Reviews by nevele

Incredibly beautiful. Best folk album I've ever heard.

The song Three Hours might've even lasted that amount of time, what a great piece.

A unique, sensual and introverted album, that listens best in the late darker hours of the day.
Unlike a lot of the other albums of Alison Goldfrapp this one has not lost anything of its strength. Mysterious songs like 'Lovely Head' and 'Human' as highlights still crawl under my skin.
It's only unfortunate that the pretentious 'Oompah Radar' breaks the carefully built up magical spell this album has built up. It's not a 5* album because of it.
After that break 'Utopia' luckily comes out as the best song of the album.

Stellar debut.

4*

Because I had to listen to this album I started reading and now know about the origins of the “Bakersfield Sound".

It's the typical country music with the typical themes.
Here and there the Honky Tonk is going a bit more rock 'n' roll, like in the song 'Memphis,' and there the music becomes bearable.

I'm just not a fan of this kind of music. And Lord knows I've tried.

We are never going to be friends, Amnesiac and I.

Listened to it 4 times over 2 days and I just can't get into it.
I get it, it just really doesn't hold my attention and I don't really find it all too nice to listen to. Their 'normal' parts are bland, their 'strange' parts are just that.

It's an album I'm glad I persisted with.
I'm really quite fond of synthpop and new wave, but if it was only for Side A I'd have given up and would've been wondering why in the world this should be on a 1001 greatest album list.
It gets interesting on the B Side of this album and the album finally gets lifted out of mediocrity with the last 4 songs, starting with the interesting "I Am The Law", turning into the great "Seconds" and ending in the classic "Don't You Want Me."

4 songs can't save an album, but is does make it stand out among contemporaries.

Peter Gabriel's first solo record starts with 'Moribund the Burgermeister' that still contains quite a bit of the Genesis atmosphere of 'Lamb', but with the beautiful 'Solsbury Hill' Gabriel takes a different path. A perfect pop song with great lyrics and a catchy melody.
Next song is the Bowie-like rocker 'Modern Love' makes it clear that this is going to be a varied album. When we continue in a kind of vaudeville style song with the somewhat strange 'Excuse Me' we are going all over the place.
Together with Side B's 'Slowburn' and 'Waiting For The Big One' these are the songs on the album that drag it down from a superb debut. The songs feel too much all over the place.

Closer 'Here Comes the Flood' is once again a brilliant song, and therefore a nice end to a fine solo debut. The stripped-down version of that song on 'Shaking the Tree' is also very worthwhile.

'Why can't a rockband sell a record to a Elton John or Michael Jackson-fan without losing your original market?'

- Steve Clark (R.I.P)

The goal of this album was very clear, make a rock album that would sell millions to a different audience than their contemporaries. And they succeeded insanely well with their hardrock bubble gum pop crossover. Incredibly catchy but with 68 minutes the album might've lost bit of filler to make it not strand into songs that are starting to sound the same in the end.

But any band in this era would've loved to be able to pen something down like Gods Of War, which is the highlight of this album

If this was just the first half of this double album, it would've been a full 5* album.

Unfortunately the second half doesn't have the impact of the first half.

Started this album with a complete open mind, I only really know a few of the singles.

The first notes of Jenny Was A Friend Of Mine really surprised me. A great 80's baseline that could have come straight from bands like Duran Duran or Japan. Unfortunately these upbeat danceable tunes are hard to be found in the rest of the album.

With the exception of the two major hits, which have justifiably become classics, most songs are songs by a mediocre uni-band.

As someone on this site already proclaimed: "A few Killer, but mostly filler"

Even though the songs are a lot more straightforward than the two previous Velvet Underground albums, the same uneasy feeling of discontent and disconnect flows through me while listening to this album.

Opener Candy Says is a bit of a strange one to me, is very slow, but it gets picked up shortly after by What Goes On. Pale Blue Eyes is absolutely beautiful and one of the best love songs ever written, even if it has the Lou Reed strangeness in story.

The straightforward songs continue till the strange Murder Mystery - with its several stories and voices at the same time - which would've fitted perfectly on the John Cale experimental beginnings of the band. Only to have the drummer Moe Tucker close the album marvelously with the sweet After Hours.

It is a great VU album, even if it doesn't have a Venus In Furs or Heroin on it.

This became much more of a pleasure to listen to than I thought on first listen.

It's wonderfully dreamy, slightly experimental britpop like Elbow or Blur, but with the cheerful gloominess of Coldplay, Travis or The Verve. And then with a hint of Kula Shaker.

It's a good blend of all the melancholic and melodic Britpop bands of that era, but this album stands by itself.

The repetitive character of the guitar riffs, the keystrokes and the rousing drumwork have an hypnotic effect on the music, and musically and lyrically it provides a somewhat nihilistic and grey view of the world.

It is the link between the punk and the post-punk.

Killing Joke succeeds in creating a the atmosphere and sound that is characteristic of the British urban environments in the early 1980s. The album cover also contributes to that feeling.

Absolute masterpiece

An absolute topalbum in the nu-soul.

A great psychedelic garage rock album with some incredible songs like "I Had Too Much to Dream (Last Night)" and "Get Me To The World On Time" and some songs that shouldn't have been on the album (Onie)
Enjoyed this a lot!

It's just a really good pop album. With the exception of clocks, the album flows great and it just really makes me wonder whatever happened to this band.

I was happy to have given this a second and third listen, for the first listen did nothing to me. The rambling half punk only did something to me with their great cover of Heard It Through The Grapevine.

But the second and third listen brought forth much more of the fun that this album has. Great tunes, great attitude. Punk

It's been a long time I was this impressed with an album on first listen.
I have always been aware of Aphex Twin, but never really listened to him. Until now. And it has opened up a whole new world of music.

Maybe not all songs are of the same quality of Heliospan, Schottkey 7th Path or Ptolemy, but reading up I certainly see even more how genre defining this work is and where later Radiohead during their Kid A era got their inspiration.

This is going to be played a lot more in the coming months and years.

It's nice background music for a triphop album, but really nothing more.
It didn't annoy nor excite me in any way.

I don't really mind U2, but there are a few things that make this album not a great album to me.

First of all it's the production. The echo, background synth orchestration, extra choir in songs like Red Hill Mining Town really take away from the songs.

Secondly, the album drops off after the first four songs. After the absolute highlight of this album (Bullet The Blue Sky) the album becomes a bit forgettable, with the exception of One Tree Hill

It's really not bad, but also not great and I've never really understood the U2 fans' reverence for this album.