Reviews (79)

Good, not great--still worth it
I'll start by saying this is a wonderful record. At a time when better-known rock bands continue to put out completely derivative, copycat dreck, albums like this are refreshing. However, these days, you throw some strings on here, a horn there, a few major seventh chords and you've got the critics screaming "Pet Sounds!" all over the place. Well, it's really more like Pink Floyd. That's not to say there aren't some great cuts here: "Goddess on a Highway," "Funny Bird," "Tonite it Shows," make this a thoroughly worthwile record. The rest of the music is ambitious but doesn't quite live up to the extremity of the reviews. Let's get reasonable here, folks--can we agree that 3 stars is very good, four stars is excellent, and 5 stars is "slated for classic longevity"? The same thing has happened with the Flaming Lips's new one--a decent and ambitious effort beyond the ken of any "alternative" rock band, no doubt, but not a classic, surely? The Rev to me has always put out very good albums whose songwriting, lyrics, and vocals don't quite measure up to the ambitious sounds. When this happens, those ambitious sounds sound rather overblown and empty (ala some PFloyd). It's the risk you take when you reach so high. But they are to be lauded for trying!

Somewhat over-hyped, but a fine album nonetheless
Mercury Rev are soon to play an "18+ only" show in my area, exactly one week before I turn 18. No, life's never fair. But at least, for consolation, I still have this wonderful album to listen to.

I used to have this problem with this CD. It went like this. I would need to do some homework, and I would put Deserter's Songs on as background music. But before I could get started on the work, I would be drawn in by the haunting strings at the beginning of "Holes". I would sit still, waiting for that magic moment when Jonathan Donahue's voice comes in for the first time. I'd be sitting there staring into space, thinking about how the music sounded like rich dark colors, crimson and sea-blue, and what does he mean when he says "Holes, dug by little moles, angry jealous spies, got telephones for eyes"? Then--oh, the song is over. Time to get some work done.

But then "Tonite it Shows" comes on. I try to work, but mostly I'm kind of staring through the page. I'm concentrating on the lovely changes in the melody. Track 3--"Endlessly". Hmm, interesting-of all the songs with vocals, this is the only one without any water imagery. But it does mention ships, so maybe that counts. This isn't the best song, I think, but it's very pretty. Jonathan really does have a beautiful voice. I smile dreamily.

OK. This next track is an instrumental--"I Collect Coins". Now I can get some work done. But my concentration keeps on wandering to the fact that "Opus 40" is about to start. And the instrumental is short. And then "Opus 40" does start, and I fall over in a panic attack of amazement. Since when is music allowed to be this good?

The guitarist Grasshopper takes over lead vocals on the next track, and it's a nice change. His voice isn't as unique as Jonathan's, but it's good in its own way. Once again, it is impossible to concentrate. Interesting lyrics here--I'm fond of the line "Mercury is falling, yeah who forgot to pray?"

Another instrumental, during which I stare continuously at the same paragraph, debating whether I should really try to read it. But before I can come to a conclusion...oh yes..."Goddess on a Hiway" begins.

If you've heard this track, then you understand. If you haven't, I'm telling you that the album is worth it just for this song. Reading the line "And I know, it ain't gonna last" on paper will never be a substitute for hearing the melody that goes with it. Oh, the power.

You'd think I'd manage to get a little work done, now that the album's best track is over. Wrong. Because they follow it up with "The Funny Bird", a mysterious, atmospheric song with filtered vocals and a storm-at-sea feel. Sometimes I think this song is even better than the preceding one. The first few seconds are incredible--a couple of quick ascending notes on the keyboard, simple and unadorned, suddenly crash into a huge ocean-like wash of sound that remains for the rest of the song. Good stuff.

"The Funny Bird" leads into "Pick Up If You're There", one of the best instrumental songs I've ever heard, and that includes the works of Mogwai, Tortoise, et al. With an extremely sad mood, it's actually just as expressive as the songs with vocals. I chew the pencil as my mind conjures gray-blue images of a dark, lonely house by an ocean.

The last song, "Delta Sun Bottleneck Stomp", would be okay to do homework by, if it weren't for the fact that it's so darn good and it's kind of happy for a change and I want to dance around the room. Instead, I settle for just sitting there grinning, thinking, "I love this album." I haven't gotten any homework done, and that's okay, man. Mercury Rev exists, and all is right in the world. Yeah.

Now, I've just been describing my reactions during the first few weeks of owning this album. I should also mention that this was nearly my very first exposure to what is often known as indie music (I credit Mercury Rev for permanently altering the direction of my musical tastes, away from the likes of Coldplay, toward the underground and obscure). At the time I'd never heard anything like it, so naturally, it had to seem amazingly good. But, naivete aside, this is still a very strong album, in my opinion. Bear in mind that your individual results may vary.

I've had the CD for several months now, so the initial thrill has worn off somewhat--as it does for all music. Nowadays, of course, I don't die of astonishment every time I hear it, and I've discovered that, besides being excellent music for close listening, it really is very good background music, once you're used to the songs. But I still love the album, yes. It has aged well. It still elicits strong reactions from me. I'm giving it four stars because 1) five stars is reserved for a classic on the level of Modest Mouse's The Moon and Antarctica; 2) I don't want to add to the hype more than necessary; and 3) I'd like it to be a little more...substantial. The first two instrumentals are kind of throwaway, and if it was cut down to just the 5 or 6 best songs, you'd have a really killer EP. But I'm nitpicking. Deserter's Songs is great. Check it out. It'll do you good.

Deserters Songs. Experience a musical revelation
'Deserters Songs' is almost like removing a layer of dirt and uncovering a sparkling diamond. It seems like Mercury Rev were hit by golden rays of sunshine, going from an experimental-shoegaze sound to songs of amazingly lush beauty. This CD is very much in the same vein as 'The Soft Bulletin' by The Flaming Lips, yet less joyous and more reflective, with songs that make you want to drift-away to another place. Add to that the delicate strings of Badly Drawn Boy and quirky Brian Wilson-type structures/studio-noises, eg, flutes, harp, trumpets, bells, etc. Listen closely and you'll also find nuggets of Sgt Pepper's genius. A surprise lurking around every corner. Along with the neo-psychadelic angle, 'Deserters Songs' also has a wonderfully rich sound, almost like a classical symphony fused with Pink Floyd, deliberately crawling forward, moody and surreal. The way this album balances the complexities of the studio with emotion is astounding, intended for both production afficionados and those just wanting to be inspired. Easily one of the more brilliant releases of the 1990's. A delicious serenade. A crescendo of stunning musical beauty.

An Amazing Album
If you're a fan of bands such as The Flaming Lips ect... then you need to pick up this album. It's along the same lines as The Soft Bulletin yet very much different at the same time. Every song on here is a classic and the album flows together brilliantly. It's hard to resist such lush songs as "Tonite It Shows", "Opus 40", and "Goddess On a Hiway". While this album isn't quite as good as The Soft Bulletin it should definitely be added to your collection (and will be listened to religously).

surreal lyrics + melodies
still touched by its music and lyrics
after 5 years of buying it! ... Read more

Amazon.com

In this song cycle inspired by the year he was born, the wispy-voiced Rouse conjures (or imagines) the era's essential groovy vibe, from the title track's homage to Carole King's "It's Too Late" to the Brady Bunch bounce of "Love Vibration" to the flutes, falsetto, and jazzy guitar licks of so many of the retro arrangements. Yet Rouse's spin on the era transcends simple nostalgia, as the lyrics aren't always as buoyant as the sunny musical interplay, with "1972," the psychedelic soul of "James," and the piano-driven "Slaveship" all suggesting a darker tinge within this world of lollipops and rainbows. The bass pulse of "Comeback (Light Therapy)" has a hypnotic effect beyond the time warp, although a come-on line such as "it's the end of the night and I'm feelin' sexual" (from "Under Your Charms") would have sounded as lame in 1972 as it does three decades later. Apparently, those barely old enough to remember the '70s are doomed to repeat them. --Don McLeese ... Read more

Reviews (31)

1972, only better..
Remember Nixon? 1972 was a terrible year. Social unrest, protests, strikes, prison-uprisings, Nixon elected again, and soon to be impeached and unemployed... Musically, however, the year faired well, so why not title an album as such? I'll bet Josh Rouse was born on that year somewhere in Nebraska- not far from a missle silo or unemployment line. 2004 is much like 1972 reincarnated. A divided nation, a corrupt President, other nations pissed at us... Pop in Josh Rouse- forget the mess.

One would expect a set of sober songs, but Rouse works some mojo into the set of finely produced tracks. "Come Back" offers the longing for light and seratonin by a suffering SADD-ist. "Love Vibration" shines a brassy horn section, a catchy chorus and enough pop hooks to light up a mood ring. The video does a karaoke take and early MTV video production that showcases Rouse's "shoulder waggle" and a spiffy baby-blue leisure suit. A real gas, baby.

So, if you left your Marvin Gaye or Al Green at home, and the girl next to you is feeling warmer by the minute, pop in the Josh Rouse and forget how much 2004 can feel like 1972. Musically, that is.

David Cassidy meets Al Stewart!
If the 21st century has brought us anything refreshing it is the slew of good, strong music that has been hitting the CD stores (unfortunately not radio, since radio continues to play drivel on adult contemporary stations )in the past two and a half years. If you know where to find it, there is a lot of good music out there (magazines such as UNCUT, PASTE and NEW MUSIC MONTHLY are great sources) and 1972 is a brilliant example.

Somehow managing to channel great musicians such as Paul Simon, Al Stewart and Jackson Browne and yet still keep his own voice, Josh Rouse delivers a pop album with smarts, sensibility and style. If you didn't know better, you'd swear this was an album straight from the good side of the 70s (and in the case of "Love Vibration" early 80s.) There is not a clunker on this album and you may be tempted to hit "repeat" on your CD player. Here are just a few of the charmers:

"1972": a tribute to Carole King and a mellow, deceptively simple song which stays in your heart for a good while...

"Love Vibration": a catchy pop tune that makes use of the wurlitzer, flute and the most basic of lyrics and yet says a lot...you cannot get this song out of your head or feet! (In a way this reminds me of the lushness of the Carpenters minus Richard Carpenter's occasional overkill production).

"Sunshine": This is NOT Brady Bunch material despite what one music reviewer wrote recently. It's a nice percussion piece with an Al Stewart edge to it.

"James": Sad lyrics and beautiful music. I haven't listened to this one enough to catch the deeper appeal but it definitely stays with you.

"Come Back" and "Under Your Charms" are both sensual, rhythmic pieces with a Doobie Brothers approach in a Paul Simon voice (though Josh Rouse's voice is more mellow and lush like Karen Carpenter's to a certain degree).

"Sparrows Over Birmingham" and "Flight Attendant" are soulful, yearning songs that evoke the 60s.

I wish I could find the words to do this album justice. The best thing I can say is : listen. This is the kind of album you put on the stereo and never want to take off.

I grew up with this album
I swear this is what was playing on the AM radio in my mom's Malibu station wagon. I still remember those sweet harmonies, the soft groove, the goofy lyrics. Perhaps I'm dating myself, but I'm glad someone finally released a collection of my favorite songs from this bygone era....

Thank god for Josh Rouse
By far one of the best albums I've ever heard.

