Reviews (5)

Powerful!
You MUST have this CD, the first time I heard Augen Auf I was shocked by their pounding lyrics and then I heard the song Brennende Liebe and I was even more impressed with their music. This band is the greatest! Check out their website at www.oomph.de

Great!
Don't worry about the price just get it new off one of the independent people for like 18 you wont regret it. The finest of Oomphs long rein.

Oomph Does It Again
Alright, where do I begin..Oomph..Amazing! I have the limited edition of Wahrheit Oder Pflicht with the bonus english songs..and lets just say that WoP is Oomph's greatest cd...It's my favorite cd and it has the greatest songs I've ever heard. I wasn't as dissappointed with Ego as the others..I actually rather loved Ego much more so then Plastik..Older Hardcore Oomph is extreamly impressive..which is why WoP is the best..it sounds like a cross between all of their music in one album..it's that impressive! Nothing beats Oomph..nothing

Amazing
I just recently became an OOmph fan and bought EGO and didnt like it much because it was too boring. But this CD is hard from beginning to end. This is definitely the CD to get if you are an OOmph fan.

OOMPH IS BACK
ok, first i love oomph! my favorite record of theirs up until now was either plastik or unrein..i was alittle dissapointed by ego just a bit too poppy for my tastes, but as soon as i put Wahrheit oder pflicht into my cd player good lord, its heavy but not early oomph heavy i'd say its the perfect mix between plastik and unrein. the songs still remain melodic without going mainstream, the vocals are heavy in songs more melodic in others..i can't even get my thoughts out straight due to the sheer greatness of this record. Oh yeah no more english on this record all the vocals are in german..so if you like industrialrock do whatever it takes to buy this record now. you won't be dissapointed ... Read more

Amazon.com

Singer Robert Smith was determined to make the Cure one of the most distinctive groups of any age. After jaunty power pop was in vogue, Smith shifted to tone poems and ethereal freakouts. However, with Pornography, he entered the downward spiral that prompted the greatest music of his career. The title track is sheer hell as Smith abandons music altogether. But the remaining tracks are among the finest the '80s had to offer. "One Hundred Years," with its grinding riff, "Siamese Twins," with its stuttering beat, and "The Figurehead" ("I laughed in the mirror for the first time in a year") are gothic studies in terror par excellence. Nothing sounded like Pornography, not even other Cure records. It has since been decided that Pornography is the first volume of a trilogy that's completed by Disintegration and Bloodflowers. Both are worthy, but nothing beats the first installment. --Rob O'Connor ... Read more

Reviews (96)

Unique - nothing less, quite a lot more...
I personally find it impossible to pin down the Cure's best album; but this is certainly one of their best, without a doubt. It's closest relative is probably "Disintegration", only much more raw and psychotic.

I had always considered the cure an annoying pop band until I heard this album. From that moment on, (and this was many, many years ago) the cure have been one of my very favorite bands. Amittedly, I was enjoying some fine English mushrooms at the time, but it just blew me away. This really is a truly unique album, to this day, I have never heard anything else quite like it.

"Pornography" is not for everyone to say the least. The reviewer who considered "Bloodflowers" a more depressing album, well,I just don't know where the hell his head is at. This is NOT an "Up" album. Manic, perhaps; manic depressive even. It is VERY dark and VERY intense. You will either love it or you will hate it.

I saw the Cure recently, they played "One Hundred Years" and "Siamese Twins". "One Hundred Years" was probably the highlight of the show for me. (It was the only song that a friend not familiar with the cure did not like).

If you like bloodflowers, disintegration, faith or 17 seconds; then buy this album. Do not expect the production value of the newer albums, this was back in the dark ages of the early 80's after all. But do play it VERY loud.

This is one of the greatest Psychadelic albums of all time. I reccomend it VERY highly in this respect. (And I do know of that which I speak!)

Truly one of the great works of our era.

one of the best albums ever written.
skillfully written lyrics with masterful singing, this album fights well with disintegration. of course this album was written earlier in time and more importantly, had a much less professional sound but regardless expressed what it needed to. It covers almost anything about general deprsesion: One Hundred Years uses war as the feeling of time lasting forever under depression, A Short Term Effect makes life analogies with a theme of drugs, The Hanging Garden talks about how life needs to end for others to begin and uses the imagery of slaughterhouses, Siamese Twins talks about one-night stands and people trapped in lust, The Figurehead is religious confessions about a relationship, A Strange Day is about being disabled, Cold is about the sudden end of a relationship, and Pornography is about murder. This album on its own reflects The Cure's band name right on its own...the last line ends with "I must fight this sickness, find a cure..." Being the darkest cure album before they went pop (and oh my god were they talented at that), it's a great listen for any teenager starting to feel alienation because of growing up. It'll be your best friend telling you its alright because you aren't alone.

Everybody should listen to this album once, at night when they can't sleep turning on the night light and spreading out the lyrics.

It'll be an experience.

Welcome to the dark side.
"Pornography" isn't my favorite album of theirs, but if you're drawn to the darker side of the band, this is definitely what you want. "Faith" and "Disintegration" do the trick too, but not like this. Songs like "100 Years" and "The Figurehead" are excellent, and will show you how upbeat and happy the "Greatest Hits" songs really are. "Cold" is a perfect name for that song, and my personal favorite track is "A Strange Day". Overall it's a great album, and a must for real "Cure" fans, except for those under the age of 18, they shouldn't have "Pornography".

Robert Smith Rules!
Pornography is my favorite CD from The Cure! It's the darkest and it has more of a gothic feel than the other cure albums. This CD is a must for any Cure fan or for anyone who likes dark music. If you've never heard The Cure before then you might want to try Staring at the Sea: The Singles first, but if you like pop music then buy The Cure - Greatest Hits instead. Anyways, Pornography is an excellent CD with awesome tracks like Siamese Twins, Hanging Garden, and Figurehead. Once you buy this CD you will see how great it is, so stop postponing the inevitable and buy this dark, twisted haunting album know as Pornography.

Related CDs:
Disintegration - The Cure
Bloodflowers - The Cure
Freak Perfume - Diary of Dreams
Apparitions - Hungry Lucy
Comalies - Lacuna Coil

Ps.
Robert Smith kicks a$$!

dark, brooding and beautiful.
Usually with a Cure album you get a little from both sides of the coin. You'll get some poppy songs and some darker type songs.That's what makes Cure albums like "Wish" so great but I always seem to find myself skiping to those "Darker" Cure tracks. If you're guilty like me, (admit it! you are!) then "Pornograpy" is a godsend. I've never heard The Cure sound so bleek and spiteful. Every song is driven by a relentless drum beat and the wail of distorted guitars. Robert Smith pores his heart out, poetically painting in our minds memories of pain and helplessness, all the while we hear our own thoughts and feelings reflected through his words. I think that's why I like this album so much. It's The Cure's most honest and accessable album. It's the album that's less abstract in subject matter and more focused, more personally reveiling. "Siamese Twins" and "The Figurehead" are the backbone of the album. Both songs are epic tales of isolation and regret set to some of the most powerful music I've heard The Cure make since..well..ever! "A Sort Term Effect" "A Strange Day" and "Cold" are also great Cure tracks. The only track I didn't enjoy very much was "The Hanging Garden" It doesn't really go anywhere. Overall, this is an amazing and emotion fueled classic. If you're a Cure vet or just getting into them, Pornography is a must for your collection. ... Read more

Reviews (6)

Simply Beautiful.
From the ethereal band This Ascension to the catchy-eccentric-goth-like band Mira to the whimsical humour of Voltaire... the folks organizing Projekt Gothic truly know how to put together a spectacular compilation album. If you enjoy ethereal, goth (true goth bands, not the Marilyn Manson type), and eccentric bands, you will enjoy this album.
I would also recommend listening the final track, "Don't Fear the Reaper" by Unto Ashes. Their rendition of Blue Oyster Cult's hit song is amazing. They bring a dark, depressive vibe to it that radiates pure genius. However, be sure not to miss Mira's song. It is--quite possibly--one of the most popular tracks on the album (although they are a lesser-known band.) It is a stand-out and truly phenomenal.

