The Psychedelic Furs
Talk Talk Talk

THE REVIEW

When talking about new-wave, one certainly cannot omit the Psychedelic Furs, who, after their excellent self-titled debut in 1980, released this album with a strange title the following year.
It is the work of their full maturity and one of the most interesting albums of their decade. The lineup consisted of a sextet, formed by two guitars, bass, drums, vocals, and a saxophone, played by Duncan Kilburn, which was the true peculiarity of the group. His flights indeed gave the sound a sinister quality, an ambiguous identity that made them very fascinating. Moreover, the powerful imprint of the two guitars echoed with a hard-psychedelic vibe, supported by the vigorous rhythm section that marked a powerful and obsessive beat.
Richard Butler's voice was as dissonant as the guitars, hoarse and gritty, just what was needed for their sound. All of this, combined with a purely rock taste for melody, formed a synergy that branded post-punk with fire.

"Dumb Waiters" immediately kicks off the record in grand style, with the saxophone launching into an epic cry over the martial stride of the drums, with Butler intoning his dark baritone over the distorted notes of overlapping guitars.
The compelling melody of "Pretty In Pink" is a small masterpiece of restless and oblique rock, alternating between moments of sunny melodic openings and others of dark paranoia.
The new-wave soul of the subsequent "I Wanna Sleep With You" is evident right from the frantic start of the drums, metronomic and breathless, reminiscent of the gray urban landscapes of Wire. The crystalline melody that permeates "No Tears" insinuates itself under the skin, like those songs you can't shake off, constantly buzzing in your head. In every track, the splendid breath of Kilburn's lunar saxophone always peeks in, an indelible trademark. The Psychedelic Furs do not miss out on atmospheric ballads with a dark mood like "All Of This And Nothing," which starts on a precious acoustic guitar loop and sax wails, then breaks in with a hypnotic and monotone rhythm that carries the track to its concluding "reprise" of the beginning. A little gem. "She Is Mine" instead possesses a more tender mood, a sweet serenade softly whispered by Butler, which glides away smoothly and delicately.

The entire album is marked by catchy melodies and a sincere and never formulaic accessibility, making it one of the best results in the purely rock field of the early '80s.
A little gem that cannot be missing from any respectable new-wave collection.