I think the more aggressive pieces like "The fatal impact", "The trial", and "A passage of time" provide the main interest throughout the album. "Threshold" rocks harder than anything the band has ever done. After all, it ends with the wonderful, appropriate "Musica eternal". The last four tracks are taken from the EP release "Garden of the arcane delights", originally released in 1984. Here, the music is rather subdued and paves the way for DCD's subsequent album "Spleen and ideal" The densely percussive "Carnival of light" and the majestic "In power we.." are the highlights here. A must-buy for fans of the early 4AD sound.

A place where New Wave punk meets Etnic vibrations
While this great duo is most known for an upgraded mixture of traditional sounds from all around the world with a bit of electronic,the self-titled debut shows all where from it came...Dead Can dance in the early eighties was an young and ambitious group with an idea of taking new wave Joy Division styled music up to higher level of art and making something fresh out of something popular at the time.

Duo on this album sounds in some moments like on "Spleen and ideal" or "Aion".The sound is mostly dominated by Brandon Perry's noisy guitar,drum machine and expressive bass riffs (a bit in peter Hook's style)."Frontier","Arcane","fatal impact" or "Threshold" define the early band's sound.Brandon's a bit distant vocals are followed by the spooky Lisa Gerrard's soprano.i believe that "Ocean" is one of the most haunting and scary tracks in history.Turn of the light and listen to it loud.i am sure that you will be scared when hte creepy Lisa's vocal will be coming straight to your ear...It is funny because even with the use of few instruments like Bass,drums and bass Dead Can Dance sounds like Dead Can Dance.4 last tracks are taken from the ep "garden of the arcane delights" - they sound much more essential,but i must say that i was not dissapointed by any track from here.

If you like dark new wave music or gothic you must listen to it.there are only few albums that will make you look nervously around searching some monsters or withches while listening it.It's creepy and beautifully haunting music.Highly recomended

GET THIS CD NOW!!!
A year and a half ago, I bought this CD. This was the first Dead Can Dance album I ever bought. I had to listen to it a couple of times to really get to appreciate it, but I have been absolutely in love with it ever since then. I have every one of DCD's albums, but this one is by far the greatest, in my opinion. I keep experimenting with other songs, other bands, and other genres, but I keep coming back to this CD. I recommend it with all my heart.

NEATO, jungle
before they got self conscious and smarty they were good, it as if they stumbled upon a golden chest in the middle of the woods and opened it and were bathed in light and transformed to an imaginary spot ,deep within theri minds ;which like a voice ,they played too... with all of their conviction and innocense with unschooled un self consciousness...EARNEStNess! the tunes speak too like a collective conscioussness ,like reading HEART OF DARKNESS, THIS IS MUSIC TO TURN THE LIGHT OFF , ALMOST too hypnotic in a inexplicable vigorous good way, unlike TECHNO AMBIENCE, this is like primal genuine and its insistence in getting under ones skin is SHAMANISM perssonified. ... Read more

Reviews (28)

the maze
After a few listens, 'Filigree and Shadow' really started to affect me and now I love it. Of course it's not as good as 'It'll End In Tears' but I think that's only because the first This Mortal Coil record had only 12 tracks and this second one has 25, which creates more room for some clunkers. The majority of this record is outstanding. I love 'the jeweler' 'come here my love' 'ivy and neet' . . .

The major standouts include "i want to live", "i must have been blind", "tarantula", and "drugs". The record captures most of the feelings one feels on the first album, and the first TMC album is perfect as far as I'm concerned. There is no track that rivals "song to the siren" but the stunners on 'Filigree and Shadow' grab you and do not let go. I listen to it in my headphones on walks at night, or alone in the dark, or during the day. I really dislike the goth label, I never really understood what goth exactly is. I suppose you could call this music a gothic ambient style, not the contempory meaning of the adjective 'goth', which involves angsty teens sitting in coffee shops smoking their heads off and talking about how much better their lives would be if they lived anywhere else.

But anyway, I love 'Filigree and Shadow'. Buy "it'll end in tears" first, let that one into your life and soul, then give the second a try. I think that I ought to buy 'blood' soon, the third and final TMC release.
~Tom Nordlum

Good - but don't start your TMC collection here
I may be the lone voice of dissent on this page, but I must say, I have owned all three This Mortal Coil compilations for some time, and of the three, "Filigree and Shadow" is the weakest. It's not bad. But unlike the raw beauty of the "It'll End in Tears" tracks (which is mostly a Cocteau Twins/Dead Can Dance concoction - 4AD chief Ivo Watts-Russell hadn't yet a roster large enough by then!) and the epic sweep of "Blood" (which has a couple of guitar-laden clunkers but is otherwise packed with dark and soaring emotional stunners), this album has a more ambient feel, and thus lacks much personality or punch. I've listened to it several times and most of it just feels samey to me. It's good, but as a listening experience, the album is strictly a flat landscape, with few peaks or valleys.

Obviously many people here feel differently. But to those who may have been curious about This Mortal Coil, but aren't sure which CD to get first, I highly, highly recommend you start your journey with "Blood." Then rush out and get "It'll End in Tears." Heck, get them both at the same time.

Heartbreakingly beautiful
This CD has not left my stereo for all that long lately... It serves as exquisite chill-out music, yet forces you to pay attention to it... All the tracks on this album are of stellar quality, but the ones that most readily leap to mind for me are "Tarantula," "Firebrothers," and a quite sinister cover of the David Byrne-written "Drugs." I can honestly say there's nothing on this that serves as filler, and that Ivo Watts-Russell and John Fryer picked an impressive array of collaborators, as well as gathering a unique eclectic selection of cover songs (Van Morrison and Judy Collins, for example). I must admit that this is the only This Mortal Coil CD I own... but that'll be remedied soon enough, to be sure.

A compelling disc
I first heard this when I was in high school. Its melancholy demeanor, luscious melody and intriguing orchestration spoke well to me then. Over a decade after the first listen, this disc still remains compelling. The sequence of tracks that runs from "Thais (I)" to the end of the album is fantastically beautiful; if those tracks were an album unto themselves, it would be one of the most listened to albums I own. I still have just as much fun singing along with "I Must Have Been Blind," and I still adore the cover of David Byrne's "Drugs." And the ambient tracks (too numerous to mention) are superb.

I can't give it the five stars because, like the other TMC releases, it is inconsistent. Some songs haven't lasted as well and now they get on my nerves. Luckily, they seem to be crowded more towards the beginning of the disc.

Not as good as "It'll End In Tears", but still very good.
Of the three TMC CD's, this is my least favorite. However that does not mean that I do not enjoy it. All three are very good. ... Read more