Gang of Four
Mall

I admit that it wasn't easy to start with a bias after reading poorly and, in other cases, even very poorly about this album, but here I am, I did it.
In general, however, it's quite rare to find reviews or even just opinions on the web about it, and it took me quite a while to find it, so I want to thank a lost link from a Czech Republic website. This could very well be its first review in Italian.

In 1984, after four albums, the Gang Of Four decided to cease activities. Seven years later, key members Andy Gill and Jon King retrace their steps and give birth to this "Mall," released by Polydor.
Then, we all agree that "Entertainment!" remains their masterpiece, right? Good, then we’ll also all (sadly) agree that it's an unrivaled album even for Gang Of Four themselves: they tried again a few years later with "Solid Gold" but, as far as I'm concerned, it's not at all on par with the debut and maybe-maybe at times, I can already say that "Mall" has characteristics that make me prefer it to previous works.
I'll be honest in saying that I'm fine with it in the end, the story has already been written. The Gang Of Four (who are officially two for the occasion) simply propose something different, not necessarily of such low quality.

Forget about the Post-Punk and Dance Punk sounds that defined them and let's analyze it surgically: the most highlighted aspect is the rather massive use of synthesizers but it's the overall sound that turns out to be synthesized, which will prove to be a double-edged sword. A more sober approach to music.
There are several things that leave me puzzled and make me shake my head quite a bit: for example, the presence of two anonymous interludes (?) ("Impossible" and "Hiromi & Stan Talk") less than a minute long with total uselessness.

The plot is as follows: songs of certain concreteness and substance alternated by bland tracks, possibly even curious, but not fully developed, left halfway through the work.
"Cadillac" and "Motel" are the tracks that open the album and the forecasts are good; it may not be the true spirit of Gang Of Four, but they are great Synthpop numbers and it is at their end that the trend begins to become sinusoidal between a truly too Pop and mawkish "Satellite", a strange but relaxing version of Bob Marley's "Soul Rebel" in a different key, a too lengthy "F.M.U.S.A." and a truly curious and singular "Everybody Wants To Come."
This last track could have even been a standout track: it opens (and also closes) with a hint of harmonic singing as an introduction to the true essence of the track with an almost New Age flavor, very ambient, closely tied with a background of light effects and angelic synth carpets; what doesn't convince is the vocal part that, in a sense, never quite makes the song's spark fully ignite. Absolutely not to be discarded.

If it had been released under another name, it probably would have been considered much more.