Lou Reed "Legendary Hearts" (1983)

Legendary Hearts
release date: Mar. 1983
format: digital
[album rate: 3,5 / 5] [3,55]
producer: Lou Reed
label: RCA Records - nationality: USA

Track highlights: 1. "Legendary Hearts" - 2. "Don't Talk to Me About Work" - 6. "Turn Out the Light" - 9. "Bottoming Out" - 10. "Home of the Brave" - 11. "Rooftop Garden"

12th studio album by Lou Reed is one of Reed's better albums in the 1980s. The album has a fine balance of pop / rock and blues rock with some jazz rock elements on top of more typical singer / songwriter material. I also like the production side of it, which seems like a rare album being released at a time when almost all artists followed a productional idea with [too] heavy focus on drums and keyboards up front. In fact, listening to it from post-2000-perspective the album doesn't feel like an early 1980s release at all. The album doesn't contain big hits, nor great single tunes - it's more like the whole album is its biggest asset. It's fine just to listen to, but it's also brilliant as background wall-paper (not paying lyrics or music much attention) for a quiet evening with red wine and good company.
[ allmusic.com, Rolling Stone 4 / 5 stars ]

Everything but the Girl "Temperamental" (1999)

2015 Deluxe Edition

Temperamental
release date: Sep. 28, 1999
format: 2 cd (2015 remaster - Deluxe Edition)
[album rate: 4,5 / 5] [4,28]
producer: Ben Watt
label: Edsel Records - nationality: England, UK

Tracklist: Disc 1, 1. "Five Fathoms" (4,5 / 5) - 2. "Low Tide of the Night" - 3. "Blame" (5 / 5) - 4. "Hatfield 1980" (4,5 / 5) - 5. "Temperamental" - 6. "Compression" (4,5 / 5) - 7. "Downhill Racer" - 8. "Lullaby of Clubland" - 9. "No Difference" - 10. "The Future of the Future (Stay Gold)" - *11. "Firewall" - *12. "Come In (unfinished album track)" - *13. "Temperamental (live at The Forum, London, 1999)"

Disc 2, "Remixes": 1. "Five Fathoms (Club 69 Future Club mix)" - 2. "Five Fathoms (Kevin Yost Enlightenment mix)" - 3. "Temperamental (Pull Timewarp mix) - 4. "Temperamental (Hex Hector and Mac Quayle Reverse Drum dub)" - 5. "Temperamental (Wamdue Project remix)" - 6. "Blame (Fabio remix)" - 7. "Blame (J Majik VIP remix)" - 8. "Downhill Racer (Kenny Dope remix)" - 9. "Lullaby of Clubland (Markus Schulz Tribal Journey)" - 10. "Lullaby of Clubland (Matty Heilbronn II Deep Club mix)"
*Bonus tracks

10th studio album by Everything but the Girl originally released on Virgin Records. The album is the so far final studio album by the twenty-year old duo. On a superficial level it's odd to put a highly successful project to a halt. The huge success from the mid 90s up until this point has much to do with their decision to step into the electronic genre. Todd Terry's remix of "Missing" (1994) became their biggest hit. The house element from that could easily be found on the '96 follow-up album Walking Wounded where it's blended nicely with trip hop, which proved to be another fine statement and evolvement of their music.
Temperamental is an even more electronic-founded album than its two predecessors without much of the trip hop sound from Walking Wounded but it introduces a great synthesis of house, downtempo and the duo's trademarks of jazz pop elements from sophisti-pop and lounge. On top of a strong unique sound the album is like one long meditative take.

The reception of the album was very positive. The duo faced fine reviews and had become a huge name in electronic club-land. Watt intensified his work as producer and DJ, but the couple apparently felt trapped in the stardom that followed Temperamental and only wanted to lead a more private life. In 1998 Tracey Thorn gave birth to twin daughters, and a son followed in 2001, which possibly was decisive changes in their private life and also brought an end to this great duo. Ben Watt and Tracey Thorn were married in 2008, and they're still both engaged in music, although, there are no signs of a continued close musical partnership as Everything but the Girl, alas.

To me, this is one of the very best by the duo, and also one of the absolute best of the year.
Highly recommendable.

About the remaster:
The Deluxe 2xCD Edition remaster booklet is a fine updated package. Not as much for being a remaster as I find it a bit difficult to hear the big differences, but for adding another 3 tracks to an already brilliant album, and on top of that it gives you an additional 10 remixes that are all very unique despite originating from only 5 different songs.
The album is simply one of the best by the duo continuing in the electronic steps laid out on Amplified Heart and followed on Walking Wounded.
[ allmusic.com 4,5 / 5 stars ]

1999 Favourite releases: 1. The Chemical Brothers Surrender - 2. Underworld Beaucoup Fish - 3. Everything but the Girl Temperamental

back cover

PJ Harvey "Let England Shake" (2011)

Let England Shake
release date: Feb. 11, 2011
format: digital
[album rate: 3 / 5] [3,22]
producer: Flood, Mick Harvey, John Parish, PJ Harvey
label: Island Records - nationality: England, UK

Tracklist: 1. "Let England Shake" - 2. "The Last Living Rose" - 3. "The Glorious Land" - 4. "The Words That Maketh Murder" - 5. "All and Everyone" - 6. "On Battleship Hill" - 7. "England" - 8. "In the Dark Places" - 9. "Bitter Branches" - 10. "Hanging in the Wire" - 11. "Written on the Forehead" - 12. "The Colour of the Earth"

8th studio album by PJ Harvey released on Island Records (Vagrant in the US) and produced by Flood [Mark Ellis], Mick Harvey, John Parish, and PJ Harvey. The album comes 3½ years after White Chalk (Sep. 2007), and stylistically it doesn't deviate much from that. The 2007 album dealt much about the same old England like this one. Here, the songs are more orchestrated but still with bold and quiet folk and chamber pop.
In the UK the album was met as her finest album to date. Harvey was nominated the Mercury Prize Award in 2011, like she had been on three other occasions before - only, this time she won it, and she is so far the first artist to receive that prize more than just once, as she also won in 2001 for the album Stories From the City, Stories From the Sea (2000). Harvey has received a number of other prizes for the album, and it's (perhaps) her best-selling album worldwide, peaking at number #8 on the UK albums chart list and making it to top 10 in various other countries.
Looking at her most recent studio releases it appears that she feels comfortable playing with Mick Harvey and perhaps especially with John Parrish, with whom she released the second collaboration album A Woman a Man Walked By in 2009, and that she has found a more mature role playing more folk-based music with lyrical roots in ancient British literature. Particular in England, critics and people in general, I guess, are happy to have this female exponent of modern art that bonds with the glorious past. And I know from reviews that the album was received in mostly positive terms abroad as well.
In spite of all the acclaim, I just don't find it that rewarding, and perhaps because my musical fascination is very much dependent on the musical output - regardless lyrical strengths. This is sincere and mellow music but it doesn't really touch me. Writing about World War I, and dealing with conflicts as a conceptual element is simply not enough. I find the music repetitious and on a halt without musical progression or originality. Concerning album highlights, I find that a difficult subject 'cause from my perspective, the album is without obvious highs. The whole album is like one long take. The storytelling is initiated, prolonged, extended and finished without much fuss. Yes, there are obvious epic elements, but this is not a novel. I'm sorry, Polly Jean, and you're still fabulous. A bit undeservedly, the album is enlisted in "1001 Albums You Must Hear Before You Die".
[ allmusic.com 4 / 5, Rolling Stone 3 / 5 stars ]

