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lurvely


Hip-ometer Rating ~ 9.7


Wake - "Harmony" Again, the Wake were a band that during the 80's nobody knew about. Find any person dressed like Robert Smith in a Smiths T shirt going to a New Order gig and ask him if he likes the Wake and he'd say "Who?". Why and how these bands got so much notoriety nearly 20 years on is still a mystery to me. Anyway, the Wake was the vehicle for singer/songwriter Caeser, a bloke from Glasgow who had been with Altered Images (and wrote their first single Dead Pop Stars) before leaving to form this band in April of 81. What was always odd, was that he sounds A LOT like Bernard Albrecht (Summer, Dicken, Rubble etc..) from New Order and what's more, not only does the cover art of this LP look Joy Division like, it sounds it musically. (Well, they were both on Factory and this oddity continues on record number two) I have nothing wrong when someone imitates a style they like, especially when they do it as good or better than the one they are copying, and that is certainly the case here. Joy Division certainly had moments of divine rapture, some of the best in pops history, but overall they often lagged as the depression became smothering. This embraces gloom, but it doesn't smother you, as the keyboards always stay melodic, and the guitar bits are often quite brilliant. They even do a fair job of playing at Hooks bass stylings on tracks like Judas. This was a moderately brilliant LP, but far too short. However, the inclusion of a number of in between single material and peel sessions brings this home in 15 tracks of luscious Factory styled honey. Cuts like Something Outside harken to that Power, Corruption and Lies New Order sound they would embrace on the next LP so well. Maybe it's simple, but the guitar sound on Uniform is SO it, and when the sweeping synth comes along to meld with it, it's just too hauntingly brilliant. I love this kind of music, and it's among my absolute favorite indie styles, and not surprisingly this is one of my favorite bands.
Label ~ Factory/LTM, 15 Tracks, 1982/2002



that's the stuff


Hip-ometer Rating ~ 10+


Wake - "Here Comes Everybody" As they parodied Joy Division on their first LP, on this their second there is a marked similarity to New Order about the time of their second LP. However, this is the sound many of us wished New Order would have taken on Low Life, not that Low Life wasn't a brilliant record, but this is the next progression of the sound we were in love with, not the dance direction New Order went. I remember one of our friends then actually hated New Order for doing that "to him". Ahhh...., such were the times. In any event, I suppose we didn't need them to do it, as the Wake did it for us, and this record is, was, and always will be one of my top 5 favorite records of all time, no matter what else comes along. God damn, this is the stuff. The guitar of indie legend, synths of pure etherial rapture and haunting vocals with great lyrics. Again, I was promted to buy this CD even though I have the record because like so many Factory pressings, it isn't overly great, plus this like the reissued first one also has bonus songs I didn't have. How this record got the negative reviews it did when it came out I will never know, but the English press always did have it's 'ead up it's arse. This is the most deliciously sombre and introspective record that has ever been or ever will be made. It literally almost makes me want to cry it's so fucking beautiful. I just sit and close my eyes and listen to that guitar and I am in heaven. Pure, absolute heaven. This re-issue contains 8 extra tracks, 4 of which came after this LP, 4 before. The before stuff is in line with the sound of the LP, but all 4 of the after comes from a 12" single release from 87 and is markedly different, sounding more c86 than what we had been used to from this band. Not that the stuff is bad, it just kind of pales to the other. (although Plastic Flowers is nice) After this they left Factory and released their last decent thing, a 7" on the new Sarah label called Crush the Flowers which is a great little single. I have it, but it's not contained on this disc. The 2 subsequent LP's made in the 90's "Make it Loud" and "Tidal Wave of Hype" are both terribly awful. They go for huge sums used, but save your pennies, they are NOT worth it at all. This however, is an absolute must own. Probably my favorite album from the 1980-85 period, and even though I never stopped listening to it, it still moves me now as much as it did then. Like the Orchids "Lyceum" or the Trash Can Sinatras "Cake", it's one for the ages. Rapture indeed.
Label ~ Factory/LTM, 16 Tracks, 1985/2002