Projekt Goth possesses many wonderful gothic gems!
I OWN SEVERAL GOTHIC/DARKWAVE CDs, AND THIS ONE IS VERY MUCH LIKE THE REST--DARK AND ENJOYABLE FOR DEPRESSIVE TYPES LIKE MYSELF. BUT THERE ARE A FEW LESSER KNOWN GROUPS/SINGERS ON THIS COMPILATION THAT REALLY APPEAL TO ME, EVEN AFTER ONLY HEARING THEM TWICE! (THEY DON'T REALLY HAVE TO GROW ON YOU; THEY'RE JUST THAT GOOD!)

THE MOST NOTABLE ARE THE FIRST TWO SONGS ON THE CD, BY AUDRA "WHAT YOUR EYES HAD SEEN" & VOLTAIRE "WHEN YOU'RE EVIL," RESPECTIVELY. BOTH SOUND VERY MUCH LIKE OLD BAUHAUS. BOTH SINGERS' VOICES ARE VERY PETER MURPHY-ESQUE. (I LIKE THAT A LOT, PERSONALLY). DEEP, RICH, MASCULINE VOICES THAT SEEM TO DRAG YOU SEDUCTIVELY INTO THEIR UNDERWORLD ECSTASY. (I'M NOT SURE, BUT I THINK THE VOLTAIRE SONG IS SUPPOSED TO BE SATIRICAL--NOT CERTAIN. EITHER WAY, I LOVE THE SONG, ESPECIALLY THE VOCALS.)

THE CD ALSO CONTAINS MANY OF MY OLD FAVORITES FROM THOSE GOTH DAYS OF MINE IN THE 90'S: THANATOS, BLACK TAPE FOR A BLUE GIRL, ATTRITION AND LYCIA. ATTRITION DOES MY FAVORITE OF ALL THEIR SONGS; ITS ENTITLED "A GIRL CALLED HARMONY." THEY USED TO PLAY A CLUB MIX OF THAT SONG VERY FREQUENTLY AT THE GOTH CLUBS IN SAN FRANCISCO AND NEW ORLENAS.

OVERALL, I RECOMMEND THIS CD, ESPECIALLY FOR THE NEW WAVE OF GOTHS. IT WILL IMMEDIATELY BECOME ONE OF THEIR FAVORITES!

a worthy sampling
I always like compilation albums because they are a good way to get a varied sampling of a particular genre and also a good way to hear new artists. Often, however, only about half the tracks on compilation albums are any good. Not the case in Projekt: Gothic. I love this album and it is consistantly good from beginning to end. It starts out with the distinct sound of Audra and their song, "What Your Eyes Had Seen." Then it goes straight into "When You're Evil" by Voltaire which is simply a gloriously fun song. It of course includes a track by the ever-gothic Black Tape for a Blue Girl and also includes many artists I was not familiar with but now have become a fan of.

I recommend this cd to anyone. It is a fine sampling and even if every track does not appeal to every listener, it is still a worthy compilation. Give it a listen!

Projekt a real winner
This CD is great and has a wide variety of Goth songs and terrific lyrics. I cant wait for the next release....Go Maven!

Another Solid Projekt Release
If there's one thing you can say about Sam Rosenthal and the people at Projekt, it's that they're consistant about quality--and quality and an affordable price. This release (Originally a Hot Topic exclusive... and don't roll your eyes at me, Goth-boy!) is perhaps one of the better darkwave compilations out there, and was excellent inspiration for me to check out some of the bands I'd previously passed by, such as Mors Syphilitica and Human Drama, who's contributions to this album are very, very solid. No complaints here, captain! ... Read more

Reviews (28)

Heavy Angry Nu-Metal
I like a lot of Nu-Metal, but some of it seems repetitive. Otep restores the heavy and the anger to Nu-Metal, and best of all, they do it with a female singer. I saw Otep at an Ozzfest offdate this year and it was my first serving of them. Awesome show. Definatly one of the better preformances at that show. Otep (the singer's name) had a better scream than most of male singer's at that show. This woman's scream is beasty and brutal. After that show I went home and Amazon happened to carry their Jihad EP. I ordered it and it was not a disappointment. The CD matches their heaviness live. Order this EP now, it's inexpensive and it rocks. I can't wait for a whole album to come out in 2002. Best song: "Filthee."

Yes!
Being a fan of all things hard and heavy, this is a revelation for me. The music of Otep may sound a bit like other bands like Slipknot, but when the vocals hit I can guarantee that you've never heard anything like this before.

Otep is a rare gem - a metal band with a female vocalist. And what a vocalist. Otep Shamaya growls, screams, whispers and raps like there's no tomorrow. The first time I heard "T.R.I.C." I almost fell out of bed. It ws especially the deep, deep growls and screams that surprised me. I don't know about you, but I can't wait until their full-length album is out.

BTW, Otep were signed without even recording a demo - that's how good they are live.

Theres talent, but its constrained.
Ok let me get one thing clear, Otep is probably one of the most overrated bands that has come out recently. I mean neither Jihad nor sevas tra are 4 and a half star material and despite what some others people have said, korns first 2 cd's were waaaaaayyyyy better then these. I found out about Otep on the limited version of Rob Zombies the sinister urge; it came with a free bonus CD titled Calling All Maniacs, that had songs by mainly new artists to promote their releases coming out in 2001. Such as Dry kill logic, Mushroomhead, Dope and some old stuff like Slayer. The song that the CD featured by Otep was T.R.I.C. I still think that song is kickass. But back to Jihad. This EP only has 3 good songs on it. Possession, The Lord is My weapon,(later titled Sacrilege on Sevas Tra) and you guessed it T.R.I.C.

Now here is my song analysis.

Possession: 8/10 It's a real nice start, heavy and a good introduction to Otep

The Lord is my Weapon: 8/10 I actually prefer this version to the one on Sevas Tra. The guitar is better and catchier.

Germ: 0/10 It seems that Sevas Tra was half of songs like this and that is what hurt that record so bad. All it is, is Otep saying weird poetry and stuff with some bad background music. I only listened to it once and I will never listen the whole way through again. It's about 8 or 10 minutes, can you say filler?

Fillthee: 5/10 This could have been a good song, but for me there wasn't a spark or anything, lyric wise its good though, but musically it doesn't stand out, and there isn't much substance. Oh, and the title is misspelled. Its filthy not fillthee. Unless I'm missing a double meaning or something.

T.R.I.C. 10/10 Easily best song here and I'm not surprised. Dispite what people say this is the only real song where Otep's Voice sounds like that of a guy's. This completely confused me on what the band was like, for some reason I imagined a really short guy as vocals.

Also, there are 5 people shown on the back of this Digipak, yet in savas tra there were 4. So this means they got rid of a guitarist, but here no names are mentioned, I just thought I should mention this, it bugs me. O yeah one more final thing the female singer here is named Otep so she basically runs the show and it surprised me that they couldn't come up with a better name considering she was the LAST person to join the group. Oh and the guitarist Evil J has left the group.

If you want anger, great lyrics, screaming vocals and the likes I would highly recommend Dry Kill Logic's The Darker Side of Nonsense instead of this and Sevas Tra, DKL is a group that has talent, and I can hardly wait for their new CD unlike Otep. I'm sorry but this group just doesn't do it for me.

Otep Fshking Rox
Otep rox...Wow...its that easy...
Discovered by accident while looking 4 My Ruin, and I've been worshipping them ever since

Piece of crap
Piece of crap, this is the worst album I have ever heard in my life. That stupid woman should stay at home where she belongs (Don't buy it). ... Read more

Reviews (18)

Majestic
OK, so this was the album where I finally connected with Peter. I was introduced to Bauhaus and ToT in junior high and loved them, but just did not connect with his first solo effort. But there was just something about this album when it came out -- so much, in fact, that I have since collected just about every PM record, cd, and artifact I could find. From Indigo eyes to All Night Long to Socrates the Python to Blind Sublime, the album is rich and complex and beautiful, and by far his best work.