"National Lampoon's Animal House" (OST) (1978)

National Lampoon's Animal House (soundtrack)
release date: Jul. 28, 1978
format: vinyl (reissue)
[album rate: 4 / 5]
producer: Kenny Vance
label: MCA Records - nationality: USA

Soundtrack album to the comedy film "National Lampoon's Animal House", or just: "Animal House" (1978) directed by John Landis and starring John Belushi.

Thin Lizzy "Nightlife" (1974)

Nightlife
release date: Oct. 1974
format: cd
[album rate: 3 / 5] [3,06]
producer: Phil Lynott, Ron Nevison
label: Vertigo Records - nationality: Ireland

Track highlights: 1. "She Knows" (3,5 / 5) - 3. "It's Only Money" - 4. "Still in Love With You" (live) - 6. "Showdown" - 8. "Philomena"

4th studio album by Thin Lizzy. After a mediocre debut the band released another two albums as the same trio, both without much change in style and / or success, although, the '73 album contains signs of a more original sound and also introduces some of Lynott's classic works. Prior to the recording of Nightlife, Eric Bell left the band and two new members joined and proved essential in shaping a new and more significant style. Scott Gorham and Brian Robertson, both on guitar was now part of the new Thin Lizzy that would be the first classic quartet. Using two guitarists was rather unusual for a traditional pop / rock band but it also enabled a quite unique sonic shape. Eric Bell was never known for his exquisite performances, and it seems that both Robertson and Gorham were better instrumentalists.
The album is probably the band's most laid back and least hard rock studio album with both funk and soul elements in an overall blues rock-founded album. Gary Moore had been a member of the band for a few months as he joined the band in late '73 when Bell left the band while on tour, and Moore was included for live sessions. He left again in April '74 but managed to record a few new songs with band and therefore he plays lead guitar on "Still in Love With You".
[ allmusic.com 3,5 / 5 stars ]

The Prodigy "Baby's Got a Temper" (2002) (single)

Baby's Got a Temper, single
release date: Jul. 1, 2002
format: digital
[single rate: 3 / 5] [3,22]
producer: Liam Howlett
label: XL Recordings - nationality: England. UK

Tracklist: 1. "Babys Got a Temper (Main Mix)" - 2. "Babys Got a Temper (Dub Mix)"

A single release by The Prodigy, which wasn't released on any of their studio albums. The track is written by vocalist Keith Flint for his side-project, Flint featuring on the album Device #1 (2003) as last uncredited (hidden) track "No Name No Number (NNNN)", but as usual it has been produced and mixed by Liam Howlett.
The reception of the single was mostly a negative one, as many saw this as a step backwards and / or in a more superficial direction. Also, the music video led to a lawsuit against the band due to its depiction of drug abuse and sale of cows milk with drug effect.

PJ Harvey "White Chalk" (2007)

White Chalk
release date: Sep. 24, 2007
format: digital
[album rate: 3 / 5] [3,18]
producer: Flood, John Parish, PJ Harvey
label: Island Records - nationality: England, UK

7th studio album by PJ Harvey released on Island Records and produced by Flood [Mark Ellis], John Parish, and PJ Harvey. It's been 3 ½ years since the previous studio album Uh Huh Her (2004) and this time she has turned to a new style of folk-oriented chamber pop, and gone is her 'usual' sticker of alt. rock.
The album was well-received by critics mostly everywhere, and the album generally sold well. I just don't like it all that much - and never did. Maybe one day I'll understand why people call it great. Heather Phares at allmusic.com writes: "When she's at the peak of her powers, as she is on this frightening yet fearless album, the world she creates is impossible to forget, or shake off easily. 'White Chalk can make you shiver on a sunny day." Bob Sheffield writes for Rolling Stone and he states: "The songs aren't knockouts, avoiding the big choruses she does so well. But they have a cold pastoral kind of chill, as Harvey howls about being possessed by demon lovers and ghosts in "The Devil" and "The Piano." Well, I simply do not agree, Bob. Although, intimate, I find it long and tedious, and I don't consider this at her peaks, but yes Bob, the songs aren't knockouts, I concede on that, but having to scratch for poetic and historical bonds in English soil is not enough to make it great. She could've released the songs in a booklet 'cause the music is left without personal intensity or involvement, as I see it. Buy hey, it's PJ Harvey isn't! I find it better than a lot out there, and it's no near a mediocre album, but it may just be her least favourable studio album.
[ allmusic.com, Rolling Stone 4 / 5 stars ]

Cocteau Twins "Aikea-Guinea" (1985)

Aikea-Guinea (ep)

release date: Mar. 4, 1985

format: vinyl (BAD 501)

[album rate: 3,5 / 5] [3,28]

producer: Cocteau Twins

label: 4AD - nationality: Scotland, UK

Tracklist: A) 1. "Aikea-Guinea" - 2. "Kookaburra" - - B) 1. "Quisquose" - 2. "Rococo"

Ep release by Cocteau Twins following the release of the album Treasure (Nov. 1984) with four non-album tracks. The title track was also released as a 7'' single with track #2 as only other track. The title track was later released on the The Pink Opaque (Dec. 1985) compilation album for the US market.

The ep doesn't quite reach the heights of Treasure but still feels like a lighter direction to the post-punk reminiscense of Head Over Heels (Oct. 1983).

