Reviews (12)

Rainbow, rainbow, rainbow!
A creaky old train slipped on the rails, spilled it's junked record collection, and various documentarian relics, and someone decided to provide folk guitar accompaniment.

A stretch of samplings and wrinklings, saturations and drips, The Books' Thought for Food is a loverly album dears.

Try to think of it as something ancient, meaning the near past, coupled with the presence of mind to not discount it, but to change it, to twist and frist it into a miscellany of true spirit. A brew for drinking!

Like on the song "All Our Base Belong to Them" starts "I was born on the day that music died" by a slow and low voice, there is no joy in this present that we have created, no tangible excitement, but we still make music.

We are used to the cliché of post-modernity, the neon Statue of Liberty clothed in pudding, wearing sunglasses.

Here, just because we are bringing seemingly disparate things together (sampling and guitar, quotes and a hip 1870's beat) but here, we believe in it, we accept it. We don't want to analyze it, or figure out the "symbolism" or the "gender issues," we just want to listen.

So listen, listen! Even if you have a heart condition.

he kept calling me at night, all hours of the night...
Rare. Innovative. Mind-expanding? Smart. Exciting. Meditative. If I had to choose a bunch of All Music Guide adjectives to sum up this album, those would be them. The Books' Thought For Food is a hard album to pin down as it's electronic, and yet feels more like folk than IDM. Maybe this is what Momus was talking about? Probably not, since he was talking about folk musicians starting out with synths and making their music with those instruments as a starting point. The Books are more complicated than a simple metaphor or equation can explain.

So I'll start by saying that The Books are two men: Nick Zammuto and Paul de Jong. According to a dead-on review of the record by Mark Richardson, there are four main instruments on the album: Guitar, violin, samples, and silence. Sometimes a guitar and cello will make up a bed for the samples, sometimes vice-versa. Each song is its own unique world. But throughout the whole of it, what really makes the album stunning, is the samples. Each is allowed to breath. Nothing on the album feels muddled. If Negativland is the beer, The Books are the wine. This is sampladelic music refined.

On the first track, perhaps my favorite song of the year, "Enjoy Your Worries, You May Never Have Them Again," there is a constantly shifting beat, as samples each struggle to get to the front. There is a contemplative and dramatic guitar line that makes its way throughout, but the clicks, glicks and beats will start and stop at a moments notice while samples of tennis matches, army generals, and a woman I recognized as "Hazel" from the NPR show Lost and Found Sound each jostle for attention but are cut off before they can say anything. It's just an impossibly profound song that doesn't come out and directly say anything. Immediately, you know The Books are up to something. The second track deals more with silence than the first, which is pretty packed. An acoustic guitar is strummed over and over to get that thick satisfying bassy sound going, and samples taken from the National Spelling Bee. A kid this time spells out the name of the song, "Read Eat Sleep," and you can audibly hear the silence and shuffling of paper that goes on when the kids are on stage standing there thinking.

"All Our Base Are Belong To Them" is a more conventional song with lots of chunky acoustic guitar that all but overwhelms the vocals. And if you pay attention you can hear Zammuto's family having a conversation during Thanksgiving, and somebody announces they're having a baby, and the family cheers and laughs. The whole album is great, but there's moments like that that really catch your attention and seem perfect and joyous. There's the moment in "Getting The Done Job" when a slow plodding glitched-up guitar suddenly jumps to life as a banjo and fiddle! Or how about when Hazel is talking over some squeekiness and the beat comes right back to where it was to interrupt her? Then there's the fuzzed-out drum beats that slap the guitar upside the head throughout "All Bad Ends All." Who ever thought that a twee sampladelic folk album could be life-affirming? Sadly, the album seems to have no sense of when it isn't welcome anymore and ends well before I wanted it to on a song that hardly works as a fitting last song for an album this magical.

Triangulating this sound
Okay, silly exercise of triangulating between reference points nearly as obscure.

The Books is somewhere between the raw acoustic two-guys strings and percussion of Supergenerous, the eerie two-guys sampled vocals and electronics of Boards of Canada, and, um...

The vocal samples are rarely reduced to repeated snips like so many, including Boards of Canada and say Moby, do. Warmer. Doing very interesting things with recorded vocals is often the basis of a track. And the musical style has a home in a folksey sound, but ranges wider than Supergenerous's does.

Maybe that third point would be the Penguin Cafe Orchestra. The sound walks a rope bridge between composition and just stuff happening. Aleatoric.

Really nice.

different but beautiful
I dont really know what to write for this review. The music is weird and kind of like stuff I have heard, but somehow it works in a most unusual way. You must buy this CD and listen to it if you can handle out there stuff. I admit it is incongruous, tough to get a handle on, and not aesthetically "pretty" (not in a straightfoward way at least) but i love it. it is worth a try. you might really dig it. (Oh yeah, and this CD is better than Lemon of Pink)

Seriously, it¿s not that good.
I would like to reassert my previous criticisms. After months of repeated listens and fair-minded scrutiny this CD is nevertheless mediocre and trite. Purchase this album if you enjoy music that is strange and unstructured for the sake of being incongruous. However, steer clear of the Books if you enjoy aesthetically pleasing melodies and arrangements. I do not pass judgment to be disagreeable; I only wish to avert unsuspecting consumers from unnecessary disappointment and irritation. Be Forewarned ... Read more

Amazon.com

Given that remixers' recourse to acoustica is the next logicallink to down-tempo electronica, it's no surprise that the Kings ofConvenience's beguiling debut has undergone this treatment.Versus sees the winsome, lovelorn ditties of Quiet is the NewLoud reinterpreted by the likes of fellow Norwegians Royksopp (whoselovely remix of "I Don't Know What to Save You From" appeared on the"Failure" single), Four Tet, Ladytron, andAlfie, among others. Apart from Ladytron, who opt for theircharacteristic warped synth-pop, on the whole the assembled cast gentlytweaks the songs, rather than offering any radical reworking of them.Evil Tordivel update "Leaning Against the Wall" with sprightly hornsand keyboards, leaving the song less introspective, but stillrecognizable. Wayward folksters Alfie remake "Failure" (also included on the single), but are less successful, astheir skewed lo-fi tends to overbear much of the all-important melody.Riton'sremix of "The Girl from Back Then" adds gentle sprinkles of nonchalant,shuffling beats, but the highlight is the "Weight of My Words" remix byKieran Hebden, a.k.a. Four Tet. As showcased on his glorious Pause album, he meldsbubbling electronica with an organic, folky ambience, perfectlydemonstrating the premise of Versus. --Suzannah Brown ... Read more

Reviews (13)

Kings of Convenience- Versus
Think Everything But The Girl, but seriously without the girl. Think, an equated mix of acoustic based tracks with subtle electronica. Think Kings of Convenience- Versus. This album features some fresh remixes by the likes of Andy Votel, The Four Tet, Bamboo Soul and Royskopp the latter remixing the opening track "I don't know what I can save you from" reminiscent of Alison Moyet's "Only You". The songs are taken from the duo's album Quiet is the New Loud, however it seems that this album is getting more audience approval as a result of it's listening able factor. It is a perfect hybrid of relaxing yet upbeat tunes and melodies that will have you singing along and tapping your feet with this Norwegian duo, who are everything but Tracy Thorn.

More innovative than the source
In a day where there are so many good remixes of horrible songs, and horrible remixes of great songs, this album finally brings us a real treat. This is masterful; a piece that should be viewed as a model for what remixes of folk should look like. The artists on this disc recognized the essence and soul of the music it is derived from and the experience this creates is an even more passionate rendition of the same emotions of the first album. Taking the brilliant originals, recognizing the reason they exist as their own exceptional works, and reworking them to make those points even more prominent.

Gold for the Price of Silver, Toxic Girl, and Weight of My Words are highlights for me. I hope this album is viewed as a model, and purchased in the same volume as the first album is. If you like Quiet is the New Loud, you must listen to this. If you like folk and electronic music this is a must own.

if you feel like stoning
Very good chillout music. Royksopp's rendition of Don't know what I can save you from is reminiscient of the background music of the old kid's computer game "Treasure Cove", which is laidback and lovely. The circus-sounding Leaning against the Wall by Evil Tordivel is fresh and amusing, and Winning a Battle, Losing a War should be heard by anyone who's ever loved someone without being loved in return.

Who wouldn't like this?
I see I'm not the first person who was a little shall-we-say skeptical of the concept. I mean, really. Electronica remixes of acoustic folk lullabyes? Does it get any more gimmicky?

Yea, all signs pointed to "save your money" on this one. But deep down I wanted to believe. I knew that a concept like this really could make for wonderful music, if only it was done right. With taste, with imagination, with respect for the source material -- I mean, it could be really good! Couldn't it?

So, with a little trepidation, I purchased Versus. I bought it used, so as to limit my losses. And what do you know.

It's better than I'd even hoped. My wife loves it too -- we even found that the baby will stop crying when we put it on. She just stares at the speakers with an expression halfway between awestruck and dumbstruck.

