Soul Mining

Obegripligt att välja debuten före Mindbomb. Mindbomb kan vara min favoritskiva alla kategorier. Men jag är glad att The The fått plats pålistan om än med fel skiva. Detta är fortfarande bra såklart. En fyra

Redundant. One The The album is enough to reach a reasonable conclusion. I reassert my conclusion that their music is dull and the band name sucks.

3.5

The 80e just didn’t have a lot of must-hear music.

This was a surprise. Really good album

Some interesting songs. Not quite a four but I enjoyed it. I knew This Is The Day

01) I've Been Waitin' for Tomorrow (All of My Life) - 7,0 02) This Is the Day - 8,5 03) The Sinking Feeling - 8,0 04) Uncertain Smile - 8,0 05) The Twilight Hour - 8,0 06) Soul Mining - 8,0 07) Giant - 8,5 TOTAL: 8,00 (80/100) Current ranking: 278/1028

If Punk can be held up as showing that you didn't need to know how to play your instruments to become successful, then Post-punk can be held up as showing you didn't know how to sing to be a success. I have tried with many post punk bands, but they all drool on with the same low bass no emotion vocals, and this is the same. As for the music... it's very 80s, which is either good or bad depending on your preferences. The album has a few solid hooks, but when the singing is so bereft of feeling it's difficult to care. Take This Is The Day, a plainly average song by any reckoning, but decent enough to be a single in the painfully bland landscape of early 80s British chart music. The Manic Street Preachers cover is objectively superior in every respect - primarily because it is performed by an actual singer - but even then it's not very good. So, some ok songs which inspired some better things.

There's worse out there but it isn't great. Wouldn't remember it or put it on again but it wasn't the worst to hear.

Once again. I find them a bit too messy. Has the vibe of a craft drawer full of cut offs that you might use later. Stray googly eyes and glitter. Was that the Rugrats theme? Some interesting stuff, but forgettable.

More new wave. Hooray. Not much to say that hasn’t already been said

this gave me opening act in the New Wave scene vibes. Not reaching the heights of their peers

Passable early synth pop.

Weirdly liked this one. Think I’m just a sucker for synth pop

Never heard this before and thought it was great. Will be back for more

this sounds like something my father in law would listen to... not sure if that's derogatory or complimentary. Sometimes I like this, sometimes I think they're being too self important. It's pretty nice to listen to though. I'm very torn. I love Uncertain Smile.

New wave / synth pop. The vocals aren't great and the songs all feel a bit too long for the number of ideas they have. There are some parts where it clicks but it felt a bit too slow and contemplative for me.

Wacky and weird. Some good. Some different.

(6.8)

Didn’t expect to find the original “love will tear us apart” melody here but that was a pleasant surprise

Malo no me gustó

Mostly 'meh. Neither good enough nor annoying enough to grab my attention.

Pretty good post punk music.

I love soul mining Great album. Poppy but not too much

Not too bad of an album. If you remove the vocals, a lot of the background music kinda sounds like the music on some of the Halo 2 and 3 campaign levels.

Kind of a weird album, at least for a British punk album this was interesting. Still wasn't exactly my favorite but it was okay

I expected to hate this when I saw the ugly album art and ridiculous band name, but this album had a few tracks that impressed me. Uncertain Smile was a standout track that featured a lot of varied instrumentation and rhythms, keeping the track engaging and enjoyable. It didn't succumb to the failings of other tracks on this album that grew repetitive, but remained progressive in its sound.

6.5/10

like the themes and sound kinda, gets a but repetitive

Great introduction to this band. Matt Johnson finds a way of weaving heavy themes into pop/punk songs with intriguing lyrics and interesting music. Always have to turn up the marvellous piano solo in 'Uncertain Smile' and air-piano away - Jools Holland may come across a bit like a twat these days, but damn, he could tinkle those ivories. This Is The Day and Giant are other highlights.

Uninteresting

Nothing special. Nothing objectionable.

I kind of was enjoying the first half of this then I stepped away and when I came back, I did not really enjoy the second half. So much of this is the mood you are in when you listen.

Better than I expected, recognized one song, alright overall.

Enjoyed it - last track strong

you know what? I really enjoyed it. It is not the type of album I would like to listen every day, but if I ever got the chance to see them live I would 100% be vibing

Dodododod syyynth dodododod syyyynth

I enjoyed this album. The The is one of those groups that you forget how much you liked their music. Thanks for the reminder!