Mystical Magnificence
I came across a cassette compilation I made yonks ago and was so excited to find songs from Peter Murphy's Love Hysteria. Boy it takes me back. When MTV actually played cutting edge, watchable stuff. The video for "All Night Long" arrested me, black and white, those heavy-lidded eyes and full-mouth.
I worship this song and it might have been the reason I bought the album so long ago. But my favorite now is "Socrates: the Python." What great lyrics: "Socrates, Pythagoras, yin and bloody yang, hatha yoga, Om, Bennett, Gurdjeff, Jesus, Old Testament and New. Libraries full of keys." Then that great Indian/Middle Eastern music, very sinuous like a coiling snake, and that very quiet French man in the background talking about about a beauty in the mirror, his horse and his gloves ... (is this "La Belle est La Bete?" Hmmmm.)
It's interesting that after all these years, I've actually studied about all of these systems of philosophical thought.
Peter Murphy has such a unique voice, deep and hypnotic. Bordering on creepy. Like a voice from beyond.
Buy this CD for "All Night Long," a brilliant song with an almost Japanese opener then building to something that's dancable; and the very friendly "Indigo Eyes." But then listen to "Socrates" and let that wrap around you.
Murphy is genius.

The Dark Icon's Best?
"Love Hysteria" is a great album defining the solo career of the ex-Bauhaus frontman. "All Night Long" is pure rapture, mystical and darkly romantic - the best song on the album and one of my faves of the decade. "Blind Sublime" is probably the most like a true pop song with a good beat and catchy hook. "My Last 2 Weeks" is an outright ballad showcasing his deep vocal mastery. "Indigo Eyes" is the perfect love song falling not far from the same tree as "All Night Long" but slightly more uplifting; let's say it this way... "Indigo Eyes" is a perfect love song when you're with someone and "All Night Long" is the perfect love song when you're alone. The remaining tracks are consistently good and carry the vibe, though they are less accessible in a pop sense.

Generally speaking, Love Hysteria is a great album with some tracks clearly being better than others. Is it his best? Arguably yes. While "Deep" is probably more consistent throughout, LH just seems more like the real Peter Murphy with no out-of-place moments. Why split hairs? Buy both and be happy that you did.

Passionate and Powerful
Love Hysteria was my first full-length Peter Murphy solo album. This was the first of Murphy's albums to feature Paul Statham as his main songwriting collaborator. Murphy also showed on L.H. that he could write just fine on his own with such timeless tracks as 'My Last Two Weeks'. This album runs the gamut from really rocking tunes like 'His Circle and Hers Meet' to spiritually indulgant rants such as 'Socrates Python'. This is also the first album just to feature Murphy's touring band which makes the album a bit more uniform than his first. Definately a must-have in my opinion.

Abstractly Now
The thing about Peter Murphy that I enjoy is that his voice is really there, he brings it each time. The thing I don't like about Peter Murphy is the thing about Peter Murphy that I like is that his voice is really there, he brings it each time.

I feel like he is so over the top on the abstract topics he brings in this CD that when he, as he inevitably does, gets into love, the stoic nature he gets into is so non-specific in his stories that you wonder if any of the beautiful music has a reason outside of philosophical debate. Having said that, his voice is excellent and interesting in texture and the music is very strong as well, buy it abstractly now!

Matthew Hahn www.movingtracks.com ... Read more

Album Details

Digipack Packaging. Includes Video Track which also Appears on the 2005 Dual Disc 'with Teeth' Full Length. ... Read more

Album Description

1984 album that is unavailable domestically. 10 tracks,including 'The Caterpillar', 'Bird Mad Girl', 'Shake DogShake', 'Dressing Up' & 'Give Me It'. Fiction / Universal. ... Read more

Reviews (36)

Top is an explosion of Smith's brilliance
In what might be the closest fans of The Cure will ever see to a Robert Smith solo album, 1984's "The Top" is a fourty minute near eastern fable. Although the eccentricities of the record may be a turn off to less 'hardcore' fans, it is a must have for anyone building a Cure collection. Highlights include the astounding opener "Shake Dog Shake", as well as "Birdmad Girl", "Dressing Up", and "Piggy in the Mirror". The albums single, "The Caterpillar", is also a noteworthy track. Yet the pinacle of the record is the eigth track, "The Empty World", in which Smith explores the metaphor of war.

Despite its lack of commercial appeal, especially when compared with its 1985 follow up "The Head on the Door", "The Top" is still one of the Cure's finest releases.

the creative pinacle of robert smith
this album is, in my opinion, robert smith's greatest. it trandescends any steriotypes that might have been instilled by the gloomy PORNOGRAPHY it follows with tracks like PIGGY IN THE MIRROR, DRESSING UP, and BIRD MAD GIRL; yet retains the robert-smith-anger in the brilliantly organized SHAKE DOG SHAKE and the helter-skelter GIVE ME IT (which is my least favorite song on THE TOP). the song THE TOP resembles the epic saga styles of the songs DISINTEGRATION, FAITH, and SIAMESE TWINS. and the pinnacle in creativity and theme writing that would usually turn one off is ,of course, THE EMPTY WORLD. i have yet to understand why only THE CATERPILLAR was released singly. it , in my opinion, is the dullest song on the album, and certainly not worthy of seperate release, although a version of it was released later in the MIXED UP album that was quite excellent. this album is not for early cureheads, and i (thirteen albums later) even have trouble listening fully to the song THE TOP. but all in all, a brilliant set of songs.

the cure? More like the cool!
This is the cure's gretest acheivement. I just bought it for 1 buck at the ol' thrift store and (let me tell you) piggy in the mirror is a perfect example of when music and lyrics being good. Shake dog shake is rockin'.

Psychedelic Goth Masterpiece
This brilliant album is as colorful as its cover. It's a fascinating window into the darkly distorted state of mind that Robert Smith (the Cure's mastermind) was regularly experiencing at the time. Some of his best music and most tripped out lyrics are featured here.

Smith plays most of the instruments on THE TOP while the talented but soon to be booted Andy Anderson plays the drums. Porl Thompson and Lol Tolhurst do contribute, but this is the closest thing to a solo album Smith has released, although I do have a bootleg solo album that Smith did by himself. With the JAPANESE WHISPERS singles, Robert Smith realized he could do any kind of music, and with the hallucinogenic TOP takes that notion to an extreme where he really lets it all hang out.

The breakdown:

"Shake Dog Shake" - a creepy, nightmarish vision with churning psychedelic guitar, death knell pacing and a grim smile. "Make up in the new blood/ And follow me to where the real fun is" *****

"Birdmad Girl" - beautiful song, lighthearted yet tinged with melancholy. Exudes an exuberant lust for life. Great piano, great guitars (both acoustic and electric). "She sends me everything/ She sends me everywhere" (love the way "me" switches from indirect object to direct object). *****

"Wailing Wall" - a fantastically gloomy Middle Eastern atmosphere pervades as Smiths electric guitar hovers in waves through the background. *****

"Give Me It" - full-throttle chaos and desperation, a harrowing vision to be sure. "Give me it, give me it give me it!/ Deaden my glassy mind!/ Give me it, give me it/ Make me blind!" ****

"Dressing Up" - a dreamy, soothing respite from the madness. Sotthing woodwind keyboards, very intimate. ****1/2

"The Caterpillar" - A sweet, mildly plaintive song and quite unique. Highly creative with distinctive percussion (bongos, a clapper that flickers like butterfly wings) and other interesting touches. *****

"Piggy in the Mirror" - The surreal lyrics reflect a very warped state of mind and are simply brilliant. The acoustic guitar solo at the middle 8 is otherworldly and exquisite. ****1/2

"The Empty World" - Easily the weakest track on THE TOP, it features a military march on drums and a keyboard line that sounds like a Revolutionary War flute. It also explores THE TOP's central motif - altered mind states. ***

"Bananafishbones" - Possibly Smith's most wigged-out, warped and psychedelic song ever and the best song on THE TOP. Absolutely chrning and thick like caramel with an uneasy, off-kilter heaviness that makes the room swim. "Turn off the lights/ And tell me 'bout the games you play." *****

"The Top" - a dark hypnotic "place where nobody goes/ You just imagine it all." Conveys a frightening sense of isolation. Cadences from percussion waver in tone and methodic drum rolls are divided into segments that make your mind swirl until an actual spinning top comes to a stop and falls over. ****1/2

For some reason THE TOP is often misunderstood and slagged, but mostly by people who don't get the Cure anyway. One of my favorite albums, by the Cure or anyone else.