We love it so much that we were hesitant to buy the original versions ("Quiet is the New Loud") until just recently. I figured they would seem empty to us. Wrong again. Blown away again. But that's a subject for a different review.

I can go back and forth between this and QitNL without any of that jarring feeling -- you know, like when you hear an old song that your favorite band covered once, and you're so used to the cover that something always seems to be missing, and you can't stop noticing its absence? Well, none of that. It's like each of the artists brings such a new vision to their track that they created a whole new song altogether. Almost all of them, anyway.

Maybe if I'd bought QitNL first it would be different. I don't know. I say, get this one first. It's a little more "hooky".

There is a bit of repetition. Personally, I would have chosen just one of the "Failure" mixes; they're just too similar. Not so with the two versions of "Leaning Against The Wall." They're very different and both fantastic and both fit in well. And Four Tet coming back again at the end? Love it. Can't get enough of that one.

Usually I try to explain "if blah blah, then you'll like this, and if blah blah blah, then you may not." But I don't really know what kind of music fan wouldn't like this disc. I don't know, your mother, maybe. If you see a one-star review ever show up here one day, your mother is suspect.

The best of the 'Kings of Convenience' albums....
This is a exemplary slice of 'Folktronica' (Folk inspired Electronica), and with this release they take existing artists (Ladytron, Four Tet, Andy Votel, Röyksopp), and rework them to work within a 'Folktronica' rearrangement (mostly downtempo melodic harmonies), and if all of this sounds a bit 'Pleasant'.....you'd be right, but that shouldn't distract from what is some of the most blissfully hushed electronic music. '"Andy Votel's - Winning a Battle, Losing a War" steals the show with it's tremulous choruses, and gentle Synth-Pop strumming, containing as much melancholic ideas, as conventional singer/songwriter acoustic artists.....and although there is nothing song wise (apart from 'Ladytron's' remixed "Little Kids") that raises above quietly melodious grooves, this album has a real substance.....it could even be argued that "Quiet!!...is the new Loud!!". ... Read more

Amazon.com

For a group that exudes so much intelligence and sophistication, Soul Coughing make incredibly intuitive music. The New York foursome gets pinned for its downtown neo-beat poetry shtick, but even M. Doughty, the group's acid-tongued lyricist, will tell you it's really all about the vibe, not the verse: the true leaders are the guys bringing up the rear. Sebastian Steinberg's loping upright bass and Yuval Gabay's precision drums, which form a live hip-hop/jazz-rock base, make Soul Coughing's second album, Irresistible Bliss, even sharper and more rhythmically confident than their 1994 debut, Ruby Vroom. Inverting George Clinton's maxim, Soul Coughing's operating principle seems to be "Free your ass and your mind will follow."As on Ruby Vroom, Doughty's vocals (increasingly dynamic) and Mark De Gli Antoni's keyboard sampler (increasingly focused) form the icing on Irresistible Bliss's groove-filled cake. But like the bass and drums, the voice and sampler work on a subconscious level. Neither conveys concrete meaning so much as it regurgitates data. Like a television set that plays down the hall while you drift off to sleep, Soul Coughing transmit repeated and recontextualized cliches as if they were information-age mantras, and collide those with door squeaks, elephant sounds, and Raymond Scott cartoon music to form a blanket of pop-cultural white noise. If Irresistible Bliss is less referentially hip-hop and (therefore) more song-oriented than the previous album, it's just as enthusiastically geometric--not to mention funky. Or, to transpose Clinton again: Who says a rock band can't play funk?--Roni Sarig ... Read more

Reviews (32)

Great album by one of the best bands of the past 20 years
This album was one that gave me hope for contemporary music. I first heard of Soul Coughing through a giveaway cassette a few years back. It had "Super Bon-Bon" and "Soundtrack to Mary" on it, and those two songs were the first ones I'd heard in years that made me sit up and wonder "Wow, who the hell are they? " A year later, "Irresistable Bliss" hit my CD deck and rarely left it.

Soul Coughing was a band chock full of the rarest talent I have ever seen. Doughty's writing is glib yet powerful, emotional yet aloof, and constantly cryptic and captivating. The sound of Sebastian Steinberg's upright bass blends beautifully with Yuval Gabay's offbeat drumming and Mark De Gli Antoni's arful sample work.

"Super Bon-Bon" is the leadoff booty-shaker, the song that shot SC into the mainstream. My personal favorite track is "Lazybones", a simply beautiful song in all senses. There's not a bad song on this album, but the best ones are "Soft Serve", "Sleepless", "The Idiot Kings", "How Many Cans" and "Collapse". Each song is rife with originality, verve, wit and overall artistry.

This was the first Soul Coughing CD I bought, and it was the one that hooked me in and dug into my brain. I would be hard-pressed to say that any of their three albums are the "best" album, as they are all amazing and captivating in different ways. Ruby Vroom is more playful, Irresistable Bliss is more poppy and bass-y, and El Oso is beat-driven and funky. All are outstanding.

Soul Coughing.....does it GET much better?
"Irresistable Bliss," while not Soul Coughings best work (I'm still trying to determine whether the bassy "Ruby Vroom" or the funky "El Oso" gets that award...) absolutely blows away just about anything else around these days.
Mike Doughty has one of the oddest and one of the strongest voices in pop. "Soft Serve" is easily one of SC's best songs, and "Soundtrack to Mary," "Lazybones," "Disseminated," and "The Idiot Kings" aren't far behind. "Super Bon Bon" may have drawn in the wrong type of fan, but if you've enjoyed their hit "Circles" then this is definitely an album to get.

Their best?
Maybe, maybe not. Soul Coughing wins the award for quitting while they were ahead. Although their decision to call it quits was unfortunate, they left behind three incredible albums, two of which are among the best albums of the 90s.

This album, their second, is possibly their best...though it's tough to say. The first album, Ruby Vroom, featured dark grooves and bombshells like Screewriter's Blues and Sugar Free Jazz. Irresistible Bliss features a broader range of styles and sounds; and, while not as groove-oriented, the songs seem to show the band coming into itself. Bassist Sebastian Steinberg and drummer Yuval Gabay are locked in here tightly enough to make most jazz band rhythm sections jealous. Mark DeGli Antoni's samples here are fabulous, often quite humorous (Disseminated, for example). While Ruby Vroom featured vocals consisting of repeated phrases, Irresistible Bliss features vocal work more in line with actual lyrics. For some people, this may not be a plus, as the approach of Ruby Vroom allowed for uniterrupted grooving. For me, the lyrics of Irresistible Bliss become just one more fabulous element to pay attention to.

I can't say enough about this album. It's great stuff. Buy it.

If you are a fan of the band Cake, you'll love these guys.
As of late I've been listening online to WOXY (from Oxford, Ohio, the best radio station in the nation) . I heard a couple tunes from Soul Coughing; "Super Bon Bon" (with which I was familiar) and, I believe, "Soft Serve", from Irresistable Bliss. I decided that I had to own it. The only regret that I have is that I had to go for 7 years without owning it. Now I'm hooked.
These guys are technically adept and simple at the same time. Almost every song on the album is catchy. And none could be considered boring. My favorite is the stripped-down "How Many Cans?", which is a true showcase for M. Doughty's amazing voice. Now I'm going to have to pick up the rest of the S.C. catalog.

This CD is so good
This CD is great listening, all the way up and down. Super Bon-Bon is the radio hit, but every track's bound to stick in your head after a listen or two. The lyrics are nuts, I don't know what he's getting at exactly but the music is just outrageously good. I'm not usually a huge fan of this genre, whatever genre that is, but this is a top-ten disc for me. ... Read more

Reviews (4)

falling in love for the first time
does anyone write songs like this anymore?? I think not. Like
Dr. Seuss being beamed directly into your head. The way
indie rock used to be: unpretentious and fun.

Pure Joy
This is such an energetic, beautiful, FUN album. It feels like the sound of friendship and summer.

This album grew on me song by song but now I wouldn't skip anything while I'm listening to it.

good stuff
ive been looking forward to this album ever since i saw them open for rilo kiley in chicago. its sooo good, cant wait to see them again

Tilly and the Wall= AMAZING DEBUT!!!!
This is Tilly's full length debut album. I have seen them live and they are fantastic. The album is even better. There main percussion is a tap dancer, which initially sounds odd, but fits perfectly with their style of upbeat,fun, energetic sound.
Tilly's #1 fan!!!! ... Read more

Reviews (32)

What a beautiful voice!
Back in December, I was listening to Freedom Rock on a local radio station which played underground music for an hour. One of the songs I heard was "Hummingbirds" by Venus Hum. I was completely blown away by the song. Annette Strean's voice simply took my breath away. I finally found a copy of "Big Beautiful Sky" today at Cheapo Records. I bought it of course. It did not take me very long for me to fall in love with the music. I was immediately reminded of Depeche Mode with its synth-pop flavoured beats and the gorgeous voice of Annette Strean who at times reminded me a lot like Bjork. The results is an irresistably catchy electro-synth-pop album. I especially enjoyed the first two tracks "Hummingbirds" and "Montana", especially the latter song. I couldn't help hum along to "Montana". All the songs on the cd are of quality and deserving to be heard. Annette Strean has the voice of an angel. Just listen to "Wordless May" and you will know what I am saying. Too bad radio is clogged up with bland pop/rock songs that are played way too many times. Radio needs to start playing artists and bands that don't fit the mold like Venus Hum for example. It is amazing what one song played on the radio can do to a band like Venus Hum. I wouldn't have known about them had I not heard "Hummingbird" back in December.