Har har har. Very funny band name. Admittedly, I do find the title of this band to be amusing, so I guess I just made fun of myself for being a simpleton. I don't need to speculate too hard about what this album could be. With a band name that boldly satirises musical conventions I think it stands to reason that this is a punk album. 'Ere goes. Post-punk. I guess I'm correct, right? This was good! Been a while since I last had wunnadoes. The vocalist gets the job done with his performances, lending a breathy, sultry sound to this music that complements the electronic/club theming of the album while also introducing a jumpy, lively element which meshes with the instrumentals. I've heard this kind of vocal approach a hundred times over and have found it to be deathly boring 99 out of those 100 times, so I like to think it's extra impressive that I favour the vocal performances of this album. The instrumentals are quite adept, too. A wide spread of instruments spattered with some early dance mastering that is also surprisingly quite competent. It's difficult to surmise the instrumentals of this album because of how wildly varied they are, though if I am to speak as broadly as possible, I generally enjoyed the funk and bass guitars as well as the charmingly early 80s synths that give the album its ambience. All in all, I thought this album was remarkably crisp and competent despite the year it released in. I might just return to this some time. Book time. "If any rock artist ever had the tag "miserable bastard" tattooed on his forehead, it is Matt Johnson, the one­ man band who has operated as The The since 1980." Matt Johnson got his start in music by playing instruments with his brother during closed hours at a pub his father owned. Johnson's intent with the The was "...to create a concept group, inspired by The Plastic Ono Band: a concept group that changed constantly." Quite politcally charged with its lyrics. Wikipedia says this album was inspired by the club scene of New York in the 80s. Widely considered by critics to be the The's best work, with it receiving glowing and enduring acclaim in the years following release. It was modestly successful in the five countries where it charted, notably peaking at No. 27 in the UK, No. 22 in Canada, No. 16 in New Zealand and No. 14 in the Netherlands. Sure. The The don't appear to be a particularly influential band, though I think the faux-band concept is interesting and their music is competent as well. I'll most likely axe their second inclusion if this is truly their best release, though for the time being I'm content with letting this album through. I cosign this inclusion.

After Burning Blue Soul (originally credited to Matt Johnson alone), this was the first (and best) The The album. It's been a while since I played this album (I have the original UK vinyl with the 12" single), and I've rediscovered how much I loved this album - and I still do. And it's induced serious nostalgia!

I liked the The The.

Liked this.

좋아 근데 3점 4점급3점임얜

Very boring 80s

Very repetitive but some good bits. 3/5

This is far better than most other new wave stuff. I didn’t love all the songs but I did really appreciate the variety.

I own a couple of albums by The The, but their music has never quite hooked me. Soul Mining strikes me in a similar way: nothing here quite reaches five-star territory, though a few tracks hit four. Overall, it is a solid and enjoyable listen, even if it falls short of being essential for me. Three stars. 1 "I've Been Waitin' for Tomorrow (All of My Life)" (3/5) 2 "This Is the Day" (4/5) 3 "The Sinking Feeling" (3/5) 4 "Uncertain Smile" (4/5) 5 "The Twilight Hour" (3/5) 6 "Soul Mining" (3/5) 7 "Giant" (3/5) Total - 23 Average -3.3 404/1001 210/404 albums reviewed were new to me.

Typical 80's new wave. Enjoyable

I’m not usually a fan of British synth-pop but I liked this. It was interesting and I liked the variety of instrumentation used.

Wow some really great stuff here - This is the Day was awesome, but HOT DAMN that Uncertain Smile delivered on a jaw dropping display on the keyboard - something I thought we would get more of in this list in general. The Twilight Hour also very cool, Soul Mining had some fun parts - I can see the list maker choosing this as it's like Bowie but better in my opinion. The lyrics hit more directly, the music very interesting, good stuff.

I don't have it in me to write a whole bunch right now but this album was a lot more fun than I expected it to be.

Fun listen. Had never heard of them before. For some reason I can't remember much about the album from just yesterday so I'll have to revisit this sometime.

Circumstances caused me to start this album over like four times before I was able to listen all the way through and GOOD THING! I appreciated at first that it wasn’t merely a synth pop 80s album and that some care was paid to its artistry but repeated lengthier listens really opened it up. Terrific album.