PJ Harvey "The Peel Sessions: 1991-2004" (2006)

The Peel Sessions: 1991-2004 (compilation)
release date: Oct. 23, 2006
format: digital
[album rate: 3 / 5] [3,18]

A compilation album containing tracks from five John Peel sessions at BBC, released through Island Records and produced by Mike Robinson, Alison Howe, Simon Askew, and Andy Rogers. Well, some Peel sessions are truly original versions of well-known artists' work, but the majority of these recordings are really not all that different from Harvey's own album versions, so in that way this it "just another compilation" of fine tracks, and is more of a collector's item. And being rather familiar with 8 of the album's 12 tracks, I really prefer the studio album versions. The production sound here is really not that great. Sometimes you need the scraped down versions of things making it more authentic, I guess, but here that strategy don't work that well. Some Harvey's best early songs all have a certain balance of fierce energy and bedroom rehearsal recording sound that just fits so well, but in these recordings that balance is lost. Everything comes out as mere demo-recordings she did much better on her own, eg. on her 4 Track Demos album.
[ allmusic.com, Uncut 4 / 5, Mojo 2 / 5 stars ]

Big Country "Chance" (1983) (single)

Chance, 7'' single

release date: Aug. 26, 1983

format: vinyl (814 350-7)

[single rate: 4 / 5] [4,12]

producer: Steve Lillywhite

label: Mercury Records - nationality: Scotland, UK

Tracklist: A) "Chance" - - B) "The Tracks of My Tears"

Single release by Big Country is the band's fourth and final single taken from the debut album The Crossing (Jul. '83). The A-side is from the album, whereas the B-side track is a cover written by 'Smokey' Robinson, Warren 'Pete' Moore and Marvin Tarplin originally a song by The Miracles from 1965 released as a single, Jun. '65 (later that year released on the debut Going to a Go-Go (Nov. 1965) by Smokey Robinson & The Miracles.

Siouxsie and the Banshees "Tinderbox" (1986)

Tinderbox

release date: Apr. 21, 1986

format: vinyl (SHELP 3) / cd (2009 remaster)

[album rate: 3,5 / 5] [3,68]

producer: Siouxsie and the Banshees

label: Polydor / Wonderland - nationality: England, UK

Track highlights: 1. "Candyman" - 2. "The Sweetest Chill" - 4. "Cities in Dust" (4 / 5) (live on The Old Grey Whistle Test) - 5. "Cannons" - 6. "Party's Fall" - 8. "Land's End" (live on The Old Grey Whistle Test) - *10. "The Sweetest Chill (Chris Kimsey 12" Remix)" - *11. "Song From the Edge of the World (JVC Version)" - *12. "Starcrossed (demo)"

*Bonus track on 2009 remaster

7th studio album by Siouxsie & The Banshees (as the band is stylized here) (SATB), following nearly full two years after Hyaena (Jun. 1984), which saw the band among other things having to find a suitable replacement for guitarist Robert Smith, who ultimately found it too challenging to be engaged in several groups and finally chose to concentrate fully on his brain-child, The Cure. Smith was eventually replaced by John Valentine Carruthers, who first features on the The Thorn EP (Oct. 1984).

The guitar has always played a special part in the music by SATB, which means there's a natural audible change on the album here. It's not so much that the guitar sound has disappeared, but to a larger extent that the album makes more room for other instruments. Severin's bass has gained more volume and Budgie's drums also uphold a significant position in a soundscape that is particularly characterised by the use of strings: violins, cellos, and keyboards simulating similar instrumentation - all of which emphasises a certain chamber pop feel and for the most part: a distinct art pop style on all compositions. It's not a ground-breaking newfound sound as such, but it's certainly a new foundation, and that's how it's always been with this band. Each new album has its own touch and Tinderbox is generally beautifully produced.

The album garnered positive reviews and landed at number #13 on the UK albums chart, possibly thanks to two singles preceding the album. The first single "Cities in Dust" was released already in Oct. '85 and it got a great deal of airtime on MTV and it peaked at No. #21 on the singles list. The song presents a distinctly stronger dance-friendly style as alt. dance / dance pop, which is why it found a spot at number #17 on the US Dance Club Songs chart. The second single "Candyman" was released in Feb. '86 and charted at number #34.

"Cities in Dust" is a fine, strong and iconic track that fits the band's distinctive profile perfectly, whereas the album doesn't quite reach the level of Hyaena. "Land's End" is a super-nice progressive and unconventional composition with focus on Severin's fretless bass and Budgie's skills as equilibrist percussionist - something that may also be heard on several other tracks on an album that has also found room for a few fillers. Still, Tinderbox is a thoroughly solid album both proving Carruthers as a sublime guitarist and at the same time demonstrates that SATB still have great musical potential and still are capable of the difficult task of evolving.

The front cover reproduces a photograph of a tornado taken by Lucille Handberg near the town of Jasper, Minnesota, Jul. 8, 1927. It's a classic image, which previously served as the cover of Miles Davis' Bitches Brew (1970) and for Deep Purple's Stormbringer (1974).

The 2009 remaster comes with four bonus tracks - two remix versions, and two non-album tracks, which are quite fine compositions.

Recommended.

[ allmusic.com 4,5 / 5 stars ]

Jacques Brel "Brel (aka Les marquises)" (1977)

Brel (aka Les marquises)

release date: Nov. 17, 1977

format: vinyl (gatefold)

[album rate: 4 / 5] [3,77]
producer: ? (rec. by Gerhard Lehner)

label: Barclay - nationality: Belgium

Track highlights: A) 1. "Jaurès" - 2. "La ville s'endormait" - 3. "Vieillir" - 4. "Le bon Dieu" - - B) 1. "Les remparts de Varsovie" - 2. "Voir un ami pleurer" - 4. "Jojo" - 6. "Les Marquises"

14th and final studio album by Jacques Brel following five years after Ne me quitte pas (Sep. 1972), which is made up of new recordings of Brel's most famous songs making this his first album with new material in 9 years.

My Bloody Valentine "You Made Me Realise" (ep) (1988)

You Made Me Realise (ep)

release date: Aug. 8, 1988

format: cd (1990 reissue)

[album rate: 3,5 / 5] [3,55]

producer: My Bloody Valentine

label: Creation Records - nationality: Ireland

Tracklist: 1. "You Made Me Realise" - 2. "Slow" - 3. "Thorn" - 4. "Cigarette in Your Bed" - 5. "Drive It All Over Me"

Ep by Irish band My Bloody Valentine following the Ecstacy (Nov. 1987) mini-album, which was the first album to feature Bilinda Butcher, who had replaced vocalist David Conway after his own decision to leave the band in early '87. Initially, the ep was exclusively released on vinyl, and from 1990 as a cd. Half of the songs also ended up on the North American version of the compilation ep Feed Me With Your Kiss (Nov. 1988) released on Mercury.