This is a marvelous treasure of a CD
I'd first heard of the band Venus Hum because of their association with the Blue Man Group with the awesome song 'I Feel Love' on The Complex. Getting Venus Hum's own CD was even better. The songs are entrancing; combining the perfect mixture of electronic music with Annette Strean's beautiful voice. One song that really touches me is 'Alice.' It's a somewhat slow song with lyrics that really make me feel like I am lying on the grass with the cool night air all around me. This CD is a must-have for anybody who likes electronic music, hypnotic vocals, or incredibly deep lyrics.

Perfect music to work/relax/drive/dance/anything to
I first saw Venus Hum on the Blueman Group's "The Complex Rock Tour LIVE". 'I Feel Love' totally blew me away. The power and quality of her voice was simply amazing... If you haven't seen 'The Complex' video, do so immediately! I got my hands on Big Beautiful Sky, and I just can't belive I haven't heard this group before. I have heard lots of comparisons to Bjork... in my humble opinion, Venus Hum is far superior.

Big Beautiful Songs
The first impression i had listening this album was that the voice of Bjork was there.And more surprises had yet to come.My favourite song is Wordless May.All tunes are full of inspiration.Enjoy it.

Great CD!
Don't buy this CD if you don't want to listen to it over and over, cuz you will. The lead singer has been compared to Bjork and I hear a lot of Yaz inspirations. ... Read more

Amazon.com

Front Line Assembly enlists Kirsty Thirsk of the Rose Chronicles for a heavenly ambient house project. Trance that bounces with beauty and energy. --Jeff Bateman ... Read more

Reviews (45)

An incredible, complete album
Delerium completely changed their sound with this record. Bill Leeb and Rhys Fulber combined pure synth hooks, slow moving basslines, and great chant samples to create amazingly sensual, trancey ethereal music. Two songs have lyric vocals, Flowers Become Screens and Incantation. Flowers Become Screens is arguably one of the best dance-pop songs of the 90's. Unfortunately, when the album was released, Nettwerk Records was short on cash and didn't have the resources to promote the album as much as its follow-up, the equally good, but more vocal, Karma. The song has simple drum and bass lines, and amazing vocals from the wide-ranged Kristy Thirsk, formerly of Rose Chronicles. Incantation is more of the same. Both are great tracks. The non-vocal songs are pure sonic ectasy. VERY complex layered tracks with a lot going on - multi-dimensional, for sure.

The Gregorian Chants in THIS album were sampled. Enigma was NOT sampled on this record, contrary to the claims of a previous reviewer. There are some similar hooks and feels, but Enigma somewhat defined this genre, but Delerium CLEARLY one-ups the entire field with this record. Enigma, by comparison (even MCMXC a.d.), is too poppy, too commercial, too forced. This is a purely good record based on the talents of the authors.

(BTW: Karma has fewer samples; they rented out a church in Vancouver and had real authentic monks sing their chants!)

If you'd like an in-depth song-by-song review, please check out the official web page at http://www.delerium.com - I have my full review posted in the discography.

But, in summary, if you like Enigma or Deep Forest, you will LOVE this album.

PS: If you like this album and/or Karma, I HIGHLY recommend Intermix's Future Primitives, which is a side-project of Leeb/Fulber (the same guys as Delerium) and recorded at the same time as Semantic Spaces, and basically could've been another Delerium album. I also highly recommend the upcoming Conjure One album, the new project by Rhys Fulber solo.

Rick

Incredibly marvellous.
No one compares to Delerium. And if they have to "steal" some samples from other artists to create such achingly beautiful_dreamy landscapes, let them do it. It's such a rare thing, nowadays, to have top notch quality music in the music market. In short, this is one of the best album of all time, and I really mean it. As I first heard "Incantation" i thought:"This is the finest piece of dance music ever made". Three years have passed and still this album represents the peak of my music collection. Listen. Dream. Feel.

Out With the Old; In With the New
So said Bill Leeb and his co-hort Rhys Fulber when they sat down in the studio to record this album. Banishing their Front Line Assembly meets Clock DVA sound from previous Delerium efforts, Bill and Rhys put on their Enigma hats and made a trance/dance/electro album that tries to please everyone. And they almost did, too. Though this effort turned off some fans of FLA and Delerium of old, it also made some new ones. The club hit "Flowers Become Screens" made this album a must buy for many a college clubber. The rest of the album is all well and good, with Billa and Rhys using precision programming skills and piracy to create an ethereal landscape of marvelous electronica. Though some of the songs run a little long (clocking in at 10 minutes or so), the music is just good, complex, and full enough to pull it off. Their next album Karam further capitalizes off this Enigma sound, employing the beautiful voice of Sarah McLachlan to make an insta-hit (Silence) that have Delerium an even bigger fan base. Karma is truly their masterpiece, while Semantic Spaces was their epiphany. Delerium would continue to make more poppier sounds with Poem and Chimera, two albums this reviewer can hardly listen to, especially when I can just listen to the much superior Karma or Semantic Spaces.

One last thought: As a longtime fan of Front Line Assembly (which is how I learned of Delerium), the popularity of the recent Delerium albums is astounding. If you are curious about what Bill and Rhys were known for back in the 80s, check out their re-released FLA ablums State of Mind or Corrorded Disorder. And if you just love the newer Delerium ablums, you might also like the newer FLA material like Epitaph. It's more agressive, and the lyrics are pretty silly at times, but it can be a fun ride.

good but can be better
Semantic Spaces is a good album and at best, really enjoyable.
Some really enjoyable tracks in the album are "Incantation" and "Flowers become screens". I wish though Delerium could've put in more of a gothish and creepier sound to the album.

Great CD but track 9 doesn't work well!!
I love Delerium. I love this CD. But track 9 skips. I returned the CD and recieved a new one, and it still skips. Buy the CD, it's great, just don't get too attatched to track #9. That is the reason this CD hasn't recieved 5 stars. Tracks 1-8 are terrific. (Tracks 1 (Flowers become screens),5 (Consensual worlds) and 8(Sensorium) being my favorite. Delerium's music is soothing and fun to listen to. I love to listen to it as I fall asleep and when i'm in the car.(Also, everywhere else!)
Buy this album if you like Delerium or enchanting music! ... Read more

Reviews (7)

wow... a rocking album ...
snow patrol are by far Jeepster's best band. for a label known mostly for the twee folk-rock of belle and sebastian and the gentle waves, this is truly a departure (members from each even guest on this album). but snow patrol maintain endearing qualities nonetheless; songs about admiration and love, the lead singer gary lightbody's snivelly voice, and their use of spacey keyboards.

the best songs on this album are the ones that rock the hardest. 'starfighter pilot,' 'nyc,' '100 things you should have done in bed,' 'holy cow,' and, 'sticky teenage twin,' all have blistering grace, all with psychedelic undertones. it's all very over-whelming, since snow patrol have a bizarre originality that sounds like nothing else.

so, for gods sake, buy this album. 'alternative,' music doesn't get much better than this.

Something Irish to perk your ears up
Think of sounds from Ireland and the cliche is either U2 or the Cheiftains. Think of sounds from Belfast and the cliche is bombs, rifle shots and police sirens. Forget the cliches--this is Snow Patrol, and they're like no other Irish band you've ever heard. You might expect angry political commentary ala fellow Belfastians Stiff Little Fingers, or gentle, light pop rock songs ala The Cranberries. Well, forget it. Take one listen to 'Songs For Polar Bears' and you hear a younger, newer Ireland, one that shuns the cliches of political conflict and Celtic culture, plugs in an electric guitar and sings a few good songs. Snow Patrol are the most visible band to come out of Belfast since Kerbdog and Ash, but their sound is much different, more like Sebadoh (to use the cliche)but with more synthesizers. There are a few catchy numbers mixed in among the rest--'Downhill From Here', 'Velocity Girl', 'The Last Shot Ringing In My Ears', 'NYC' and 'I Could Stay Away Forever' make good listening on a rainy afternoon. The rest helps hold this album together, but doesn't really stand out that much. That's okay, though, because in this day and age, bands are disposable if they can only put two or three good songs on an album of 14 tracks. Listen closely, and you hear something happening with the chemistry of this band. As I'm writing this, their second album is awaiting its US release, and sources say new material is developing, and hopefully, Snow Patrol will triumph where other new, promising bands have failed.

seba "snow" doh?
Ok. The title of this review is weird, but I can't help but think this band is the Irish version of the american Lou Barlow outfit "Sebadoh". Snow Patrol are awesome! I was going to buy this record a long time ago, after I read up on it a bit. I finally bought it used at a record store, and now I wish would have purchased it months ago. But the fact remains that I did buy it and now I'm better for it. Sweet, noisy, poppy, loud, soft, sad, melodic, I can go on forever, if I tried, if I tried. buy this now, or buy it used at a good record store, just hear it.

