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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)
This is an interesting entry because I have the unique opportunity to review not only the album prior to it's release, but I also get to review the concert I saw in support of the album. Let me start by discussing the concert. I saw the show in Salt Lake City, UT where I was able to purchase an advance copy of the album. This is the second time this year I've seen them play at The Urban Lounge in SLC. However, this time around was the lesser of the two shows. But not because of Electric Six. The crowd was much smaller (probably due to the fact they played Saturday night on conference weekend). For those of you who aren't in the know... Utah Mormons have conference weekend twice a year and they have two days of internationally televised church services they watch. It's considered quite an honor to attend the meetings in person and there is high competition for seats at the actual services. I wasn't surprised to see a smaller turnout and I sincerely hope E6 didn't assume it was because they weren't a draw. They were competing against the social culture of an entire state.
The show itself was very entertaining and well performed. Unlike the previous show, there were a couple of new songs included. That's always a struggle because the crowd isn't as familiar with the new tracks and it's often hard to get excited about music you haven't heard yet. I'd heard both the tracks prior to the show and anticipated hearing them live. Here's the setlist:
01. French Bacon
02. After Hours
03. Down At McDonnellzzzz
04. Pink Flamingos
05. Naked Pictures (Of Your Mother)
06. When I Get To The Green Building
07. It Ain't Punk Rock
08. Gay Bar
09. Gay Bar Part 2
10. She's White
11. Clusterfuck
12. Jam It In The Hole
13. Danger! High Voltage
14. Gridlock!
15. Dance Epidemic
16. I Buy The Drugs
17. Dance Commander
Prior to the concert, Dick Valentine told me they were going to play "Hello! I See You!" as well, but they didn't. I love that song and really wanted to hear it performed. I read a review by one guy in Salt Lake and he said E6 kinda dragged their way through the show. But I felt quite the opposite. I felt the crowd was dragging, not the band. E6 delivered an excellent program and I completely enjoyed the experience. It was worth the drive!
I've taken the past week to really listen to and absorb the new CD and I can best describe the disc as almost a tribute to 80's music. The new record is definitely more new wave than previous efforts and relies more heavily on synth and keyboards. While some songs incorporate sounds highly reminiscent of specific bands, others have a more generic 80's feel. The last two albums, "Kill" and "Zodiac" seemed to veer more towards the alternative rock/punk genres more than the disco/rock hybrid of previous efforts; which makes "Heartbeats And Brainwaves" a bit of a surprise. And yet, that's part of the appeal of Electric Six. Anyone who reads my blog knows I'm a sucker for artists who defy category and incorporate various types of music creating something new. I like bands that evolve. Musical change is always a good thing. I tend to think fans of the band will find this record difficult. It probably won't rank high in the order of their favorite E6 albums. It's too much of a divergence from standard fare. But the fans who enjoy the experimental diversity of E6 will embrace the record as another mutation of this fascinating musical force.
For me, the album includes many serious high points. I get excited by tracks like 'Hello! I See You!', 'Gridlock', 'The Intergalactic Version' and my personal favorite... 'It Gets Hot'. There are so many great songs on this record, it's hard to say any of them are bad. From the mid-tempo stomp of 'Psychic Visions', (borrowing both the gasping breaths and thumping drum beat of Depeche Mode's 'Personal Jesus'), to 'Heartbeats And Brainwaves', (a tune that wouldn't sound out of place on a Pet Shop Boys record), you can hear the influence of many bands from the 80's. Talking Heads, New Order and Erasure being just a few I'd mention here.
I should mention the appearance of Mark Mallman on 'Psychic Visions'. He was one of the opening bands I saw at the concert. He guests on keyboards and vocals for the track and just as a note for those interested... He's a dynamic performer! When he started playing, I was almost laughing at his theatrics, but by the end of the set, I was clapping and cheering along with the songs. There were a couple of moments during certain songs that really caught my attention. I'm going to pick up his CD and check it out. Very engaging.
The sound of previous records may not be overtly present on this new record, but you can rest assured many of the qualities you've come to respect and admire in Electric Six recordings are present. The funky beats are here, the animated vocal style of Dick Valentine is present, the offbeat and sometimes naughty themes are accounted for, that disco sensibility is all around and last but not least are the incredible lyrics! Once again, you have amazing amounts of intelligent and thoughtful ideas expressed in a rhythmic way. "Hello, Destructor. I'm yours for the destroying". Not only has this disc been present in my truck since the day I bought it, I take it with me wherever I go. It's been played on home stereos, computers, playstations and even in my dvd player. Je Adore this side of Electric Six! Wonderful! My final words: A TRANSDIMENSIONAL TIME WARP BACK TO THE 80'S! oh and... YUMMY.