What's all this?
I'm sure that there are people who've given this album a good rating simply because it's a Cure album, and that isn't right. This album deserves a good rating because it is damn-near impenetrable by casual (and even dedicated) fans. A gutsy, drunken affair, the Top is exactly like it's cover art... strange. But it's saving grace is the reward a listener gets from really paying attention. The lyrics are downright absurd, spooky, sad, and angry. Certainly not the best Cure album, but one that deserves recognition. I group the Top in with Wild Mood Swings. Both albums are very good, but you must listen to them with an open mind. This is not a Cure record, really, but a Robert Smith record, made when he was quite inebriated, but still quite creative. Shake dog shake, Wailing Wall, Top, and Piggy in the Mirror are brilliant. A great overall album, even if it is eternally misunderstood. ... Read more

Reviews (33)

A few future club hits mixed with some mediocre filler
For the last couple of releases, Covenant has steered away from the industrial sounding style in favor of a more synthpop/light EBM sound. The composition of many of their songs has become more simple, and their lyrics no longer possess the sentient wisdom of their older hits like Tabula Rasa and Winds Of The North. Like Apoptygma Berzerk's releases, it seems now only bits and pieces of Covenant's albums have that powerful high energy feel that we've all come to know and love. Northern Light is no different. Call The Ships To Port and We Stand Alone are awesome high bpm songs. Bullet and Invisible & Silent are good examples of Covenant's ability to produce appealing and thoughtful slower songs...but the rest of the album just lacks flavor. If you enjoyed Covenant's previous album United States Of Mind from start to finish, go ahead and get this CD (it's as good as if not better than that release). For the rest of the industrial/EBM fans out there, Northern Light is still worth a purchase for the few great club hits it does have...just don't expect a stellar experience through and through.

A fine expansion within their own sound
Northern Light is another example of how bands are pushed out of the limelight when they stop producing "sounds good on the first listen hits": the average listener with a 30 second attention span stops listening. If one were to remove the blinders that prevents one from looking for a repeat of past musical stylings, one would find a briliantly executed and focused collection of songs. Northern Light is the first venture in my opinion into a cohesive Covenant music style. If anything, it casts shadows on their previous works: making them look choppy with big club hits strung together and incongruent fillers inbetween. Why do people suffer from this preconception that bands always sounded better in the garage and then sell out when they gain recognition.
Northern Light is a beautiful example of how a band has come into its own style and sound and then taken it to the next level. Sure it doesn't have the "jump and move onto the floor" dance hits, but on a third or fourth listen to the album, one will find a matured sound that only becomes better with future playings.

This is Covenant's best album
If you are wondering which Covenant album to buy, buy this one. It's the most touching, the most beautiful by far. I love all of their albums, but this one is by far the most accessible and wonderful. The song "Invisible and Silent" is probably their best track ever.

Excellent Vocals/Lyrics
I can't get over how much better this release is than the other Covenant CD's I've bought so far (Europa, United States of Mind).

I'm a big fan of groups that lean heavily on vocals and lyrics -- Wolfsheim and VNV Nation being two of my favorites.

Northern Light is much more in line with that style. Where I thought the lyrics and vocals of the other two listed Covenant CD's were mostly uninpsired, Northern Light really seems to show a new spark of inspiration. Call the Ships to Port, Invisible & Silent, We Stand Alone, Rising Sun, Winter Comes, Atlas, this CD is hit after hit (and the ones I didn't list are still 4-star songs in my book).

I can see where it might be a disappointment for people expecting a lot of hard dance floor material, but this is a CD I really got into for the sheer musical, vocal and lyrical brilliance. If you're already into groups like Wolfsheim or VNV Nation, you definately can't go wrong here.

Headline News - Covenant Evolves... Some Fans Annoyed
Many fans misunderstand what Covenant has been trying to do for the past several years and have dismissed this album and "United States of Mind" as not living up to previous standards. Well they couldn't be more wrong. The truth is that these last 2 releases are the best they've ever made and have expanded in ways both refreshing and necessary. Why necessary? For an example of an electro industrial band that stayed the course a few years too long check Wumpscut - formerly one of the greats of the scene (and rightly so), :W: made the same album for so long that people, including major fans like myself, just stopped listening. Covenant faced a similar fate of becoming redundant with their illustrious past. They chose to move on at the risk of offending old fans. Good move. Don't get me wrong, 'Sequencer' is a masterpiece of hard electro, but when it's time... it's time.

"Bullet" may be the best song they have ever written. With its mid-tempo beat, percolating synths and focus on the vocals & lyrics it reminds me most of "Like Tears in Rain", my personal favorite from USoM. These 2 songs are the signature tracks in Covenant's new sound, foregoing the harder edge of past anthems like "Stalker"

"Prometheus" and "Atlas" are similar tracks, both minimalist musically and featuring literary references to mythical heroes. The sweeping, shifting tones and Eskil's voice take front stage, backed by original-sounding, but less pummeling, beats. "Invisible & Silent" is another where the hardness is gone but the edge is still sharp, just in a different way. The angst still remains but it is muted by understanding and an emotional maturity not present before. "Winter Comes" fits in this mold too, and gives off an appropriately wintry chill. These offbeat tracks grow on you a lot, though they will throw you off at first much in the way th songs like "Pikachu" or "Rebel" sometimes catch Apoptygma Berzerk fans off guard. Fans should also consider this, VNV Nation is moving in a similar direction, think "Carbon" or "Airships", and their next release may be more in this vein than in the "Praise the Fallen" vein. In short, get used to it - the bands have moved on while you're standing still waiting for the next floor-filler - well maybe that's what Icon of Coil is for.

"Call the Ships to Port" is the link between the old and the new, more of an old-time floor-packer than the others. The beat, especially on the single version, is absolutely crushing. Eskil's voice is cold and distant as are the electronics. The song matches the album's title and cover art with its frozen feel. Toward the end the coldness melts away in a passionate blaze as the beats and vocals climb in intensity. This is the song that will appeal most to old-schoolers who dislike the changed sound; I'd strongly suggest the beat-heavy single.

"We Stand Alone" starts as a moderately paced song but ends more like a traditional Covenant single like "Call the Ships to Port". It could have been a single. Those with short attention spans might check out since the pace doesn't pick up for a couple of minutes. You really have to be careful of doing the quick scan on new Covenant albums as songs often don't reveal their true nature until later. Maybe this is what annoys some people, however the more patient will end up preferring the new style.

Perhaps the band themselves sum it up best in the zippy "We Want Revolution": "We want revolution, constant evolution." Clearly the band wants to constantly evolve and stay fresh; maybe some of their fans don't feel the same. I think Covenant is right. ... Read more

Reviews (52)

Awesom Album!
You can't go wrong with this album. Whenever I don't know what to listen to, I pick up "gravity kills" and I spin it at least a couple of times. If you like industrial-rock you'll enjoy this cd. It's very well done.
One more thing: please stop comparing "gravity kills" to "nin". It's not a competition. Everybody has different tastes.
For example I don't like "nine inch nails" but I like "Gravity Kills".

