Mike76

The bare torso on the cover, the continuous explicit references to deviant sex and extreme right-wing political ideas, and the underlying camp sarcasm make them seem like a modernized and heavy version of the unforgettable D.a.f.

Surely the album release of the year alongside the latest from Anna Tatangelo.

What a cutting review!

Uoo-o-o-oooo suit ciald o maaaain!!! Finally, a balanced judgment on this masterpiece.

An album that hasn't aged well and suffers from the not insignificant flaw of being rather redundant in many tracks, perhaps because Jourgensen designed them more for the dancefloor than for listening. In any case, it's better to keep industrial in the club rather than bringing it to the Festivalbar (figuratively speaking) like Mr. Reznor did. Despite being twenty years old, tracks like "Stigmata," "Hizbollah," and "You Know What You Are" can still be listened to with interest, and then there's that post-Daf EBM masterpiece "I Prefer," which, forgive the pun, is my favorite. The review wouldn't be so bad, but "terra di rape e miele" really can't be read.

Given that for me "Appetite for Destruction" was already steaming dung and the ones that followed were even worse...

Great album of (can we say?) psychedelic-industrial, perhaps a bit heavy but it has creativity to spare. Excellent review.

Do you have a Honda Civic with Pirelli tires?

Well, they have used quite a bit of good music in the commercials (I think of Aphex Twin for Pirelli, Rolling Stones for Microsoft, Beatles for Fiat, and of course Cocteau Twins for Honda).

Well, you make an interesting argument, partly but not entirely shareable. "Wish" sounded quite contemporary because with that predominantly guitar-driven sound (at least for half the album) between Hendrix and shoegaze, it sought to engage with the grunge explosion. "Wild Mood Swings," on the other hand, aimed to compare itself with Britpop, so if it fell short, it’s not an issue of being out of touch. "Bloodflowers" is indeed penalized by a rather outdated sound (perhaps it was trying to compare itself with the neo-acoustic wave like Kings Of Convenience or Travis?) and I didn't like it at first either, but over time and with changing trends, I've reassessed it greatly due to the beautiful songs, an album that may not have been trendy but will certainly be more enduring than a lot of fluff that passed for modern back then like NIN, Marilyn Manson, or Limp Bizkit. Depeche Mode have always been electronic, and since modern music is increasingly heading in that direction, they definitely have much less difficulty evolving without losing their essence. R.E.M., on the other hand, can be said to have never been modern. I’ve never really liked U2 and have listened to them very little, but I remember they made something courageous (or clumsy?) between "Zooropa" and "Pop," even though they later retracted everything with subsequent albums. However, the relevance of a proposal isn't a parameter that can fully determine its musical value; otherwise, a mediocre song like "Invisible Man" by Queen would have been considered great.