cool as ice


Hip-ometer Rating ~ 10+


Waltz For Debbie - "Gone and Out" The pic here is the original cover from the Labrador issue, and I don't believe this record looks like this anymore, so don't be confused. (this is a refridgerator and ice cream theme, the new cover taking a pic from this ones inner sleeve of a fjiord) Anyway, this band is kind of the zenith of the Swedish disco pop scene right now, and this LP is probably the best of it's kind of that type of thing being done. (I am awaiting a Charlots LP though) Female vocals, sort of Dubstar like, but really having that disco energy that only those wonderful Swedes seem to manage so well. I'll cut to the chase on this one: If you like dance music and really upbeat poppy songs with glitzy production and tons of pop hooks then this will rock your world. The kind of innane stuff you just keep singing all day long, god bless it. POSTSCRIPT: I liked this a lot off the bat, but it has just grown and grown on me. Possibly one of the best disco synth pop records ever made. Great melodies, lyrics, a beautiful voice, this thing has it all. One of the best "happy" records ever made and a true blockbuster. A real must own.
Label ~ Labrador, 10 Tracks, 2000




Hip-ometer Rating ~ 10+


Wan Light - "Let's Wake Up Somewhere Else" Named after an old Orange Juice song, this 2 man act from Stockholm has been together some time. While I liked the minimalism of their music I was not sure about the voice of lead singer K. Svensson as it has a very 70's AOR Geddy Lee sort of vibe to it. But recently I put the disc on when I was tired and just laid there and basked in it like the serpent I am. That's when the epiphany happened. It started during the lovely but short instrumental 25/75 and culminated on the next track, Awake, Drunk And Average which is a heartfelt and earnest pop song with a quirky, ne-flamenco western movie ballad tinge. Don't get the impression this is minimal like the Kings Of Convenience, as they couldn't be less alike. They use full orchestration, even synths, but the sound is mellow as instruments don't fight each other. But don't get the impression it's all slow either. It has a nice mix, and the slower songs never wander into tedium, and the emotion in them comes across as very genuine. I like this a lot now, and I like it even more every time I hear it. It is certainly the kind of recording that reveals sublime treats the more you embrace it and I am quite sure it's score will get amended higher at some point in the near future. (it did) Sweden is certainly my pop sugar daddy, and I don't know what we'd all do without them. POSTSCRIPT: This is one of those things where the vocals will make or break it for you, but since my acclimation to his voice I have found this to be one of my absolute favorite recordings of the past 10 years. It's a genuine treasure.
Label ~ Labrador, 15 Tracks, 2003




Hip-ometer Rating ~ 9.3


Wan Light - "Carmaline" Oddly enough, my reception to this album mirrored my initial reactions to their debut, but not for the same reasons however. Then it was a matter of coming to grips with a very unusual vocal, which in time I did and came to quite like. This time however I was unnerved by the quality and type of musicality going on, and I am afraid in the end I did not undergo any sort of change of heart like I did last time. Perhaps this album came out too soon after the last one and they hadn't anything new to really say. There is a lot of experimentation both musically and vocally and while recorded very well, I found it not especially engaging. Not awful, but not great either. It does reach some moments of brilliance like the debut, say on Television Crews but it also reaches a few dregs of suckiness as well. Some of the vocal bits are recorded in an annoying way, and many of the songs are long instrumentals that sadly have nothing going for them. Even though their debut made my top 10 I would still not heartily endorse it to just anyone given the unique nature of this band, and this outing even less so. If interested give their debut a listen, and unless you become a huge fan give this one a miss.
Postscript: I have not had the time to go over this thoroughly, but this has grown on me and it isn't as bad as I thought at first perhaps. It's been partially raised, and may yet go higher.
Label ~ Labrador, 13 Tracks, 2005




Hip-ometer Rating ~ 9.7


Wannadies - "Before & After" The latest (although it came out in 02 there) album from the band that is pretty much credited with opening the gates of the Swedish indie scene we currently enjoy. Designed as a concept album that features two distinct styles of songwriting, the first half being nearly a chronological example of their early sound and singles, followed by a slower and shall we say more "adult" sound. Some have slagged this effort, and I fail to see the grounds for that. The "motivating" cuts are great, from the very catchy Little By Little to the tongue in cheek Piss On You. Later numbers such as Disko remind me a bit of the jazz twinges of Cinnamon but in both cases the songs are quite good. Not only is this a very good album, but the included 4 vids and bonus material presentation is one of the best I've seen on a disc yet. It really makes me sorry there isn't a place WE can go to watch our music when we want to, but alas, that has always been the case. As far as this disc is concerned it's another victory for swede pop, and despite what some have said it walks it's balance well and is certainly worth getting. As a postscript, it oddly took me a while to realize that the kid featured on the cover (and in one video) is wearing a cat costume from IKEA. That's not surprising given that this band is swedish, but what was a surprise is that my kid has the same costume. I know I'm a dad, but I think my kid is a tad cuter in it too.