It's quite telling how the style of the band evolves from one release to another. The style of The New Record by My Bloody Valentine ep (Sep. 1988) introduced a style closer to that of The Jesus and Mary Chain, and that is pretty much still the case here, although, it also reveals some news. Where "You Made Me Realise" and "Slow" are pure noise pop songs, which both comes the closest to style of The Jesus and Mary Chain here, the three remainders sound more like a fusion of 1960s surf rock and a jangle pop influence from The Smiths. Overall, there's now much more room for bass and heavier drums, and the production sound has generally improved.

Hüsker Dü "Warehouse: Songs and Stories" (1987)

Warehouse: Songs and Stories
release date: Jan. 19, 1987
format: cd (1992 reissue)
[album rate: 4 / 5] [4,22]
producer: Bob Mould & Grant Hart
label: Warner Bros. - nationality: USA

Track highlights: 1. "These Important Years" - 2. "Charity, Chastity, Prudence, and Hope" - 3. "Standing in the Rain" - 5. "Ice Cold Ice" (4,5 / 5) (live 2012) - 7. "Could You Be the One?" (4 / 5) (live) - 9. "Friend, You've Got to Fall" (4 / 5) - 10. "Visionary" - 11. "She Floated Away" - 12. "Bed of Nails" - 14. "It's Not Peculiar" (4,5 / 5) - 16. "No Reservations" (5 / 5) - 17. "Turn It Around" ( 4 / 5) - 18. "She's a Woman (And Now He Is a Man)" (live) - 19. "Up in the Air" (5 / 5) [ cover by Heidi Berry ]

6th and final studio album by Hüsker Dü follows only 10 months after Candy Apple Grey (Mar. '86) and was originally released as a double vinyl album produced by Bob Mould and Grant Hart who practically divide the writing credits between them - 11-9 in Mould's favor on the total of 20 tracks, but with a more equal share by the two than earlier (according to Grant, Mould made sure there he maintained a 55/45 % advantage in the numbers of songs represented by the two). Prior to the recording sessions Hart was both diagnosed Hepatitis C and HIV-positive - the latter diagnosis proving incorrect after the band split in '87.

The style is not far from what is found on Candy Apple Grey. Perhaps this is less folk rock-inspired and focusing more on alt. rock and power pop with some links to the near past of punk rock. The album has always been my favourite by the band, and to me, this also shows Mould as the more harmony-founded and Hart as the more complex songwriter of the band. Tensions between Mould and Hart had long led to increased tension - some suggest that Mould could no longer accept Hart's drug addiction - others that Hart proved to be Mould's equal and challenged Mould's role as leader. Fact is, the band dissolved at some point during its '87-tour, while Hart was undergoing methadone-treatment. The album received wide-spead acclaim and it's the only Hüsker Dü album enlisted in "1001 Albums You Must Hear Before You Die". Three singles were issued to promote the album: Track #7 and track #18, followed by track #5.

After the split, bassist Greg Norton stopped as a musician and concentrated on a life running a restaurant business for the next two decades after which he returned to music in 2006 in the band The Gang Font. The two songwriters continued their individual careers in music. Grant Hart released his solo debut album Intolerance (1989) and then founded and continued in the band Nova Mob for two album releases before again returning to a solo career. Bob Mould released two solo albums Workbook (1989) and Black Sheets of Rain (1990) before forming the trio Sugar for three album releases after which he also returned to a solo career.

[ allmusic.com 5 / 5, 👎Rolling Stone 3 / 5, 👍Q Magazine 4 / 5 stars ]

1987 Favourite releases: 1. The Smiths Strangeways, Here We Come - 2. U2 The Joshua Tree - 3. Hüsker Dü Warehouse: Songs and Stories

Honeyblood "Honeyblood" (2014)

Honeyblood [debut]
release date: Jul. 14, 2014
format: digital
[album rate: 3 / 5] [3,13]

Track highlights: 1. "Fall Forever" (4 / 5) (live as a duo) - 2. "Super Rat" (BBC studio) - 5. "Killer Bangs" (4 / 5) - 10. "Fortune Cookie" - 12. "Braid Burn Valley"

Studio debut album by the Scottish duo Honeyblood released on FatCat Records and produced by Peter Katis and Honeyblood. The duo consist of Shona McVicar on drums, percussion, and additional vocals and Stina (Marie Claire) Tweeddale on vocals, piano, and guitar, and they play their own indie pop with a lot of shoegaze, some dream pop with references to American 90s bands like The Breeders, Throwing Muses and bits of PJ Harvey and The Smiths, just to establish their style. Sometimes they play with a certain punk rock or grunge rock inspiration and at other times it's just more indie pop, jangle pop-styled with some garage rock. On their FaceB00k profile they call it 'crunch pop'. Well... perhaps that's what it is. Anyway, to realise a full album with enough diversity they had producer Peter Katis play "electronic percussion", Kit Karlson keyboard, and Eric Sanderson bass. I only just bought the digital album, but it continues where the fine single "Killer Bangs" left us, so I think it's good but not really great. For one thing, it's too simple, but what really makes it a difficult first release is the duo's use of too much recycling from other artists. They play well, and with a lot of energy but with little originality. I will be looking out for the follow-up album, however.
[ allmusic.com 3,5 / 5, NME 4,5 / 5 stars ]

Siouxsie and the Banshees "The Thorn EP" (1984) (ep)

The Thorn EP, ep

release date: Oct. 19, 1984

format: digital (2004 remaster)

[album rate: 3,5 / 5] [3,54]

producer: Mike Hedges, Siouxsie and the Banshees

label: Polydor Records - nationality: England, UK

Tracklist: 1. "Overground" - 2. "Voices (On the Air)" - 3. "Placebo Effect" - 4. "Red Over White"

EP release by Siouxsie and the Banshees and the band's first release after Robert Smith left the band and therefore also the first album with John Valentine Carruthers as new guitarist. The EP contains four tracks, all of which have previously been issued. "Overground" is thus available in album version on the debut The Scream (1978), "Voices (On the Air)" has previously only been released as the B-side "Voices" to the band's first single "Hong Kong Garden" (Aug. '78), "Placebo Effect" may be found on the band's second album Join Hands (1979), and "Red Over White" was B-side to the single "Israel" (Nov. '80). All tracks here have been recorded in new 'symphonic' arrangements with the band attempting to incorporate strings in its soundscape - something they would refine on the band's following album Tinderbox (1986).