Best Album since Aimee Mann
I was introduced to Josh Rouse, 1972 last October, 2003 while visiting a friend in Stockholm, Sweden. It was the best thing I have heard in a long time. It CD has not left my player since. The songs are extremely well produced and his voice is very accommodating. DO BUY THIS RECORD!! ... Read more

Reviews (98)

The Definition of Art
I had no idea that the purchase of this cassette in 1986 would change my musical taste forever. Lifes Rich Pageant is simply perfect from start to finish. REM takes the listener on a roller coaster ride of driving, infectious pop and rich, intelligent ballads with a relevent social motif. I think the band really tried to create a unique album that would be smart and a bit more commercial than the previous four. "Begin the Begin" is a rocker that fittingly starts the album and contains one of Peter Buck's greatest guitar riffs. "Flowers of Guatemala" is a lyrically beautiful song with great harmonies and brilliant vocal layering. "Swan Swan H" and "Cuyahoga" are wonderful reminiscent ballads that add nice texture to the album. Most people are familiar with "Fall on Me" and "Superman" (the two songs that launched REM into the somewhat mainstream). Other great classic REM songs are "These Days", "I Believe", and "Just a Touch". There are no bad songs and like most REM albums, this one should be listened to in its entirety. A MUST!

One of REM's Classics
This album is great from start to finish. There are no weak cuts and some of their greatest and most experimental songs of all-time. It does have a little more commercial appeal than their earlier stuff, but that is OK. If you don't know much about REM, I would recommend buying this one first, if you want to get off to the right start.

One of the Best Rock Records Ever Made
Prior to "Life's Rich Pageant", R.E.M. had released a string of four exceptional records that weren't quite rock, not quite folk, not quite pop, and not quite anything. Every one was a masterpiece, in my opinion, but none really rocked from start to finish. "Reckoning" had some pretty fast paced rockers, but they were buried in between mid-tempo and slow numbers that dominated the record. "Life's Rich Pageant" changed that. From the opening riff of "Begin the Begin" to "Superman", the album flies by on a heavy rhythm (R.E.M.'s tightest ever), with fascinating guitar work (Peter Buck's best ever), and words that you can understand (Michael Stipe's second best ever, behind "Fables of the Reconstruction"). The best tracks:

"Begin the Begin"- Probably the strangest riff ever (sounds like a Hindu snakecharmer managed to learn how to play guitar) stuck in the middle of one of R.E.M.'s heaviest songs ever. This song is the perfect way to open the record, and lets you know exactly what you are going to hear for the next forty minutes. Probably the only time R.E.M. opened a record this way.

"These Days"- I think this song is probably the best guitar driven song that R.E.M. has ever recorded. I've never heard anything like it before or since. And talk about fast and driving! If this song doesn't get you going and your blood pumping, you need help.

"Fall on Me"- Almost everyone's heard this one. I like it a lot, but it's not my favorite on the record. Maybe I've just heard it too much.

"Cuyahoga"- The record's high point, in terms of songwriting and performance. The song is so simple and is played with so much restraint that it is engrossing. When I hear this song, and then see what R.E.M. has become, it kind of makes me sad. They would have trouble writing something this good and touching these days.

"I Believe"- I have no idea what this song is about, but it really puts me in an optimistic and idealistic mood. For all I know, they may be playing games and mocking things we believe in, but I see it the other way. Its one of their catchiest tunes ever, and if I had to pick one R.E.M. song to take to the proverbial desert island...this would be it..no question.

Its not that I don't like the other songs, or think that they are just filler, but I just REALLY like the songs I've mentioned. I think this was the last of the perfect R.E.M. albums ("Document" was the last really great one, and "Monster" was where I just couldn't bear it anymore. I understand that people and bands have to grow and change, but all they did was change, and not for the better). There's a good reason why, if you ask college graduates between 30 and 40 to name their favorite record of all time, this record always gets a mention. Go to iTunes and see where this ranks on the list of most-purchased R.E.M. albums. If you want to know why R.E.M. is the most popular college group of all time, get this record and you'll know.

Aptly titled effort
"Life's Rich Pageant" is an aptly titled work as it's definitely a lively and rich pageantry of beautiful music.

I especially like the songs "Begin the Begin", "Cuyahoga", and "Superman". However, though the album is rich with some lush and pretty music (it might be the most beautiful upbeat R.E.M. album -- "Automatic for the People" being the most beautiful pensive R.E.M. album) I think its overall quality is a bit less than that of predecessors "Murmur" and "Reckoning" and ancestor "Document".

While representing a bit of a departure from past R.E.M. sound, I'd say that "Life's Rich Pageant" isn't so much a seminal R.E.M. album like "Murmur" or "Out of Time" as it is a bridge between the first three albums ("Murmur", "Reckoning", and "Fables of the Reconstruction") and the two immediately subsequent albums, "Document" and "Green." Songs like "Superman" definitely foreshadow what was to come in those two follow-ups. Other songs, like "Cuyahoga", hearken back more to the three previous albums.

"Life's Rich Pageant" is yet another great R.E.M. record and definitely worth owning. The band's albums are all so good you'll see in each album's reviews, including this one's, a claim by someone saying that that particular album is the band's best. That is the sure sign of a great band.

It cant get any better than this.
Largely underrated by even most fans, Pageant is quite simply the best album of REM's career(and that takes some doing!)Songwriting,invention and melody at its absolute peak. This is without doubt one of the best albums of all time from arguably the consistently best band of all time.Most fans will know the rockier side of REM from Monster,which although good by most people's standards,is sadly REM's worst album by their standards.If you want to hear a band really rock then you must buy this collection of masterly songs.Amazing from start to finish. ... Read more

Amazon.com

Fountains of Wayne is one of the leaders of the latest in a long series of power- pop revivals. If the music sounds a lot like mid-'60s pop rock, it's no accident, for thesongwriters are unabashed British Invasion fans. The songs on the debut album,Fountains of Wayne, take perky, '60s-like hooks and marry them toambiguous, unnerving, '90s-like lyrics. Some songs offer an untrustworthy narrator;when the singer complains about "Joe Rey," a Eurotrash jet-setter, you wonder whetherhe's expressing disdain or envy and whether the song's noisy guitar energy belongs to theband or to Joe Rey. And there's something about the pent-up Mersey-beat energy andpleading vocals of "Please Don't Rock Me Tonight" that make one suspect the singerdoesn't really mean what he says. Schlesinger and Collingswood are undeniably clever,but they're not afraid to rock. --Geoffrey Himes ... Read more

Reviews (58)

A Rock Masterpiece...
This is one indescribably superb CD. Each song has melodies and choruses that will stick in your mind for the longest time! Schlesinger and Collingswood are excellent musicians and songwriters who capitalize on 60's and 70's sound in a 90's world...which is why they aren't widely appreciated. But don't get the wrong impression: it's not like this music is totally retro...it still has a lot of 90's style, but their influences are ever-present. This is the best of the two FOW albums, but if you like this one a lot, I MUST recommend Utopia Parkway as well. Every song on this CD is great, but "Leave the Biker", "Survival Car", "Radiation Vibe", "Barbara H.", and "Please Don't Rock Me Tonight" are the best of the best!

Melodic, giddy power pop
Sometimes you find new bands, sometimes they find you. A letter to Adam Schlesinger, writer of the maddeningly catchy title track of Tom Hanks' film, "That Thing You Do," returned as a tip to his bass playing in the band Ivy, and his role as one-half of the recently formed Fountains of Wayne.

The latter's debut finds Schlesinger and partner Chris Collingwood making up song titles as a bar game, then scrambling home to write the lyrics and music to match. Tracks like "You Curse at Girls," "I've Got a Flair," "Leave the Biker," and especially "Please Don't Rock Me Tonight," have a lot of title to measure up to. Favorably, each cut has the lyrical giddiness and melodic hook to set the listener humming. Comparisons to Weezer, with whom they share a mixing engineer, are inevitable, although more intoxicating is the records' first-take looseness that brings to mind Teenage Fanclub's early efforts. Rather than polishing away all the fun of writing and recording, it's been left in the grooves for listeners to share. Schlesinger's production skills are on display throughout, mixing and matching low- and hi-fi in an inventive palate of sound.

Great album, a few mis-steps
I recently bought this album after greatly enjoying Welcome Interstate Managers and was pleasantly surprised. Despite most of the songs not enjoying much radio play they are almost all single-worthy. They range from funny ("Please Leave the Biker") to sad (the final track), with only songs that I usually skip being "Joe Rey" and "You Curse at Girls." They both come across just a little too whiny for my taste. Anyway, I definitely recommend this album for its mix of humor, insightful intelligent lyrics, and generally well-crafted tunes.

"Almost Better Than Anything, Ever"
Well, not quite, but the eponymous debut CD by Fountains of Wayne offers a catchy batch of songs with a synergetic effect. While it hints at full-fledged power pop at times, its saving grace is a generous helping of non-grungy alternative flavor (of course, it is alternative to the extent that it is power pop, which is never really fashionable anyway.) Songwriters Adam Schlesinger and Chris Collingwood are not afraid to embrace the fact that they were high school losers, and they make particularly poignant observations about being so, as well as some keen insights into the love and work tribulations of their fellow twenty-somethings. Musically, they forgo (certainly not for the worse) the punkier elements of Weezer, but they also share many of their virtues: shiny production, quirky and occasionally silly sing-along lyrics, and loud, catchy guitars. And while the CD may suffer slightly from a certain undernourishing quality that plagues almost all power pop, one can really only nitpick when the overall results are this good.

Several of the dozen songs on Fountains of Wayne fall into one (or both) of two categories: confrontational character studies and self-pitying personal laments. Of course, the distinction between these two categories isn't always completely obvious, and there are also times when they feel the pain of others. Their status as losers is evident in lyrics like "I wonder if he ever has cried, cause he couldn't get a date for the prom," and who else other than a couple of guys who weren't regularly getting some would think to say, "each time you curse at girls, you curse a little at yourself, don't you know a girl gets angry"? Their sympathy (or perhaps more precisely, empathy) for others is evident on the softly ominous "She's Got a Problem": "Every time she goes outside/She barely gets home alive/She's got a problem, and she's gonna do something dumb," and the 9 to 5 lament "Sick Day": "She's a hell of a girl, she's alone in the world/and she likes to say 'hey good lookin'/She's on her way, she takin' a sick day -- soon."

Granted, these lyrics are not terribly profound or innovative, but consider two things: 1) This genre -- alternative pop rock-- does not aim to be profound or innovative, and 2) while they may be neither, the sentiments expressed so simply here are rarely done so at all in popular music. I mean, "please don't rock me tonight, I'm not in the mood," coming from a guy? (Come on!) And how often does one hear lyrics like: "Joe Rey smokes at three/Barks like a pigeon and watches TV/He's cool...cool, cool, cooler than I am./He knows what I don't know/Got seventeen different words for snow that he signs/Signs to a deaf girl named Diane"? So while the lyrics are hardly pure poetry, they do have a refreshing originality and cleverness about them which makes the album worthy of repeated listenings in the hope of locating other such gems (such as the chorus of "Leave the Biker", which I will let you hear for yourself). The closest thing to a dud on the CD is "Survival Car," in which the high school loser tries too hard to be a superhero. However, the better songs that it is situated among allow it to slip by more or less unnoticed, and it is more disposable and forgettable than it is flat out bad, and it will get stuck in your head whether you like it or not (literally). Among the best songs which have not been quoted are the groovy opener "Radiation Vibe", the sing-along "I've Got A Flair", and the Simon & Garfunkel-ish closer "Everything's Ruined."

