•
Rating: How many people know something about this band? What contribution have they made to music? Let's start right from the beginning: 1978: the Sex Pistols, an emblematic punk band, disband after releasing only one album, also following various tensions among the group members, with the cherry on top being the death of bass player Sid Vicious. The controversial leader Johnny Rotten (stage name of John Lydon), however, doesn't sit idle but returns to the scene with an unusual lineup, including Clash guitarist Keith Levene, creating Public Image Limited, better known as PIL. And right away, one can see that the brash young punk hasn't finished shooting his last rounds yet, and if with the Pistols he built a very peculiar persona, almost a denunciation of the British government (citing the so famous and loved "God Save The Queen"), thanks to this new band, he becomes a real icon. Finally, he manages to do what he never achieved with the Pistols, which is to experiment.
With PIL, indeed, he manages to create a sound between the old punk he introduced us to, with elements drawn from dub music, tribal music, and the early new wave of those years. From this fusion, a subgenre called "Post-Punk" emerges, but beware: claiming they invented it is a joke, like saying that the Beatles invented heavy metal. Since their records are hard to find in various music stores, this hit ended up in my hands. I put it in the stereo, pressed play, and listened to a few songs. At first, it didn't grab me at all. On the contrary, Rotten himself, who has never impressed me as a vocalist, I found downright annoying on this record, unbearable, worse than ice in your pants. Then I decided to go back and give it another listen until their songs started piquing my interest: they were peculiar, experimental, and it was strange to see someone like Johnny Rotten experimenting, given that he himself declared in interviews with the Pistols that he hated the likes of David Bowie, Iggy Pop, and Pink Floyd, considering them too "intellectual." Rotten is either loved or hated. In my case...I've never been able to digest this character, who presumes to judge the Clash and the Ramones, calling them "garbage music," so allow me to say it: he's a real JERK. But his persona also includes this.
But now let's take a look at the album. The track that opens it is called "Public Image," and I remember the first time I heard it, I laughed at Johnny's off-key voice (sure, it wasn't new, but I thought maybe he would have improved over time), yet in two minutes, the track sweeps you away: simple punk chords and remarkable energy, and here we can be sure that Rotten has improved in something, namely the choice of musicians (while the Pistols were terrible at playing, here we note something much better). Then already with the listening of "Death Disco," a doubt arises: the atmosphere becomes darker, the bass line gets gloomy, and Rotten's voice, still as shrill as a rooster, manages to captivate the listener till the end. I also listen to the subsequent "Memories" and "Careering," and it immediately reveals that we are faced with a band that has succeeded in creating effective atmospheres within the new wave, especially in the dark. "Flowers Of Romance" takes me to the heart of Africa, I feel like I'm around a fire that's about to blaze more and more. Pity that the atmosphere is a bit overshadowed by Rotten’s voice, who being too accustomed to punk, risks being heavy and pointless here. With "This Is Not A Love Song," one enters a disco atmosphere: a catchy chorus to the point of nausea, but the trumpets in the song are very fitting, especially the rhythm is enjoyable. With "Rise," the band transforms again with an almost 6-minute-long pop song, very monotonous but overall not bad. With "Home," we enter a typically '80s rock atmosphere among distorted guitars and a pounding drum, then with "Seattle," I'm overwhelmed like a wave by a mature post-punk-new wave sound inspired by the likes of Simple Minds, Talk Talk, and Duran Duran. Then it's the turn of the tribal "Body," where Rotten's voice sounds seductive for the first time, to the distorted and enticing sounds of "Rules And Regulations," and even to "Disappointed," which introduces cute gospel choruses on a classic but very pleasant new wave atmosphere typical of the group. Finally, it’s the turn of the masterpiece of the album, that is "Warrior." One of the most experimental songs, blending techno with new wave and post-punk, together with tribal and disco rhythms, with a truly stunning result. Despite not being able to stand Rotten’s voice, here he tries to give his best, this time being engaging. The album ends with "Don't Ask Me," a very tantalizing pop track, even if it might be the least "epic" and experimental of the record.
However, it is a sufficient album, underrated, like this band, which apart from the figure of their leader (whom many, like myself, will not stand) has achieved some very good things. If at the first listen they don't convince you, try listening to them again, somehow you will realize they are not bad at all.
Loading comments slowly