46

U usporedbi sa zadnja tri smećasta albuma, ovo mi bar nije za 1. Ima fora sintiće, na trenutke je zanimljivo i originalno, iako ima i dosta lejm dijelova. 2/5, 4/10

Really interesting so far there were a few different looks 3 songs in now. 1983 feels like its ahead of its time. This is the day was liked. Ohh the intro for Uncertain Smile makes me smile. Has been a gem, I would say me having a manic Monday, did slip in and out of focused listening but oohh the intro to Giant. Yea I like it alot 4.5 out of 5 not a 5 closer to 4. This is defo one I could picture myself listening to more for sure. Giant is a sick ending though monster song.

Can hear the start of some interesting ideas but the songs are a bit too weak for me.

Slightly weird new wave. Unfortunately I don’t want to hear new wave.

The first track on this album is probably the worst, which makes for a pretty tough first impression. Thankfully, it gets much better from there. I really enjoyed "This Is the Day" and "Giant," with "Uncertain Smile" probably being my favorite track. These guys definitely had a sound that was ahead of its time. The album doesn't hit on every track, but I enjoyed most of it and can appreciate how forward-thinking it was. 3.5/5

Groovy baby! I'm just a symptom of the moral decay that's eating of the heart of the country... So true. Final song was too long

Perfect background album for a 1980s party

Syntistä poppia yksinkertaisenkarun viehättävässä kasariolemuksessa. Huomasin vähä tykkääväni. Boonuksena tuli taas ahaa-elämys kun löytyi taas yksi biisi jonka pohjalta Eläkeläiset on tehnyt humppaansa.

Aggressiivisen kasari levy. Hauskaa synapoppia, ei kuitenkaan suuresti kolahtanu.

Not as good as their other album

OK but preferred Mind Bomb.

Couldnt listen to all of it, I just hear that dodgy 80s sound and want to kill myself

I was actually quite underwhelmed by this - unlike his later stuff this album sounds flat and unmistakably 80s

Nah. jangly 80s pop. lacks any energy that I can tap into, just hollow 80s crap.

This is a cool.surprise. I really enjoy the early 80s basslines and the piano. A few songs toward the end drag a little but this is a good post punk album.

this is awesome. david bowie with less sparkles and makeup.

This was interesting, each song felt so different. I recognized This is the Day, kind of a banger. But yea this was a fun one with serious variety. Particularly liked The Sinking Feeling. Might even come back to this album but probably not because I can’t really tell what mood I’d have to be in to listen to most of the songs

This was just one of those albums where nothing stood out to me. The music was fine, but in my opinion, I just wouldn't say it was above average. That's really it. Honestly, it was just tough to follow up Dire Straits.

I hardly thought about this album. Don’t think I ever will again. Byeeees

Good, but ultimately forgettable

It’s ok not bad. Uncertain smile is marginally acceptable. They know what they can or cannot do. Vocal range is reasonable for the lead singer but also a bit narrow and boring.

some beautiful parts, some weird parts, some wtf parts. i dunno, realistically a 2.5 for me, but overall a forgettable album in my opinions

I listened to this and then all of a sudden it was over. The instrumental sections were pretty good, otherwise not a whole lot caught my attention. But it was pretty good background music for drinking coffee on the porch.

Hey, I know that song! Solid album all around. I really like their sound. The songs are long, but they're varied enough to not get tedious.

Great album. Several real bangers. Some of the b-sides are a little on the nose lyrically, but good musically.

Whelmed

80's synth-pop bordering on post-punk in spots. Sonically it is a treat to listen too, using some cool instruments to create fun soundscapes. I like that it varies in sound, takes you on a trip so it doesn't become boring. The highs on this are very high but it has a couple of low moments. This is a very interesting album, something keeps drawing me to listen to it over and over again. There are a couple songs that keep this from being 5 stars for me but overall a fun listen

RATING: 8.5/10 HIGHLIGHT: The Sinking Feeling LOWLIGHT: Soul Mining

This isn’t my favorite the, although I know it’s the the it’s just not my kind of the, you kne?

Interesting record. i figured i would have heard the track that has like 134 million plays on spotify, but ive literally never heard it before. 2/5

Nie zlé, ale pre mňa je ich vrchol "mind bomb" .

For a post-punk album, this wasn't horrible. Some tracks definitely went a little too into meandering territory, but there were some unique pop and even country twinges that made it not that bad. 2.7/5 -> 3/5

The best new wave album of all time. Soulful and insightful and sophisticated while in the full embrace of the times in which it was created. Matt Johnson's drum machine should be preserved in the seed vault in case we need to reboot pop music again.