So, how successful is this CD as a whole? Well, the main goals of alternative pop rock (and power pop) are to be fun and catchy in heavy doses, and poignant in measured doses. Fountains of Wayne achieves all three of these goals in an admirable -- and thoroughly enjoyble -- fashion. It is not only a very promising debut, but a fine record by any standard. And if the hyperbolic quote from MOJO critic Dave DiMartino in the title of this review wins Fountians of Wayne listeners that it wouldn't otherwise have, then more power to it. Bottom line: it is great by virtue of its enjoyability.

(PS: (...)

you are all wrong
I bought this CD while I was vacationing in Florida because I remember reading a positive review of it that I think was in Rolling Stone (which is a bad move, because Rolling Stone is wrong on like every review they make nowadays, like 50 Cent: 4 stars, Ben Folds' debut: 3 stars, and every album made by bands in the sixties a 5 star review). I thought the review was about this album, and the f**king cashier said it was too. He probably just wanted to reel in some cash. To put it simply, this is not "amazing", "perfect", and especially not "brilliant". There are a total of 4, and only 4 good songs on this CD; the rest of which are bland, and are often made annoying by the lead singer's voice. The following should be downloaded, instead of giving these guys all your money for less then half of a good CD:

Radiation Vibe
Joe Rey
I've Got A Flair
Survival Car

The rest make me sad that people actually like it. Leave the Biker is your "favorite song on the album"? Please, that's probably the WORST song on the album. No, that's too harsh. The begginning is okay, but the chorus, his voice, and the lyrics make it horrendous. How can anyone give this 5 stars? You guys are the reason every album get's a 4 and a half star review. Man, I should write reviews. You people obviously know nothing about music. And like always, here comes the ton of "No, this review was not helpful to you" from little crybabies who don't agree with me. Go ahead, click it. I'll be busy listening to better music like Nas, Ben Folds, Sheryl Crow, Afro-Celt Sound System, and the Final Fantasy VII soundtrack. ... Read more

Amazon.com

The combination of meandering acoustic guitar, mournful vocals, post-punk rock, crisp electronica, flutes, dub bass, sax, occasional breakbeat, and banjo could've turned the tender tunes on Notwist's sixth album into chaotic and indulgent noodling. The 15 months spent in the studio putting the unlikely components together, however, pays off with a collection beautiful and dreamy lo-fi lullabies in which hazy pop melodies drift by on an eccentric flow of sensual bleeps, whooshes, and crackles. Even when Neon Golden strays toward more traditional rock, Markus Acher's downtrodden yet hopeful vocals and achingly sweet melodies hold up, as do the sumptuous atmospheric add-ons that link the New Order-like "Pilot" and "One with the Freaks" to the title track's ambient electronic pulses. Yet nothing is more magical or odd than "Trashing Days," where Notwist manages to make pneumatic space-age sound effects rubbing against scraping beats, woozy horns and a quietly plucked banjo, sound like the most natural thing in the world. --Dan Gennoe ... Read more

Reviews (37)

Notwist, notgreat
Melding electronic music and regular music is a tricky business. Sadly, Notwist's "Neon Golden" doesn't quite succeed in many of its songs. "Golden" manages somehow to avoid being spectacular, and becomes bizarre and distracting instead.

Kicking off with an instrumental stretch that stops dead every few seconds is "One Step Inside Doesn't Mean You Understand," the album has the solid pop-rock "This Room," tight " Off the Rails" and smoothly harmonic "Pilot." But it's marred by the likes of "Solitaire"'s disruptive explosive sounds, the grating "Consequence" and the twittery, blippy "Scoop."

Some bands like Yo La Tengo and the Flaming Lips have sculpted electronica and traditional instruments into soaring, searing, absolutely stunning music. While Notwist hints that it might be capable of it, the random noises disrupt it until I could barely hear the underlying music. It's a bit dizzying.

Most of the music is fairly decent, with flowing melodies and vocals that are okay most of the time (they're a bit nasal in the first song). It's the usage of electronic material that is a problem. When done properly, this is a huge asset to music. But the music here is spasmodic, marred by seemingly random booms, scratches, fizzing, pops, twittering, blips and bleeps.

In the end, Notwist feels like an experiment gone wrong. In the effort of putting electronics with regular instruments, they forgot to include the music. Hopefully later productions will improve.

Defending Notwist¿
Largely, the reviews in this venue demonstrated a real understanding of Notwist's "Neon Golden." I, on the contrary, have listened to the album numerously and still can't conjure up a complete appraisal. I'd say, ""Neon Golden" is ambient and investigational, not unlike the superb Kid A-era Radiohead or Silur-era Tarwater," except that's merely a careless association.
From what I've been hearing about this band and album, it's equally careless to associate Notwist with Emo, though; "Neon Golden" is not Emo. Granted, tracks "Pick up the Phone" or "Solitaire" can be slightly personal. Well, maybe a bit too melancholic, albeit the lyrics are softly clever-actually brilliant considering front man Micha Acher's primary language isn't English. But is that Emo, and better yet, has Emo been clearly defined? To me, Emo's pretty obvious in the latest, rather intolerable bands like Dashboard Confessional, Further Seems Forever, The Used, Taking Back Sunday, Saves the Day, Fallout Boys, Movielife, and including that revolting material of Sunny Day Real Estate. Now, everyone's familiar with the likes of those groups, and everyone can distinguish their high school-choir whimper and weakly layered distortion pedal manner. Hell, maybe Emo is expanding, and it'll now include ambient pop bands that give an honest effort, too. Golly, maybe we'll just include all of music in Emo...
What I'm trying to say here is that this album represents everything they're not. Neon Golden is good.

i'm not a music reviewer
his voice is reminiscent of belle and sebastian, but the music is something you could kinda dance to. I don't know how to explain it. His voice is kinda depressing, but the music isn't. Nice contrast.

This album is awesome..trust me.

I heard it once and had to own it
I was in a bookstore in Philly and Neon Golden was played over the store system. I asked what it was and walked across the street to buy it. It's that good. Everyone who hears it at my apartment in the village says, "what's this?" It has an immediate appeal, and your appreciation will only grow with more listens.

It is at some level rock music and it is delivered in many ways as electronic music. However, genre is the worst possible way to describe an album like this. The vocals and lyrics are compelling and personal. They are not made to impress you, show off range, and do not fall into any of the usual pitfalls of most songs. They are just raw and honest and above all, human.

The electronic beats give the music a clear and focused edge and an amazing feel. Guitar, banjo (this doesn't strike one as a great idea in words, but it sounds great on the album, bluegrass doesn't even come to mind), and horns and flutes produce a very interesting sound. All has the controlled measure and sound of electronic music, but the live instruments and vocals produce an unimaginable blend with a moving sound.

This album easily appeals to many types of music fans from rock and electronic perspectives and does a great job walking a line only comfortably traversed by such bands as Radiohead and The Postal Service...

If you are wondering where rock music (or electronic music) should be moving next, listen to this album. It shakes off all the shackles of music history and soars into music for music's sake. There is nobody who would not enjoy this music. -As a side note, be sure to visit their website, it's pretty cool.

Notwistonyerears
This is a completely engrossing album that took several immersions before I comprehended its depth and distinction, but it was certainly worth it. In its elaborate, slightly skewed arrangements, "Neon Golden" reminds me of Radiohead's last few efforts, but without the sometimes annoying claustrophobic solipsism of a Radiohead album. And it's far more chill. There's a great use of space and silence, and a true sense of beauty here (especially the hypnotic closing track "Consequence") but that's not to say it's untouched by angst and fear. Archer's muted & affectless voice offsets the songs' complex arrangements, which are couched in an odd mix of sampled acoustic instruments dressed up with trip-hop engineering tricks and technology. Definitely one of the best of 2003. ... Read more

Album Description

2003 remastered version of their 1984 album. 4AD. ... Read more

Reviews (6)

Strange yet familiar
The Cocteau Twins are the sort of band that has a very distinctive sound, unlike anything that has come before or since, and "Treasure" is an outstanding example of their sound.

Tracks like Otterly and Donimo, the last songs on the album, sound at once otherworldly and intensely familiar. Other reviewers have compared this music to the singing of angels, and that comparison isn't far off - it sounds like it's always been there, playing just beyond the range of your hearing as the sun rises (in the case of Donimo) or you drift off to sleep (for Otterly) or grin inwardly as you prepare a suprise for someone you love (Pandora, though oddly titled for it).

If you're new to the Cocteau Twins and looking for a place to start, "Treasure" is an ideal place to start as an early example of that distinctive otherworldly-familiar sound. If you're already a fan and looking for more, "Treasure" will be a welcome addition, as it combines the dreamlike vocals of Victorialand with the stronger instrumentations of "Milk and Kisses" and similar.

A timepiece never changes pace
Music that becomes you.
Words that surface like lost phrases of Dickinson.
From the celestial to the carnal, these songs soar,
dive, rise, and cut through the air.

Frazer is the great unknown poet.
Guthrie is the metaphysical architect.
Do yourself a favor.
Buy every single recording they ever made.

I Found the Sound with Cocteau Twins
Since 1988 I have collected everything by the Cocteau Twins I can get my hands on and still, after listening to all these albums for all these years 1984's "Treasure" still remains my absolute favorite. The first song on the CD "Ivo" gets your skin buzzing with the beautiful highs and lows of Elizabeth Frasier's voice, then song #2 Lorelei comes in and completely blows you away, and by the time #4 Persephone (my personal all-time favorite song) blasts through your speakers you're in a completely different world. It's a timeless and classic piece of art that will always sound as good as it did the first 100 times you listened to it. Other recommended Cocteau stuff. "4 Calender Cafe" is a must have album for songs like "Bluebeard" and "Know Who You Are at Every Age", any compilation with the song "Spangle Maker" on it such as "Pink Opaque" is a must have, and of course "Heaven or Las Vegas" is a well known Cocteau Twins classic for 10 absolutly perfect songs such as "Iceblink Luck", "Cherry Coloured Funk", "Pitch The Baby", and "Road River and Rails".

Floating Over Head
This CD by the Cocteau Twins makes me think angels do tread on the ground and have a habit of singing whatever they please. The music is lush but not lost, soaring yet not new age. The work is simply something you put on and listen to and enjoy the experience every time over time. I do not know of another band as successful with completely non-worded lyrics and atmospheric sound walls. The floating over head voices of the Cocteau Twins, enter the Treasure...