Where does Jeepster get all of these great bands!
I'm not going to lie. Not all of this album is top grade stuff, but the songs that are good, are songs you will love for years to come. This album ranges from drab and annoying to lush and beautiful. I picked up this album just based on the fact that they're label mates with Belle and Sebastian. I was surprised to find that this is an Irish rock band rather than a Scotch folk-pop band. True, this band does rock, but don't think it's going to be grunge Belle and Sebastian as the review below (or above) indicates. They remind me a bit of a post modern Nirvana, but that might be taking things a bit to far. "I Could Stay Away Forever" is my favorite song on the album, and is a gentle and forlorn ballad (hate that word) with the lyrics in their entirety "I could stay away forever/If I tried/If I tried." This song is actually the reason for me writing this review. I just got off the phone with a girl who used to make my heart race, and coincidentally, this song began to play on my stereo. It really hit home, and I know I will forever associate this song with her. Sorry, I'm getting sappy, but I just can't help being a little corny sometimes. Anyway, anyone who wishes rock would have stayed sweet, or is just curious what song could make someone write such a sappy review, buy this album. You won't be disappointed.

It Rocks!
Having heard of them from Jeepster (record label) as the grunge version of Belle And Sebastian, I decided to check them out. I wasn't disappointed. Their sound is very loud and more importantly, very good. Their melodies are superb and the standard is excellent. Although all the tracks are great, check out Starfighter Pilot, Absolute Gravity, NYC, Days Without Paracetamol, One Hundred Things....etc, etc! Snow Patrol should have world domination under their belts when the next album comes out! ... Read more

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Ride was an essential element of the wall-of-sound, trippy, melodic shoe-gazing movement of the early '90s. Nowhere is their best album and is one of the prettiest albums of that era. Songs are psychedelic wash of reverberation, and ghostly, passive vocal melodies. Born from the womb of My Bloody Valentine distortion, Ride tempers their sound with an easier melody, reaching across to the pop spectrum. "Vapour Trail" stands out as the leader of the pack--a gorgeous song that floats and drones in and out of your head like a cleansing fog. --Beth Bessmer ... Read more

Reviews (38)

One of the great albums
Like all great artists Ride rediscovered the obvious and transformed it into something totally new. Effects pedals have been around almost as long the electric guitar itself, but mostly have only been used as incidental embellishments; a bit of wah wah on a solo, some discrete phasing on a rhythm guitar part, the ubiquitous yet mostly predictable use of distortion. Ride took these basic elements and pushed them to the nth degree, creating a wild, glorious soundscape of such intensity and emotion that one runs out of superlatives trying to describe it. From the chaotic "Seagull", through the melodic perfection of "In a different place" and "Vapour Trail", to the glacial textures of "Polar Bear", Ride reinvented what it was possible for a guitar band to do. Their experiments with the aural possibilities of the electric guitar reached its apogee on the epic "Dreams Burn Down", alas a prophetic title as Ride's ability to maintain this level of creativity turned out to be short lived. Ride came and went while other artists (liked the astonishingly overrated Radiohead) more profitably expoited the genre they invented. The best album of the 90's.

After Nowhere
Nowhere is one of the greatest extended statements of melodic guitar and band to rise out of the shoegazing movement. "Guitar" is the word most used in describing Ride, and this it is true that this was a guitar band, but what makes the lyrical work of Andy Bell and gang so great is that it worked as a whole. I find it difficult to separate the guitars from the rhythm section as is possible with other guitar dominated bands. This is to say that the cymbal and bass line throughout the opening track, Seagull, make the guitar solo 3 minutes into the song possible, as do the vocals. This ability to approach the symphonic is what makes this a great set of music that is able to sustain the impressionistic intent from beginning to end.
In the re-issue with the Today Forever ep the soundscapes of Nowhere are embellished in ways that can only be followed by a few moments of silence.
Seagull, Polar Bear, Vapour Trail, and Beneath stand out, and yet the CD is as seamless as My Bloody Valentine's masterpiece, Loveless. The music of each band is quite different, but as companions to a time period, and a genre (and this is a genre, shoegazing) they do stand the test of time. If a person were to have only one Ride CD then the re-issue of Nowhere would be the one, followed by Going Blank Again Re-Issue.

He he he
If heroin has a sound it would sound exactly like this band.

A nice "Ride".
I'm not going to say that this is the essential album of the genre, but it is one of the better ones. I think it takes a few listens to get into, and no particuliar songs really stand out, but as a whole it's very good. I like the cover art, because it really does reflect the sound of the band. In short, if you're into the "shoegazing" sound at all, you should enjoy this. It could be 4 stars.

Great First LP
This was a great debut LP by Ride. Probably their best although 2nd LP "going blank again" comes close.
This was Ride's greatest sound by a band that could and should have achieved more, in the sense of popularity.Although it may be better like this, so that only a select few can keep these gems to themselves, making it more personal. They were the best shoegaze band, even though many turn to MBV, however, Ride were more accessable. Shoegaze died mainly because of the music media backlash (especially NME). However, the current return of this genre may get this fabulous LP reviewed again and looked at without the biased opinion of the anti-shoegaze press. Then it will be seen for what it is rather than have a label on it. This is a great sounding, bright, fuzzing, melancholic and powerful record with a youthful energy that overwhelmes the listener if he has what it takes to feel it. Take the test!!! ... Read more

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Much as the outtake and B-side collection Dead Letter Office anthologizes the many oddities of R.E.M., 1988's Eponymous is a document testifying to the astounding strength of their formative I.R.S. years. Eponymous reinforces the notion that the inchoate R.E.M. was a rare and brilliant gem of a group. While a somewhat brief CD, it provides quality listening from start to finish with hits such as "The One I Love," "(Don't Go Back to) Rockville," and "Driver 8" tucked amid the likes of an alternate take of "Finest Worksong" and the wonderfully mysterious "Gardening at Night." Especially noteworthy is the inclusion of the original seven-inch version of "Radio Free Europe," the band's 1981 release. --Lorry Fleming ... Read more

Reviews (29)

End of Indie Rock As We Knew It, and REM Did Fine
This collection gathers the better radio tracks from REM's first (and, to these ears, best) six years together. It's hard to remember how organic and dynamic underground-turned-mainstream hits like "South Central Rain" and "Radio Free Europe" (heard here in its original demo version) were until you hear them again, especially in the 80s when alternative radio was restricted to college frequencies.

The group had already concocted muscular folk-rock melodies based on the genre's heroes. The Byrds' country and folk-rock influences all the songs, as does Alex Chilton's Box Tops and Michael Nesmith's First National Band ("Rockville" closes with a quote from Johnny Rivers' "Poor Side of Town.")Who could forget Michael Stipe's distinctive voice buried in musical quicksand, and trying to decipher his cryptic lyric images?

Highlights include the staples "The One I Love" and the fun, if silly "It's The End of The World" (the conductor, Communist, comic and critic fit together only rythmically), the gorgeous "Fall On Me" from their only Don Gehman-produced album (with softheaded Biblical imagery reminiscent of his other major client, John Mellencamp) and Bill Berry's great drumming throughout, especially on "Can't Get There From Here" and "Gardening at Night." Recommended early music from a Hall of Fame-bound rock band.

A good slice of REM's early years
If you are a fan of REM's pre-Green recordings, this disc has all of the hits from that era...starting with Radio Free Europe. That song, Driver 8, Fall on Me, and ITEOTWAWKI are probably the best of the best...although with REM, you can't really lose...unless it's MONSTER, of course...The only fault of this disc is that it was a little short...and there were so many great songs they could have added on to it.

beautiful pop music
Everyone loves R.E.M.
Everyone.
You will too.

Even if you have all their stuff...
...you would not be throwing money away by purchasing Eponymous, which is essentially a best-of collection spanning R.E.M.'s contract under the I.R.S. label.

1) The original recording of Radio Free Europe was awarded the best single released in 1981 by the Village Voice. The version found on Murmur is far superior, but this is a very important recording in the band's history since it was their first official release. Previously available only on vinyl bootlegs, it is now safe and preserved.

2) The original vocal recording of Gardening at Night follows. This version outshines the one on Chronic Town by a long shot, mainly because when Stipe re-recorded the vocals, it sounded like he had a mouthful of gum. Here he sounds articulate and clear.

3) Romance is one of R.E.M.'s oldest songs, ever. Only committed to a soundtrack to romantic comedy (featured only briefly), here it is in its entirety. And it's not half-bad either.

4) The Finest Worksong gets some horns added to it. If you think that brass and rock n roll mix, then knock yourself out. I myself remain unmoved by it.

