Devo
Shout

“Shout”, released at the end of 1984, marks the true beginning of the end for Devo. After five years at a frenetic pace and initially bringing forth true gems of contemporary rock, our De-evolved stumble dramatically with this lackluster effort. At this point, the devolution is complete…just as they prophetically and ironically predicted in 1978 with their first indispensable album. Whereas in the immediately preceding albums like “Oh No, It’s Devo” and “New Traditionalists” the compositions were at least compact and coherent, here everything is scattered, noisy, and poorly developed. It is a flat and homogeneously low album, and the quality level plummets inexorably. In fact, even in the more than honest “Oh no it’s Devo” there were still some good ideas, but here our folks have run out of ideas and only the futuristic synths remain...futuristic for the time, obviously. There is no longer any trace of their punk/post-punk origins. Even the lyrics lack the sharp and violent sarcasm of the old days.

Once in the player, the record immediately opens with a misstep, the title track “Shout”, a synthetic march complete with trumpets from an electro-overture d'è nôantri. Simple and unremarkable. Absolutely not to be scorned, however, are a couple of the following tracks: “The Satisfied Mind” is a stylized, fairly engaging and catchy martial track built around a monolithic and repetitive riff. At least a hint of the old Devo madness is found here…not entirely discardable. “The 4th Dimension” is a semi-ballad that flows quite convincingly and especially soberly this time…at least a generous pass is assured. It manages to recreate a hypnotic dance rhythm despite the catchiness, and in addition, there is the ironic quotation of a lifted chord progression from “Day Tripper” by the Beatles in the middle. Perhaps the best track on the album. Unfortunately, all the good ends here.

“Don't Rescue Me” is a track with an overall gassy atmosphere full of good intentions, but the melodic lines are a bit "packed," and all that remains are a series of coarse synthetic effects. Enthusiastic in the early measures but ultimately uninspired. Unfortunately, it is further marred by rather annoying and intrusive electronic percussion. “C'mon” is flat and uninspired, while not unlistenable. The chorus has something cacophonous to my ears. These last two tracks generate some regret in that they could have been more successful if refined in a more sober and less brash manner. Even “Here to Go” starts off fairly well in the introductory part, only to then lose itself and disgracefully transform into a hymn to gaudiness, with interludes of Atari video game-like effects. The remaining tracks, from “Jurisdiction of Love” (inclusive) to the end of the LP, should be flushed down the toilet en masse. The cover of “R U Experienced?” by Hendrix is literally unthinkable. Badly reinterpreted and utterly useless.

The album received negative reviews since its release. Casale stated in an interview several years later that the big regret was letting the entire project be monopolized in an all-encompassing manner by the most advanced electronics; in particular, their mistake was to completely "delegate" the sound of the album to the Fairlight, the then-fashionable computerized super keyboard: thus, instead of playing their ideas and their album WITH the Fairlight, they let themselves be carried away and guided BY the Fairlight. I call this “bumping car music” from the 80s…you know the village festivals? Here we are…

In conclusion, “Shout” is a pale simulacrum of their more successful works, an empty box well adorned externally with fashionable electronic sounds but totally lacking in substance. Seriously a contender for the worst Devo album along with the next two. An album for completists only who might find it at a bargain price. End.