The Thorn EP is quite an interesting outing, which clearly shows the band's search for a new sound. SATB had always been and practically were challenged throughout the band's long career in holding on to guitarists. The band had already displayed several great guitarists, and this was another characteristic that followed the band from start to finish. Either the guitarists chose to leave themselves, or they were dismissed, but none of the band's many excellent guitarists featured on no more than three studio albums in succession. The band's sound depends heavily on a distinctive guitar sound, and with Robert Smith in the band that sound was naturally different from when John McGeoch played beforehand, and with Carruthers it's again necessary to saddle up - and in this way The Thorn Ep nicely documents a search for cultivating the band's sound and to incorporate their new guitarist into a natural process, which finds a more rooted sound on the following album.

The EP is not in itself a masterful outing but is exciting as something diverse in between big albums, where the band proves to bridge from energetic post-punk towards more sophisticated art pop.

The Thorn EP was originally only released on vinyl - later came an independent digital issue, but the EP is also available as a separate CD on the compilation album Downside Up (2004).

Big Country "The Crossing" (1983)

The Crossing [debut]
release date: Jul. 19, 1983
format: vinyl / cd
[album rate: 4,5 / 5] [4,25]
producer: Steve Lillywhite
label: Mercury Records - nationality: Scotland, UK

Track highlights: 1. "In a Big Country" 4,5 / 5) (live) - 2. "Inwards" (4,5 / 5) - 3. "Chance" - 4. "1000 Stars" (4,5 / 5) (live) - 5. "The Storm" (4 / 5) - 6. "Harvest Home" (4,5 / 5) - 8. "Close Action" (4 / 5) - 9. "Fields of Fire (400 Miles)" (4,5 / 5) - 10. "Porrohman" (4,5 / 5)

Studio album debut by Big Country consisting of Stuart Adamson on lead vocals, lead guitar, piano, and e-bow, Bruce Watson on guitar, mandolin, e-bow, and backing vocals, Tony Butler on bass and backing vocals, and with Mark Brzezicki on drums, percussion, and backing vocals. The band was initially formed as a trio and then a quintet with various other members but always featuring Watson and Adamson, the latter having only just left Skids. All tracks here are credited the band, although, it's evident that Adamson dominate and continue his style from Skids only adding new dimensions to his vocals and guitar playing. Both Adamson and Watson are among the first to bring in the e-bow in contemporary pop / rock, an instrument which basically enables the guitar to replace synths, and which became more popular in the late 80s and early '90s. Adamson was already known for his special guitar sound when playing in Skids but with Big Country he goes further making his guitar resemble that of Scottish bag-pibes (an analogy he hates).
The style is hard to narrow in but the band plays with high energy, which at the time was labelled new wave, however, that hardly suffice, as the band blends celtic rock with elements from new wave and contemporary pop / rock, and nearly all band members came from a background in punk rock - today, I would reckon that a combo of alt. rock and celtic rock would be more fitting labels. I used to only have the album on cassette, but have played it from '83 to "modern days" without ever tiring of the sound. Stuart Adamson's importance as one of the shining stars of popular music has only increased since then, and his playing style was copied in many years to come. The album is one of my absolute favourites and a modern classic.
This is Big Country's masterpiece.
[ allmusic.com, Blender, Rolling Stone 4 / 5 stars ]

1983 Favourite releases: 1. New Order Power, Corruption & Lies - 2. Tom Waits Swordfishtrombones - 3. Big Country The Crossing

Bauhaus "Swing the Heartache: The BBC Sessions (1989)

Swing the Heartache: The BBC Sessions (compilation)
release date: Jul. 18, 1989
format: vinyl 2 lp (BEGA 103) / cd
[album rate: 3,5 / 5] [3,38]
producer: ['BBC Radio broadcast recordings']
label: Beggars Banquet - nationality: England, UK

A double compilation album by Bauhaus released six years after the band split in '83.

I never really played the album that much, as it contains no big surprises. Of course, being recordings for radio broadcasts, the tracks are different from the studio album releases but they don't add much new, nor tell another story. So basically, this is just a collector's item.

The cover art photo is by Tansy Spinks (photograph from Covent Garden, London).
[ allmusic.com 3 / 5 stars ]

The Church "Remote Luxury" (1984)

vinyludgave,
Carrere

Remote Luxury (compilation)
release date: 1984
format: vinyl (CAL 213) / cd
[album rate: 4 / 5]
producer: The Church; John Bee
label: Carrere Records - nationality: Australia

Tracklist: 1. "Constant in Opal" - 2. "Violet Town" - 3. "No Explanation" (4 / 5) - 4. "10,000 Miles" - 5. "Maybe These Boys" - 6. "Into My Hands" (4 / 5) - 7. "A Month of Sundays" - 8. "Volumes" - 9. "Shadow Cabinet" - 10. "Remote Luxury" (4 / 5)

A compilation by The Church, which probably has to be seen in light of the fact that the band only just signed with Warner Bros., who decided to promote the band by releasing a compilation from the two 5-track EPs Remote Luxury (1984) and Persia (1984). Rather than choosing a release where the tracks from both EPs were in continuation of each other, the company chose to mix the albums. Somehow, at the same time, the band's former company, Carrere, managed to make an agreement to release the album under their own name in Europe.

The Remote Luxury Ep released in Feb. '84 (Content: 1. "Maybe These Boys" - 2. "10,000 Miles" - 3. "Into My Hands" - 4. "A Month of Sundays" - 5. "Remote Luxury "), and the Persia EP released Aug. '84 (content: 1. "Constant in Opal" - 2. "Volumes" - 3. "No Explanation" - 4. "Violet Town" - 5. "Shadow Cabinet" ).

Stylistically, there are few changes since the studio album Seance (1983) with less focus on the progressive and the neo-psychedelic elements but the album is a super fine release from these fantastic Aussies.