Label ~ Hidden Agenda, 12 Tracks + 4 vids, 2004



queen-o-pop


Hip-ometer Rating ~ 9.1


Laura Watling - "Early Morning Walk" Our Miss Watling is probably the foremost lady of the american pop scene. Well at least it seems shes been in almost every group in it. Often hampered by the pop kid on a budget sound, this outing while still a bit lo-fi is the best recorded one we've gotten so far. This album doesn't really hold court with the ba ba's one might expect from a Shelflife artist, and in fact the album reminds me a bit of some of the better late 80's Brit groups leading into the wilderness that would be "twee". This skirts twee, simply due to her really light and truly girlie sounding voice, but in fact alot of the songs are like something the Brilliant Corners or someone similar would have done. (only there's a girl singing) It's all a bit jangly and very fresh while remaining on the simple and quaint side. This is great for car driving, late night sitting, just about anything. I'd like to see her get to do an LP with some first rate recording production, but still, this is a keeper.
Label ~ Shelflife, 16 Tracks, 2001



parley vous?


Hip-ometer Rating ~ 8.4


Watoo Watoo - "Curiosite's?" This is another thing T-Baby got in his "French" period. (actually there's been quite a few things from that quarter including the excellent Fugu) This LP is apparently a collection of this bands material over how long I do not know. They carry a trait similar to most French bands in that strings often play a part in many songs, which range from light contemporary to driving acoustic guitar pop numbers. There is also a hint of the Bacharach style so popular with european bands as well, which isn't too surprising. This is an album that explores a lot of styles and they even do a cover of David Gedges I'm Not Always So Stupid which is a bit interesting. By the way, it's a female vocalist singing named Pascale and the band is apparently a husband and wife affair and some of the songs are sung in French, but as alot of this has a dark ambient feel you can't often tell anyway. Her voice is basically good, and the songs are average to slightly above so. If you'd like a female vocal, bordering on the twee contemporary then you might like this LP.
Label ~ Blackbean & Placenta, 12 Tracks, year unknown




Hip-ometer Rating ~ 9.8


Weepies - "Say I Am You" The review of this album marks a new horizon here at the Spinzone, as this was sent to me by Nettwerk America who is now supplying me with promos. SELL OUT! Now, calm down. I thought they were a major subsidiary too but apparently they are not. The Weepies are the male/female duo of Talan & Tannen and much like stable mates Ivy they are all indie, but a nice, upscale, clean sort of indie. Both treat us with singing duties on here and both do a credible job, with perhaps hers being the better, and certainly the more distinct with an engaging sort of quivering quality. Oddly or not they tend to go solo when they sing and not often harmonize together. The music is generally acoustic with electric tinges and the songs tend to be composed like ballads but there is a unique quality stamped upon them that only talented people who can see and interpret their personal vision seem able to do. (Like the Annabella album) While clearly somewhat folky tinged it is not a slow album, just slow-ER, and I can perhaps equate that best by saying it allows you to stop and smell the roses, and in doing so you get an even better view to boot. The best accolade this album has gotten perhaps is that Luke who runs our Popsicle shop heard them on Spinzone Radio and was so smitten he had to go buy the album immediately. Now it's true he's been getting odd lately and whether that's due to his going back to the UK or the onset of menopause I cannot say, but for someone who ignores everything recorded outside the arctic circle, for him to get this worked up there must be something here, and indeed there is. This is almost sure to please just about anyone.
Label ~ Nettwerk America, 13 Tracks, 2006




Hip-ometer Rating ~ 10+


Whitest Boy Alive - "Dreams" This is the most recent effort from Erlend Öye of KOC fame, who is assisted by German DJ Marcin Öz and Sebastian Maschat. This came out later last year but I hesitated on getting it because I never bought any of his previous offshoot work as the cuts I heard didn't inspire me, but when I finally heard a few samples from this they appealed to me so I took a chance and boy, did it pay off. Apparently this entire album was recorded live in session with no effects, layering or any other tampering. It is simply drums, bass, guitar and voice. I don't know if we should be surprised or not, but the depth of the recording and the visceral sound quality are immediately stunning. I can (and do) put this on just to float away on the sheer beauty of it, and the better your stereo the more you will get out of this record for sure. It starts out pretty uptempo and poppy (I always thought he was the one between them that favoured that more) and it does change slowly thru but I would not say it gets slower, rather it gets more intelligent, more thought out, more complex as the melodies and rhythms if slower become more entwined, more brilliantly phased and executed. Simply put, it's music for people who LOVE music, and who LOVE to listen to music. This is nothing more and nothing less than a sublime juggernaut, and yes, I play it loud. This is different, but easily as good or better than any KOC album, truly. Avoid it at your own loss and peril.
Label ~ Service, 10 Tracks, 2006