The rest of the tracks have all been released before. But combined back-to-back, they show how R.E.M. was one of the most consistent American rock bands of the eighties.

It's Short by Today's Standards but Otherwise a Keeper
Eponymous is a greatest hits compilation covering R.E.M.'s early hits. It includes some of my favorite R.E.M. songs, such as "Radio Free Europe", "(Don't go Back to) Rockville", "Can't Get There From Here", "The One I Love", and "It's The End Of The World As We Know It (and I feel fine)".

I have seen a few references to how the album is brief. I'd agree, but keep in mind when it was compiled and what the average length of albums were in those days. Of course, with R.E.M. generally more is better and I can understand those who would love the album to run longer.

Also, if you'll allow me a brief digression, under "The Best of R.E.M.: In Time" reviews I saw complaints about how songs such as "It's The End Of The World As We Know It (and I feel fine)" are not on it -- "Best in Time" spans from 1988 on; "Eponymous" spans from the band's debut to, you guessed it, 1987. To complete your collection, you need to own both.

Back to "Eponymous"...albeit short, it's an excellent collection from one of the greatest bands ever (in my humble opinion). I highly recommend getting it to complement "The Best of R.E.M.: In Time". ... Read more

Reviews (1)

Good Companion to Decemberist's Albums
I've always enjoyed music that evokes feelings of lukewarm summer evenings. Cold wintry days always seem to bring me down to a level I quickly want to be removed from. Instead, I take pleasure in evenings where the sun seems to never want to hide itself behind the horizon. The kind of evening that just doesn't seem to come around too often in my neck of the woods. Coming from the Midwest, I've always had the ability to take long drives down the highways and countryside simply for the sake of my own enjoyment. The Decemberists are a band that incorporates images of all these feelings. If you've read any of my music reviews in the past, you know that although I'm not the biggest fan of country music, per se, I am a true believer in the steel guitar. I'll even take it in the format of a pedal steel if that's all I can get. The steel guitar has just always had the ability to express true heartfelt sorrow and beauty to me.

With their Five Songs EP, The Decemberists have showcased steel guitarist Chris Funk to send the majority of this morsel straight into the pearly gates of carefree rock heaven. "Oceanside" opens with perfectly strummed acoustic guitars that are married with Colin Meloy's unobtrusive, yet confident, vocals. If you give him some time, he'll even show you that lyrics are still important to music in a time of instrumental bands. "Shiny," the next song, is such a terrific song. To be honest, it's one of the nicest damn songs I've heard in months. The chords that have been used seem to say so many things by themselves, and the steel guitar is the true star. How could anyone feel bad when listening to a song such as this one? It seems to be the mold that all others have copied. The same could be said for the next song, "My Mother Was a Chinese Trapeze Artist." It has the same vibe as the previous track, and makes me wonder how these guys could know exactly what I like in my music. It's easy to see why they have received so much critical acclaim for their album Castaways and Cutouts.

The Decemberists will captivate you with their innocent and introverted sounds. Nothing here is forced, nor will it sound forced upon you. In a time when there is so much turmoil and hatred in the world, it's almost imperative that artists like this make music to remind us of a more simple time. This is also the type of music that tends to bridge the gap between today's music, and music the baby boomers enjoyed two decades ago. Although there are only six tracks here (go figure), I'd say this is a purchase that is worth every penny spent. ... Read more

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On Weightlifting, their fourth album, Scotland's Trashcan Sinatras tackle love, loss, and personal triumph with beauty and maturity--no easy feat in a culture teeming with cynical alt-rockers. This is a record founded on earnestness and sky-parting melodies, as the driving, anthemic "Welcome Back" makes clear: it's a song of survival from a quintet that has fought tenaciously to sustain a career while keeping its quaint musical ethos intact. Weightlifting may not be the group's masterpiece--that would be its previous album, 1996's A Happy Pocket--but this is far and away the Sinatras' most accessible album, their most carefully crafted, their prettiest. Indeed, crooner Francis Reader and company seem most at home in quieter tunes like "Leave Me Alone," "Usually," and "Weightlifting," knee deep in delicate textures, lush harmonies, and nuanced phrases. With strings and occasional horn parts, the Sinatras harken to music of bygone eras without a trace of kitsch or irony, never losing sight of the importance, in rock music, of catchy grooves and searing guitars. The bonus DVD includes five songs from Weightlifting culled from the band's performance on KCRW's "Morning Becomes Eclectic." Sadly, it's not the whole show, but all 17 minutes are excellent: passionately played, well recorded, and tastefully shot on video. --Michael Mikesell ... Read more

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Tigermilk is simply gorgeous, an unaffected debut equal to the Smiths' finest work, and seemed to arrive fully formed out of nowhere in May 1996. In songs like the pastoral, shimmering "The State I Am In" and the wonderfully naive "We Rule the School," bandleader Stuart Murdoch had already laid the seeds that would later come to such full, poignant fruition on If You're Feeling Sinister and The Boy with the Arab Strap. The 10 songs here have such a natural pop sensibility, such a grace and resonance, it's hard now to believe that Tigermilk was only originally intended as a small-time project between seven Glaswegian friends (the original vinyl release was limited to 1,000 copies). Whimsical, surreal, and beautiful, this reissue is well worth the wait. --Everett True ... Read more

Reviews (85)

So beautiful to have this album again
I used to have one of the 1000 vinyl copies this album was released on. I know, I know, you're wondering what happened to it. I worked at a radio station, and the album came in. As per the station's procedures, DJs would take home albums, review them, look for swear words, write capsule reviews, etc.

Anyway, I took home this album. I had never heard of the band (no one else had either) so didn't know what to expect when I put it on my turntable. I was blown away, of course. Pure pop genius. I wrote up an incredible review of the LP, returned it to the station a week later.

I should've kept it. I should've stolen the thing. 6 months later, I was still searching for the album in stores when I found out it was a limited issue. I tear back to the radio station, if only to dub a copy of it for myself. But the album was already gone. Some other lucky DJ had ripped it off.

The intervening years and the intervening B&S albums have left me feeling okay, but with each listen to "Sinister" and "Arab Strap" I told myself - "they've done better." I told my friends that to really appreciate B&S, they had to hear the first album. But when would it get re-released?! "Arab Strap" left me especially cold and I slowly stopped listening to B&S quite as much as I used to.

3 years later and this album is finally reissued. It's like kissing an old girlfriend I had forgotten that I loved. It doesn't leave my CD player. Ever.

Yes - pretentious yet (or is it therefore) really cool
Tigersmilk is the perfect music to listen to in a college dorm room in 2001 - maybe a little high, hung over, or just really tired. It is the kind of music that can be just listened to, or thought about (and one can even obsess over it if need be). A 90's mix of Donovan (funny, kind of nonsensical lyrics, and a wholly silly attitude - plus scottish of course)and the Velvet Underground (soft, almost muted sound) - and they certainly pay homage to their influences. This cd is almost perfect. Yes - some songs are stronger than others (track 3 is amazing - whereas I would say track one falls a bit flatter) on the whole the album is a really strong first work (and the cover of the cd is really cool). While I'd argue that this isn't the strongest album Belle and Sebastian have produced (that is probably Boy with the Arab Strap) it is still a solidly great piece of work.

For anyone who's felt alone...
I adore Belle & Sebastian, but I must say that half of my favorite B&S songs are on this album and the other half are spread throughout the rest of their work. Not that I don't love every other album (with the possible exception of Storytelling), just that every single song on here is infectious, moving, funny, and stays with you a long time after you've stopped playing it. On all the other albums, I find songs that are a little too slight or meandering. But this one is 100%.
'The State I Am In' is one of the few songs I've heard that makes me laugh out loud, and contains some of the wittiest biblical allusions I've ever heard. 'Expectations' should be required listening for every high or middle school kid who thinks no one understands them. "Write a song, I'll sing along" I wish I'd heard it back then: even though I'm a boy, I can relate to every incident in the song. I could really go on and on, but every song is fabulous.
If you're just getting into B&S I highly recommend this album as a starting point.

He took all of my sins, and wrote a pocket novel...
Great album. The rhythm to "Electronic Renaissance" is quite similar to that on Pat Benetar's "Love is a battlefield," which I find quite amusing. Great song. Also a great song is "The State I am in." I love the tambourine in that song when they reference Veronica in the song "Expectations." .
Another great track is "I could be dreaming." I love the way the music is layered at the end of the song and Isobel speaks/reads while the guitar progressively gets louder and louder.