You'll Gravitate around it
I am a big fan of DM and NIN, and Gravity kills sound like a mixture of them both. I bought this CD two years ago and i really dug it, but it will never reach Nails' textures and Depeche Mode's lyrical and melodical approach. Though, GK are a great band, their melodies really seem like their own, they have a unique style. But i agree with people saying they try to recreate Head Like a Hole. I didn't like their second CD, if you want something better and Industrial, go buy Nitzer Ebb's Ebbhead or Big Hit, Perversion sounds all the same to me. The Debut GK album is worth every penny.

Soundtrack to 16
I got this cd for my 16th birthday, 2 copies in fact. I had heard Goodbye on the Mortal Kombat soundtrack, and decided "this is a cool band". Then they dropped the single for Guilty, and I knew it had to be mine. So it became the soundtrack to 16 for me. It was a great time, I hardly ever took it out of my cd player. I also got all the remix cds. Those are tight too, especially the Juno Reactor mixes. There isnt a bad track on here, the only reason i give it 4 stars, instead of 5, is because it seems to be one track sometimes. The beat is consistant throughout the cd. This is something they fixed on their next cd, Perversion. Pick up all their cds. It's win-win.

The only thing I don't like is everyone comparing them to NIN. It's not the same thing, not at all. The only place i can see that, is NIN's best song ever (The Perfect Drug).

Better than NIN any day.

A Masterpiece
If I could, I'd give this album an eleven. This, my friend, is the perfect album. It is far superior to any other album I have ever heard, with every single song on it being absolutely outstanding. This was one of my first CDs ever. I got it around when it first came out, and I'm still not sick of it. I just listened to it for the millionth time today. I know every single word on this album. I may know most of other albums, but I would not be confident enough to recite them for fear of getting something incorrect. I know every word on this album, in order.

I'd be hard pressed to choose a favorite off this album, but right now I think my favorite is 'Down', track four. I think every track on here has been my favorite at one point or another, starting with the hit single 'Guilty'. This album really is beyond words. I don't care too much for the band's later work, but this album is just good music. This album is a masterpiece. This album makes all other albums look mediocre. This album is worth whatever price I paid, and more.

I cannot express my true love for this album. It is, without a doubt, the best album ever produced by anyone, ever.

Gravity Kills' Best Album
This is the best Gravity Kills album to date. Although I enjoy all 3 of their albums this one stands out the most. Its just got a original flavor to it.. While maybe here and now in 2002 it might not be that impressive compared to new bands but back in 1996 this was something really different. The tracks that stand out on this is Guilty, Enough and Goodbye. ... Read more

Album Description

Deleted in the U.S., this is their 1992 collection of 7in & 12in singles, both A sides & B's, released between 1980-1983on Merciful Release. 19 tracks including the extremely rare 'The Damage Done', 'Watch' & 'Home Of The Hit-Men', as well as the original extended version of 'Temple Of Love', their covers of 'Gimme Shelter' & '1969', plus 'Alice', 'Kiss The Carpet', 'Valentine', 'Floorshow', 'Phantom' & more. This is the only legitimate CD to find all of these tracks! A Merciful Release/ Warner Brothers release. ... Read more

Reviews (19)

This CD is wonderful.
Some Girls Wander By Mistake is by far my favorite CD. Perhaps I am partial because the Sisters are my favorite band, but this record, more than a documentation of their early years, resounds with a overarching sound. From the dark Light to the strangely happy Temple of Love, these songs bear witness to the foundations of gothic rock- and deliver truly great songs. The sound is melancholy, but the strong baselines meld with the wistful guitar to produce intense results that go beyond simple gloom. I personally believe that this CD deserves six stars, and is a must for anyone who does not want to spend a fortune collecting their vinyl albums. Many, or should I say all, of the singles and eps assembled on this record are out of print and in varying degrees of diffuculty to find and purchase.

Bury Me Deep
Now, don't get me wrong, I love The Sisters and have just about everything they ever recorded, including some stuff that they never recorded! I just could not, however, get through this compilation of their early work. Andrew's vocals are great-let's face it-the man can sing. Doktor Avalanche on the other hand is a mere shadow of his present self. And the lack of guitar I found disconcerting. Tinny, is the only word I could think of to describe the sound of these tracks. Thin, might be another word. The only redeeming factor is that I liked Temple of Love--this is not a bad rendition, but then again, I love that song! 1969 was another redemption in my mind. If you want early Sisters, I'd recommend First and Last and Always, which is a great album, with some wonderful songs, Black Planet and Marian among them, and better guitar work and background vocals, thanks to Wayne Hussey. In closing, I guess everyone has to start somewhere. I'm glad Andrew matured into the artist that created the incredible masterpieces that came later.

Must-have collection of rarities
This album earns its 5 stars with its moments of excellence, its ability to show all sides of the early Sisters and by the sheer rarity of the songs contained. Be forewarned, they are not all gems and this is a poor place to start if you don't know the band in depth; start with Floodland, then get get FALAA, and then get this... you really don't ever need "Vision Thing" in my opinion but that's your call.

The centerpieces are "Alice" and "Temple of Love" with other standouts "Anaconda", "Adrenochrome", "Body Electric" and Floorshow" close behind. The Stones cover "Gimme Shelter is fantastic as is the Stooges (Iggy Pop) cover "1969" which seems like metal by comparison to the other tracks. After hearing the quality of these tracks you will be baffled as to how the band never managed to compile these into a debut album; It would have been as good as their others. Equally baffling however is the exclusion of the "Body & Soul" single which would have fit the timing and quality perfectly; if you don't have that one you are missing something (ah, there's a reason we weenies collected all of those 12" vinyl singles after all). Given the '92 release date it would have been nice if certain later-period Sisters b-sides had been included. "Poison Door" and "Train" would be nice things to have on CD too but alas.

Maybe the coolest thing about this album though is the inclusion of the entire "Reptile House" EP. These songs are not as directly listenable as many of the other tracks but they offer the Sisters at their most somber and intimidating, surpassing even the Cure's "Pornography" on the dreaded darkness meter. If you thought that other Sisters was jet black to the center then you need to hear the "Kiss the Carpet" through "Burn" section of this disc. "Fix" is a straight shot to the bowels of your own personal hell. You'll also probably come to the rapid conclusion that Eldritch had a sinister, despairing battle with meth-amphetamine addiction, but then who didn't.

In summary, a great collection of the early material of a masterful band despite its minor misses. My compilation would have been worthy of 6 stars, but then again I knew that (it's a joke).

The genesis of a legend
One word best describes this early material: Raw. If you have only heard the polished club songs on Floodland, then be warned! Some Girls Wander might be quite a surprise (like if you have Never seen a certain someone without their makeup on, and then one day...)
But SoM is beautiful underneath their studio production, in their unique way, of course; Some Girls Wander shows off this natural beauty...the minimalism is wherein the beauty lies.
I remember La Nausee [amazing club that was in Montreal] playing at least one song from Floodland pretty much every night in 1991, but even as black and foggy as that club was, they rarely played the songs now found on Some Girls Wander. Why? Well, most of these songs just aren't...clubby.
But So What! Most of the goth kids I knew in the States were too young to get into the cool clubs, which were (and probably still are) few and far between to begin with -- so the poor devils would console themselves by listening to these Sisters songs on scratchy vinyl in the wee hours of the night.

THIS IS THE REAL STUFF; these songs were some of the seeds of the Goth movement, and while ya can't dance to many of them, they immortalized Goth -- so give 'em credit where it's due.

Mercifully this is available on CD!
It is great knowing this collection of great 12"s is available. The original imports I am using are overworked.