ELECTRIC SIX - HEARTBEATS AND BRAINWAVES
01. Psychic Visions
02. French Bacon
03. Gridlock!
04. It Gets Hot
05. The Intergalactic Version
06. Interchangeable Knife
07. Food Dog
08. Hello! I See You!
09. Bleed For The Artist
10. We Use The Same Products
11. Eye Contact
12. Free Samples
13. I Go Through Phases
14. Heartbeats And Brainwaves
This album came out in 1982. I remember discovering this band in junior high school. So many kids were listening to them. I think because they used some naughty words. Seems like when you're a kid, hearing someone swear is pretty intense. Of course these days, I don't even pay attention to language like that. It just kinda slides past me. So what can I say about this record? It wasn't the first Femmes tape I bought. The first one was "Hallowed Ground"; which is actually the band's second release. But it was the first one I was exposed to. The band consists of guitar, bass and drums. What the musical trio lack in inventive sound, they make up for with interesting lyrics, rapid paced music and infectious melodies. As simple as it is, this is one record you can readily sing along with and really jam.
Probably the most recognizable songs from the Violent Femmes repertoire show up on this release. I suspect it's also the band's most successful recording to date. Subsequent releases have failed to come to my attention, but most of these tracks are 80's classics. Arguably the most famous song, 'Blister In The Sun' starts off the record at a romping pace. Gordon Gano delivers this ode to pre-ejaculation with as straight laced a vocal as one can expect. In fact, unless you're paying close attention to the song, the lyrics are quite vague and wouldn't even make you think of sex. It's followed up by 'Kiss Off', probably the second most famous Femmes track. During the volatile early 80's when Punk was transforming into the New Romantic or New Wave sound, there was a musical void desperate to be filled and bands like the Femmes combined Americana rock with teenage angst to create a different sound that eventually found a home with alternative country artists like Ryan Adams, Old 97s, Whiskeytown and even some Honky Tonk singers like Wayne Hancock. You can also hear them in the sound of Norah Jones. Mainly from her time with Lee Alexander and you can hear them sometimes in the lyrics of Billy Corgan from Smashing Pumpkins.
'Please Do Not Go' is the group's first attempt at a slow song. I say slow, but it's more of a meandering stroll, making it's way along the neck of the bass guitar. The lyrics tell the story of a man trying to win the heart of his love back. But seriously, if I was leaving and someone sang me a song like this to get me to stay, I'd be running for the hills. Hehehe. 'Add It Up' starts off with Gano singing sadly in the background. Then here comes that driving tempo again. Another classic tune and another well known track from this record. 'Confessions' really is a slow tune in every sense of the word. However, like 'Please Do Not Go', it kinda rambles. There is a strange urgency in the vocal delivery. Gano seems on the verge of revealing something, but never really lets you in on his secret. Once again, the beat picks up with 'Prove My Love'. This is my personal favorite. I love the description of the relationship and the confusion he feels when he sings, "what do I have to do, to prove my love to you."
'Promise' continues the beat. Another excellent tempo tune with an interesting vocal delivery. 'To The Kill' borders on freeform jazz in some ways. The music takes a minute to find a groove, but when it does, it falls into that same half ballad slow song mix we've already heard twice on the record. They perfect this approach on later albums. This particular track has an extremely disjointed feel to the music and I believe the intent is to keep the listener off guard and not knowing what to expect. 'Gone Daddy Gone' introduces a xylophone into the musical mix and is probably the most radio friendly of all the songs on the record. This song would be great for greaser bands or even a Honky Tonk band to cover. I really love this tune. 'Good Feeling' brings in a piano and has the odd feeling of a hymn. You can imagine the song being sung in church. Well if it had anything to do with religion. But like the other songs on this record, it deals with unfaithful lovers, problematic relationships and sex.
This cd release features a couple of unreleased bonus tracks. The first, 'Ugly' sounds like a 50's rock track you'd hear in a soundtrack to a John Waters' film. 'Gimme The Car' is another slower paced tune, but it features some really great guitar playing and I actually love it.
So the Femmes are an interesting band with strange lyrics, odd arrangements and minimalist sound. Altogether, it's quite effective and worth listening to. If you remember this little corner of 80's history, you should pick up this release and enjoy it! It's worth the purchase. My final words: IT ALL ADDS UP!
VIOLENT FEMMES - VIOLENT FEMMES
01. Blister In The Sun
02. Kiss Off
03. Please Do Not Go
04. Add It Up
05. Confessions
06. Prove My Love
07. Promise
08. To The Kill
09. Gone Daddy Gone
10. Good Feeling
11. Ugly
12. Gimme The Car
