Mike76

Mmmh... the video for Umbrella seemed slightly allusive to me: the umbrella as a phallic symbol? And what's that liquid they're throwing on him, a cumshot? And the final rain doesn't allude to a golden shower? So many Hamlet-like doubts.

The Led are not my kind of music, but I have to admit they were really good live.

I have never managed to stay awake until the end of a Genesis album.

I finally got it, it was one of the few I was missing. This is where that lightening of the Banshees' sound began, which, however, at least until "Tinderbox," did not compromise the quality of their offering. I agree that the standout track is undoubtedly the captivating "Cascade," but the experimental "Circle" with its repeated and hypnotic arrangement is also very fascinating. To be honest, I don’t find the three tracks that the reviewer considers the weak part of the album to be bad either, even if "Melt," "Slowdive," and "Painted Bird" might be more convincing in the live "Nocturne."

Be careful to mention the name of Mohammed in vain, or they'll burn your effigy in the square...

"Usual" black and white for Tsukamoto? The best after "A Snake Of June"? Well, I think you haven't seen many films by the good Shinya.

Uhm, camp+noise, really an interesting bad taste. I wonder if someone here in Italy has done the same by marrying noise and liscio.

If I'm not mistaken, they are considered the inventors of Japanoise. The review encourages me to discover them, even though they don't seem to be easily available.

An album that stands out significantly from all the post-punk of the time, opting for delicate, guitar-driven instrumental music with an ambient feel. "Sketch For Summer" and "Requiem For A Father" are ethereal and immortal melodies, so timeless that they could have been released in the '90s or 2000s instead of the '80s. The bonus tracks included in the reissue are even more enjoyable than the album itself, as their variety alleviates the slight sense of monotony present in the original tracklist: "First Aspect of the Same Thing" and "Second Aspect of the Same Thing" are interesting electronic experiments by Martin Hannett, "Sleep Will Come" is the only sung track, and "Lips That Would Kiss," "Madeleine," and "Experiment in Fifth" are among the best examples of the more rarefied and ethereal DC style.
It's the only album I own by Durutti, but even from this, you can see how influential Really has been (the Cocteau Twins for the atmospheres, the Cure for their airier minimalism, and perhaps some ambient from the '90s for the discreet use of electronics).
A curiosity: if you manage to find a copy of the original vinyl LP, there’s a chance that the sandpaper on the cover was glued on by Ian Curtis himself, who, as noted in his biography, volunteered to do this job at Factory Records to “make some extra cash.”

In fact, the third chapter was just fluff.