Original eps:

Remote Luxury (ep) Feb. 1984		Persia (ep) Aug. 1984

Compilation on Warner:

Remote Luxury

Joe Strummer and The Mescaleros "Rock Art and the X-Ray Style" (1999)

Rock Art and the X-Ray Style [debut]
release date: Nov. 2, 1999
format: cd
[album rate: 4 / 5] [3,88]
producer: Antony Genn
label: Mercury Records - nationality: England, UK

Track highlights: 2. "Sandpaper Blues" - 3. "X-Ray Style" - 4. "Techno D-Day" - 5. "The Road to Rock 'n' Roll" - 6. "Nitcomb" (5 / 5) - 7. "Diggin' the New" - 9. "Yalla Yalla" (5 / 5) - 10. "Willesden to Cricklewood" (4 / 5)

Studio debut by Joe Strummer and The Mescaleros. Or: 'debut' because although the album was the band's first album release, it might as well be filed as the third Joe Strummer solo album. The fact is that it's released one decade after his solo album Earthquake Weather, which was totally overlooked, and after having faced a huge failure in continuing with The Clash. He didn't have much luck in harvesting recognition for his solo works, and he began working together with The Pogues. He produced their album Hell's Ditch (1991) and for some time replaced their lead vocalist Shane MacGowan (unable to perform because of alcoholism). Having had a few minor parts in full length movies, Strummer was also engaged in various film projects in the late 1980s and 90s, e.g. "Mystery Train" (1989) by Jim Jarmusch, and "I Hired a Contract Killer" (1990) by Aki Kaurismäki. He also worked together with the band Black Grape, as well as writing music with a backing band called The Latino Rockabilly War as well as Joe Strummer & the Astro Physicians. And in this way, Joe Strummer and The Mescaleros is basically just another of his many projects gathering various musicians, and the main force and musical writer in all these projects is Strummer, which in a way explains this as a mere solo release.
Together with The Mescaleros, Strummer finally seemed to have found the right backing band, and this album is a fine and recommendable return to form. Critics found it difficult to come to terms with its pop / rock style and the huge stylistic blends with more contemporary music. The track "Yalla Yalla" is a wonderful example of Joe's willingness to experiment with styles and genres, and basically, it's a rather light track filled with... absolute joy.
Highly recommendable.
[ allmusic.com 3 / 5 stars ]

XTC "Love on a Farmboy's Wages" (1983) (single)

Love on a Farmboy's Wages, 7'' single
release date: Sep. 19, 1983
format: vinyl (105 882-100)
[single rate: 3,5 / 5] [3,55]
producer: Steve Nye and XTC
label: Virgin Records - nationality: England, UK

Tracklist: A) 1. "Love on a Farmboy's Wages" - 2. "In Loving Memory of a Name" - - B) 1. "Desert Island" - 2. "Toys"

Single release by XTC from the album Mummer (1983). Both of the two A-side tracks are included on the original album - here with two B-side tracks that would later be included on the 2014 remaster.

PJ Harvey "Uh Huh Her" (2004)

Uh Huh Her
release date: May 31, 2004
format: cd
[album rate: 3,5 / 5] [3,62]
producer: PJ Harvey
label: Island Records - nationality: England, UK

Track highlights: 1. "The Life and Death of Mr Badmouth" - 2. "Shame" - 3. "Who the Fuck" (4 / 5) (live on Later) - 4. "Pocket Knife" - 5. "The Letter" (4 / 5) (live on Later) - 9. "You Come Through" - 10. "It's You" (live) - 14. "The Darker Days of Me and Him" (4 / 5)

6th studio album by PJ Harvey released on Island Records and produced by Harvey herself. The album is a return to what she found a strength on 4-Track Demos (1993), which basically was herself playing, singing and producing. From various interviews and articles it seems like she felt trapped in the studio sessions prior to this. The albums To Bring You My Love (1995), Is This Desire? (1998), and Stories From the City, Stories From the Sea (2000) had been difficult and hard work with many people involved in the finalising process - not just several producers but also engineers and studio musicians, so she wanted more control of her music, and this is almost done like her demo album with herself playing all instruments apart from drums, which were added and played by Rob Ellis after her own recordings like were some backing vocals. In this way, it's like a produced version of her own demo takes.
At first, I found it a strange and lesser release, but it's actually more than just fine. I understand this progress as I also feel that her 2000 album was slightly overproduced for her style and it didn't focus on her musical strengths but in a sense amplified and extended her natural soundscape beyond necessary. The album comes out like a more straight, simple, raw, but also an open and "tender" work compared to her most raw and simple album releases Dry (1992) and 4-Track Demos (1993).
[ allmusic.com, Q Magazine 4 / 5, Rolling Stone 3,5 / 5 stars ]

Mokoomba "Rising Tide" (2012)

Rising Tide
release date: May 2012
format: digital
[album rate: 3 / 5]
producer: Poney Gross
label: Igloo Records - nationality: Zimbabwe

Track highlights: 1. "Njoka" - 4. "Mwile" - 5. "Misozi" - 8. "Ndundule"

Studio album by Afro-funk, jit and urban grooves band Mokoomba from Zimbabwe. This is truly music with many sources. You can spot African traditional folk, reggae, funk and a mix of r&b with hip hop and parts of jazz making it sheer fusion music, but the term fusion often refers to popular music in a Western tradition - this is really not, although, the term would be suited here if not it was so undefinable, like an umbrella term used when you can't really tell exactly what it is. Afro-funk seems more precise, and from my perspective, this is better than traditional funk, which is a genre I have never liked much.

BEST OF 2000:PJ Harvey "Stories From the City, Stories From the Sea" (2000)

Stories From the City, Stories From the Sea
release date: Oct. 24, 2000
format: cd
[album rate: 4,5 / 5] [4,28]
producer: produced by PJ Harvey, Rob Ellis, Mick Harvey
label: Island Records - nationality: England, UK

Tracklist: 1. "Big Exit" (4 / 5) (live on Later) - 2. "Good Fortune" (4 / 5) - 3. "A Place Called Home" (4 / 5) - 4. "One Line" - 5. "Beautiful Feeling" (4 / 5) - 6. "The Whores Hustle and the Hustlers Whore" (4 / 5) (live on BBC) - 7. "This Mess We're In" [feat. Thom Yorke] (5 / 5) - 8. "You Said Something" - 9. "Kamikaze" (4 / 5) - 10. "This Is Love" (4 / 5) - 11. "Horses in My Dreams" - 12. "We Float" (4,5 / 5)