Matthew Hahn, www.movingtracks.com

This album is truly a "treasure"
I have always been meaning to check out the Cocteau Twins music over the years. I only have been exposed to a couple of songs of theirs over the years. I loved what I heard from my very limited exposure...the swirling yet lush guitars of Robin Guthrie and the angelic vocals of Elizabeth Frasier. While perusing one of my local favorite indie record stores after work today, I decided to see if they had any of the Cocteau Twins reissues and thankfully they did. I had a difficult time choosing which cd I wanted to get. It was between "Garlands" and "Treasure". I eventually decided upon "Treasure". I am so glad that I chose "Treasure". The music is simply breathtaking and moving to my ears. To say that Elizabeth Frasier has a lovely voice would be a gross understatement. Her vocals on "Treasure" took my breath away. I loved the album the moment I heard "Ivo" but the real winner on this album has to be "Donimo". That song is nothing short of amazing. All the songs on "Treasure" is a real gem and an early precursor to goth bands like Diva Destruction, Faith & the Muse, Lycia, and of course Black Tape for a Blue Girl with its gorgeous ethereal melodies. After listening to "Treasure" twice, I am a converted fan. Although the band is no longer around, I will continue to seek out the other cds that were recently reissued. ... Read more

Album Description

In his notes for this passionately compiled box, producer Gary Stewart writes, "the diversity from the late-70s punk/new wave scene turned into a full-blown, variety-fueled, genre-busting orgy in the '80s...The music became, in the best sense of the words, more complex, more literate, a bit more serious, and as a result, made astrong impact on mainsteam rock culture." From funk punk to revisionist roots rock to hard-core to smart-ass clever pop-and every musical nook and cranny in-between-Left of the Dial presents many of the '80s' most important tracks. Savor the far more influential flip side of the "Where's the Beef?" decade's musical output! ... Read more

Album Description

14 tracks of pure heaven. Celestial slices and sidereal sounds. 'Nightsongs,' the long-awaited debut album from Stars contains beautiful beats, heartfelt lyrics, and enough injections of Morrissey, Marr, Derrick May, Bjork, The Blue Nile, New Order, Frazier Chorus, Style Council, Electronic, Marvin Gaye, The Chimes, and De La Soul to move St. Etienne and all the angels up in heaven to tears. Tears of joy. Salty tears the likes of which they've never wept before. But it's not too late. It's never too late for 'Nightsongs.' A million dancehall dreams will be built around these words and rhythms. Most of those dreams will be shattered: She'll break your heart. He'll never call.You'll never even say a word. All else might vanish, but these songs will last. Painful and perfect reminders of the hope. Reminders of that salvation in desperation, the living and the moving, the dancing and the grooving. Those moments of madness and sadness, of elation and vibration! These songs are already playing in your head. You can almost hear them. Put this disc in your system, turn it up and just let the music flow. A dizzying array ofwords will fall from the mouths of Stars, while bandmates Torquil Campbell, Chris Seligman and their gaggle of electronics and associates play poet to your past and pervert to your present. They even put "motherfucking" to use in a way that is both tactful and sublime. Their clubby cover of the Smiths' "This Charming Man" is sure to win them some instant fans, but their original compositions will have this band living up to their moniker in no time. The soft revolution starts here! ... Read more

Reviews (15)

Gaze upon the STARS
This CD was destined to be included not among the best of my collection - but as the BEST so far. I've discovered this CD at amazon.com by chance when I was searching for the NIGHTSONGS and LULLABIES album by Jim Chappell and the tracks I listened to made me feel the urge to get this ONE...I'm not a SMITHS fan (sorry) but I've got the "EARS" to listen to what makes these songs so special and I don't mind whether they made it to the charts or not. It's the feeling that goes with it that counts and the samples alone made me feel so good like as if I wanna slouch in my couch, drink beer and eat my favorite chips.
I don't mind if you guys don't find this review helpful...I don't really care! All I care bout' now is let my EARS gaze upon the STARS... :-)

Baby....these Stars shine Bright!
Completely Brilliant breathtaking hooks and lines
all throughout this entire recording.
From the shhhhh whisper quiet vocals by Torquil
on "This Charming Man" to the dance in yer chair song "My Radio".
This is one of my favorite complete recordings of the
year.I can't wait for the next one!

Introduction to the Soft Revolution
Stars' Nightsongs is a healthy taste of sonic goodness. The instrumentation is fitting and the some of the grooves are truly infectious. If I had to sum up the lyrical content of this disc in one word I would use honest. They do make the attempt to softly push the pop format beyond it's radio restricted boundaries and sometimes even succeed.

The female lead and backing vocals are delicious (ba bop bop baaa) and the male leads voice fits the tracks very well. If you enjoy reflecting on life while listening to music alone this disc will assist. It has a very secure spot in my listening rotation.

Highly recommended for discriminating listeners that enjoy emotion generating electronica.

A digital Prefab Sprout
20 years ago Prefab Sprout was crucified for producing catchy, lushly textured pop tunes (just like Stars) by many of the same mags that are saluting Nightsongs and Heart. Stars' tinny, compressed, vacuum-packed sound is flat. Bascially two dimensional. Don't be fooled by cheap imitations. If you like this type of candy, Prefab Sprout has a much more natural (and accoustic) flavor.

Sixteen word rave
Is it just me or is "Tonight" the greatest song the Smiths never recorded? Get this. ... Read more

Amazon.com

Their first full-length shows a band fully formed, with faint debts to the Sundays and the Smiths, but turning out more-than-tuneful pop behind the gorgeous lilt of Dolores O'Riordan. "Dreams" and "Linger" both seem to weave magic spells that remain even after the tracks pass, and there is a glorious freshness to the performances that's impossible to resist. It remains their most satisfying outing. --Chris Nickson ... Read more

Reviews (74)

Simply Beautiful Melodies
This debut from the Cranberries is absolutely beautiful. Dolores O'Riordan does an amazing job at making all of the sounds so melodic.

Though most of the songs on this album are fairly short, it doesn't make the songs any less powerful.

Whenever I play this CD, I only Wish I could have this cd playing in synch in every room in my house.

What I recommend everyone to do is, when you listen to this album, tune off her main vocals and try to listen to her back up vocals. You'd be amazed at how you have missed this gift she has for so long. Some songs I recommend are I Still Do, Dreams, Still Cant..., How, I Will Always, and Put Me Down.

After you have achieved the power to tune off her main vocals and just listen to her back up. I recommend you to do this to all of their other albums!

Superb debut ! One awesome song after another!
It's a rare treat to find a CD (a debut album, no less!) thatis nothing but awesome songs, one after the other... no weird, bizarreor annoying tracks that need to be skipped... just incredible Dolores O'Riordan's haunting vocals through-out... thoughtful lyrics and a great sounding band. The Cranberries don't have lyrics that repeat a million times in each song, so you don't always realize the name of a track when you hear it on the radio... but believe me, you've heard at least one of their songs. If you've ever seen the promotional vacation commercial for travel to Ireland, you've heard "Dreams" sung in the background. Definitely a pick-me-up, but not a jazzy dance song... easy to listen to at work or as background music to housework or a country drive... one excellent melody after another! I have a library of over 600 CDs, but I only take about 20 with me when I go on a road trip... just the few I can listen to over and over again w/o skipping tracks... this is one of those CDs. Sometimes you buy a CD because you hear one song on the radio that you like... then you listen to the whole thing a few times and if the band is really good, the music can grow on you to the point you actually like/tolerate all the songs... but in the case of this initial offering by the Cranberries, all tracks were great listening on the first go-round.

I love this Band!
The Cranberries what an awesome band!! They are sooooo good Dolores has soooo much meaning in her songs!! This is a great CD!!

One of the key works of the '90s
On their debut album The Cranberries showed that they were one of the premier talents on the 1990's music scene. Dolores O'Riordan leads the band, and she can do things with her voice that just don't sound human. Her lilting ethereal vocals, backed by excellent musicianship, songwriting, and production produce an album of rare quality and significance.

Song for song, this is (in my opinion) the strongest album in the Cranberries repertoire. "Dreams" and "Linger" are probably the two most recognizable tracks and both are modern classics. Other very strong songs include the opener "I Still Do", the cutting snarl and commentary of "Pretty", longing ballads such as "I Will Always" and "Sunday", and the flippant "Not Sorry". In short, every song is of high quality, and the voice of Dolores is the most distinctive and capable instrument on the disc.

"Everybody Else is Doing it so Why Can't We?" (the title, by the way, refers to all of the Irish bands making it big) is one of the top albums of the last decade as well as a beautiful piece of music. For those unfamiliar with the Cranberries: Highly reccomended.

The early Cranberries
A very satisfying album,although it is weaker than "No need to argue" or "Wake up and smell coffee".as a young band Cranberries had begun their career here with about 40 minutes of well crafted Rock songs but with a lot of specific dark atmosphere (similar to some 4AD company artists).songs like "I still do","Pretty","waltzing back" or "Put me down" are really haunting and depressing.Dolores O'Rodian has a really great voice and she uses it in many ways - from a gentle singing "Linger") to dramatic vocal lineb ("Pretty").the rest of band provides an interesting melodies,with a lot of etheric guitars and space..."Everybody else..." includes their first hit singles : rocking "Dreams" and charming ballad "Linger"

the album is shortest Cranberries record (37 minutes) but it is definitly one of their better ones.it is one of the albums that you can not switch off when you will put it into your cd player... ... Read more

Amazon.com

Anybody looking for a fitting successor to Scottish acoustic pop heroes Aztec Camera and Belle & Sebastian need look no further than, er, Norway. Like his Scandinavian peers in Kings of Convenience, Bergen wunderkind Sondre Lerche has taken the melodic six-string formula and given it new life on his debut. Guitars jangle, strings swell, and rhythms shuffle as the singer effortlessly conjures warmth and romance ("Pain and sorrow must come, if you go," he muses on "Virtue and Wine"). Despite his youthful appearance, Lerche has spent years perfecting his craft--he picked up his instrument at age 8 after falling for '80s Norwegian pop heartthrobs A-ha--and the experience more than shows in the excellent musicianship and arrangements of songs like "You Know So Well" and "Dead Passengers." A most promising start. --Aidin Vaziri ... Read more

Reviews (37)

Talent and personality in sight
Sondre Lerche was only 16 when he wrote these songs. It should not mislead you: this is not another 'teen musician' TRL likes so much. The result is surprisingly mature. If you like guys who write good folk-rock guitar melodies and care about their lyrics, this one is for you. Mix Bruce Springsteen, Toploader and Pete Yorn with Prefab Sprout (Sondre worships Paddy McAloon) for the music and Beck for the voice and you will get a rough idea.

The evident singles "Dead Passengers" and "Sleep on needles" have gotten regular airplay on Belgian alternative rock radios. "Suffused with love" is a great mid-tempo ballad with ghost synth and guitars. "Side Two" is totally acoustic with just guitar and vocals. On the fresh upbeat "Modern Nature", Sondre shares vocals with Lilian Samdal, the feminine touch bringing variety. The drums solo 'tap dancing noise'imitation in the middle of the song gives a humorous feel to the ensemble. "Virtue and wine" starts slowly with piano and strings to turn into a rocky tune. The pace changes inside of this song show the mastery of this young man in writing melodies. I also like a lot "All luck ran out" quick rock pace. "You know so well", "On and off again" and the excellent (9:25 long) "Things you call fate" complete this first album. I own the european version, and I'm missing the bonus track you will get on this US release.

This young Norwegian is showcasing a real song writing talent and a very personal musical world, which deserves to get attention. If today's music bizz lets him grow he might do great stuff in the future.

Let the Reviews Flow
I'm almost disturbed that I'm one of less than 10 people who have chimed in with their praise for this album so far. This 19-year-old Norwegian singer/songwriter/popster blows me away. With the release of his debut album already receiving mass praise in his own country (has already sold 'GOLD' and won Norway's version of the Grammy for best new artist), there's no denying that he's destined to get some major worldwide recognition.

Faces Down has some very appealing tunes with hooks you'd swear you've heard before, but you haven't (i.e. Sleep on Needles and Dead Passengers). There are some songs in which he's clearly channeling the Beatles (You Know so Well and Suffused with Love). In addition you'll hear sounds of bossa-nova (Virtue & Wine), folk (Side Two) and a nostalgic duet (Modern Nature w/ delightful female vocalist Lillian Samdal).

