Reviews by meemesker

I'm generally obsessed with all things Krautrock, but I've always found Faust a little harder to get into than the other major groups in this most loosely defined genre. And I think that's partially by design. They were intentionally making music that was difficult to pin down or put in any sort of box. Granted, most Krautrock bands were doing the same thing to a certain extent, trying to find something beyond UK/US influenced rock imitations, finding their own sound, etc. But Faust took it one step further. They were more like a conceptual practical joke of sorts. Something akin to what The Sex Pistols became. A mythic stunt that was pulled off for as long as they could get away with it. There was a certain amount of emperor's new clothes going on, especially at first, but there was also some unbridled experimentation that was truly inspiring.

Although I'm not completely sold on some of the albums that preceded this one, as they are a little too chaotic and unfiltered, even for me, this album is easily their finest, and most cohesive, achievement. And right before they imploded too - or the label execs finally got that the joke was on them, and they weren't laughing anymore, and pulled the plug. It's almost as if Faust knew they needed to get their act together or else the gravy train was gonna stop, but it was too late. They shaped up as much as they could, but they were still just a bunch of weirdos and couldn't help themselves. On this album they have much more in common with other major krautrock bands of the era by aligning more to hypnotic and repetitive grooves, and also incorporating more electronic elements. Both things that strongly attract me to the sound. Listen to this and remember that this was considered "selling out" compared to their earlier material! Ha! To me this is where they finally hit their stride, and found a healthy balance between their experimental quests and a rhythmic/melodic accessibility.

I'm often annoyed by this list for its excessive inclusion of lesser known UK groups, and sometimes, every once in awhile, I really enjoy it.

Updated take on bossa nova that still captures the essence of the original. Makes sense, her being the daughter of bossa nova legend, Joao Gilberto. This could easily be worked into my day to day listening.

I like some of Coldcut's later stuff - didn't even realize they went back this far. But this early material, as innovative as it may have been, doesn't quite cut it for me.

Very enjoyable listen. Classic songwriting. Pure and simple.

Irresistible fun. Largely underrated.

I think what this comes down to is if you like that ragged tear in the lead singer's voice or not. I don't think I do. It's not like fingernails on a chalkboard or anything. It's more like a hug from a drunk acquaintance that lasts just a little too long. Like he's just overexcited, but it's a little awkward.

I had not really taken the time to listen to this band before 1001. Now, I feel I have listened to them far too much, and that they are overrepresented on the list. Pick an album, alright Dimery? This well may be their best effort, who knows, but because it comes so late in my 1001 journey, I basically knew what to expect, and this just didn't feel fresh to me. You know what, fuck it, those vocals are bringing it down for me. He's trying to come across all soulful, but it's really just whining in disguise. Welcome to my controversial artist list boys!

I am currently reading a book called "Hitmakers" by Derek Thompson, and there is a chapter that talks about systems that are used to predict hits/singles called "hit predictor" and "sound out" which are online song testing companies that have users give a numerical rating after 90 seconds of a song without context. Anything above 65 can be a hit. The reason I mention this is because he specially mentions Adele. "Hello" from this album was mentioned because it scored a whopping 105. Which makes sense because the whole premise of the book is that people tend to like what they are familiar with, and she was still riding her breakout album 21 at this point. Speaking of which, every single track on 21 scored above an 80. That is so high that It is considered an outlier in that regard. Something no one achieved before, or since, including Adele herself.

While I think 25 is a perfectly satisfying follow up to the phenomenon that was 21, it's hard to not compare it to those stratospheric heights she achieved there, and I feel it falls just ever so slightly short. She still has an amazing, timeless voice that hits you like a fuckin' torpedo, especially on things like the chorus to opening track "Hello." Speaking of which, she has always known exactly how to choose the perfect songs to open and close the album - which are the most critical. And she nails those choices here. Those are easily my two favorite tracks. As far as the material in between, it is very consistent and somewhat more mature. But perhaps that is the element I miss from 21 though, which had more of a rawness, almost a naivete, that just eviscerates you.

