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Einstürzende Neubauten is a German industrial band most famously known for the use of instruments made from power tools and metal. The majority of these instruments are percussive. My first exposure to them came when I read an article about Martin L. Gore from Depeche Mode. I can't remember if it was an interview or just a writer's imagination, but I do remember reading that Martin was a fan of the band. It went on to discuss how Depeche Mode's use of sampling to engineer sounds is a result of Gore's and other band members' attraction to this form of industrial music. As my interest in Depeche Mode grew, I wanted to hear the music by the groups they listened to.
I didn't found a copy of one of their albums until the mid 90's when I found "Tabula Rasa". I bought it and found the music interesting. I was also intrigued to hear Depeche Mode copy some sounds on newer material from that record. It was fascinating. When I saw this album out on Trent Reznor's Nothing label, I had to pick it up. I thought it would have some input by Reznor who is another artist influenced by their industrial chaos; however, Reznor has nothing to do with the record.
So... it's left to its own devices and I had to listen to it without any preconceptions or hopes. It was just a new record from a band I found interesting. How did it hold up?
Well, as much as I admire and enjoy the concept of groups being inspired by Einstürzende Neubauten, I find myself not quite catching the flow. Don't get me wrong... I like their music and I think lyrically, the band is quite ahead of its time. But it's not music I would put in to jam out to. There are some awesome exceptions... For example, the opening track 'Was Ist Ist' kicks in like a freight train barreling down the tracks and practically mows you under. It features a tongue twisting chorus that's as mentally provocative as it is verbally frustrating. Try saying, "Was ist ist, was nicht ist ist möglich" ten times fast. Translated, it says, "What is is, what is not is possible". I also like 'Die Explosion Im Festspielhaus'. It's a creepy slow number with bizarre lyrics and a dramatic storyline.
Other than that, the album is probably standard fare for them. 'Nnnaaammm' is way too long, and despite reading all kinds of hype about the track 'Stella Maris', I didn't enjoy it. At least not in particular. If you're a fan of Einstürzende Neubauten, this record probably won't disappoint you. It's certainly a book end to any collection. It's also not likely to be recognized as a ground-breaking or defining piece of work. My final words: FOR DIE-HARD FANS. DOWNLOAD INDIVIDUAL TRACKS.
EINSTÜRZENDE NEUBAUTEN - ENDE NEU
01. Was Ist Ist
02. Stella Maris
03. Die Explosion Im Festspielhaus
04. Installation N°1
05. Nnnaaammm
06. Ende Neu
07. The Garden
08. Der Schacht Von Babel
09. Bili Rubin (Bonus Track)
It seems like you can't mention Michael Jackson without comparing him to Prince. At least it was the case back in the 80's. I've always found that comparison fairly stupid because the two men aren't even remotely similar. What they do share in common is they are both black pop singers who broke through racial stereotypes and genre labeling to have massive commercial success. But that's where the similarities end. Prince is more of a musician... Writing, producing, playing music. Michael was more of a singer and dancer. Their music and performance styles were completely different. I was always more of a Prince fan and my sister loved Michael. She still enjoys his music to this day.
When it comes to Michael, I've never really understood the appeal. He's never been interesting to me or very exciting. I've been more fascinated with his sister than him. He does have the distinction of writing a song I wish I'd written. But that's a story for another day. Let's talk about "Off The Wall"...
Of all the Michael Jackson records out there, this is my favorite. I say it's my favorite because it has more than one song I really like on it. And it's the only one I'm inclined to own. In many ways, this CD typifies that 70's black sound for me. It's got disco, but it's mostly got that sound so many people were listening to with Motown and other R&B acts. Kool & The Gang, Marvin Gaye, Stevie Wonder, Smokey Robinson... Once again, I was more interested in the funk groups like Ohio Players, Funkadelic, Sly & The Family Stone... But I did like some of the more laid back numbers.
If I owned this album on cassette it would almost be a case of liking one side and hating the other. This is one of those 50/50 records. I like the first few tracks, 'Don't Stop 'Til You Get Enough', 'Rock With You', 'Working Day And Night' and 'Off The Wall'. I also really like 'It's The Falling In Love' from what would be the second side of the record. The rest of the tracks are mediocre and do little to excite me even though I know they're hugely popular with Jackson fans. My two favorite tracks on the CD are 'Rock With You' and 'It's The Falling In Love'. These are the two numbers I will sit and sing along with at the top of my lungs. I find them both satisfying.