Great for SOM fans! Or, new SOM fans........ ... Read more

Amazon.com

In a bordering-on-brilliant idea, the overseers of The Spawn soundtrack proposed an idea to a host of bands that went something like this: "you metal kids go play nice with the electronic geeks and maybe you'll make beautiful music together." Well, guess what? It happened. From the sexy, screamy sounds of the opening cut "Can't You Trip Like I Do" (courtesy of Filter and The Crystal Method) to the funkified "One Man Army" (Rage Against The Machine's Tom Morello mixing it up with The Prodigy), the disc is as hot as the Spawn's home and twice as heavy as the monster himself. If you like the CD, rent the video; the soundtrack is front and center in the film, kind of like MTV with a plot. --Denise Sheppard ... Read more

Reviews (53)

Half Great half stinker
This soundtrack is original because they took rock / metal acts and had them all remixed by electronic / techno acts. The first half of the album is great, songs like Trip Like I Do, Long Hard Road Out of Hell, Torn Apart, Tiny Rubber Band, and Skin Up Pin Up, but the other half of the album are songs that just are not worth a mention. Trip Like I Do is the standout hit featuring Filters rock over Crystal Methods palette of sounds. Long Hard Road is a total Manson song, with the Sneaker Pimps singer backing Mansons powerful voice. Torn Apart is probably one of the better mixes of all time, because it makes you feel like you are listening to a totally different song. very techno over drum & bass complete with SWs vocals. Kick the PA is a solid bass kicker, which eventually drowns out the vocals, not Korn or the Dust Brothers best work! Tiny Rubberband is an excellent track that just sort of chugs along with a soft drum and electronica tones.

One of the best soundtracks ever.
Everything about this album is great. The music, the mood, the cover...everything. Its too bad the movie really sucked.

Pretend that the movie never existed, and instead listen to this music when thinking of the animated HBO series, which is excellent. This record is so dark, and it has some of the best groups of all time like Korn, Filter, and Prodigy.

The best track is "kick the p.a." which is actually one of my favorite korn songs of all time. The dust brothers helped them out, and they added a nice electronic/techno touch. It fits the Spawn series perfectly...very dark.

And Marilyn Manson somehow actually makes a decent song. The sneaker pimps made it great.

The whole album is awesome. If you are a spawn fan, and like dark industrial and metal music, buy this.

Now thats what I call good music
This album rules!
Mixing electronica,rock ect together and with the help of a
few popular music stars makes this an AWESOME ALBUM!
This movie was bad but the album makes up for it.

The best song out of all of em' for me was Torn apart.
Korn and the Dust Brothers was another hit classic.
Now alot of people said that the 5 main songs were the only good ones but I thought all of em' were great even though the first track was the best out of all of em' besides Torn apart.

Metalica was also good in this one.

But the most strange and yet coolest track on the album was
the Mansion song with Sneaker Pimps.

Get this Album! It's one of the best!

Later

Rock? Eletronica? Whatever, it's just contemporary music
As someone else pointed, this is a better album than its'counterpart soundtracks, namely "Judgement Night" and "Blade 2". To that trilogy, I would strongly like to emphasize the "Strange Days" soundtrack - which is reallly good.
In this record, the blend of styles is seamless: it does sound like a whole new style altogether, a development from the mid-90s industrial stuff. This is the future, and the trend does not stop here: Living Colour and Radiohead, among many others, have been doing a similar blend of rock and eletronica which deserve attention.
The album's finest tracks are Tom Morello and Prodigy's, Slayer and Atari Teenage Riot's (the noisiest thing I've ever heard!), Marilyn Manson and Sneaker Pimps' (even though the pimps should have imprinted their brand a little more, I think), Metallica and DJ Spooky's (a strong candidate to the album's best one) and finally the hidden song: This is Not a Dream, a mix of Morphine and Apollo 440. Like anything those two artists put out, it's simply GREAT, moody, a song full of textures.
The reason why I don't rate it 5 stars is that the album's songs don't really stick in your head. But you can't help but to be affected by them, every time you hear it!!!

A pretty good CD
Some of these tracks are truly outstanding. The Marilyn Manson and Sneeaker Pimps track, the Stabbing Westward and Wink track, and the Incubus and DJ Greyboy track are addictive. It seems that the electronica artists really bring out the beauty in some rough cut bands, giving the dark music a haunting atmosphere.
Other tracks, though, are regrettable. Filter doesn't quite sound right for "Can't You Trip like I Do", and the fact that Metallica is on a couple of tracks.
Otherwise, though, its great. ... Read more

Amazon.com

Filter's third album was inspired by a cross-country trip that imbued lead singer Rich Patrick with patriotism and appreciation for both the diversity and sense of freedom he found out on the road. While the recording is purported to be a celebration of that diversity, most of the record hasn't strayed much from the alt-metal template that Filter cut their teeth on back with their 1995 debut. Here are the same teeth-gnashing rants, scatter-gun drumming, and claustrophobic soundscapes that inhabited their first two albums. Patrick, however, has eschewed much of his trademark bloodcurdling screaming in favor of a lush vocal style that would suit an '80s New Romantic frontman. Though it's oddly an industrial band, Filter's best songs almost qualify as power ballads. The gorgeous melodies and moody lyrics of "The Missing" (written on September 11) and the psychedelic pop of "The Only Way Is the Wrong Way" owe more to Smashing Pumpkins than Nine Inch Nails. But even the jarring "American Cliché" and the ragged, downcast "Where Do We Go from Here" veer closer to pop than anything that appeared on the first two albums. The Amalgamut ultimately is a sophisticated and intelligent pop-metal hybrid. --Jaan Uhelszki ... Read more

Reviews (79)

new and "improved" filter?
I'll start this off by saying that Filter's first album "short bus" is high on my list of all time favorite albums and it still gives me chills when I listen to it. Short bus was raw honest and aggressive with lyrics, wile not perfect, that really took me for a trip into (singer) Richard Patrick's tortured soul. I'm all for bands evolving and great bands have succeeded in that like nine inch nails, the flaming lips and the smashing pumpkins just to name a few. Some bands also succeeded in giving us great albums by basically following the same formula like alice in chains (r.i.p), foo fighters and system of a down. Filter would fit in the first category although I wouldn't say they're evolving very well. I was the first one in line at the store for title of record but I could feel that what made filter stand out for me was fading away. Songs like "captain Bligh", "skinny" and the amazing "I'm not the only one" still kept my hope alive though and I just said to myself "They want to explore their dynamic as a band, It's all good." It wasn't short bus but it was still a kick ...record on it's on merits. Then "take a picture" hits and filter gets a taste of mainstream radio success. Even lite rock stations had it playing around the clock. The result? Filter make the amalgamut. The first song (you walk away) sounds like a formulaic Stone Temple Pilots type of riff. It's allright but nothing to write home about. Song 2 "american cliche" has a great hook in the chorus but the rest of the song sounds like filler. Song 3 "where do we go from here" reminds me of take a picture. It's catchy as hell and I can see why it's the first single but it just sounds a tad unoriginal. Song 4 "columind" sounds so much like Ministry that I always skip it. Song 5 "the missing" just bores me to tears. It's like they were short one song and they had to put that one in at the last minute. Song 6 "the only way..." has a great hook but again it's nothing new and the guitar riff sounds like something the smashing pumpkins would've done. Track 7 "my long walk to jail" sounds like old silverchair but it's still listenable. Now track 8 "so I quit" kicked my ... all over the place! Great song, dumb lyrics. Song 9 "god damn me" revisits the "take a picture" territory. I'm shure my mother would love it. Song 10 "it can never be the same" is yet another pseudo grunge type of song wich is listenable but might have been more relevant 5 years ago. Track 11 and 12 (world today and the 4th) is filter's take on atmospheric and tribal music but it misses the mark. I felt cheated that the 2 last tracks sounded more like filler because of a lack of material than actual songs. The c.d booklet has to be the ugliest most rushed piece of garbage i've seen in a long time. What the hell were they thinking?! Instead of continuing the cold and sterile look of the first 2 albums they get someone who obviously has no designing talent to put together this monstocity. I'm giving up on filter. Now they just sound like a third rate Linkin park or nickelback and I hate those bands with a passion. Too bad. I hope filter succeeds with the amalgamut for what they wanted it to... the cash.

