Mike76

No, I haven't actually heard it, but I can imagine, and anyway it's not a matter of consistency; you can't make every album a milestone in music, nor can you repeat yourself endlessly. Even the last Suicide album, "American Supreme," used somewhat commercial sounds, but the tracks were nothing like pop at all. In the end, it resulted in something contradictory (music "alternative" with pop sounds), but to me, it wasn't devoid of charm. Anyway, I'm not against all pop; it's just that those few songs I've heard by the Cars were rather bland for my tastes and made me lose the desire to listen to more. If we're talking about pop-wave, I'd prefer Magazine, the B52's, or XTC, whom I find more eclectic and fun. If you tell me Ocasek is a great artist, I will definitely try to explore more.

Okay, I got it. However, I will still greatly prefer his friend Alan Vega, who has shown that rock can still deliver something worthwhile.

Looks like I’ll just drink my coffee and get rained on with my cigarette, it always costs less than €20.

It may be, but if we think like that, then Alex Britti and Zucchero also become great artists...

It may be, but from what I’ve heard, Reznor is just slightly better than his cousin Marilyn Manson.

Sure, Pink Floyd are a fundamental band, there's no denying it, but the little I've listened to from them hasn't thrilled me much. Their sound is too ungritty, too "muffled," with rare outbursts, and melodies that I find far from irresistible. The problem is they don't convey anything to me even on an atmospheric level; watching the video of this concert, I had the impression that they enjoy playing the part of the "creative junkie," the "artist enlightened by acid trips," while their music (in my very personal and modest opinion) seems to be quite the opposite: very "premeditated," very formal, and very calculated (and at this point, very "clever"). I don't doubt that the four of them used all sorts of substances, but when it was time to write something, I believe they were wide awake, even too much, I would say. Not that this is a mortal sin; theater and music have always gone hand in hand, and everyone tries to create their own character. However, the musical result in this case leaves me cold, and quite a lot.

I only have the mp3 of the (great) song "We are Time." I need to get the albums even though they seem to be available only through import and at rather high prices. It’s sad, but maybe that’s the only reason why their records aren’t regarded on the same level as other rock masterpieces: they are just hard to find. Hats off to the review.

Not to mention the grotesque cover in the style of "Orchestra Raul Casadei"....

Sinister instrumental interludes like the title track and "Tanith," melodic Kraftwerkian openings like "Walkabout," and the proto-techno-trance of "Hot On The Heels Of Love," dark and paranoid industrial tracks like "What A Day," "Persuasion," and "Still Walking": a great record!

For me, this is the weakest chapter of the trilogy, uneven and not always highly inspired in terms of composition. However, "Double-Barrel Prayer" is excellent.