I have a soft spot for these lost masterpiece type albums, so I'm glad to see this included on the list. Although revisiting the likes of The Beatles and The Stones, et al. is a great thing to do, spending time with albums like this, that sort of fell through the cracks in one way or another, is the more rewarding part of the 1001 experience for me. Although I will most likely never come back to this album again, it is one I am glad to have heard.

I'm a fan of Paul Simon in general, but I think the choice of this album for the list might actually be doing him a disservice, especially for anyone looking for an inroads to his solo material. I mean I enjoy this for all its 80s zaniness, and there are some real standout tracks, but as an album it's highly inconsistent, and more for hardcore fans who are already sold/willing to go for the ride. Some of these lyrics are just bonkers in a way I find amusing, but I can see how they'd be off-putting to others. I mean the dude was on top of the world at this point after the Simon and Garfunkel reunion concert, and I think he gave zero fucks what people thought about his output - he was gonna do what he wanted to do no matter what. I respect that to a certain degree, and think that sort of hubris can actually lead to some interesting and entertaining material, as it did here.

The standout tracks to me are the title track, Train in the Distance, and The Late Great Johnny Ace. That last one, with it's sudden turn into an almost Philip Glass like minimal piece is simply haunting, but quite an unexpected tone shift after such a motley assortment of songs. Since it's Paul Simon, I'll go with it and respect it. Too bad he pissed Garfunkel off so bad during the recording of this that he burned his bridge over troubled water.

I am generally suspicious of most indie Americana, particularly so when it happens to come from Ireland. I mean, I have to give it to him, he nailed the breathy/whiny American indie rocker accent, even adding an affected rootsy twang... but why? Why construct an entirely forced vocal persona to hide behind? This is some kinda weird fantasy role-playing shit, and I don't like it. It's off-putting. Just look at them on the cover. Doesn't exactly scream authenticity. They look jaded, bored, and overdressed. At least they are competent at aping the far-from-unique sound they seek to emulate, but this sucks.

At first I questioned why an album outside of their prime years of the late 70s and 80s was included, but the arrangements they crafted here really make this stick out in their catalog. Freed from major label scrutiny, they were able to tickle their own fancy to their hearts content. British eccentricity on full display.

I like a lot of what's going on here rhythmically, but if I'm being honest, it's not something I'd come back to on my own. I listened a few times in a row, and it didn't necessarily grow on me.

This doesn't have the same atmosphere or power of their earlier material. I like the more band-like approach in theory, but this just doesn't feel cohesive. Sounds like a sort of mid life crisis reinvention. I like it in general, but after listening, I wouldn't voluntarily choose to listen again anytime soon. 3 for 3.

Far more intrigued by their story than their sound.

Not sure what I dislike more, the vibrato he occasionally throws on his vocals, or the fact that he won't STOP TALKING! This album has such an odd pacing and flow, with songs seeming like they'll never end, coming in and out of focus. I needed a sonic palette cleanser when it was over to get the aftertaste out of my ears. They sure look good in those suits though!

I like some earlier Hot Chip, but I found this effort mildly annoying, and question its place on the list. If we're talking albums from 2012, I'd nominate either Tame Impala's "Lonerism" or Death Grips' "The Money Store" to take its place. Hell, I'd even take Grimes' "Visions" over this.

Impressive for 1997...oh wait, no, this came out in 2017. Nevermind, far less impressive then. In fact, this doesn't leave much of an impression on me at all. I'm bored, but the weird thing is, they sound like they were bored themselves in the process of making this. The most exciting thing on the record, by far, is a pitch bent sample of Hall and Oates. Listening to this album is like eating an entire loaf of refined white bread as a meal. Soft, low fat, and easy to digest, but lacking flavor.

Screaming Elf!!!

If they could tighten this thing up to about 45 minutes it'd be a four for me, but there's around 15 minutes of filler scattered throughout the record that weigh it down as a listening experience. Generally appreciate the mood they capture though.