As much as Sondre likes to span genres, his tunes are quite simple: simple chords, simple melodies and simple lyrics. There are mature levels of intimacy and insight in his lyrics, but without obscurity or loftiness, which is refreshing to me. After all, these are some hooky, toe-tapping, sing-a-long songs by a cute and charming young Norwegian guy! Who isn't a creation of the entertainment industry! Delicious!

Unpredictable pop for those sick of predictable pop
While surfing around the net looking for information about another great artist named Teitur (check him out too by the way!) I came across the name Sondre Lerche. I went to his website out of curiosity and listened to some of his stuff and was very intrigued by his unique sound.

I bought this cd and to be honest, did'nt quite know if I really liked it or not after the first/second listen. I was a bit on the fence. I kept listening, but this time I made a point to put on the headphones and really stop and listen....not just put it on and casually listen. I would suggest this if you too choose to buy this cd.

This is "pop music for the thinking person". Sondre Lerche is not afraid to:

- Write more complex lyrics. No "have ya naked by the end of this song...." cr@p here.

- Mix different generes together. There's a definite Beatles influence, as well as a more classical songwriting (a'la Cole Porter - one of Sondre's idols) style. Add in a bit of classic 60's pop-sound and a little bit of good old fashioned rock 'n roll too.....

- Use alot of unique insturmentation. Lots of cool little sounds/insturments. Not just streight foward guitar, bass, drums and occasional keyboard. Sondre has fun with the arrangements and gives you lots of unexpected things to listen for.

Bottom line - give it a try. If your looking for something sunny and fun, yet NOT shallow, then Sondre could just be for you. Don't judge it on your first listen, give yourself some time to immerse in it's many layers....

they are unarguable really good
If you like belle and sebastian, spoon, franz ferdinand, you will love sondre lerche.
personal favorite tracks:
on and off again and things you call fate.
musically, sondre lerche is EXCELLENT --- the music, even after the scrutiny of listening to it over and over, always has something to offer, and something new to appreciate.
great, clean sound.... looking forward to see what they do next.

Phenomenal!
Faces Down is an extraordinary CD, an amalgam of various influences from The Beatles to Bacharach to 80's New Wave. "On and Off Again" and "Sleep On Needles" are brillant pieces of pop music, the first a winsome, heartbreaking ode reminiscent of the 60's hit "Windmills of Your Mind," and the latter a driving tour-de-force of sonic surprises and irrestible hooks that follow one after the other. But there's much, much more to the best CD to be released in many years. You'll want to listen to it again and again and again. Fans of melodic pop music will love it. ... Read more

Reviews (15)

the magnetic fields' best album
'Holiday' is brilliant not any sort of complex sense but rather because of the simplicity of the songs and emotions therein. It is the Magnetic Fields' best album, in my opinion, because it embraces the idea of happy melodies and quaintly gorgeous lyrics much more than any other work of theirs. For me, the band's charm and ultimately the thing that makes their songs so heartbreakingly melancholy is the contrast between lyrics and music. The best example of this on the album is probably 'The Flowers She Sent and The Flowers She Said She Sent' (I'm not sure if that is one of the real audio tracks), which combines great poetry like "crying on the moving sidewalk/ on your way to Disneyland" with the humming major harmonies. The best song is 'Take Ecstasy With Me,' which for me evokes lovely images of romance and the idiosyncrasies of the girls for whom I've fallen: "you used to make gingerbread houses" and "A vodka bottle gave you those raccoon eyes/we got beat up just for holding hands." I can't endorse this album enough, the Magnetic Fields are my favorite group and this is their best work, a mon avis. "I'm taking a ride to somewhere inside where you never left me and I never cried, at the speed of light..."

painfully beautiful
So here it is 1994 and Stephin Merritt has expounded on his ideas of pre-programmed love songs, so they sound better than ever, though hardly glossed over. They're just as messy, with loose ends showing everywhere. He also takes over as the sole singer of the Magnetic Fields. What happened to Susan? I have no idea. She's only on one track here. But mostly we have Stephin in all his depressed glory. He might have the most depressed lackadaisical voice in music. Whether its the fun "Swinging London" or the terribly depressing "The Flowers She Sent," he treats them all the same, but his voice always seems to get in your head. He actually shows a lot of range on "All You Ever Do Is Walk Away" where it sounds like he's yelling so much, poor Stephin's head is going to pop off!

The album also has probably my favorite lyrics of all the Magnetic Fields releases. Everything Stephin Merritt comes together in the imagery of the opening lines to "The Flowers She Sent": "I saw you standing at the airport / with your chiahuahua in your hand / Crying on the moving sidewalk / on your way to Disneyland." That's not to shake a stick at the dense growling "Desert Island" where Merritt is put with his love in that very place that dreams are made of. "We'll develop muscles / from cracking coconuts / Let our clothing drop off / feel each other's butts." He has a way with turning old love song ideas on their head. For example, it's not out of the ordinary to be singing about a lover's eyes, but Merritt writes "My heart just turns to ice when I see myself reflected in your torn green velvet eyes." Although, I have to say that since in most Magnetic Fields albums not many people seem to be getting any, there seems to be a lot of happiness on this album.

As usual, the music is programmed most of the time, but we hear some branching out on "Sad Little Moon" where a violin, tuba and glockenspiel provide almost all of the music. It's refreshing since its slapped between two synthpop songs. And the whole album is wrapped up with "Take Ecstacy With Me," maybe my favorite Magnetic Fields song - all time. It starts off with the the percussion of a guiro and a bass drum and there's tons of synthed flutes and guitars and such and it's all very dense and extremely addictive. This is the only song not sung by Merritt, and it's done beautifully by Susan Anway.

Don't have enough money for 69 Love Songs? Then get Holiday.

A casio classic
I prefer this version of MF to the more pretentious incarnations of recent times. Put together a great melody, a funny/depressing/poetic lyric, over a casio sounding arrangement that sounds like the entertainment guy at the old folks home put it together, and what do you have? Brilliance. Absolute brilliance. So many great moments on this album.

synchroanalogic whoopie delight
i found this cd in my car. i was hooked. apparently friends had tried to turn me onto tmf in the past and i failed to pay attention. sad that i missed years of tingly pleasures just because i was DISTRACTED. also get 69 love songs and be happy.

Their Second Wonderful album....
and arguably the best of the early ones (if not the best of all of his). Holiday is a wonderful synth pop album which ranks up there with 69 Love Songs as their best. This opened my ears to alot of synth pop music.

The album starts of with the 22 second long intro, which has a sixties-meets-synth sound to it (i think) and is followed by 13 brilliant tracks. IMO, All You Ever Do Is Walk Away is one of the best vocal performance from Stephin Merritt and also ranks as one of his best songs. Other highlights are Trouble I've Been looking For and Take Ecstacy With Me.

Buy this and 69 Love Songs for the perfect grasp of the best of this band. ... Read more

Amazon.com essential recording

You want retro? Get a load of their equipment, from the vintage Farfisa and Vox organs to the ever-lovable Moog synthesizers. You want futurist? It's the sound of not-so-well-oiled machinery, churning and sputtering into space age bachelor pad heaven and postindustrial hell. You want pure pop? Dig how they mine mod sounds of the '60s, from Burt Bacharach to Françoise Hardy, and pull melodies straight out of a bubblegum wrapper. You want avant garde? Check the blatant liftings from '70s krautrockers Neu! and Can, plus their appropriations of Philip Glass's disjointed wordplay and Ornette Coleman's jagged alto sax.

You want meaning? These are songs loaded with optimism, progressivism, humanism, and dashes of Marxism. You want nonsense? There's plenty of "la-la-la's" to lead us into oblivion, and head vocalist Laetitia Sadier sings half the time in French.

You want a groove band? Tracks like "Metronomic Underground" and "Les Yper-Sound" cast a funk trance heavier than voodoo and at least as danceable as any neo-hippie tripe. You want a band that rocks? Try "The Noise of Carpet" for its rug-burning guitar and acceleration drum whacks. Yesterday, tomorrow, now: Stereolab's the one. --Roni Sarig ... Read more

Reviews (25)

Stereolab's Masterpiece!
Definitely a must own for any music fan, 'Emperor Tomato Ketchup' is a great listen from start to finish. And it's like nothing you've ever heard! Laetitia Sadier's voice is gorgeous and reminiscent of Beth Gibbons of Portishead. Her voice weaves in and out of Tim Gane's and the rest of the bands incredible melodies. 'Emperor Tomato Ketchup' is way more upbeat than their next album 'Dots and Loops' and you may have heard the song 'OLV 26' in TV commercials. It's hard to pick a best song on the album, since it is one of those rare albums where every track is great. 'Percolator' is the quintessential French pop song. 'Les Yper-Sound,' 'The Noise of Carpet,' and 'Motoroller Scalatron' all will make you bob your head to the funky beats. This is an album of pure genius and I highly recommend it to everybody out there. Buy it now.

This record totally takes you off guard, even for Stereolab!
The first time I heard Stereolab, I was just waking up. Suddenly I hear all this french sung in 5/8 time with this fluttering bassline, which ends up being 'Percolator' off of this CD. I thought to myself, "This rocks!" Even what I didn't initially like grew on me so fast because it was so well-executed musically and in general tasteful. The only way I can describe this album is "Teletubby Music". It's got a lot of good layering on it. As each layer pours on, you can still hear all the others. 'Metronomic Underground' rocks that way. There's more soul on this record than the preceding ones. 'The Noise of Carpet' is a spunky halftime piece. 'Anonymous Collective' is a great way to end the CD. It's got a nice, over-the-top Parisian way about it. This is a gem for people who like sound quality, creativity and all-around musicianship.

Couldn't hear the difference between songs
After reading all the great reviews of the cd, I went ahead and bought it. After listening to it once, i haven't put it back in since. I think I'm going to try again, but the problem I had with the cd is that it all sounded the same. French, slow, and boring. The vocals were very pretty and relaxing though. I think it just might be that I am used to really upbeat stuff. Don't get this unless you know what to expect.

Nearest and dearest to my heart
Before Emperor Tomato Ketchup was released, I was a big fan of Stereolab, especially of Transient Random Noise Bursts. Mars Audiac Quintet followed and I took it to be Stereolab's definitive statement; it seemed to say "We are Stereolab and we like to play droney rock, so that is what we are damn well going to do on every single song." I felt that after Mars, that was it: Stereolab had picked out their little niche in the world and they were going to stay there.

Then came Emperor Tomato Ketchup...

This was something new. It still had many of their trademarks - vintage synths, a mixture of the old and new, dual female vocals, french accents, marxist lyrics, very poppy, and, yes, even some droney rock - but it was a wholely different beast from any music by Stereolab or by anyone else that had come before. It was super funky, it was electronic, it had dense layers of a whole army of cool instruments. The sounds on many songs build up one on top of another until the songs almost burst with insane energy. This is their most edgy album with sonics that try to push the listener over the brink. Witness the apocalyptic guitar feedback on Metronomic Underground, the stabbing synths and strings on Cybele's Reverie, the frantically disonant sax on Percolator, the overdriven riffing on Noise of Carpet, the pounding drums on the title track, the swaggering funk of Sparkplug.

Since Emperor Tomato Ketchup, Stereolab has continued to release one great album after another, but there has always been a slight sense of disappointment. Perhaps they just set the bar too damn high with this one. No more could they get by with merely great albums. Nothing short of a total 180 degree turn could possibly top this. It will always be my favorite.

