I wrote a whole essay on a single lyric from Bow Down, and you know it was good an all but that was a single lyric from a single song on an album defined by it's amazing lyrics. I hadn't even gotten to the rest of the album! The cover is great, the drums are diabolical, the vocals are (for the most part) perfectly suited to the instrumentals, it's all here. I would give it a perfect score but there are two songs that I don't like but otherwise we've got a ... read more

There's this interview with Mark Hollis where he describes his desire to create truly timeless music, and It seems plainly obvious that this was the first step in realising that dream. It really is hard to pin down exactly what this album is, the story of the production is equally baffling, it reads like a chapter right out of the obscure parts of the Bible. I suppose that's a great way to describe it; a lost spirtuality rediscovered, though fragmented, nonsensical at times.

An album whose production was mired in trouble; witchcraft, personality clashes, and psychotic episodes. The sound certainly doesn't disappoint. This will always be the album I recommend to people wanting to get into KC, anything else is just an injustice to the ethos of the band. In a lot of ways this album isn't for the viewer, hell it wasn't even for the people making it (none of whom have described the creation as a pleasant one) it seems to serve only itself, truly it is the ... read more

I have a lot to say about this album, it's bizzare.

On one hand this is really fucking good Hip Hop, the user score is not doing it justice. Every song is a fresh new sound, new rhythm, and somehow a whole new genre. It's incredible!

On the other hand.... the lyrics are like embarrassingly bad. Instead of going on a 30 paragraph rant all I will say is that the album fundamentally fails to stage a Critique of Ideology and that Zizek is rightfully turning in his... er... bed? Oh ... read more

It has taken me years to come around to this album, mostly because of Peter Gabriel’s vocals, which are to me quite grating. That being said there are definitely tracks worth your time on here, and overall it marks a good first step in the ex-Genesis member’s solo career.

Frankly I do not get the hate. While they have other far greater, more memorable tracks on other records this one holds the unique honour of feeling extremely short, which is one of the best things an album can do! it’s got tightly knit, catchy tracks all throughout and the title track is just awesome. Yes, the departure of Roger is audible, but I think it’s less of a deal than a lot of people make it out to be.

I find the labelling of this album as “prog” rather strange, it neither recalls the style of the early 70’s rock paragons nor is it particularly revolutionary. That being said I can definitely see an evolution out of the previous decade’s Neo-psychedelica movement, breathing a fresh air of life into the scene. Definitely going in my library!

The atmosphere is certainly appealing, the cover and title are fantastic and the track titles invoke a similar feeling as Talk Talk’s later albums… that being said I do not really find the music very substantive. the soundscape, while enticing and immersive, is very one-note. The album doesn’t really have any highs or lows until the last two tracks hit you with some interesting moments, definitely my favourite chapter of the album.

Calling an album a period piece is a tad strange, but that is what The Lemon Twigs essentially are. Of note is just how perfectly they capture the sound of the 60’s, most of the songs could easily be B-sides on an early Beatles record… but that does come slightly to their detriment.

In capturing the “vibe” of the 60’s what they have effectively done is select for all the crazy innovative stuff going on at the time. There is a reason this album sounds more like ... read more

This is one of those albums you can't help but grow to love. Listening through the whole thing for the first time can be a bit daunting in how minimal it is, it's not an album you can put on in the background while you wash the dishes without losing out on so much of it's substance. It's that first real attentive listen where you realize there's more than just 3 tracks with any substance.

The first two songs are probably the strongest, a very enticing intro to what is ... read more

To this day, I cannot name a bigger emotional journey than this album. No flaws, no missteps, nothing but pure love. It's no wonder Bill Buford left afterwards.

I love the more serious songs, the bookends are amazing and so is you wanted a hit. That being said, half the songs are skips because of just how much they take you out of the emotion.

I might be a drooling nincompoop but I can't really tell the difference between a lot of the songs. Probably a sign that I'm not listening intently enough, but then again that also makes me not want to listen to it again that much. So, oh well.

My friend really likes this album and his appreciation is almost contagious, not enough for me to really like it too but you know, baby steps.

When Danny goes all goofy mode with the vocals I come very close to punching the nearest civilian in a burst of aggressive rage. That being said I liked most of the songs. Golddust is better than Ain't It Funny.

I don't really get the more aggressive sound that dominates the A side, but the lyricism along with the lovely sounds of the B-side save it for me.

If I had a boyfriend that broke up with me this album would probably be a 10. It has all the emotional punch to ruin you, I'm just not in the position to be ruined.

Most of the songs sound exactly the same but that's okay because that one sound is really good.

Má. Fínasta mál.

It's kind of a shame how much I hated the vocals. I quite enjoyed a lot of the instrumentals and would really like to hear a version without the singing. I think the vocals are a highlight for many, I wish I could relate. Equus is an awesome song though don't get me wrong.