Incorporating jazz elements, strings and other sophisticated elements in a dance pop formula, Matt Johnson never sounded so fun and lighthearted. “This Is the Day” is pure joy — musically, anyway — and a highlight. It’s a strong set of songs.

Another one I can't evaluate fairly because I loved it so much as a teenager. Sure, the production is dated, but this is basically a one man show. Would you devalue Prince's genius because "Controversy" sounds too much like 1981? No, you would not

Actually pretty damn good. A mishmash of styles, ranging from simple minds to prefab sprout

British new-wave synth-pop without a ton of memorable melodies or rhythms. I have no idea why it's on this list.

To start, I think I've found a strong contender for "worst band name" of all time. The The goes head-to-head and battles hard with TOTO in this category. Regarding the music, it sounds like Ian Curtis singing in a "happy" band. I say this only because the vocalist's voice is similar, and the harmonies are a bit more cheerful... nothing more... I'm out of stupid comparisons now: 4 stars.

I liked this album well enough, never having heard of the band before today. Uncertain Smile! The best! This is the Day, second favorite. Rest of it was okay. 5 stars for Uncertain Smile 🤷

I remember enjoying it but I don't remember a single bit of the music so I'm not sure how to feel

I think this was a little better than some of the other New Wave slop we've heard so far. The slap 6/4 and slap bass on the first track were cool. "Uncertain smile" had a musical flavor that I like. Most of the other songs had grooves that were pretty cool, so I'm willing to give it a light 3.

First song ('I've Been Waitin') sounds dated, and annoying (very 80s, but not in a good way). Second song ('This Is the Day') is very good, I've always thought so -- one of those where you know, first time you hear it on the radio, yeah, that's good; it also sounds very 80s, but in a good way. Actually, it's sort of a quintessential 80s song. Might even make the top 10, if that were a category. Well, probably not *my* top 10 (top 100, maybe?), but for some people. Ok, now song 3 ('Sinking Feeling'): yeah, this is such an 80s album. More accurately, such an 80s British New Wave album. I mean that mostly in a good way, as I was very much a fan of a lot of (but not all, by any means) British new wave (a broad category) in the 1980s. Now I'm on song 4 ('Uncertain Smile'), having the same thoughts, plus, once again, the singer obstacle problem: just don't love his voice. It works ok (not great, but ok) on song 2, since it's such a good song, but on the other tracks, it's a problem. Do like the Jools Holland piano on this track, though. Song 5 ('Twilight Hour'): not a great song, and singing definitely doesn't help. Song 6 ('Soul Mining') is mediocre, and of interest (if at all) only a little bit for its display of 80s sounds - which I suppose would have sounded more cool back then (hard to remember - but I *think* so). Yeah, that comment actually probably applies to this whole album, which probably (I'm pretty sure) had a sheen back in the 80s (which time has long since disappeared - assuming it ever existed) of being cutting edge and fresh and cool. I note that this album was released in the fall of 1983, shortly after I moved to NYC, and started listening (even more) to a lot of new wave on a radio station there, and buying albums at Tower Records and the record stores in Greenwich Village (St. Mark's Place), so this record was perfectly timed for me to like it; the fact that I didn't buy it (though I think I did consider it) I think I'd have to chalk up to the singer's voice, primarily, and perhaps secondarily an overall harshness (?) to the music -- the percussion in particular -- which might have put me off a little (though not entirely, since I liked plenty of new wave that had similar, though perhaps not quite so harsh, percussion). A lot of what I just wrote applies to the overly-long song 7 ('Giant'). Maybe they imagined people dancing to that in a club -- but New Order (for example) did songs like that SO much better; Track 7 is like a (very) pale imitation of New Order. Track 8 ('Perfect') -- see above: clunky, slightly annoying percussion; singing that isn't very musical. After all that, you probably figure I'm giving this 1 or 2 stars, but actually I think I'll give it a low 3 stars, because of the excellent 'This Is the Day,' and also as a solid (if uneven, and now dated-sounded) monument to 80s New Wave.

I like the synthesizers and the off-kilter drums. I don't like the The. The depressed lyrics kinda resonate with me but I don't like the vocal performance English? Check. 1980's? Check. Post-punk? Why not? It has all the ingredients for an album that bores me

Pleasantly surprised. Enjoyed more than Infected.