Indie Rock Classic
This is the album that put Stereo Lab on the map as one of the premier indie rock bands of the early 90's. This album features their most consistent recorded work and is pretty much the turning point in their career where they started becoming more synth based as where their earlier works featured some more guitar work. This is also in my opinion the best starting point for anyone new to Stereo Lab's work. ... Read more

Album Description

Omaha's Saddle Creek turns 50 with a double disc samplerfeaturing one previously released track as well as one new& exclusive track each from Azure Ray, Bright Eyes,Cursive, Desaparecidos, The Faint, The Good Life, Mayday,Now It's Overhead, Rilo Kiley, Son Ambulance, & Sorry About Dresden. Disc one is enhanced with all 45 of Saddle Creek's online weekly movies from 2002. 2003. ... Read more

Reviews (3)

great value
This has two tracks from every band on the label with one being previously released and the other is previously unreleased. There's also an enhanced feature with movies from the Saddle Creek website. Has great bands like: Bright Eyes, Cursive, Son Ambulance, Desaparecidos and Azure Ray. Check it out.

Not a bad compilation from Saddle Creek
Packaged almost like a greatest hits sampler, this record is a great way to learn about the indie scene that has been unearthed in Omaha. Although several of the bands have gained notoriety on their own (Bright Eyes, Cursive, and The Faint can all be directly linked to the collective success of Saddle Creek), this record serves as a way to pick up some new tracks from some of these artists and to feel out the other Saddle Creek bands.

This has its perks and drawbacks. Those of us who have listened to anything on Saddle Creek have copies of some of these songs, and for that reason one can call this a certain greatest hits compilation. In a similar vein, this also is a mechanism to turn onto the various side projects of the Saddle Creek family: The Good Life, Desaparecidos, and Mayday. For those who have just started to feel the influence and range of the Saddle Creek bands, this is beneficial. Thus, if you have just recently explored some of these bands, this CD is a tremendous aid to delve deeper into this music.

For those of us who have a great deal of the Saddle Creek music already, there are certain reasons to own this, and they make it worth buying. 1, it's a collection of some very good older songs. 2, the new tracks are fantastic as well. Cursive's "Nonsense" is straight up frightening (hear it to see what I mean), and Bright Eyes' "One Foot In Front of the Other" might be his best song to date. For those two songs alone I would recommend buying this album, most notably "One Foot In Front of the Other".

So if you don't know much about Saddle Creek, pick this up as a great introduction. For those of us who are longt time fans, the new tracks make it worth it. Cool.

...WHAT is in the water in Omaha?? And why does it ROCK?....
This sample of the artists of Omaha label Saddle Creek records is without a doubt the best...bucks I've spent in years. Turned on to the label by the genius of Bright Eyes/Conor Oberst, this proves that Saddle Creek is a label of more than one ridiculously gifted and important artists. Basically every band featured has a stand out performance and the CD is worth the price alone for the new bright eyes standout, one foot in front of the other.
The only "dangerous" thing about this album, is it will result in the undeniable need to explore more of the artists from Saddle Creek. I've already bought album's from Rilo Kiley, The Good Life, The Faint, and Cursive after hearing songs on "50." How often is it you hear something new that is not just good, but soul-shaking and brilliant? How often does a CD have not one example of such a thing, but multiple? The answer is rarely or never... but "50" from Saddle Creek does it.
This label and it's artists will be taking off, hands down the most important collective group of musicians in our country today. Those devils of fame Oberst sings so passionately about are coming (i fear) these folks are simply too good to go undiscovered. Take a listen... you will not be dissapointed. ... Read more

Amazon.com

"Heatwave," the funk-flavored track on the 1999 compilation Source Rocks, suggested Phoenix were another product of the French-filtered disco wave. However, United is suffused with breezy, retro-flavored rock numbers. Keyboard player and guitarist Branco was in Darlin--the indie act that spawned Daft Punk--but if they went one way, he surely went the other. United is reminiscent of West Coast American FM pop rock, with nods to everyone from Crosby Stills Nash & Young to "Jump"-era Van Halen. The thrilling "Too Young" and swooning "On Fire" are rattling good pop songs that fall on the right side of affectionate pastiche. "Summertime" is an enthusiastic power pop thrash, "Embuscade" a Steely Dan-styled jazz rock instrumental, and "Summerdays" a carefree country-tinged trip to the beach. Refreshing, intelligent and successful French rock--now that is a first. --Mike Pattenden ... Read more

Reviews (29)

Really cool,nostalgic rock debut by French newcomers
By listening to United , you can easily realize how much Phoenix love the music from past decades . Maybe because they come from France and english is not their mother tongue , they write their lyrics so carefully . Their first hit " If I Ever Fell Better" is an uplifting , relaxing song which at the same time though , contains some of the most mature and optimistic lines we've seen in a chart's single the last few years ( "...It's like a bad day that never ends / I feel the chaos around me / one thing i don't try to deny / i've been alone to accept that / there are things in my life i can't control" ) . Other great tracks which dezerve your attention are " Summer Days " , " Too Young " , " Party time " and " On Fire ". Bands like Phoenix never get the hype they dezerve . Their first offering though is the intellegent listener's afternoon album , a record both to enjoy and to love.

Teach ALL your friends the Funky Squaredance
The debut album from indie rockers Phoenix marks a welcome return to the guitar sound that surely I'm not the only one to have missed over the last few years. Since radio waves have been swamped by the girlish harmonies that boybands and teen-idols shriek, we've seldom had an upbeat guitar and keyboard band to caress our starving ears.

From the heavy opening chords you can sense that this is a band with an altogether traditional take on rock music. But as the album progresses, there's a sense that something out of the ordinary (in a good way) is pouring out of your speakers.

United combines up-tempo tunes such as 'Too Young' and If I Ever Feel Better' (thier UK single relases - so far, surely destined to become anthems for the year) which boast flavours of 70's disco, with off-the-wall melodies and franky undecipherable lyrics such as 'Funky Squaredance'.

At only 38 mins of play time, it's hardly overlong, but there's not a flat tune on the playlist and you'll never take it out of the cd player.

It's gotta be bought - simple.

Additionally, as a live act they live up to the promise of the album, with the bonus of extended versions of their songs, and acrobatics from the lead (who has a thing for climbing amplifiers). Check them out as soon as you get the chance.

Brilliant American Music, From A Euro Band
This CD is amazing. The disc, is very short, sadly. However, the songs here show very grown up songwriting, tight grooves, and an amazing sound. There is not a dead spot, except maybe to middle of Funky Squaredance. It's slow but its ok, it's not their fault. I cannot wait to hear Alphabetical. Get this record as soon as humanly possible

God Bless the French
Describing this album to one of my friends I said, "it's kind of a frech-disco-pop-rock album. Honestly, that's a pretty good descriptions. There are two songs "Too Young" and "IF I ever" that are strong catchy little numbers. For the U.S. version they even included a remix of "Too Young," which is of Lost In Translation fame.
All in all, this is a great album to chill out to. You know those laid back Sea and Cake tracks that are just perfect for laid-back Sunday afternoons? There is a track here, I think #8, that is so close to that, you just can't help but imagine yourself the recluse of some deserted island. Somewhere time seem to reverse itself and, as opposed to the continually quickening pace of the rest of the world, actually seems to slow itself to the point that each thought seems like an entity unto iself so that, yes, you can finally, SLOW DOWN. Now, given, that is just one song, but nonetheless the record works well, I recommend it wholeheartedly.

Lost and Forgotten
I found this album from the track in Lost in Translation which I really really liked. I then went out and bought the album and have been a happy man ever since. I really feel strongly that this band can and will get much bigger. Yea its pop and somewhat simple, but its got an undercurrent and just simply makes me feel good. I spoke to Astralwerks who supposedly will release a new album in July, buy this one then buy the new one. ... Read more

Amazon.com

Nirvana made a lot of things irrelevant when Nevermind was released in 1991. Among the most unfortunate casualties caught inside the blast radius were the B-52's. Just two years prior, they had released their very first mainstream breakthrough album, Cosmic Thing. This album was featherweight, sun-kissed, playfully pansexual and, most importantly, danceable. Tracks like "Love Shack" and "Roam" reminded us there could be fun without responsibility. Alternately kitschy and lazy (I still insist that "Deadbeat Club" was a slacker anthem long before Beck's "Loser"), Cosmic Thing took the B-52's signature Trekkie-camp sensibility and slowed it down just enough to click on MTV and portable radios wonderfully. And let's be honest, anyway: would you rather road-trip to Kurt's sad refrain of "Well, whatever, nevermind" or Fred Schneider belting out, "The whole shack shimmies!!" at the top of his lungs? On second thought, don't answer that. --Todd Levin ... Read more

Reviews (34)

A return to for....no, wait, scratch that
In 1989, the B's suddenly returned with a completely new image, revitalized and full of a bunch of Nile Rodgers/Don Was-produced dancepop. And hey, despite the obvious cries of "sellout!" that are perfectly deserved, this is still a very good album. It's most heavily remembered for the hit "Love Shack," which is an infectious song that suffers a bit from constant overplay and an overlong running time (it doesn't need that "bang bang" part at the end at all), as well as the gorgeous, solid pop song "Roam"("Boooy Mercury, cruisin' throoough every degreeeee"). For the most part, the songs on here are very well-written in spite of their slickness ("Bushfire," "Channel Z," "Deadbeat Club"), the only real gripes being the kind-of-dull studio creation "Dry County" and the fact that on the catchy title track the band tries to mix a political message ("Don't let it rest on the president's desk!") next to lyrics like "SHAKE YOUR HONEY BUNS!" Still, overall, an album well worth buying and one of the better releases to come out in the overproduced year of 1989.

Cosmic Hit!
This album features the B-52's biggest hit ever,LOVE SHACK. The video is quite awesome also. The song was even heard in the 1991 Paramount film FRANKIE & JOHNNY. I even heard another hit,ROAM in one or two television commercials. The title track is cool so is DEADBEAT CLUB. Another hit is CHANNEL Z. The instrumental FOLLOW YOUR BLISS was probably inspired by Todd Rundgren's HELLO IT'S ME(they both sound almost identical). After this album,band member Kate Pierson would join R.E.M. recording ME IN HONEY on R.E.M.'s 1991 multi-platinum OUT OF TIME.

a last gasp
not bad for a belated "comeback". the bees hadn't yet sold their souls to the flintstones, so all was not yet lost. "roam" is still a pop masterpiece of the 80s, and maybe someday people will realize that and quit playing that infernal "loveshack" at weddings.

Love Shack Overplayed But Album Quality Can't be Overstated
"Love Shack" is the one song from this album that you probably can name without any hesitation. That's because to this day it's overplayed -- how many flashback lunch hours, etc., belt out this tune daily? Too many, considering that there are other great B-52 tunes that are hardly obscure ("Roam" from this album, "Rock Lobster", "Planet Claire", and "Private Idaho" from previous ones) that could be played.

But I digress . . . that "Love Shack" is overplayed is hardly an indictment of this album. Though not groundbreaking or history-changing, this album definitely is a must-own. Why? Simply because of the fun factor! It's a delightfully fun album from start to finish.

"Love Shack", if you manage to avoid the iterations on the radio dulling its impact, is a contagious party tune, as is "Roam" (which I prefer just because it hasn't been played to death). Of the remaining album, I also really like "Deadbeat Club" (a slacker anthem), "Junebug", and "Bushfire" -- all very up-tempo, fun songs.