Pleasantly lulled by the concussion
I picked Filter's new record "the Amalgamut" 2 days ago, and I'm blown away.

I didn't enjoy their first effort "Short Bus" much at all. 2 decent songs (not including "hey Man, nice shot" which I hated)

Their next, "Title of Record" was a clincher for me. Finally a complete album, regardless of the "singles" written expressly to be singles. The production was mindblowing, crushing and epic. A stunner.

Filter's latest is a more logical progression. It stylistically hits on past points, but more sucessfully meshes their bombast and their more plaintive, melodic attributes. Richard Patricks' voice is unique as ever, and very expressive. You want to believe everything he sings for some weird reason. The guy can howl with the best of 'em, but can actually sing as well...and does more singing than howling...good balance.

And there's some light moments, including the extras included on disc, proving he's the perfect balance of engenue & imbecile....healthy. The production again is top notch, the musicianship is great for the context, lots of texture, good "airiness" and lotsa good grooves & hooks. The drumming / programming is ridiculously infectious. I "get off" on it. Gets the adrenaline going, but not in a "wanna punch something" way...

If you're into the heavier side of melodic rock, but tire greatly of most bands in the genre (nu-metal, et al.) you'd be hard pressed to not see that this effort rises head & shoulders above others of their ilk... a great record from a great band. I fail to see what the previous reviewer saw as so lacking...but I digress.

Take from this review what you will. I didn't single out songs for a reason. This is an ALBUM not a singles collection with filler...

Dynamic!
The Amalgamut is a successful combination of the previous stylings of Short Bus and Title of Record. The innovation and heaviness of Short Bus has been combined with the lyrical advances and softer aspects of Title of Record. Richard Patrick has emphasized a new high in contrast and dynamics. Filter's continueing improvement proves that Industrial Rock isn't dead.

Great Industrial and Metal CD
I Love this album "The Amalgamut" with such my favorite songs american cliche and it will never be the same those are my two favorites by them but the whole album is very good i recomend you should by this

that's what i want!
Filter is my favorite band ever!The Amalgamut is absolutely energy album from begining to the end.Richard Patrick has very powerfull strong voice,just beautiful voice!Such a wonderful guitar playing and drums! ... Read more

Amazon.com

Anyone conscious during the early '90s is probably already familiar with anti-anthems like "Rough Sex," "Let's Get High," and "I Must Increase My Bust," Lords of Acid singles that combined the rough sounds of '80s Belgian new beat with England's emerging rave scene and added enough nasty thoughts to make Larry Flynt blush scarlet. But for those who were left out, here's a synopsis: Lust is sleaze techno at its best. The lyrics and music extol the virtues of decadence and excess to the apocalyptic soundtrack of pop rave music. This album is best experienced if you forget about the intellectual pretensions of proper techno and the field-of-daisies optimism of garage, since there's nothing but pure, unadulterated, unabashedly adolescent id in this house. --Matthew Corwine ... Read more

Reviews (33)

The Lords are here...
To all you angst-driven adolescents out there, this is thealbum 4 U. If you like techno with a good, hard edge, forget NIN, gowith the LoA. The song "I Sit on Acid" is practically a club staple, and there is enough energy in this album to fuel anyone's fire. You can dance to it, have sex to it, beat someone's head in to it, etc. it's basically an all-purpose album. If you get the newest version with all the extra songs, boy is that a treat too!!! I like the Lords so much that I have a "Voodoo-U" visage tattooed on my right shoulder- but "Lust" is still the best cd that the Lords ever put out...

LOA THE BEGINING
I love the lords of acid, but this is not my favorite lord cd. If you like old style techno dance this is the cd for you. great songs include "I sit on acid" and "lets get high". I myself like the second cd Voodo You. The tracks are harder and more raw. If you are into just great dance I recommend Our Little Secret. I love this Band and every peice of music they have is ground breraking. I recommend that you don't buy the newer cds such as Expand your Head. Heaven is an Orgasm isn't as good as their older cd's such as this one.

All Time Greatest Couples CD
without a doubt this is the HOTTEST couples CD EVER. Hands down, no question.

Fairly good techno; lyrics are too sleazy.
Being a cognoscenti of techno and rave music I only recently heard this album for the first time just over a year ago. The techno is atypical of a lot of other techno which came out in the early '90s. It's very upbeat and danceable and very repetitive like most techno, but the Lords Of Acid's lyrics are slightly too sleazy for my tastes. Somehow, listening to techno music has the exact opposite effect than it obviously has on a lot of people, especially those who make the music. When I jam to techno -much more than any other genre of music- sex and sleaziness are the farthest things from my mind, which is obvious in direct contrast to many producers of techno who envision their music as a sleaze-fest. The only way that I can comprehend one relating sex to music which is totally electronic, fast, metallic and hard (namely, "Techno") is if they're perverted in some way. If any music should seem to induce thoughts of sex (none does for me) it would have to be Classical or some other genre of soft music.

Not only is Lords Of Acid's lyrics sleazy but they're also really stupid and cheesy as well, though I like the sounds employed in this album a lot. Still, I probably would never plan on purchasing this album.

over a decade old, and still edgy
I hate the feeling that what was once gloriously outlaw to me, in my wilder stomping days, is now rather old hat to the kids. Still, the LoA (and especially this CD) manage to remain powerfully risque' to me.


The dance beats are insidious and compelling. The sense of humor surrounding the sexuality keeps it HUGE - I have yet to find a dance floor that doesn't erupt into Caligula whenever "I Sit on Acid" comes on.


Be careful who you play it for, as it's VERY explicit - but not offensively so. It's surprisingly fair, gender-wise (which is generally my problem with explicit music - it's for the boys. This speaks to anyone with genitals, and then some). It's good, dirty fun, and remains my favorite of all I've heard from them so far. ... Read more

Amazon.com

When Robert Smith's long-running group made this debut (actually the resequenced American version of the British Three Imaginary Boys), they weren't the Goth-and-reverb, new wave heroes they later became; they were just a trio of disaffected kids who didn't like what was on the radio, because it wasn't smart enough or dark enough. Smith's lyrics are bleakly sarcastic (as when he spells out the title of "Fire in Cairo") and literate (the single "Killing an Arab," a nihilistic sketch based on a scene from Albert Camus's The Stranger). The band matches them with swift, tingling arrangements that dodge skillfully around rock's machismo and self-indulgence, even when Smith launches into the occasional gnarled little solo. --Douglas Wolk ... Read more

Reviews (35)

Starting out somewhere very different from where are now
Album number one (or at least the US edition of it) by The Cure is a far cry from all later albums, even their second, Seventeen Seconds, let alone something like Disintegration. However, its important to remember that Robert Smith is the only member of this original trio that has survived the distance to where they are now. However, although Boys Don't Cry is far from the Cure's best as some would tell you - Robert Smith's songwriting is still in its infancy and the production is weedy - it is nevertheless an essential component in the fascinating metamorphosising collective that is The Cure.

The obvious highlights are the better known singles - the vicious, punky 'Killing An Arab' which mixes flat punk nihilism with a Middle-Eastern guitar motif, the more dense and warm 'Fire In Cairo' and the poppier classic title track. Throughout the album, there is a punky influence, occasionally, as on 'So What' (not on the original LP, but on the original UK version 3 Imaginary Boys) it is actually the singular and abiding genre. However guitars are not usually of constant prescence, the album often being driven only by bass and drums with guitars as very much a lead instrument which interplays with vocals and drops in and out. There's none of the dense layers of sounds that trademark their later albums - its always the basic rock instruments and often the sound is basic or even slightly empty sounding.