I was surprised...
Belle and Sebastian's 1996 debut still sounds as fresh today as it did when it was released. If anything this proves the band to have been talented beyond their years when they recorded this, and shows that a timeless classic is a timeless classic, no matter whose bathroom it was recorded in...While often accused of being one-dimensional, the strength of this record lies in its diversity. Huge ranges in tempo, style and sound pervade this album, which in all its lo-fi glory is remarkably short.
For me the best song, and the best song they've ever done, is album opener "The State I'm In". As a manifesto and a call to arms it has never been excelled, and as a classic shaggy dog story, I doubt it ever will be! You can almost feel the joy Stuart derives from telling his stories and spitting out his acutely observed and intricate lyrics ("got married in a rush to save a kid from being deported, now she's in love...") and the album's sugar rush is insanely infectious.
The lyrical obsessions with buses, lesbianism and religion are already in place, and the band's charm is allowed to shine through the dodgy production.
This is a warm, heartbreakingly beautiful and affecting record and it deserves your attention.
PS. Listen closely at the start of track two - just before the vocals come in there's a weird noise. It's Stuart self-consciously zipping up his cardigan as he steps up to the mic to sing! How cute!! ... Read more

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With pop song-collection soundtracks becoming an increasingly popular way for artists and labels to market new music, the connections to the films they're supposed to be supporting becomes increasingly tenuous. Witness Trainspotting #2;. Inspired by the success of director Danny Boyle's bleakly hilarious tale of a band of smacked-out Scottish louts and the strong pop collection that underscored it, #2 is nearly as thematically compelling, if artistically suspect. These are songs that, as the producers put it, "inspired the filmmakers or (have) been inspired by the film." Thus we get star Ewan McGregor's memorable "choose life" monolog sampled and looped over the dance music of PF Project or Joy Division's "Atmosphere" simply because the director "always wanted Joy Division in the film." What's next?Gone With the Wind featuring Lynyrd Skynyrd's "Free Bird"?--Jerry McCulley ... Read more

Reviews (12)

you OWE this to yourself, best collection of hard-pop/techno
Amazing, Brilliant, and better than it's predecessor. There was so much good music crammed into the super-successful movie "Trainspotting", That one CD alone just couldn't do.

This CD is a sequel for the succesful soundtrack taken from "Trainspotting". This also helped familiarizing the "Soundtrack Sequeling" in the record industry, which proved later on by "Hackers 2", sequeling the soundtrack to the movie "Hackers", also with Johnny Lee-Miller.

On this CD, The filmmakers were kind enough to insert the tracks that were on the movie but were cut from the original Soundtrack CD (Dark Train, Underworld). The filmmakers added cuts from songs that were on the movie (A Final Hit, Leftfield), Tracks that inspired the filmmakers (Atmosphere, Joy Division), Tracks inspired BY the filmmakers (Choose Life, PF. Project), and extra-additional cuts.

If money's of no limitation, there's only one way to recreate the experience of "Trainspotting"... That is to view the movie with the latest of surround technology on an ultra-wide screen. The alternative is mounting this CD on your stereo and re-experience every second from the movie. That will do just fine.

Only half of a soundtrack, the rest is filler...
This is not much of a soundtrack when one has to consider that most of the songs on this album were not used in the film, or if they were they were different mixes. Notable is the inclusion of the other Underworld song, "Dark & Long (Dark Train Mix)," which was used during Ewan MacGregor's sobering up scene, and was for some reason absent from the first soundtrack CD. The other tracks on this album that were in the film (exclusing the first track, Ewan's "Choose Life" narrative) were Ice MC's "Think About the Way," and Heaven 17's "Temptation." Mixes of songs from the first CD include a Darren Price remix of Underworld's "Born Slippy," which is still a pretty good mix, but might have been better suited for a single release merely because of the extemporaneous nature of this second CD altogether. There's also the full-length version of Leftfield's "A Final Hit," which is actually a welcome track, a remix of "Nightclubbing," as well as Iggy Pop's "Passenger," and David Bowie's "Golden Years," neither of which were in the film anywhere, nor are they listed in the end credits soundtrack listing. Sleeper and Primal Scream had songs on the first CD, so here they each have two new tracks, and because they probably couldn't get another New Order song to fit in the feeling of "Transpotting," they got Joy Division. While I love "Atmosphere," I fail to see the reason or logic behind its inclusion on this CD. But then again, this second CD was just meant to capitalize on the success of the first CD anyway, so...whatever. If you like this, get it and listen to it. I'd only listen to half of the songs here, but that's me.

Great album, but falls short of the first one
I enjoy this album very much, however I don't like it near as much as the first one.

The remixes aren't as good as the original tunes and there are a handful of tunes tossed in that seem out of place here. Habanera? Golden Years by Bowie? Huh?

I loved it
The tracks on this CD are expecially great when running on the treadmill!

Complements Its Predecessor Well
"If truth be telt," as Begy would say, give or take a few songs from each CD, one Trainspotting soundtrack would suffice. I for one find this soundtrack to be vastly better than the "orange" (first) Trainspotting soundtrack. Although Trainspotting #2 has its pros and cons, its pros greatly outweigh its cons, resulting in my giving it a 5-star review. OK, let's get to the best bits first (titles are in 3 classes [best, worst, ordinary] followed by track-order). "The Passenger" by Iggy Pop is a catchy little ditty which, though not included in the film, definitely merited inclusion/is even worthy to replace Pop's "Lust for Life" as Trainspotting's theme song; "Dark & Long" [Dark Train Mix] by Underworld is the song that's playing when the lead character, Renton, is having bizarre nightmares in the teenage bedroom of his parents' house. It is one of Underworld's many electronic epics and I can't praise it enough; "Golden Years" by David Bowie is a classic and was included on this album because it was the original track that Diane was to sing to Renton as he was coming off heroin in the aforementioned bedroom. Fair enough;"A Final Hit" [full-length version] is just a "prolonged" version - only by a minute or so - of the edit which is on the orange soundtrack. Still great;"Temptation" by Heaven 17 is the song playing in/outside the club when Renton is accosting Diane;"Our Lips Are Sealed" by Fun Boy Three is a great tune à la New Order, and the reason it is included is because it was going to be used in the film but the correct spot for it could not be found (the director and producer felt that they related strongly to the group of friends in the story);"Atmosphere" by Joy Division was only included on the album because director Danny Boyle is from Manchester. It's very dark yet melodic, like most Joy Division songs;"Inner City Life" by Goldie is a great song in itself but its inclusion on this soundtrack is questionable: it was only included on the album because author Irvine Welsh stated that "It's what the characters would be listening to now";Born Slippy Nuxx [Darren Price Mix] by Underworld is possibly the best (re)mix of this song, and I've heard many, including the brilliant Deep Pan mix. Now to the two not-so-good tracks - sod it, they're just plain awful: "Choose Life" by PF Project is Renton's "Choose life" monologue superimposed on incredibly long, tedious, cheesy techno music; "Nightbclubbing" [Baby Doc Remix] is ineffably awful: just think of what would happen if you played incredibly amateur techno music with the lyrics and music from "Nightclubbing" at the end, albeit in an almost unrecognizable incarnation. The remaining tracks on the album, which I would rate half-decent are: "Habanera from Carmen", the classical music playing while Renton is citing the list of items needed to withdraw from heroin; "Statuesque" by Sleeper can best be described as "chick rock which really rocks", I believe it was used very briefly in the film; "Think About the Way" by Ice MC is the dance music playing when Renton moves to London. It's quite good; "Come Together" by Primal Scream is the epitome of 90's rock and, according to the liner notes, its admission in the album is the same as "Our Lips are Sealed" by Fun Boy Three. I'll consummate my review with an apposite quote from the late Frank Zappa: "Rock journalists are people who can't write, writing about people who can't play, for people who can't read." ... Read more

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Crotchety critics complained that this Glaswegian quartet sounded too close to cult Memphis band Big Star for their own or anyone else's good, but Bandwagonesque proved that unapologetic homage can sometimes work. The Fanclub's mesh of yearning, ethereal melody and cranked, feed-backing guitars came together superbly on "The Concept," "Metal Baby," and the thrashing "Star Sign"--mini-blizzards of mellifluousness that yoked Alex Chilton to Crazy Horse and the Ramones. Dismiss "Alcholiday" as "record collection rock" if you must: it doesn't make the track any less sublime. --Barney Hoskyns ... Read more

Reviews (27)

Every music lover should own this
Teenage Fanclub have made a better album than this in the form of Grand Prix but Bandwagonesque is an equally essential purchase. Part self-conscious evocation of sixties' pop, part grunge-inspired guitar fest, Norman Blake, Raymond McGuinley and Gerard Love pointed the way for a host of cross-Atlantic guitar bands with a Lennon/Wilson fixation and a modicum of talent. Alcoholiday, a blaze of criss-cross guitars and heart-breaking lyrics, is one of the finest singles never released, while The Concept, Star Sign and Guiding Star are not far behind. Utterly wonderful.

Get On The Bandwagon
Teenage Fanclub is one of the most underrated bands of the 90's. They are pure power pop and their fuzzy guitars perfectly balance off their exquisite vocal harmonies. "The Concept" opens the album and it is a brilliant song that sets the tone for the album. Lead singer Norman Blake's honey drenched vocals are backed by a fuzz-toned guitar riff and the lyrics are quite sly. Other standout tracks like "Alcoholiday", "Star Sign", "December" and "What You Do To Me" combine the band's Beatles and Big Star influences of slick harmonies, large hooks, crunching guitars and snarky lyrics.