As a fan of the B-52s, I can't say they've ever put anything that wasn't good. This is probably their second-best album behind their self-titled effort. It's fun, breezy, and something any serious music fan should have in their collection as a result.

Insanely great
The B-52s are great, and this cd is definately their strongest. The songs are crazy, with the classic wild sounding tone that shows up again and again in songs such as cosmic thing and love shack. The calmer songs, deatbeat club being the best, show emotion on a level that is amazing for the b-52s common image as crazy people. this cd is great in also that the way the songs are arranged, the hit songs arent the first and second tracks, but they're spread throughout the whole cd, keeping your enthusiasm to keep listening to the cd going. this is a great cd ... Read more

Amazon.com

"Rock and roll's a loser's game," goes a Mott the Hoople line borrowed for an epigram for this best-of. It invokes the story of this New Jersey band on two levels. First, these guys were smart enough to draw on slightly left-field influences while remaining sufficiently modern to gripe about the FM stranglehold of "Classic Rot." Second, like Mott's Ian Hunter, they bet big and lost big. This collection of semi-hits and obscurities might well have been titled "Work for Food." Singer John Easdale wrote that song for Hi-Fi Sci-Fi, the outfit's 1993 swan song. Imagining himself a few years past his minor stardom, Easdale sang of pushing a shopping cart full of Dramarama memorabilia, aluminum cans, and his baby blanket. The song roared with power chords, bitterness, and resignation, flipping the rock cliché "keep on rollin'" onto its side. Girls who don't count sleeping with the radio on as being alone, non sequitur rhetorical questions, promises of everything, all tied up with bashes and riffs and madly catchy hooks--these are the stuff of Dramarama songs. Typically, 18 Big Ones comes a day late and a dollar short--maybe the same buck Easdale passes to a street-corner denizen in "Last Cigarette." But it also stands as testament to the fact that, whatever else, Dramarama lived up to its end of the bargain. --Rickey Wright ... Read more

Reviews (18)

Still the Best!
Someone here said they met John E., and thought he was a jerk...Wow, the two or three times I met him here on the New Jersey shore he was simply one of the nicest guys I have ever met. Dramarama was a SCORCHING band to see live and I still have their CDs in rotation! Buy this CD to get a taste of their sound, then buy their whole damn catalog. They are that good. And if you ever get the pleasure of meeting John, tell him Katie said hello, he rocked playing solo at Surfstock in Jersey!

A GREAT BAND THAT NEVER GOT ITS DUE
After I saw a recent VH1 "Bands Reunited" show that showcased Dramarama, the rediscovery of this lost band shows just how easy it is to get buried in the music business between record labels, marketing the band and successfully blending a mixed bag of personalities that goes with it.

Artistically combining the melodicism of the Beatles, the power of the Stones,and the glam-punk style of the N.Y.Dolls, Dramarama never got it going commerically and therefore suffered not getting the recognition it deserved. Not only did this band put out some very good material as evident on this CD, their classic "Anything, Anything (I'll Give You)" is one of the best rock songs to come out of the 80's. This CD is absolutely worth the purchase to rediscover these lost gems.

The best unappreciated band in rock history
I love Dramarama and it still annoys me that they never broke thru to superstardom. I am doing my part to keep them alive in the minds of music fans everywhere by doing a cover of "Last Cigarette" with my band.

Buy this album.
I've had the album for over a year now and still haven't gotten sick of it, which is really saying something. Everyone knows how great "Anything, Anything" is, but you haven't lived until you've heard "Last Cigarette".

One of the best bands around
Like most of the reviewers before me, the first time I heard "Anything, Anything" I was in awe. (God bless Rodney Bingenheimer).
I just don't know what else to say but that I love them and miss them very much. You will never go wrong buying a Dramarama album. ... Read more

Reviews (24)

DCD continues to evolve, and the results are surprising
Coming two years after their perfect WITHIN THE REALM OF A DYING SUN, Dead Can Dance's 1989 album THE SERPENT'S EGG shows the band continuing to evolve. Here, Dead Can Dance reached an interesting turning point. Lisa Gerrard's vocals begin to show the ethnic influence that would come to the front in 1993's INTO THE LABYRINTH, while the interest in older musical instruments foreshadows the renaissance-themed AION.

This album is especially remarkable because it departs from the use of orchestral musicians and lush atmospherics to give a more personal glimpse of Lisa and Brendan's partnership.

THE SERPENT'S EGG opens with "The Host of Seraphim," which may be their finest song ever. Featuring Lisa's pious wailing over the backing vocals of David Navarro Sust and Brendan Perry's drums, this song is literally heavenly.

As with much of Dead Can Dance's output, individual songs can be noticed as either Brendan's or Lisa's, such as the half-and-half split of WITHIN THE REALM OF A DYING SUN. Here, it's obvious that Brendan has provided "Severance," "In the Kingdom of the Blind...", and "Ulysses." Lisa clearly is the creator of "The Writing on My Father's Hand," "Song of Sophia," and "Mother Tongue."

Nonetheless, for the first time here are several tracks where Lisa and Brendan are equal, such as the aforementioned "The Host of Seraphim," as well as "Orbis de Ignis" and "Chant of the Paladin."

While not Dead Can Dance's best album, which is arguably WITHIN THE REALM OF A DYING SUN, this album should not be the last you purchase if you are a fan of this unique duo.

Ruhig, feierlich und mysteriös
In einer Welt, wo "Harry Potters" Phantasiereisen Buch- und Kinorekorde machen, da ist die mysteriöse Musik von "Dead Can Dance" bei vielen willkommen.

Das Album liegt zeitlich zwischen Aion und Within the Realms of a Dying Sun. Es hat die mittelalterlichen Elemente-Assoziationen des ersteren und die ruhige Atmosphäre (aber nicht so düster) wie "Within the ...").

Manche Tracks werden von einer Art Kirchenorgen begleitet (The Host of Seraphim) und "Severance" einer der besten Tracks des Duos überhaupt und eine gesangliche Sternstunde von Brendan Perry. Auf diesen beiden Stücken ist die Stimmung sehr relaxed und ernst, im Radio könnte man unbekannterweise auch glauben, es sei eine Gottesdienst-Übertragung eines fernen Landes an einem Feiertag. Das gleiche gilt meines Hörens für "Orbis de Ignis" daß sich wie eine Art erfundener gregorianischer Choral anhört (nur Gesang und manchmal eine Glocke, die auch auf Aion zu hören war.

"The Writing of my fathers Hand" ist eine schöne Ballade von Lisa Gerrard und klingt fast überirdisch schön. Fast zu schön für meinen Geschmack oder um es einem Gast vorzuspielen, der die Gruppe nicht kennt. Ähnlich "fast zu schön um wahr zu sein" klingt der Vocal-Track "Song of Sophia".

"Mother Tongue" hat einen monotonen Percussion-Hintergrund, eine Streicher-Begleitung und Lisas Stimme. Die Percussion ist aber nicht so bombastisch Wagnermäßig wie auf "Spleen and Ideal"

"Ulysses" getragen von Perry's Stimme hat Harpsichord/Streicher Elemente, die sich rhytmisch strukturieren.

Trotz der vielen Rezensionen scheint sich kein Hörer zu wagen, die Musik von "Dead Can Dance" näher zu analysieren. Begriffe wie "keltisch" oder "germanisch" (was ist das eigentlich?), gotisch (ebenso ein Gummiwort wo man viel interpretieren kann), mittelalterlich (wirklich oder nur assoziativ).

Die Gruppe hat(te) wirklich ein perfektes Image: Für ihre Plattenaufnahmen liesen sie sich sehr viel Zeit, perfekt produziert. Obwohl aus der "gotischen" Szene der Grufties kommend (?) spricht ihre Weltmusik viele Menschen an, die Umsätze dürften das zeigen.
Dead Can Dance ist die einzige Gruppe, wo ich noch nie eine ganz negative Rezension gelesen habe, ihr Nimbus und Ausstrahlung ist so erhaben, daß man eigene Kritik an den Musikern fast als sakrale Lästerung empfinden würde, was auch ich nicht tun werde. Nur in so weit, daß ich der CD nur 4 Sterne gebe statt 5. Es ärgert mich ein wenig, daß die meisten "regulären" CDs der Gruppe nur ca. 35 Minuten lang sind, auch diese. Brendan/Lisa vergebe mir diese Kritik! Auch die CD-Covers sind so spärlich gestaltet, daß sie Analysen ausschalten und zur eigenen Phantasie Lauf lassen. Man glaubt sich in ein Völkerkunde-Museum versetzt, mit Fotografien von uralten Kultgegeständen wie Masken, ohne natürlich das Land und den Herkunftsort zu nennen. Jedenfalls scheinen die Covers auch so bedeutungsvoll und tiefsinnig gestaltet, daß die Objekte zur Wichtigkeit und Suche im Zentrum eines "Indiana Jones" Filmes stehen könnten.

Wie hat die Gruppe es nur gemacht, sich so ein Image/Aura zu verschaffen? Wirklich faszinierend und beneidenswert. Hat sich die Gruppe die Rhytmusstrukturen, die seltsame Sprache in den weiblichen Vocals und die englisch-sprachigen Mystiktexte von Perry nur ausgedacht (wie Harry Potter) oder ist sie Essenz einer ausgeklügelten archäologischen Musikstudie des Paares? Niemand wird wohl dieses Geheimnis lüften, vielleicht ein Forscher im 4. Jahrtausend, der darauf eine neue Bewegung und Theorie aufbaut?

Diese CD ist unbedingt anschaffenswert, eine der besten von "Dead can Dance", etwas getragener und ruhiger wie die meisten anderen. Wenn man Perry einmal ausklammert ist sie in manchen Tracks schon den Soloplatten von Lisa Gerrard ähnlich.

Splendid!
Hypnotic! Grows in your head like a mind virus.

Not as the best but still great
Dead Can Dance's peak was throughout Into the Labyrinth and Aion yet The Serpent's Egg still contains the original Dead Can Dance essence.

Evil Sick Beautiful
This album was my introduction to DCD, and remains my favorite although it certainly has no shortage of competition from their later efforts.

I don't know how to relate to you how truly inspiring "The Host of Seraphim" is to me, both as a fan of the music and as a songwriter myself. I can only say with any effect that, for once, the title of a song like "Host of Seraphim" does not belie the pretense of the artist. It has that title because it REDEFINES the word angelic in my mind. I spent a great deal of time listening to Brendan Perry's takes on the album, mainly because when I was younger I was always very skeptical, being a man, that a woman's voice could have the same reach and dramatic effect as a man. And that I would equate that to Perry's voice is no mistake, because there is no doubt that he is a gifted singer, and Perry's slow sonorous tones in "Ulysses" still (and always will) give me the willies....but about three years after I first got this album (and was then listening to their later albums), I pulled out Serpent's Egg again and realized that the real depth of this album will always remain with Gerrard's songs, and particularly with "Host". The only gripe I could possibly have about this album is that they got the song order backwards...."Ulysses" really would have been more appropriate as an opener, and "Host" as the powerful finale. Instead, I find myself reordering the tracks in Winamp, but that's really not a major (and hardly a minor) complaint.