However, this suits the tone of the songs, which occasionally becomes a 'dont-[care]' attitude, a strange idea to think of with Smith who wrote such emotionally revealing songs later in his career (largely absent here, though closer '3 Imaginary Boys' is a hint at a more personal, emotional direction). He also sometimes adopts a faux-Cockney 'punk' accent, which is of slight amusement, on tracks like the aforementioned 'So What' and 'Jumping Someone Else's Train', but the voice is nevertheless unmistakably his, with that timbre that unites all Cure recordings when there is little else to tie them together.

In summary, this is a very good album, if not their best as some would tell you. If you want to own a good range of 3 or 4 Cure albums that show off their different sides, this might be one to own, though its not the one to start with unless short, melodic poppy/punky songs are much more your thing than more complex tracks.

Memorable debut
I haven't heard Three Imaginary Boys yet, however I own everything else the Cure has released including the imports, and to my ears this is a fine debut. It has a far more casual vibe than many albums that would follow, without the usual keyboard/guitar driven Cure signature sound, but refreshingly raw and energetic. Many of the others possess a deep and emotionally heavy atmosphere throughout. However, this one uniquely captures a bare-boned arty post-punk feel with a strange eastern vibe more prominent in some songs than others. As is usually the case with this band, the basslines are awesome! See "Accuracy", "Grinding Halt" or "10:15 Saturday Night" with that neat creepy stratchy guitar in the background. The only weak song in my opinion is the somewhat annoying rant "So What"...it's bearable to listen to but I don't get it...the song seems kind of pointless. I've noticed some people complaining about "Subway Song" but it's good fun, I do think, and how can you not love that scream? It sets a nice mood, although the actual song passes almost without notice until the scream but it's the Cure having FUN see? "Boys Don't Cry" is an excellent pop song, I have to say, how could I write a review for this album and not mention that one? "Plastic Passion" is kinda cool, but I'm glad it's only two minutes because it sounds a bit uninspired. "Jumping Someone Else's Train" is a great one, simple but extremely well-written. "Killing an Arab" is another one I really dig, with a dismal middle-eastern guitar line perfectly complimenting what would otherwise be a pretty basic post-punk song. The warning sticker is incredibly stupid...all I'll say is, it just shouldn't happen; no artist should have to apologize just for the minor legion of idiots who have read too much into, and overreacted to the song's "meaning". "Another Day" and "Three Imaginary Boys" sort of foreshadow the more mood-based The Cure that would come shortly after, on Seventeen Seconds, the former being a pretty balled with very poetic lyrics (I love the "winter in water colors, shades of gray" line) and the latter, another ballad, this time darker, with lyrics about a creeping depression coming on, I think. Who knows what it's about, actually. The lyrics on the last two I mentioned are more "arty" or "abstract" I guess you'd call them...and then you have the lovely "Fire in Cairo", a somewhat dismal eastern-influenced song with an awesome F-i-r-e-i-n-c-a-i-r-o refrain, that almost every reviewer likes to mention...cause it's cool! So all in all, it's not a perfect album, but it's a memorable and promising debut. Keep in mind these songs were written by a very young Robert Smith. He wrote "Killing An Arab" when he was 16! How 'bout that? If you're just getting into the Cure, maybe you should look elsewhere for a first puchase, like Head On The Door or something, but whatever one you get, don't forget about this one, eh? :)

What future legends are made of..
OK, so technically this isn't The Cure's first album. Well, it is, and it isn't. It culls the best tracks from their actual debut album, "Three Imaginary Boys", removing some of the filler ("Meathook", "It's Not You"), and replacing it with their early singles (most notably, "Killing an Arab" and the title track). Here's a rundown:

1. Boys Don't Cry (2:35)

Right from the opening chord sequence, you can tell this one is a winner. It's a perfect pop song - even though the lyrics are written from the point of view of a broken hearted man, the bouncy melody of the song overshadows them. You'll be too busy tapping your foot or bobbing your head to even notice Robert's sadness.

2. Plastic Passion (2:14)

This was originally a B-Side of the previous song. It may seem pretty flat the first time you hear it, but after a couple listens, the jerky bass lines it builds its foundation on will grow on you.

3. 10:15 Saturday Night (3:38)

An early masterpiece that seems to foreshadow where The Cure was headed musically. The lyrics paint a wonderful picture of sitting in isolation late at night, waiting for a phone call that you know won't come. The minimalistic musical backdrop further adds to the lonely and desolate feeling of the song. One of the best on the album.

4. Accuracy (2:16)

Another song that will most likely seem flat upon the first listen, but slowly seeps into your subconscious as you listen to it more. Lyrically, it seems to be about seduction of a lover.

5. So What (3:01)

This one is a little silly, but I still enjoy it for that reason alone. The lyrics seem to be taken from various advertisements ("Cake Icing and Decorating Set, Special Offer! Only 3.30!"), and are sung/shouted in a sarcastic manner. It's a little deeper than it may seem on the surface, actually.

6. Jumping Someone Else's Train (2:56)

A definite standout on the album. Musically, it's very new wave: energetic drum beat/bass lines and a jangly guitar riff. The lyrics are great too, relating to how people conform to society's trends, and losing their identity in the process.

7. Subway Song (1:59)

A very weird song, but cool. It's basically just a repeating bass line, with a haromica in the background, and spoken word lyrics from Robert. The harmonica gives it a blusey feel, but at the same time, it's sort of creepy. I always picture myself in a NYC city subway at 2 in the morning, surrounded by weirdos, when I listen to it. It ends with a deafening scream, that always scares me, no matter how many times I listen to it!

8. Killing An Arab (2:22)

Along with the title track, the most recognized song on the album. Due to the title, the song was controversial upon it's initial release. However, it's lyrical content is taken from "The Stranger" by Albert Camus. The harmonic minor melodies of the song give it a Middle Eastern feel amongst the punkish backdrop. A Cure classic.

9. Fire in Cairo (3:21)

The cartoonish representation of the album's cover sort of paints a picture of this song, which is an Egyptian fantasy of sorts. Musically, it kind of reminds me of Murmur-era R.E.M, which is a compliment. The chorus, in which Robert spells out the title in a melodic way, will be in your head for the rest of the day.

10. Another Day (3:43)

My favorite song on the album, and one of my favorite Cure songs altogether. Unlike most of the songs on this album, there's really no New Wave or Punk overtones to it. It's very moody and depressing with lyrics such as "I stare at the window waiting for the day to go..winter in water colours, shades of gray".

11. Grinding Halt (2:49)

This is probably the weakest song on the album. It's not bad by any means, but it sort of interrupts the flow between tracks 10 and 12. It should've been placed in the first half, which is a little more playful.

12. Three Imaginary Boys (3:14)

My second favorite on the album. Along with the aforementioned "Another Day", this one has a much darker feel to it (both lyrically and musically). Robert's closing words, "Can You Help Me?" leave the listener hanging in isolation, which sets the tone for their follow-up, 1980's masterpiece, "Seventeen Seconds".

And that pretty much sums it up. Most people consider this an anamoly in The Cure's catlogue, but I think it's absolutely essential. Songs like "Killing an Arab", "So What", "Accuracy", "Grinding Halt", and "Jumping Someone Else's Train" show off their punk/new wave beginnings, whereas "10:15..", "Another Day", "Subway Song", and "Three Imaginary Boys" show them experimenting with the dreamier (but gloomy) soundscapes that they'd become famous for.

Best Tracks: Another Day, Three Imaginary Boys, 10:15 Saturday Night, Killing an Arab.

it's good
I think this is one of the best Cure albums. (tip; buy this one last)

it's my favorite by the cure
i just got into the cure, but i find alot of the stuff they did in the 80's and 90's boring. this album i think is the best i've heard by them. i guess the more technical stuff bores me. don't get me wrong, they have done songs after this that i have liked, but this is really the only album i can sit through enti