In the end, I've never been a huge Michael fan, but I have great respect for his talent and the success he's had in his career. I don't want to get swamped with Jackson fans giving me crap because I'm not a fan. I do enjoy some of his stuff and I'm publicly admitting it here and now. My final words: GREAT R&B DISCO SOUNDS!
MICHAEL JACKSON - OFF THE WALL
01. Don't Stop 'Til You Get Enough
02. Rock With You
03. Working Day And Night
04. Get On The Floor
05. Off The Wall
06. Girlfriend
07. She's Out Of My Life
08. I Can't Help It
09. It's The Falling In Love
10. Burn This Disco Out
The first album by The The I ever owned was "Soul Mining" and it was incredible. On the strength the that recording alone, I purchased so much subsequent material from Matt Johnson anticipating the repeat of that record. But he never captured that moment again for me. Instead, he moved in a different direction entirely. One I wasn't always sure I liked. In fact, "Mind Bomb" was the record that ended my obsession with this band. "Soul Mining" would be a one off amazing record and nothing good would ever come from The The again.
Of course, years later, my appreciation for Matt's work has changed greatly.
Back then I was more into electronic sounds and New Wave whereas today I'm more versatile in my tastes. His movement towards conventional instruments on "Infected" and "Mind Bomb" were viewed (on my part) as a sell out. However, today I see it as an expanding pallet. The necessity of "Soul Mining" is understandable when you consider what he had to work with and his lack of association with other musicians. These other albums show Johnson reaching out and becoming a more well rounded musician as well as incorporating musical ideas from the people he would work with.
Now... Specifically... About "Mind Bomb"... The title implies a mind-blowing musical experience. And when you lump in the subject matter, it's a far reaching political and social commentary that could almost double as a college course. The songs tackle everything from social apathy ('The Beat(en) Generation'), to religious intolerance ('Armageddon Days Are Here (Again)', 'Good Morning Beautiful'). Injustice ('The Violence Of Truth'), to sexual salvation ('Beyond Love').
But does it achieve its goal of blowing your mind?
As a teenager, I'd say no. The material, although comprehensible, was completely beyond my ability to fully understand. I was forming my religious identity along with figuring out how the world actually worked. I think I bought into the whole propaganda that America was the country God founded on this earth and we were the chosen people living in freedom. It was impossible to see anyone else as anything other than evil. The message of this CD fell on deaf ears. It was complex enough that those who truly understood it were in the position of "preaching to the choir" and those who didn't just glazed over the meaning. That's the danger of reaching for such volatile subject matter in pop music. And make no mistake, despite his best efforts to the contrary, this album is pop.
Johnson does much better tackling esoteric issues rather than social. At least those concepts can be interpreted to fit someone's life. However on "Mind Bomb", there's no interpreting this stuff.
The first side of the cassette is the truly controversial side whereas the second side is filled with fluffy romance numbers and sappy ballads. To complete this one sided theme, he should've swapped 'Kingdom Of Rain' with 'The Beat(en) Generation' and it would be thematically perfect.
It sounds like I'm really ripping this album to sherds and I don't want to give that impression at all. There are some excellent numbers on this record that I've always liked. Since I've never been a big Sinead O'Connor fan, it will come as no surprise that I didn't want to like 'Kingdom Of Rain' where she sings a duet with Johnson. Even today I find the lyrics somewhat off-putting and yet I really enjoy the music on this track. I love 'Armageddon Days Are Here (Again)'. It's such a wonderful song and has the most amazing beat. It's almost a relentless march over the top of Johnson's vocals, but in a way, that's where the true excitement comes from. It's a driving beat and it carries you all the way through the song to a big build and crescendo. By far the most satisfying number on the record. And in my opinion, should've been the opening track. Other stand out numbers include 'Gravitate To Me' and 'The Beat(en) Generation'. 'Gravitate To Me' has that incredible line, "I am the lighthouse, I am the sea, I am the air that you breathe, gravitate to me". Very awesome! I like the fact 'The Beat(en) Generation' is based on a painting Johnson saw. To me that gives him the impression of someone who finds inspiration in unusual places. I like that he appreciates contemporary art as well.
So in the end, as a kid, this record couldn't hold my attention. As a adult, it has more meaning and I appreciate its attempts at complexity. No one will ever accuse Johnson of not being a strong lyricist. He's just too good. But it was never going to be a record you could spoon-feed to a mass market. I'm sure his label had a field day trying to market it. I think I'll give it a less than perfect mark on my list and say that it's more for die-hard fans than a casual listener. Unless you know The The and are into what Johnson is doing, this album will probably bore you. My final words: RECOMMENDED FOR FANS.