I don't want to waste myself away trying to describe the way this album moves me - and truly it would be a wasted effort, because I don't even think I'm through processing my reaction to it in a lot of ways musically - but to the potential listener I say: if you are curious about DCD at all, you can safely start here (or at the compilation called A Passage In Time, which contains both of the above-mentioned songs) and you'll never have to wonder again what all the hype is about. ... Read more

Reviews (15)

Still Recall the Day.....
My best friend Tony and I piled ourselves and our surfing gear into his old Fiat to begin the hour-long drive to the beach for a day of surfing He says, "here,I'll take care of the music", and puts in a cassette of someone called Mazzy Star. I'm not one of those people who makes snap judgements about music, for better or for worse. Whatever the end result may be, There are a few exceptions, and She Hangs Brightly ended up to be just such an exception. No more than 90 seconds into Halah, the opening track, I found myself saying to Tony, "Who is this?? I REALLY like this....whoever it is."

So that was the first day I ever heard the completely unique sounds of Mazzy Star, and I can still recall the exact moment well over 10 years later.

I went on to spend the entire decade of the '90s calling Mazzy Star one of my favorite bands whenever the topic came up in conversation. Even though I give this one five stars, I actually prefer the other two a bit more I think, particularly So Tonight That I Might See, their second release. There's just something about that album. It's like their sound overall...I can't really put my finger on it. Maybe that's the whole point. Yes, Hope Sandoval's blissfully enchanting voice has alot to do with it. And as much as she no doubt hates hearing it, it was easy to fall in love with her vicariously through her dreamy vocals. But a sexy frontwoman alone does not a great band make. The musicianship of the rest of the band is equal in its ability to enchant the listener. In other words, Mazzy Star was always more than just a pretty face. The band had an elusive quality about them, an element of mystery. You can get lost in their music. If you were a drug user, you no doubt spent many memorable moments letting the swirling sounds overtake you and your senses (and I suppose an equal number that aren't so memorable). While I've done my share of experimentation, I always found Mazzy's music plenty powerful to put me into that special state of mind even when stone cold sober. One just needs to be in an introspective mood (and a good pair of headphones doesn't hurt). This isn't the sort of album you put into your Walkman when heading out for a jog though, clearly.

Recalling my first exposure to this wonderful band - seemingly now defunct - is a pleasant memory. If you've read other reviews of their albums, you should by now have an idea whether or not Mazzy Star is up your alley. If you have even the vaguest feeling that it is, don't hesitate to give them a try right away.

Mazzy Star's ultimate best !
Of all the albums I've listened to of Mazzy Star, none could compare to the beauty and diversity of "She Hangs Brighty". 'Halah' could not be a better song for the opening track on the disc and 'I'm Sailin' is fun and tender. On this album each song is seperate and created in itself, and not co-evolved. As with many songs Mazzy has written, many of them have coevolved together. There is almost a synergy to it, a weakness. But this album proves that Mazzy's ultimate first release was infact the BEST, as each song has a different subject matter, with many different endings. That is what I love so much about this album/recording. I encourage you to listen to this album before you buy it, so I can prove to you that it is WORTH it!

Hope Sandoval is still charming listeners
If you love "She Hangs Brightly" and Mazzy Star in general, you'll be glad to know she is back with "Bavarian Fruit Bread" by Hope Sandoval and The Warm Inventions. It's great!

A beautiful debut.
Their 2nd album may have become more popular, but this will always be my favorite. It came out my senior year of high school, and I can't count the times I sat in my car at night, in the park with a cigarette, listening to this album. I was probably wishing she was singing to me. It's hard to think of comparisons, but if you crossed a mellow "Cowboy Junkies", with a psychedelic "Verve", you'd be pretty close. "Halah" is a great opener, and the song that made me pick this up. I actually caught the video on MTVs 120 minutes. "Give You My Lovin'" and "Free" are other favorites of mine. Their two following albums are both as great, as is "Hope Sandovals" solo album "Bavarian Fruit Bread". All of them go well with incense, rain, and candles.

ella cuelga brillante (una aproximación)
Estas canciones resuenan a sótano, a crujir de subterráneos de terciopelo, como si hubiera brotado de alguna escena bizarra del cine experimental de los 1960's. Una niebla opiácea se esparce por los recintos espectrales de este proyecto, fluyendo por los corredores habitados por fantasmas: los Velvet Underground, claro,
Nico, Patti Smith, la sicodelia inglesa y el country-blues para suicidas de Hank Williams y Patsy Cline. Todo esto encarnado en la voz etérea de Hope Sandoval y en la guitarra de David Roback fluctuante entre el minimalismo acústico y la más deliciosa distorsión. Lo recomiendo, la mejor compañía para noches de excesos. ... Read more

Amazon.com

A member of the band Heatmiser, Elliot Smith recorded home demos on any equipment he could get his hands on. His first "solo" album is a cheap four-track home recording that hints at the melodic possibilities Smith would explore in greater detail on subsequent releases. The title track is remarkable but with four songs referred to in sequential order as "No Name #1," "No Name #2," etc. ... the inspiration isn't always fully firing. Blessed with a quiet angelic voice and a lyrical mind that easily transforms the squalid details of everyday life into something worth hearing about twice, Smith stood on the verge of getting it on. With his next, self-titled release, he did.--Rob O'Connor ... Read more

Reviews (30)

Can't understand why it's rated lower than the others
I know that all albums, especially when compared by fans of an artist, come down to a matter of opinion, but I feel compelled to give mine: this is my favorite.

I own all of Smith's album releases and treasure them all, but while most people seem to rank Either/Or first on their lists, I put it at least third. It's just how I feel about the songwriting. Roman Candle is the second of his that I heard and the one I most often go back to. Here's why:

It's not the under-production, because I never really care about that. It's the simplified suggestiveness of the songwriting that tells you he can do more, but he knows he doesn't have to. The non-specific song titles (No Name #1) have never bothered me because they speak so well for themselves. It's not a long album, but it's strong from start to finish. It seems to reach its climax at "Last Call," a tremendous song by any standards, and then delivers the instrumental "Kiwi maddog 20/20" as a sort of afterthought. That last one is in a style that's hard for my friends and me to typify. And that lack of type is what makes this album so great to me.

It is his debut solo work, as far as I know, and it certainly sounds like a man finding his voice, which is not to say he is less than qualified (as my rating of 5 stars indicates) but rather he is new in his confidence as a writer.

Simply put, it's fantastic. There are few albums I can recommend as strongly.

Different and gorgeous.
Like a previous reviewer, I don't understand why this would be rated even a 10th of a star less than any of his later releases. The recording is not as "slick" as any his later albums, but as is his way, Elliott turns the 4 track to his advantage, though he said it was a "complete mistake" that it ended up sounding this good.

Some of these songs were written when he was still a teenager, a testament to his natural talent. I would not consider the straight-forward lyrical lines to be any less poetic than his later writing. He sets down some themes on this record wich he revisits again and again on later albums from different angles.

Everything about this album is unique.
The guitar work is beautiful, and distinct, the sounds, while limited by the four-track, resemble (after a manner) his later big-studio releases. Anyone who says this sounds like Simon and Garfunkel or Nick Drake is grasping at straws, because so little music of this nature finds the light of day. Elliott eschews typical folk sounds and chords, preferring (for lack of a better metaphor) to make chairs that stand on three legs, instead of four.

This album is not garnish to his other releases, it is key.

Simply amazing
Just one of the best quiet albums by one of the best artist of this era and probably one of the most underrated artists of this era.

Pure Genius!
Roman Candle is one of the best CD's I own. Elliott Smith has his own unique sound. When you hear his music you automatically know it's him. Although he has a distinct sound, no two songs on this CD sound the same.

Unlike many other artists, Elliott Smith's lyrics are meaningful and well written. When you listen to Roman Candle you really feel like you know him. And everyone, at one point, can relate to his words. Not only are they great songs, but they are all written and composed by him. Each and every track on Roman Candle is creative and original.

definitely one of the best albums ever
not only is this his best album it one of the best albums ever it didn't take more than once to love it i think it will stand up to the times for years to come ... Read more

Album Description

Full Title - You Can Play These Songs With Chords. Albumincludes Out-Of-Print rarities and never-before releasedsongs. 18 tracks. Barsuk Records. 2002. ... Read more

Reviews (10)

Death Cab presents excellent B-sides/demo collection
A preliminary note: like the other reviews mention, You Can Play These Songs With Chords isn't the best place for a new Death Cab fan to start. Regardless, it is an excellent collection of songs that pinpoints a band from their infancy to most recent.

The opening eight tracks are a re-release of the demo recordings singer/guitarist Ben Gibbard did in 1997 (released with the same title as this compliation). Playing all of the instruments himself, the bulk of these demos resurfaced a short while later on Death Cab's first proper album, Something About Airplanes (then played with a full band). For the most part, the sound quality is awfully lo-fi, which recorder/future DCFC guitarist Chris Walla was obviously aiming for. As for the music, most of the songs are close enough to the final product, which is two-thumbs-up material. The few demos that didn't make it, like "Hindsight" and "That's Incentive" (with its limber bassline) show that not all songs cut were bad.

The rest of the material is a collection of B-sides from DC's history. Some, like "TV Trays" and the original version of "Song for Kelly Huckaby," are on the verge of being subpar. Others, like the pretty "Army Corp of Architects," the quasi-Built to Spill-ish "Prove My Hypotheses" and the Something About Airplanes misfire "State Street Residential," are some of the best tracks the band has recorded. Some, like the hilarious cover of the Smiths' "This Charming Man" and the 'European Dance Hit' "Tomorrow," just don't fit into any catagory.

For the most part, this is a great collection of songs Death Cab fans will be eager to get ahold of. For the newcomer, this may prove to be a confusing assortment of tracks.

Oh, side note: the CD insert is a great help: I was always interested in who plays on songs, and this delievers in addition to the amusing notes provided by the band members.

Great album for fans or newbies
I'm fairly familiar with DCFC, having seen them live three times and hearing most of their songs.

This is one of my favorite Death Cab albums. It's raw and fun. It feels like the band is having fun as they play the music. It has a garage jam session feel yet sounds great. If you like Death Cab, you should have this album.

Whether or not you've heard this band before, I strongly reccommend this album!

Fun album
Out of sheer randomness, this seems to be the first Death Cab For Cutie album that I've acquired or even listened to, so I have not all that much in the way of context here.

That said, I like this a lot. It's happy bouncy music, and there's absoutely nothing to dislike. I hear some echoes of Built To Spill here and there, and perhaps even a touch of Olivia Tremor Control. I'd have to say that my initial preference is for the first 8 tracks that, as I understand it, composed the original album - they seem a bit more consistent and hang together nicely. But the 10 additional tracks are damned fun (especially the Smith's cover, lyrical gaffes aside)- the band seems to be having a great time, and it's infectious.

Considering that this album seems to be peripheral to the bulk of these guys' output, I'm looking forward to see what the rest of their catalogue has in store.

A Long-term Resident in My CD Player
This CD was a Christmas gift and an amazing one at that. The melodies are addictive! I was a somewhat interested DCfC fan before I heard this album, now I am a true fan. The number of tracks makes this CD a bargain and the cover is a really neat picture of Bellingham. If you like DCfC or want to get to know their music, this is a great addition to your CD collection.

Death Cab album for die hard fans
This album is a collection of rarities and b-sides and I would not reccomend it to the first time death cab buyer your best bet is to pick up the photo album the biggest plus to this album is the smiths cover of this charmning man which is done semi tastefully aside from a few lyrical miffs. ... Read more