funny how life is


Hip-ometer Rating ~ 5.7


Windmills - "Edge of August" Sometimes, the slightest litte thing will come along in a moment of what should be joy and rob us of our pleasures. For me this album is just such an instance, and in this case it's the lyrics. The musical "score" to this album if we refer to it as such is most excellent, certain to please any pop kid. However, it's sometimes the voice and often the lyrics of lead singer Roy Thirlwall that bothers me. In some of the songs, the lyrics are just so, I don't even know if I'd say bad, it's more like they're just stupid. It reminds me of someone who is trying SO hard to be clever but they just don't have a clue. I find that feeling really coming home to roost on tracks like Three Sixty Degrees and while I can easily see how some people might think he's being just brilliant with his wordplay, I don't, and in fact I can't stand listening to this song. (which is quite excellent musically however) In fact, there are other songs that bother me even more. Therefore, I've been taken out of the sweepstakes of reviewing this album, as I really don't want to ever hear it again. I'd say the odds probably are that you'll like it, and if you like jangly guitar pop in the vein of say the Railway Children maybe, then you'll probably like this a bit and wonder just how daft I am. Well, it wouldn't be the first time and it can't be helped. I give it a 9.5 for music and a 2 for lyrics. Wonder if I can get a karaoke machine and edit the vocals out....?
Label ~ Matinee , 12 Tracks, 2000




Hip-ometer Rating ~ 9.4


Justin Winokur - "Thirteen Songs About Love" This is an exclusive to our Popsicle shop, and while not Swedish, Justin went to Sweden to record this album with members of the band Brainpool of whom he is a fan. The result s a very touching and emotive album, geared toward the acoustic side. He then met Luke thru his Swedish pop sales and the rest is history. The album while overall is on the laid back side it is not languid and in fact has it's share of moving “single” type cuts on it, from the heart felt Shooting Star to the very classic sounding Never Go Back Again or the radio friendly high strung ballad Celestial. There are a number of moments of experimentation on here as well, some of which I quite like such as Fly Away which is a brooding piece featuring deep moog tympany that is as haunting as it is lovely. I am less enthused about the honkey tonk Blue Eyes or the 60's barker styled Just Go Out With Me. However those are the only two things I didn't quite like on here. The rest is either good to very good. Justin has played in a number of other harder punk/industrial bands before he felt compelled to make this album. I have not heard those other outings, but regardless, he may wish to quit his day job if this is the result. Anyone can screetch. Here he reached for something more and he grabbed the ring it appears. A very lovely album that comes very recommended.
Label ~ JWC Records, 13 Tracks, 2004




Hip-ometer Rating ~ 9.5


Patrick Wolf - "Lycanthropy" This young Irishman, who has been hailed as Britains great new pop star, has all the oddity, nuance and eccentricity to perhaps pull that title off. On the surface your impression is Sondre Lerche meets Dexys Midnight Runners, but if you dig thru his press shots perhaps Peter Pan meets gay pride day at Disneyworld is closer to it. Does he really make his clothes himself (not badly but bizarredly) or does he get them out of refuse bins? In any case it makes for a strong image and that's what this biz is all about. (or used to be) Musically this begins with a short instrumental which is followed by Wolf Song featuring recorder, violin and Wolfs hard accented speaking lead vocals making it one of the most engrossing songs I have heard in quite some time. It is absolutely attention grabbing and connects you musically to the image on the cover. That all comes to an abrupt halt on the next track Bloodbeat which features a disjointed synth beat and could almost be the Bronski Beat without the annoying vocals of Jimmy Sommerville. This and what comes after threw me so much on my first sojourn into this album that I stood in almost cold sweat not knowing what to make of it or if I should even try. Once acceptance kicked in I began to realize that diversity and (apparent) genius go hand in hand here and once you embrace and not fight it this album begins to grow in stature and magnitude. From the emotive To The Lighthouse to the disturbing and brilliant The Childcatcher which sounds oddly a lot like Nine Inch Nails this album hits you like a perverted fun house with treats and tortures both sublime and intense around every corner. Like Sondre this was supposedly put together over 8 years of his young life starting at 11 no less, which means mostly thru his teenage years. It is a cry, both of joy and pain, of delight and despair and if it is not perfect at every turn it's intent is. I have used many words to describe albums here, but the one that comes closest to describing this is fixating. Absolutely fixating. It may be more or less brilliant than I rated it, only time will tell, but it deserves your attention. It certainly got mine.
Label ~ Tomlab, 14 Tracks, 2004