THE THE - MIND BOMB
01. Good Morning Beautiful
02. Armageddon Days Are Here (Again)
03. The Violence Of Truth
04. Kingdom Of Rain
05. The Beat(en) Generation
06. August & September
07. Gravitate To Me
08. Beyond Love
I picked up this CD in Switzerland because one of my friends told me the band was pretty good. I decided to give them a shot and bought this disc because it was a greatest hits package. So now the question is... Did I like it? And the answer is a resounding SORT OF. There are two sides to Münchener Freiheit. One side is the inventive poetic lyrical side and the other is the generic 80's pop side. Sadly, there was a huge number of 80's bands that flooded the market with a certain sound. I would assume the appeal of Münchener Freiheit is based on the fact they played this text book rock in German. They offered the main course in their native language. The downside is the fact that because the sound was so overplayed they never stood a chance of breaking out of their own country.
All you have to do is look at the cover of the CD and you can see exactly what I'm saying. If Hollywood wanted to portray a rock star in a movie or on TV during the 80's, the character would look something like one of these guys. This was the manufactured style.
To their credit, when you strip away the standard pop arrangements, musically there's lots of great ideas in these songs. The strength of the band lies in their lyrics. With thoughtful word play and surprisingly beautiful descriptions, Münchener Freiheit do wonders for a language often overlooked for its poetry. Although many people consider German a guttural language, I find it sensible and descriptive. In my opinion you can say so much more in German than you can in English. The combinations are limitless, whereas English often requires imperfect rhyme.
There are quite a few stand out tracks on this cd. My two favorite songs are 'Verlieben Verlieren' and 'Ich Steh' Auf Licht'. Both are fantastic but in completely different ways. 'Verlieben Verlieren' is a mid-tempo ballad about the depth of love. 'Ich Steh' Auf Licht' is a faster paced number with a New Wave pop groove. It revolves around a strong synth motif and maintains a healthy burst of excitement for such a short track. There are other songs that are worth noting, but I'm in too much of a hurry tonight to get deeply involved with a review. Let's just say this disc has some songs I will listen to and others I'll skip. My final word is: WORTHY OF FURTHER INVESTIGATION, BUT NOT PRESSING FOR IT.
MÜNCHENER FREIHEIT - IHRE GRÖSSTEN HITS
01. Ohne Dich (Schlaf' Ich Heut Nacht Nicht Ein)
02. So Lang' Man Träume Noch Leben Kann (Single-Version)
03. Tausendmal Du
04. Oh Baby
05. SOS
06. Verlieben Verlieren
07. Es Gibt Kein Nächstes Mal
08. Herz Aus Glas (Single-Remix)
09. Rumpelstilzchen
10. Liebe Auf Den Ersten Blick
11. Bis Wir Uns Wiederseh'n
12. Ich Steh' Auf Licht
13. Komm Zurück
14. Ich Will Dich Nochmal
15. Einfach Wahr
16. Herzschlag Ist Der Takt (Remix)
17. So Heiss (Single-Remix)
18. Einmal Kommt Das Leben
19. Tausend Augen
BoyGirl is comprised of the members of Cooler Kids! I'm not sure why they switched to this name, but they did. The new material isn't the same as the Cooler Kids stuff in a number of ways... It's got a darker edge to it. The lighthearted pop is gone. However, that's not to be unexpected. The more familiar I became with Kaz Gamble's music, the more I realized he was drawn to darker, more sinister projects. At least he likes to dip his toes in evil's swimming pool. There's a great big feeling lurking behind all of these songs. I feel like if Kaz ever let go and embraced his potential, he'd spearhead another industrial empire similar to the one Praga Khan created with Lords Of Acid, Channel X and any one of a number of side projects he developed. As it stands now, Gamble moves from one collaboration to another and usually lets his collaborator decide on the direction the music will go.
The downside to this approach is his collaborators. In the case of Sisely Treasure, she's a limited singer and dancer. She could be awesome under the right direction, but when she's left to her own devices she writes mediocre lyrics and substandard dance moves. She needs a target to shoot for and in a situation where the target isn't as obvious as filling in for the former lead singer of an already established group, she can't define herself. Letting her take the lead produces disappointing results.