Soundtrack to high school
One of the best records of the 90's. Finally getting around to replacing my long lost worn-out tape. Buy this.

up-beat and fun!
This cd is up-beat, fun, happy, sad, mellow, and energetic all at the same time. They use harmonys on the chorus and the melodies are pop-ish. I love it! It is good to chill out to.

a power pop classic
I just bought this album due to the fact that everyone says it is so great and because it is really cheap. Everyone is right. This record is fantastic. It is full of great songs like The Concept, What You Do To Me, and I Don't Know to name a few. Really if you are into highly melodic music with some distorted guitars I highly recommend purchasing this record. ... Read more

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Sometimes it seems as if there's every other band in America, and thenthere's the Flaming Lips. The Norman, Oklahoma, quartet makes modern rock thatdoesn't sound like anyone else; head music, they'd have called it inpsychedelia's heyday, weird soundscapes that conjure the bizarre alternateuniverse on the other side of the funhouse mirror. Transmissions, theirsecond major-label release after a long indie apprenticeship has a mellower feelthan early fans might expect, with lots of acoustic guitar and dreamy interludesto shame More-era Pink Floyd, but it's no less weird than their last twoefforts. Strange sounds float in and out of the mix, and Wayne Coyne's twistedhick vocals are convincingly demented. Coyne's lyrics tend toward a Dadaiststream of consciousness with occasional forays into junk culture; this isfamiliar modern rock territory, but songs such as "She Don't UseJelly," "Chewin the Apple of Your Eye," and "Be MyHead" are more effective and less annoying than the would-be gonzo effortsof Frank Black and Sonic Youth because they're catchier and less pretentious.The Flaming Lips may be transmitting to the satellites, but when all is said anddone, they live in Oklahoma. --Jim DeRogatis ... Read more

Reviews (28)

Turn this one on
How does one go about describing this band? It's sort of an arty alt-psych-rock band, with loads of dementia, off-the-wall lyrics and brilliant pop sensebilities.
While it may seem like some slightly left-of-center alt-rock on the surface, this album is more. 1960's inspired distorted psychedelia is layered subtly throughout the album, accenting the off-key but effective and emotionally charged vocals. The hooks in tracks like "Turn it On" and the silly but well-written "She Don't Use Jelly" are some of the catchiest to emerge from 90's rock. While there are many moments of demented psych-rock brilliance, the Lips are also not afraid to tone it down. "Chewin' On the Apple of You Eye," with its folksy acoustic guitar and yearning vocals, is actually quite moving. "Plastic Jesus" has more mellow acoustic strumming, this time in a traditional country style. Still, even these tracks aren't free from weirdness. "Apple" is covered in a thin film of static fuzz, and "Plastic Jesus" has some sounds, well, that I just can't figure out.
This is a pretty strange album. It's quite experimental, yet catchy. It's heavy and demented, yet serene and mellow. And, it's about the only time I've ever heard off-key vocals that add to the music, rather than take away from it. If you have an open mind, and an appreciation for quirky brilliance, this album should find a home in your collection.

You Can't Go Wrong with this!!!
Granted, Flaming Lips are an acquired taste. But what a taste! There haven't been vocals this squirrely since the early days of Meat Puppets. This album is a pure trip. "Turn it On" is a rock and roll call-to-arms in a vein worthy of KISS, but with an undertone of late 60s garage rock. When they sing, "Turn it on, in your houses when you wake up, turn it on," they MEAN it. Yeah, "She Don't Use Jelly" is on this album, but it's not the highlight. The whole thing has an other-wordly feel. If you want to hear something off the wall, but with pop sensibility, listen to this.

Flaming crap
In writing this review, I first searched my mind for something good to say about this band. I managed to think of one good thing, they have a decent name. Beyond that, the band and eveything it produces is crap.
I saw a concert by the Chile Peppers (a good band), the Flaming Lips opened for them. Until then I had never heard of this group. But the entire time they were on stage I hoped their name would come true, and their faces burst into flames. They're just that bad.
Do yourself a favor, if you aren't already a fan, don't listen to this, or any other, cd by the Flaming Lips. Instead, smash your hand in a door. It's less painful. If you are already a fan, you have my sympathy.

If you're one of the people who noted my review as not helpful, you're the people who I was talking about. It's not your fault that you have bad taste in music. Ok, go listen to them live, and it should take care of that problem for you. Even Legmuffin, the guy with 10 positive reviews basically said you have to be stoned to enjoy it. And even then it didn't get 5 stars.

Fairly standard early-90's fare from a truly inventive band
Distorted guitars and early 90's dynamics (LOUD-quiet-LOUD) make Transmissions from the Satellite Heart sound dated. Although the album often has some crazy instrumentation that makes it stand out, these touches are usually attached to sludgy guitars while Wayne's especially thin sounding vocals bleat out uninteresting melodies. If you enjoy the later Flaming Lips for their simple, compelling melodies and over-the-top instrumentation, this album could disappoint.

The Best Lips Record I've Heard
The first album of the Lips I heard was Yoshimi, followed by The Soft Bulletin, and then Transmissions From The Satellite Heart. After being disappointed by the Soft Bulletin I was a little bit hesitant in picking up another album of theirs. But I'm very glad I did. Transmissions shows that once upon a time the Flaming Lips could really rock, power chords and all. Yes, unlike future albums this one has plenty of grueling guitar and its all for the better, it makes it a lot more edgy. Wayne Coyne's voice is probably at the roughest I've heard it but it doesn't really matter because they fit in with the hard, rough tunes. The whole album has a bit of a Western flair to it as shown in Chewin the Apple Of Your Eye. The song is like a western ballad in the same vein as later Velvet Underground or a much better Bright Eyes, Coyne's crackling, rough voice though manages to make the song much more tragic than Bulletin's and Yoshimi's bombastic ballads. This also has the Lips only break into MTV airplay, with the song She Don't Use Jelly. The song seems to be a bit of a predessesor for the Soft Bulletin and has some very humorous lyrics. The real highlight of this album has to be When Yer Twenty-Two. It shows the Lips at the heighth of their artistry and catchiness in this period. Be My Head has an abundance of a Lip's staple, really dumb lyrics. But again, like usual this isn't a problem for them due to the great melody. Really though there isn't a weak point in this album and it doesn't let up at all throughout. I really hope that the Lips have the chops to match this album sometime in the future, and I think with the originality of Coyne they just might... ... Read more

Album Description

There's nothing like the steady march of news these days to point out how much more focused on politics and world events Americans seem to be than at any time in recent memory. Musicians are no exception, and a group of some of the best American artists has come together to contribute to this joint project of Barsuk Records and the non-profit progressive organizations MoveOn.org and Music for America, in association with McSweeney's Publishing.

Conceived as a political fundraising CD by They Might Be Giants' John Flansburgh and then assembled by a small group of music industry volunteers, Future Soundtrack for America features new, exclusive and rare recordings from over 20 of today's best recording artists.Clocking in at over 78 minutes but making you want to listen again as soon as it's over, this is an extraordinary compilation.The spectacular array of artists who appear on the Soundtrack are: Blink-182, Bright Eyes, David Byrne, Laura Cantrell, Clem Snide, Death Cab for Cutie, Mike Doughty, The Flaming Lips, Fountains of Wayne, Jimmy Eat World, Ben Kweller, The Long Winters, Nada Surf, OK Go, Old 97's, R.E.M., Sleater-Kinney, They Might Be Giants, Tom Waits, will.i.am of The Black Eyed Peas, and Yeah Yeah Yeahs. In addition, the family of Elliott Smith contributed a mix of "A Distorted Reality Is Now A Necessity To Be Free" a song from Smith's as-yet-unreleased last record, and the first release of new material since his death in late 2003.

100% of Barsuk's profits from this CD will go to non-profit organizations working to involve more Americans in our political process, to advocate for ordinary people and traditional American values, and to help keep the United States a country all of us can be proud of. ... Read more

Amazon.com

Nick Laird-Clowes's penchant for writing odes to tragic icons like Nick Drake and Edie Sedgwick paid off with the success of 1985's "Life in a Northern Town," a sleeper hit that brought the group's commercially stillborn debut album back to life. Dedicated to Drake, the lead track sets the tone for the British trio's dreamy set of sensitive baroque-pop excursions. On tracks like the pastoral "One Dream," Kate St. John's arsenal of classical instruments adds color to Laird-Clowes's folk-rock strummings, while Gilbert Gabriel's keyboards give an '80s sheen to the '60s sentiments of "Love Parade." Dream Academy even lured Pink Floyd's David Gilmour into the production booth, ensuring the group its own little niche in art-rock history. --Bill Forman ... Read more

Reviews (15)

The Trouble with Great Debuts...
Every band should dread producing their high watermark masterpiece with the first single. They are forever tagged and judged by it (a la the undeserved and unwanted 'one-hit wonder' accolade). Especially when that masterpiece and the band's image are out of step with their times. This is the story of the Dream Academy back in 1985.