5th studio album by PJ Harvey is just: wonderful! I believe this album finally wore down my cd-player that year. What a brilliant album by lovely Polly Jean. I recall my musical experience as this album was always in / out of the cd-player, and I haven't really repaired the player since 'cause now I just play my cds from a back-up hard-drive and the cd-player collects dust. At first I fell for and adored "The Whores Hustle..." and I heard it over and over again until other songs began to shine, and they just kept coming. In my mind this is her finest album so far, although I don't like it that much anymore - it's simply too familiar. Many consider the slow and romantic To Bring You My Love (1995) as her finest. I just find that too dull and extravagant - too theatrical. I really like her the best when she's more electric as on Rid of Me (1993) or on the garage rock-styled debut Dry (1990). This album really combines her strengths: the narrative lyrics in an alternative rock, singer / songwriter package with both harmony and guitar-based loudness. And although it's worn, it's not worn out, and it will revive of course, only for the time being, I consider it "sleeping". The only negative side to it is that it's a bit too polished and somewhat soaked in a heavy production sound, which may tend to drag the attention tending to emphasize form over matter. Nonetheless, the album is her best effort ever. With the album PJ Harvey was nominated to and won for the first time the Mercury Prize Award for "Best album from the UK and Ireland" in 2001. The album is the 3rd PJ Harvey to be enlisted in "1001 Albums You Must Hear Before You Die".
[ allmusic.com 4 / 5, Rolling Stone and NME 4,5 / 5 stars ]

2000 Favourite releases: 1. PJ Harvey Stories From the City, Stories From the Sea - 2. Susana Baca Eco de sombras - 3. Olesen-Olesen Der er brev fra onkel Bob i Amerika

Show lyrics <- click...

~ ~ ~
"This Mess We're In"

"Can you hear them?
The helicopters?
I'm in New York
No need for words now
We sit in silence
You look me
In the eye directly
You met me
I think it's Wednesday
The evening
The mess we're in and
The city sun sets over me

Night and day
I dream of
Making-love
To you now baby
Love-making
On-screen
Impossible dream
And I have seen
The sunrise
Over the river
The freeway
Reminding
Of this mess we're in and
The city sun sets over me

What were you wanting?
I just want to say
Don't ever change now baby
And thank you
I don't think we will meet again
And you must leave now
Before the sunrise
Above skyscrapers
The sin and
This mess we're in and
The city sun sets over me"

~ ~ ~

Mellemblond "Mellemblond" (2008) (ep)

Mellemblond, ep

release date: Jan. 1, 2008

format: digital

[album rate: 3,5 / 5] [3,48]

producer: Adrian Aurelius & Mellemblond

label: Auditorium / A:larm - nationality: Denmark

Tracklist: 1. "Ishånd" - 2. "Jeg rør' dig ikke mer' " - 3. "Træernes triumf" - 4. "Dage og nætter" - 5. "Ingen bilers horn"

5-track ep album debut by Mellemblond consisting of songwriter Kristoffer Munck Mortensen on guitar, and vocals, Jens Hein on bass, Silas Tinglef on drums, Jarno Varstad on jew's harp, and with Jacob Munck Mortensen on trombone.

The style is clearly neo-psychedelic with indie pop or indie folk and the songs are nicely held together by Munck Mortensen's poignant narration and unique lyrics with a certain bond to Steppeulvene and Eik Skalø.

Despite this was the band's first album release, I have only found this after the second full-length album Lysvågen (2013).

Mellemblond

~ ~ ~

Mellemblond is a Danish band (2006?) from Copenhagen. With initial changes the band came to consist of Kristoffer Munck Mortensen (vocals & guitar), Mads Brinch (guitar), Jens Hein (bass), Adrian Aurelius (drums), Silas Tinglef (drums). After 2012 the band name refers to Kristoffer Munck Mortensen's one-man music project with studio aid from many of the former band members. The musical style was initially neo-psychedelic singer / songwriter (the music centered on Kristoffer's lyrics) and blues rock, and some swamp rock, but it has evolved to a more quiet and simple version of the psychedelic style and a more accentuated singer / songwriter profile with lyrics in Danish. I also think that you may hear Steppeulvene - maybe in the nasal vocal of Kristoffer Munck Mortensen resembling that of Eik Skalø, and also somewhat in the swamp-like (Creedence Clearwater?) distorted guitar sound that is mostly heard on the debut album. 

~ ~ ~

The Sound "Thunder Up" (1987)

Thunder Up
release date: Dec. 1987
format: vinyl (BiaS 53) / cd
[album rate: 4 / 5] [4,08]
producer: The Sound & Nick Robbins
label: Play It Again Sam - nationality: England, UK

Tracklist: A) 1. "Acceleration Group" (4 / 5) - 2. "Hand of Love" - 3. "Barria Alta" - 4. "Kinetic" (4 / 5) - 5. "Iron Years" (4 / 5) - - B) 1. "Prove Me Wrong" (4 / 5) - 2. "Shut Up and Shut Down" (4 / 5) - 3. "Web of Wicked Ways" (4 / 5) - 4. "I Give You Pain" - 5. "You've Got a Way" (4 / 5)

5th and final studio album release by The Sound released on Belgian label Play It Again Sam (PIAS). After this, the band split and primary musical composer Adrian Borland shortly after continued as a solo artist. I really enjoy(ed) this album. I know that some critics suggest this is a minor work, although, not all agree. It seems like fans were split when this came out. Some wanted The Sound to return to their initial stage, being a genuine post-punk band rooted in punk rock and others found it an exiting progression. I for one hold it dearly.
"Acceleration Group" is a nice energetic The Sound track, and then it has one of those brilliant guitar solos by Adrian Borland that just makes the blood run with electricity.
"Hand of Love" has lots of horns, and I love them. Initially, back then, I thought horns was too... corny, too polished, and not The Sound as I had come to know them. This is much more an Adrian Borland solo track when thinking of his material after the disbandment, and the track could easily have been fitted on one of his solo albums.
"Barria Alta" is a fine progressive track centred around Adrian's fragile and here: talking voice. I also like the way his guitar complements his voice, and although, it's not the best track of the album it's not bad at all.
"Kinetic" was one of my favourite tracks from the album then, and it's still a strong lightning angry burst of energy - and as usual with The Sound / Adrian Borland: the opposite feel in the chorus as when the sun comes out after the thunder, a step to pause the electricity, and... air. Love it.
"Iron Years" is another track that more than suggests that Adrian is in control. It also reflects the darkness within, and that he struggles with life. Again, beautifully orchestrated with horns and Adrian's sharp and fragile guitar, adding its "vocal".
"Prove Me Wrong" is more like a classic The Sound track from one of their first albums. Drums, bass, guitar, and vocals are the bricks, and white energy is the fine result.
"Shut Up and Shut Down" is a different kind of song. It's very dark and sinister. It's progressive, and it has a wonderful build up to a fantastic guitar chorus culminating in "I feel like a summer thuuuundér!". In the verses, the bass plays around and makes a fine backbone. The last "Thundeeeer!" explodes in energy. "It's gonna break. BREAK!!" Wonderful.
"Web of Wicked Ways" is the beautiful but dis-illusionist track, perhaps about... living life with too many secrets. Although you really have good intentions and just strife for the good, skeletons pile up in your closet. It's like a curse and things keep turning out as a mess. I have no experience with this but I understand that maybe that's Adrian's "Web of Wicked Ways". It's a great track from the hands of Adrian Borland, and I've always loved it.
"I Give You Pain" is again on the progressive side, and as it often happens with Adrian, it's a song with lots of personal suffering. Pain. Today it makes me think of The Doors and their track "The End". It's not a copy but it could be inspired by that. It starts nice and fine, at first almost making no sound, and in the end, it's almost just noise.
"You've Got a Way" is a majestic way to end not only the album but also The Sound. The song is both sad and uplifting, and when Adrian's voice leaves, his guitar continues and ends the song brilliantly.

