Mike76

Thank you Ege for the valuable advice, I will definitely follow it even though my shopping list is really too long.
Maybe to save some money I’ll get the CD of Yello Magic Orchestral In The Dark :-)
If you say it’s worth it, I’ll get the Yello album, although it’s reasonable to expect less naïveté from a synth pop of '85 compared to a primordial one from '79 (but this is a plus only up to a certain point, then it starts to become a flaw).
“Almost” by OMD is indeed one of my favorite tracks, it has a beautiful synth line that creates a great atmosphere, but tell me something: not to be cheeky, but in the closing track "Pretending To See The Future" don’t you hear a little something from HL? At least in the verse that tries to imitate Oakey's vocal depth?

I dusted off an old compilation and found "Cruelty G," a nice dancefloor gothic track that merges The Cure with a Lisa Gerrard-style vocal reminiscent of early Dead Can Dance, featuring an upbeat danceable rhythm that I’ve heard somewhere before (perhaps "Dancing" by Bauhaus?). Nothing new, in short, but a well-crafted and enjoyable single. I’m not sure, though, if it holds up over the long haul.

I also have the OMD album, it's nice but has a more "sixties" taste in melody; in my opinion, it's less original (and it's from '80). I’ve never heard anything by Yellow Magic Orchestra, so I can't judge. As for the Swiss, I only remember a very "camp" video aired on MTV (it had something to do with race cars, but I don't remember the title), and since it didn't excite me, I never explored them further.

I’ve never heard this album but I had "Station Of The Crass" and I noticed the same flaws highlighted in this review. Furthermore, in that album, Eve Libertine had a marginal role and only sang on a few tracks. The male voice that replaced her shouted haphazardly long-winded lyrics that were disproportionately lengthy compared to the short duration of each track, but then again, the Crass were more concerned with WHAT was being said rather than HOW to say it. And it’s a shame because there are some musically worthy insights that peek through here and there, only they are always pushed into a corner and never properly developed.
It is said that producers stifle a group's creativity, but for the Crass, a capable producer could have better highlighted their talent. Nonetheless, I've heard from various sources that the best of the Crass can be found in the singles compilation "Best Before," and perhaps it’s true since singles are usually the more polished tracks. For instance, I have their track "Nagasaki Nightmare" in Mp3, an excellent long, experimental piece, very instrumental and still raw but not haphazard like the tracks from the albums.

Well, it's a matter of taste. The childish experimentation I might hear in the later "Travelogue," which often falls into a pile of sounds and gratuitous effects; here, however, I sense method, "dryness," and (aside from a couple of tracks that go elsewhere) stylistic and "mood" homogeneity. I respect your judgment Egebamyasi, because you certainly know more about new wave than I do, but answer me: was there anyone playing like the Human League before '79?

And I add: if only they had all been made that way!

This is my favorite album by Guns'n'Roses!

Well, right now I only own "Evol" and I appreciate it quite a bit, while "Sister" no longer convinced me and I sold it. If I ever come up with the idea of buying something from Sonic Youth, it will definitely be pre-1986.

It's a really great album, maybe not perfect but definitely innovative. I read some comments on a review of the Ministry that mocked Ondarock for considering this album essential, but it truly is essential. In my opinion, this album is worth two "Nevermind" and at least twenty "Mellon Collie," and it's not fair to underestimate it. Unfortunately, the review I wrote last year doesn't fully do it justice.

Not at the disk!