Mike76

Legendary ACR! I would have watched them with interest. And a little bit Moby too, come on.

For what it's worth, the ESGs were precisely mixed-race (white father, black mother), which might be a significant aspect considering the perfect blend of white (post-punk) and black (funk, hip-hop) music that characterized their original proposal. Their stripped-down tracks relied, sometimes exclusively, on deep bass lines upfront and minimal percussion, with vocal parts that occasionally peeked through, balancing between the innocent and the sensual.
From black music, they surely inherited a sense of rhythm, while from punk they took the "do it yourself" ethos; their mother bought them instruments with the aim of keeping them out of bad company (they were in the Bronx....), and they started playing their own pieces just so people wouldn’t notice the mistakes when they performed covers. Their contact with Factory Records was accidental, as was the recording of the famous "U.F.O", included in the first EP of '81 simply because Martin Hannet had asked them to fill three remaining minutes: talk about coincidence...
Instead, I have the most comprehensive compilation "Dance To the Best" on double CD, but to be honest, a single CD is enough to include (excluding non-essential remixes) the best of their sparse discography. The first EP and the first album are must-haves, but even in the albums from the 90s and 00s, there are notable episodes. Rarely have seminal quality and the pleasure of listening gone hand in hand like this.

In fact, it seems that he had some circulation problems in the United States too, although in the end he was "acquitted" of the charge of obscenity: link rotto

For me, who was a reader of "Il Giornalino" from '84 to '89 without missing a single issue, Pinky was by far the funniest comic strip, even though it was graphically the simplest. And it wasn't just my favorite, since in a reader survey, Mattioli's comic turned out to be the most appreciated. I knew about his "underground" career but not about the existence of this splatter version of Tom & Jerry. Valuable tip.

Tovey didn't have a bad voice at all; I find him less convincing here, though, when he adopts a spoken style as in the title track (not danceable at all due to the lack of rhythm in the singing), which ultimately feels unnecessarily verbose, a flaw also partly present in "The Sheep Look Up" (which "Little 15" honestly doesn’t remind me of). Much better when he simply follows the rhythm of the song, as in "Scapegoat" and "Love Parasite," captivating disco-dandy tracks that seem simple but actually give the sensation of having something "off," making them less reassuring but more intriguing than a typical dance piece. Also beautiful is the atmospheric "Cipher" and "For Whom The Bells Toll," another bizarre dance-floor piece that is sung in a chant-like manner and punctuated by female choirs and indefinable phrases, a hypnotic piece as rightly stated. Personally, from the same period, I prefer the more "linear" Depeche Mode, but Fad Gadget proves to have a strong personality with an album that is a white fly compared to the more likable synth-pop of the time. Rating: 3.5.

When I was still in high school in the mid-90s, MTV was already infested with bands then labeled as "Rap Metal," like RATM, Faith No More, and H-Blockx. Then in the late '90s and early 2000s, some clever person invented the label "crossover" and told us that Limp Bizkit were its godfathers. For me, both the first and second were just fluff.

But is that really Bionsè on the cover? She's whiter than the late Jacko!

But what does Quentin Tarantino have to do with it? I don’t know.

@Felo: even a simple and romantic song like "Sabrina" is avant-garde for you? For someone who appreciates Sonic Youth, Captain Beefheart, and Velvet Underground, this record doesn't seem that difficult to me ("Pelikanol" aside).