Hip-ometer Rating ~ 7.9


Patrick Wolf - "Wind In The Wires" I was actually somewhat surprised that this second long player was out already, so close on the heels of this lads debut. Saying it in that light I'll cut right to the chase. This young mans career to my mind amazingly mirrors that of fellow songsmith Sondre Lerche in many regards. Both were songwriting prodigies from an early age, and both had compiled a number of songs by the time they reach young adulthood. Both then recorded those songs onto debut albums that were critically acclaimed (the exception being they were musically very un-alike) And true to form, in both cases it seems both young men had nothing more to say. Sondres sophomore effort was a huge disappointment, and so is this. On his debut this kid could clatter out an old English Cockney-esque Dexy's Midnight Runners lament and then instantly switch gears into Nine Inch Nails, and somehow, somehow, he not only pulled it off but made the segue seamless. On this recording there is almost no change of pace or style however. It is slow, somewhat plodding, and it's plain as day the kid had nothing to say. It was written and performed for the sake of it, and no other reason. What experimentation is on here is just plain annoying as well. Perhaps I am taking him too hard to task, as individually many of the songs are not too bad, but as a whole I found this album kept disappointing me. I am very curious to see what both of these kids do next. The talent is there surely, but they both need time, and something worth singing about. Until then give this a wide berth, or seek out his debut if you do not own it yet.
Label ~ Tomlab, 13 Tracks, 2005




Hip-ometer Rating ~ 9.5


Wolfgang - "The Wicked Truth About Loving A Man"Shortly after receiving their debut EP this, their debut long player, arrived in my box. I should note (as I forgot to iin the other review) that both of these are produced in very nice packaging, a hard card stock fashioned like a book and this one going another mile by making a parody of one of my favorite art genres, the 50's pulp novel. (although I might have liked it more had the cover been something like "Wolfgang meets Aquapussy") Anyway, having just heard them there was little in the way of surprises here, and maybe that's my biggest complaint about this one. The debut EP seemed specifically to be an introduction to this man-machine and his broken heart and I was perhaps expecting both the song layout and structure to continue this saga and it doesn't. It's just an album of songs. I can't say if others will pick up on this or not, but I think I would rather they had tailored the songs entirely from the machines perspective. He IS the master of the music after all and I had become a slave to his "impulses". Still, this is probably just a petty gripe of mine and I only took a half a star away for it. If you are a fan of the genre I can't recommend this album (and EP) more. Without question one of the most unique, interesting and danceable discs to come around in some time.
Label ~ Hypnote, 14 Tracks, 2007




Hip-ometer Rating ~ 10+


Wolfgang - "Not In Love (Not True) EP" This EP was brought to my attentions recently and I am certainly glad it was. There is no fact truer than as "modern" music progresses the less original the things we get dealt will be. Been there, seen it, done it and more importantly heard it. So when this landed in my lap I was quite taken aback. Why? In many respects it's one of the most refreshing things I have heard since perhaps the Flock Of Seagulls all those 27 or however many years ago that was already. Wolfgang is futuristic electro dance music, nothing really new about that, however in this case it's all sung by a robot. Whether it's entirely computer generated or they are running a humans voice thru a vocoder the effect is the same: Wholly engaging. It's one of those moments when you stop and wonder why nobody did it before. Perhaps they did and it just didn't work. In this case however it's pure gold, and clocking in at nearly 18 minutes gives a lot of value for an EP. While it might seem that it would be annoying listening to a Stephen Hawking-esque pop star, they have done such an excellent job making the whole thing so real and natural that you not only quickly accept it, anything else would seem quite wrong. On top of all this the songs here are all top drawer, and two of them are not on the final LP making this one of those EP's you simply need to own.
Label ~ Hypnote, 4 Tracks, 2007