Apart from the ubiquitous 'Life in a Northern Town' (available on many an 80's compilation), I can point to equally good tracks from the three albums and various B-sides. (You'll only find the latter on original vinyl or an extremely rare fan-produced CD.)

The thing that grabbed me about the first album was the expert use of multiple classical instruments in layered music. The oboes, clarinet, violins, and trumpet etc. added deft accompaniments to the folk guitar and synth playing. The song themes, delivery and overall production made the work into one of those rarities - an album that sounds balanced and complete.

Although I subsequently found out that the 'northern town' in fact referred to Nick Drake's UK hometown of Tamworth in Arden, I will always associate this album with long coach trips up to Scunthorpe, "...all of the work shut down" indeed, as I passed the factories, industrial chimneys and steel mills.

Mellower, lyrical unique music from the 80's
In the middle of an era dominated by the likes of Duran Duran, Eurythmics, Def Leppard, and Prince, came a group that was kind of an anomaly to the mainstream of the 1980's. For one thing, the instrumentation of The Dream Academy defies the usual guitar, bass, drums format, it's a melange of something undescribable, with elements of classical, jazz, and acoustic sounds, and much of it deals with the bleakness of the post-industrial urban world and the crushing loneliness and bitter travails of life, all with a lyrical and poetic base.

From the bleak blowing wind effect, the gentle strains of guitars, Kate St. John's oboe, and that famed "Ah hey ma ma ma" chorus, comes the single that sadly relegated them to one-hit wonder status, "Life In A Northern Town." The lyrics give a bleak picture of the town and the sad departure of the storyteller in the song.

"The Edge Of Forever" is a longing romantic song about how we miss the closeness and security we needed as children but not given as adults. Singer Nick Laird-Clowes asks at one time, "When you were young, did you ever fall down, graze your knee and want to run to someone? 'Cause now that you're older, I've been falling down, I want to run to someone, but there's nobody around." It's nice and lyrical in the verses, which explodes in a crescendo with keyboards and cello in the chorus. This is the song played at the end of Ferris Bueller's Day Off when Matthew Broderick and Mia Sara kiss and part.

"(Johnny) New Light" details the loss of innocence and a longing for a more natural life, and what happens when technology in the form of tractors make harvesting the wheat easier. "We have nothing else to do" Laird-Clowes and the backup singers sing towards the end.

"In Places On The Run" is a mellow, dreamy, and poetic piece, about walking through coloured fields, bazaars, watching flickering stars in the warm night, with great accompaniment by the assorted percussion and St. John's oboe and Laird-Clowes' strumming guitar whose tempo increases whenever he starts off with "What a dream I had" line beginning each verse.

"This World" is a wry social commentary about a lonely unemployed man who has to steal to make it, a girl trying to find company in a pub, and city elders who overreact to a beating. The chorus varies but its sober message is: "This is for the misunderstood lonely people/living in the world and getting nowhere/something always just goes wrong/why should they try to hold on to the dreams of this world/where they never quite belonged?" Another of my theme songs. Probably the second best song here after "Northern Town."

"Bound To Be" has a bouncy funk synth beat and features backing vocals by Caron Wheeler (Soul II Soul) and Sam Brown, Joe "A Picture Of You" Brown's daughter.

"The Love Parade" was the album's second single with dreamy vocals by St. John and how a summer love serenade can take hold of even those married for many years, i.e. extramarital love, in the case of this song, the woman.

With Dave Gilmour's acoustic guitar and Peter "R.E.M." Buck's Rickenbacker, "The Party" highlight the stifling discomfort, ego-destruction, and loneliness faced when the girl one brings to a party spends the night dancing with someone else. "I open up the window to get some ventilation, try to break away from the intellectual starvation" is why I hate parties. Small bits of "Northern Town", "The Edge Of Forever" and "In Places On The Run" done towards the fade. There's a classical aura with St. John's oboe and a nice string section.

What makes life worth is to "reach out for that one dream in your life" sings Laird-Clowes in "One Dream." What prevents that is being at war with yourself. Key lyric: "I woke up to find/life was just leading me on that's all/then I found out that I could reach it all." Some nice trumpet by David Defries accompanies this hopeful number.

This album was produced by lead singer Laird-Clowes and Pink Floyd's Dave Gilmour. And the instruments used make them unique in 80's music, especially St. John's oboe, cor anglais, piano accordion, and tenor sax. Things got mellower and with some lighter moments in their followup, the underrated Remembrance Days.

Tragically Underappreciated
I suppose 15 reviews would make my headline somewhat suspect (it's nice to know that there are other appreciators of good 1980's music out there), but almost twenty years later, I think it is accurate. "Life in a Northern Town" was, of course, a hit, but this band deserved and deserves far better than the "one hit wonder" label. The only other band from this time period I can think of that is as underappreciated as this one is, perhaps, Dead Can Dance.

Other reviewers have commented extensively on this music and what it sounds like. My personal relationship to this music is probably similar to the others; I heard the single on the radio, fell in love with it, and also completely dug the album cover. I bought it on the spot and finally wore it out a few years ago. One rarely sees photography of such artistic quality and precision on album covers anymore.

I've also purchased some of Kate St. John's solo work ("Indescribable Night") and enjoyed that as well. But what ever happened to Gilbert Gabriel?

Do yourself a favor and get the other albums as well. Each has its own flavor, although I think this record displays a mid 1980's art-pop idealism that best illustrates the ambitions behind this band.

The 1980's weren't all full of junk (and heavy metal). This proves it.

A Salvation Army band played....
"Life in a Northern Town" swept in like a breath of fresh air during the period when bands like the Thompson Twins and Human League were making dreamy sounding singles. There's a story that Dream Academy singer and writer Nick Laird Clowes, who had been fronting a punkish outfit called The Act, played a chorus for Paul Simon that basically went "Ah hey, ah ma ma ma away ah..." and Simon told him that if he could ever build a song around it, he'd have a hit.

Laird Clowes broke up The Act soon after their one album, "Too Late at 20" which featured bandmate Mark Gilmour, and decided to change directions. He teamed up with Gilbert Gabriel on keyboards and Kate St John on oboe and various other classical instruments to form the Dream Academy. Should Mark Gilmour's name strike you as a bit familiar, it's because he's the brother of Pink Floyd's David Gilmour. That connection was enough to score David Gilmour's participation as Dream Academy's debut producer, and with his help, the atmospheric "The Dream Academy" was created.

Laird-Clowes had found the lyric he wanted to drape that infamous chorus across, an ode to tragic figure Nick Drake. The rest, as they say, is history. "Life in a Northern Town" became a sleeper hit and pulled Dream Academy's debut into both commercial and critical success. It also branded them with one hit wonder status, despite the fact that two other Dream Academy albums were chock full of similar fine songs. On this album alone, there were two other notable singles, in "The Love Parade," and (from the movie "Ferris Beuller's Day Off") the lovely "Edge of Forever." Also worth noting is the appearance of Peter Buck on the near Shakespeareanish tragic "The Party."

It's too bad this CD is out of print, as it certainly deserves better than to be remembered as its single scattered across so may 80's anthologies. "The Dream Academy" is worth looking for in the used stuff, and maybe sometime we will be fortunate enough that Rhino will be kind enough to release their import only greatest hits. For now, the three Dream Academy CD's have a permanent place in my library.

Some Dream Academy-related info I hope you find helpful.
This is easily the best Dream Academy album made, and I wouldn't hesitate to include this in my favorite ten albmus of all time. But I'm not here to review this CD. I just wanted to let any serious fans of the Dream Academy know about two other projects that might be of interest, if only for the sake of trivia.

The first is "The Invisible Circus" film soundtrack--still available used here at Amazon. This was released around 2000, and the instrumental score (about 7-10 tracks) was composed by Nick Laird-Clowes. A few other Laird-Clowes originals are included under the guise of his recent band, Trashmonk. While the instrumental score tracks are fondly reminescent of the Dream Academy's folkish melodies, the Trashmonk songs are decidedly less relaxed (and didn't appeal much to me personally).

The other CD I wanted to note here is by a producer/DJ who goes by the name of Dario G. His CD, "Sunmachine," which is also available here at Amazon, is best described as pre-millennium electric anthems. It sounds a little like the music from Chicane's "Behind the Sun," only less trance-inflected. At any rate, the first track on "Sunmachine," is Sunchyme. This is only relevant on account of the song's base melody which derives heavily from Dream Academy's Life in a Northern Town, right down to the genuine inclusion of the chorus "Hey-oh-ma-ma-ma's." The original DA song isn't sampled quite enough for this to be a remix, but at the same time, Sunchyme contains so many elements of Life in a Northern Town, that it can't really be considered an altogether separate song. Anyone who might have heard this featured on a TV commercial for contact lenses a few years ago can now exhale. I, for one, am sleeping better now that I've found its source. The rest of Dario G's CD isn't bad either...given its age.

I hope this encourages someone out there. ... Read more