Despite the occasional embarrassing lyric, the CD features more highlights than let-downs. The opening track 'Catch Me', is a great opener. It's energetic and on the light side. It would've worked as a Cooler Kids track. It's followed up by my favorite track on the disc and also the track that indicates the minor themes of the album. It's a song about almost stalker-like waiting and an obsessive interest in another person. It's odd, disproportionate and brilliant. 'Take Me There' is another potential Cooler Kids number. However, it deals with a woman wanting her man to open up to her. 'Roses' has an incredible music track, but the lyrics deal with a lolita-like tale of a young girl.
'Stranded', 'Beginning To End' and 'Missing U' are all songs with great music tracks and even some interesting vocal arrangements. 'Last Breath' is the next track that really stands out. The music reminds me of a Nine Inch Nails song, but I can't quite put my finger on which one. I'll have to research it further and edit this entry later to include it.
The rest of the album falls into the roughly the same category... The music is strong, different and inventive. The lyrics often fall into generic themes with some interesting vocal arrangements from time to time. The last two numbers, 'GBoys/BBoys' and 'Diamond Age' are both interesting and unique enough to merit some attention. All in all, this is a noteworthy (though somehow incomplete) follow-up to the Cooler Kids disc. It certainly does give one the feeling greater things could come, but since the duo have disbanded and no longer record together, it's a shot in the dark. However, if you really loved Cooler Kids and felt jipped when the group disbanded after one album, here's your chance to get that final high before you quit them cold turkey. Don't count Kaz Gamble or Sisely Treasure out just yet. Both continue to make music and there's always a chance one of them will see success in one incarnation or another. My final words: AN EPILOGUE OF SORTS, BUT STILL ENJOYABLE.
BOYGIRL - DEMO LP
01. Catch Me
02. Krush
03. Take Me There
04. Roses
05. Stranded
06. Beginning To End
07. Missing U
08. Last Breath
09. Comfortable
10. So Famous
11. Allright
12. I Want You
13. GBoys/BBoys
14. Diamond Age
This was the very first Pet Shop Boys album I bought and I should like to ramble a little about how I discovered them... Like anyone growing up in the 80's, I knew the huge hit single, 'West End Girls'. I'd seen the video and knew the name of the Pet Shop Boys, but my efforts were geared more towards synth bands with strange hair and leather pants rather than a neatly trimmed duo with sensible shoes. I certainly liked the song and recorded it off the radio many times, but I never bought one of their records. Then, in the mid-90's, I was in a band in SLC and the lead singer was a Pet Shop Boys fanatic. He had everything they'd ever done including singles. Thus, my exposure to the band began. And through this exposure, my appreciation for the group.
After that relationship soured and I moved to Las Vegas, I picked up this little number at a used CD store. I remember having heard the disc before with my ex bandmate, but the only song I could recall with any clarity was 'My October Symphony'. Mainly because I found the title so odd. As I listened to the record the first time through, I was surprised to find my impression was completely different from what I'd thought when I listened to it with him.
'Being Boring' is the opening track and the music features sweeping harp sounds and a confidential vocal delivery from Neil who treats the song like a secret he's telling a close friend. It's a recollection, but one of deep personal meaning. I listen to it and although I don't relate to the lyric entirely, I do get caught up in the nostalgia. I think of my younger days and the crazy things I experienced. Of course for people my age, our movements weren't as political or dramatic as previous generations. Our biggest dilemmas were fashion and nuclear war. Even though 'Being Boring' has a mid-tempo beat, it's still largely on the slow side and it's followed up by a ballad. 'This Must Be The Place I Waited Years To Leave' was written years before the first Harry Potter book was released and yet every time I hear the song I think of Harry leaving Privet Dr. and heading to King's Cross Station. This is the song I imagine going through his mind. 'To Face The Truth' features a light Merengue beat and another emotional song about a couple facing problems because of infidelity and lying.
'How Can You Expect To Be Taken Seriously?' is the first song with a serious beat. It still falls in the mid-tempo range, but it's at least got some momentum. As I mention in the single review, I suspect this song is about a specific person, though I have no idea who it is. It's essentially a song about a famous person who diminishes their own credibility by behaving badly. 'Only The Wind' comes in directly afterward with those punctuating orchestral hits that were so big in the 80's. Like magic, they're only there to serve as misdirection. The real meat of the song is in the lyrics and the soulful vocals by Neil. As a vocalist, Neil doesn't have a huge range or an overwhelming presence. The appeal is in his pronunciation and his ability to emote vulnerability and other emotions through his singing style. 'My October Symphony' picks up the pace a little. Without moving beyond the comfortable sound they've established on the record thus far, the duo embrace a skipping drum beat to embellish with strings and piano. This is the song I remember most from earlier exposure to the record.