could-a-been


Hip-ometer Rating ~ 7.9


Would Be Goods - "Emmanuelle Beart EP" I have only heard a few songs from this band on comp cd's but I've liked what I heard. It's somewhat late 80's female lead singer britpop sounding in the vein of Subway acts. The first and title track off this is quite good and sounds like the previous things I've heard by this band. The next track however is very slow and is sung in French. Now, that shouldn't imply anything bad, but, unless I dress up in a beret and striped shirt to do a skit with John Cleese I don't want to hear French moaning to a concertina while coffee brews and baguettes break in the background. The next song is a bit slow too and sort of has not much going for it. This ends with Words which is a bit more upbeat but isn't, well, of course it sounds good after the last two, but it isn't nearly as good as the first track. I'd rate them 9.5, 7, 7, 8.2 which is a 7.9. Not worth it for an EP in my book. Hopefully any forthcoming LP will be better and more cohesive, because I do like this band when it's "on".
Label ~ Matinee, 4 Tracks, 2001



calling all mod snobs


Hip-ometer Rating ~ 9


Would Be Goods - "Brief Lives" I have liked a number of things from this band, even though it has a real penchant for putting on snobby, artsy european airs. (Actually that's it's stock in trade) The band is basically the vehicle for Jessica Griffin who gets assisted by Peter Momtchiloff and Orson Presence. If you've never heard them it would be hard to describe, as they meander in sound from Parisian cafe music to Twee to light brit pop, but it always has that air about itself. This outing doesn't disappoint in that regard, so what it really comes down to is, is the music good? Pretty much I'd say yes. Often the lyrics are innane, like on A Season in Hell which goes "Have you spent a night in hell? It's a cheap hotel. And the noises in the street, won't let you get to sleep......... It's Hell" However, it's exactly the kind of pop idiocy that sticks in your head ALL day long. The only thing I'm curious about is which the joke is: Does she actually thinks she's being serious and artsy or if she's aware she's taking the piss? This is sort of the equivalent of a european David Lynch-esque travellogue in some respects. It has an odd charm and enough of it's own style to make it interesting, and at times almost lovely. If you're up for something a little different this will suit nicely, and it ain't 'arf bad it is. A 9 and rising......
Label ~ Matinee, 16 Tracks, 2002




Hip-ometer Rating ~ 9.5


Would-Be-Goods "The Morning After" I had hopes this would be the redemption disc for me for this band. I had liked their early singles but the first album left me sort of flat. I was encouraged when seeing that one of my favorite singers, Lupe Fernandez from Pipas, had helped on this album. I thought that would close the deal. What I now think is is that the curious quality about Jessica Griffins voice that I liked so much originally I found less endearing over time. So what we need to cut to is does that still hold true for me, and regardless to that fact is this a well conceived album in any case? The answer to the former is "only slightly" and the answer to the latter is yes. Part of my real difficulty is my preamp has been gone for a while now for a checkup, and in any case my rig is torn down awaiting my attic room being finished, so I have no real stereo. I must evaluate this over the computer, on a walkman or worse, in the car, three very unreliable and much hated sources. Since I have little time and am working under constraints I'll just throw this out and if need be will amend it in time if I change my mind. I am finding her voice more likeable on this disc, and as well I find the programme more cohesive on a whole and better presented than on the last lp. There are a number of catchy as well as "nice" songs and it appears this is a fine little record. So lets call it a keeper.
Label ~ Matinee, 12 Tracks, 2004



posh snob?


Hip-ometer Rating ~ 6.4


Mr. Wright - "the Fancy Man" The opening track on this LP at first reminded me of some of the stuff the Pale Fountains did, but that sort of faded, and it became the stuffed drawing room bourgeois muzak you were actually expecting when you first looked at it. That this is on Le Grand Magistery and that it also sounds like it's trying desperately to sound like Louis Phillipe is no real surprise and I have no problem with slow songs, but this album never gets going and it is as cold and boring as the snobbish airs it is trying to put on. If I heard these tracks seperately and preferrably between songs with a little more life, I suppose most of what is here wouldn't be too bad, but I could not imagine actually trying to listen to this whole album straight thru, not even on my most receptive day. It's been done before, and it's been done better.
Label ~ Le Grand Magistery, 12 Tracks, 2000





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