For me, this is just as colourful and poignant as any other album by this original British band, and therefore find it essential and highly recommended.

[ collectors' item ]

Show lyrics <- click...

~ ~ ~

"Web of Wicked Ways"

"Maybe the life you're leading is not the right one Because you shudder as the clouds cross the sun And all your good reasons they still feel wrong You're a mesh of secrets it's where our trust's gone Into the web of wicked ways Down in the web of wicked ways It's a sin to have these sad days lying in a bed of bad ways

Seems like hope against hope Will they both lose Look at the life you're leading, girl it is what you choose If you don't break this curse, then we'll see it all crushed The web of wicked ways is worse than all of us This is the web of wicked ways And you're in the web of wicked ways It's a sin to have these sad days lying in a bed of bad ways A web of wicked ways"

~ ~ ~

Morrissey "Kill Uncle" (1991)

Kill Uncle
release date: Mar. 4, 1991
format: cd
[album rate: 3 / 5] [3,22]
producer: Clive Langer, Alan Winstanley
label: HMV - nationality: England, UK

Track highlights: 1. "Our Frank" - 5. "King Leer" - 6. "Found Found Found" - 7. "Driving Your Girlfriend Home" - 8. "The Harsh Truth of the Camera Eye"

2nd solo studio album by Morrissey. The album was a big disappointment, I remember. Not that the lyrics are very different from what Morrissey did on the debut 3 years earlier but the music is his most pop-influenced album and perhaps due to a production seat occupied by the duo Langer-Winstanley who has almost become synonymous with mainstream pop / rock through their work with various artists like Madness, Dexy's Midnight Runners, China Crisis, Hothouse Flowers, and Elvis Costello in his most polished period. Not that these artists are only associated with pop / rock nor mainstream music, but the albums produced by Langer-Winstanley often happen to be in a category of 'teeth-less' [dull] pop, regardless what other styles the artists have been known for. So no, I wasn't glad about this album. Luckily, it remains the only album with this duo in charge of the production.
Another negative point is the fact that the fabulous work with Vini Reilly wasn't continued as Reilly wanted no part of the fuss with a shining star and simply was more interested in pursuing his own musical ways, so what's really striking on this, is the lack of guitars. Instead of having Stephen Street writing the music Morrissey worked together with Mark E. Nevin (former Fairground Attractions guitarist) who composed most of the music on the album. After this Morrissey released Your Arsenal which in many ways would prove to be more of a natural successor to his fine debut.
[ allmusic.com, Blender, Rolling Stone 2 / 5 stars ]

Nick Cave and The Bad Seeds "Murder Ballads" (1996)

Murder Ballads
release date: Feb. 5, 1996
format: cd
[album rate: 3,5 / 5] [3,64]
producer: Victor Van Vugt, The Bad Seeds
label: Mute Records - nationality: Australia

Track highlights: 2. "Stagger Lee" - 3. "Henry Lee" (feat. PJ Harvey) (4 / 5) (live) - 5. "Where the Wild Roses Grow" (feat. Kylie Minogue) (live) - 7. "The Kindness of Strangers" - 10. "Death Is Not the End" (live)

9th studio album by Nick Cave & The Bad Seeds follows two years after Let Love In is a return to the style of The Good Son (1990) with focus on piano-founded tracks and ballads. The album feature two prominent guest artists: PJ Harvey and Kylie Minogue, the latter singing a duet with Nick Cave on the album's biggest hit single "Where the Wild Roses Grow", but I have always liked the duet with Cave and Harvey better. On the final track, a Bob Dylan cover, several guests feature: Anita Lane, Kylie Minogue, PJ Harvey, and Shane MacGowan on additional vocals. Generally, I think this is one of the band's better albums. The album is included in "1001 Albums You Must Hear Before You Die".
Rumour has it that Cave and Harvey virtually initiated a short-lived love affair, which had its birth from the moment when they recorded the music video for their duet - all done in one take and without much direction. The relationship came to an abrupt end as Harvey turned Cave down, which may be heard on his subsequent The Boatman's Call (1997) [about their relationship].
[ allmusic.com, Record Collector, Rolling Stone 4 / 5 ]

PJ Harvey "Is This Desire?" (1998)

Is This Desire?
release date: Sep. 29, 1998
format: cd
[album rate: 4 / 5] [3,92]
producer: Flood, Polly Jean Harvey and Head
label: Island Records - nationality: England, UK

Track highlights: 1. "Angelene" (4 / 5) - 2. "The Sky Lit Up" (live) - 3. "The Wind" (live on Later) - 4. "My Beautiful Leah" - 5. "A Perfect Day Elise" - 8. "The Garden" (4 / 5) - 12. "Is This Desire?" (4 / 5)

4th studio album by PJ Harvey released on Island Records and produced by by Flood [Mark Ellis], Head [Howard Bullivant], and PJ Harvey. This was the first album I bought with PJ Harvey, although, not the first I listened to. At the time I found it interesting, yet not as good as I think of it nowadays. My knowledge of her music was limited but I really enjoyed her first albums better, so I soon purchased Rid of Me and Dry (1992). It's clear that she has come a way since her blasting and raw first releases, and that's also what makes this a really fine album. I think, that it combines her previous and somewhat overrated [!] but (still) critically acclaimed album To Bring You My Love (1995) and the debut Dry, but also brings her music into a new phase of alt. rock singer / songwriter music with inspiration from trip-hop ("The Wind") and electronic ("No Girl So Sweet") without actually attributing those styles to the album as such. Thanks to the producer panel with different approaches and her studio musicians, she threads new territory with more complex music that really comes into place on the following album. A track like "The Garden" is stylistically as taken from her brilliant 2000 release Stories From the City, Stories From the Sea.
[ allmusic.com 3 / 5, Q Magazine, Rolling Stone 4 / 5 stars ]