After so many relaxed numbers, 'So Hard' moves in like a dance floor tank rumbling across the debris of a shattered smooth surface. The only subdued aspect of the song is the virtual whisper of Neil Tennant. Again, the stabbing orchestra hits make a return appearance and this time not to the benefit of the song. They are distracting and create a tension the song doesn't need at all. As much as I like the lyrics of the song, I can't escape the melodrama in the music. It's too powerful. 'Nervously' is the return to established form as far as the record is concerned. It's also the obligatory gay love song. Just listen to the lyrics. 'Jealousy' ends the album on a quiet sombre note. It deals once again with infidelity. I mention it before 'The End Of The World' because for me, the tracks play better this way. I love the build on this number and in my opinion, this is the only dance number on the entire record. It's a wonderful progression, interesting lyrics with an excellent delivery and a beat that's simply infectious. The Pet Shop Boys have mastered this sound, but back then it was still a hit and miss at times. In the case of this song, they hit the bullseye. And it's a far more positive and powerful way to end the record than 'Jealousy'. Hence my reason for sticking it at the end.
Overall, I found a lot of things to be interested in when I listened to this record. I heard lyrics that were positively brilliant and thought provoking. I also felt myself drawn to the soft spoken quality in Neil Tennant's voice. The music is a nod to period electronica with references to show tunes and motion picture scoring. I liked it enough to buy more and that's all that matters. In this case, they succeeded famously. My final words: POIGNANT AND CLEVER.
PET SHOP BOYS - BEHAVIOR.
01. Being Boring
02. This Must Be The Place I Waited Years To Leave
03. To Face The Truth
04. How Can You Expect To Be Taken Seriously?
05. Only The Wind
06. My October Symphony
07. So Hard
08. Nervously
09. The End Of The World
10. Jealousy
There's something to be said for these older Pet Shop Boys singles. Back in the day, they understood the value of providing content for their fans. And they did it for quite some time until they discovered the money making process of releasing multiple singles. One for the title track and the b-side and another for the mixes. Double the money. I personally think it's a horrible way to rake over your fans for more money and I've always respected artists who try to provide value in their releases without resorting to cheap tactics to generate additional income. Granted, this can be more of a record company ploy rather than something the artist is doing. Regardless, I think a band has some control over what their label does. Trent Reznor of Nine Inch Nails controls the single releases from his albums and I have to believe others have some say as well. When you're wealthy, you don't consider how expensive it can be for your fans to buy what you're releasing.
Ok, now that I've ranted, I'll make my point... This single has everything. It's got mixes of album tracks, b-side and it's all wrapped up in one release. Perfect. This single has great value. The first three tracks are versions of the title track. 'How Can You Expect To Be Taken Seriously?' is a clever tune about how ridiculous famous people can be. How their excessive exploits can destroy their credibility. Interesting subject matter and I suspect it's inspired by someone in particular, but I have no clue who it is. The first track is the album version. The second is a nice mix. It's not as exciting as the original version, but it's enjoyable and easy to listen to. The third is an instrumental version of the song focusing mainly on the piano. It's followed by Trevor Horn's mix of 'It's Alright'. I'm not sure I can hear a major difference between this and the official album release other than the length. I believe this track is an edit.
'We All Feel Better In The Dark' is a b-side and one of the better ones they've done. It features some deep sounds and a rushed vocal by Chris Lowe (one of his few vocal performances) with Neil singing the calming chorus over the top.
The final track is a rather nice mix of 'Being Boring'. So here you have great mixes of album tracks, not just the title song and a b-side to boot. All in all, a well rounded release and by far one of the best the group have done. My final word: VALUE!
PET SHOP BOYS - HOW CAN YOU EXPECT TO BE TAKEN SERIOUSLY?
01. How Can You Expect To Be Taken Seriously? (Album Version)
02. How Can You Expect To Be Taken Seriously? (7" Perfect Attitude Mix)
03. How Can You Expect To Be Taken Seriously? (Classical Reprise)
04. It's Alright (Trevor Horn Mix)
05. We All Feel Better In The Dark
06. Being Boring (Marshall Jefferson 12" Mix)