Usually bands start with their best song. Track 1 almost had me write off the whole album. The rest of it is mostly just annoying 80s music but I enjoyed #2 This is the Day

One of the more hidden gems of the 80s. This Is The Day and Uncertain Smile being the earworms, but the rest of the album is of a high standard too. It’s aged spectacularly well. Still sounding fresh all these years later. There is a little bit of magic in this album, it’s thought provoking lyrics mean that it stands up well to repeated listening. And this is a great excuse to dust off the vinyl copy and do precisely that! Easy 4

Amazing spund of the 80s that is also timeless

This Is the Day Uncertain Smile

Besides the Big Hit, this album's just alright. 3.5 bumped down to 3.

You know what? I think I’m at a 10. Mileage will vary on this, and for me, it’s one of the more personalized 10s I’m going to give. I just really connected with the sort of hopeful despair this album portrays in its lyrics. This is one about smiling through the pain you’re acutely aware of, creating a dissonance between your outer presentation & your inner self, yet being unable to reconcile with both, in a way where people can take advantage of you & mine your soul for their own gain, until you’ve lost all sense of self. Every single one of these tracks clicked lyrically in a way that captures a mood I’ve felt before & have thankfully escaped from, but this album just gave me a really potent sense of closure on that period of my life. It'd be very easy to boil this album down to its one 'big song' & then neglect the rest, but that's doing such a disservice to the effort put into composing all of these tracks & putting them together as a cohesive experience. It also helps that this is great synthpop for 1983; a lot of these feel at least 5 years ahead of schedule at the minimum, if not longer on a few tracks. Seriously, both “The Twilight Hour” & “Soul Mining” feel like they’re from 1993 at the earliest. It’s mostly in the guitar / bass work being real instrumentation, but anytime a non-programmed instrument blends into the soundscape, it sounds great because they work in harmony with the synths as opposed to being fodder for the synths. The shining example of this is in the 3-minute piano solo that ends “Uncertain Smile”, which is one of the best piano solos I’ve heard in my life. I have no idea how that much energy came from a track that’s centered around the nerves of an uncertain relationship, but it just gets more stunning as it goes. I want to point out the countdown that opens the album, just as a note of how detail-oriented this album seems to be. He goes 10, 9, 8, and then he skips 7. Obviously, 7 is the lucky number – this album just has no luck behind it from the beginning, at least for this protagonist that we seemingly follow throughout. It’s such a small moment, but it’s pretty easy to hear, and that level of detail & attention applies lyrically, instrumentally & beyond. As I said, mileage will vary on how successfully this album portrays that emotion it's trying to capture, one’s ability to feel it, and ultimately, one’s ability to appreciate how it’s being done here. I appreciate it a lot. I’m glad it’s on the list, and I think it’s a 10, at least for me. I really, really enjoyed this.

Synths are not my favourite instrument and 80s is not my favourite decade for music, so the first track I wasn't sure if I'd like this. By the end, I liked it a lot. The lyrics contrast with the lightness of the instrumentation and creates a sardonic feeling. It's a unique and complete album and I can appreciate it. It really reminds me of primary school with the steady clapping and percussion across multiple songs. Associations: Public Image, Talking Heads, Smiths Favourite song: Giant

Don’t like it

It's fine, just a middle level album

The the the

3.5

Kind of forgettable

Entretenido album de post punk, algo de sintes... Nada muy especial lo sentí. Menos para 1983. 5/10

Этот альбом для меня остался загадкой.

pretty close to 5 again, very very solid new wave

No no no

The hell is even this

No thanks

That was really great, now I want to listen to some Orville Peck.

Incredible album, absolutely loved it. Bought the vinyl reissue.

Inoffensive and unmemorable

I have mixed feelings about this. I enjoyed the energy and positivity in the music and production. A generous amount of clever and quirky musical ideas fill the album. It sounded like he played and recorded everything in a home studio or something. All very upbeat and inoffensive. However, I found the vocal-centric nature of the mix a bit overbearing. Were the vocals simply mixed too high? His distinct voice isn’t necessarily bad, but sitting so prominently atop the lush instrumentation, it eventually wore my ears out over the course of the album.

I had heard 2 of the most listened to songs on this album before, This Is the Day and Uncertain Smile. I liked those, but 40 minutes of this was a bit grating.

Cool album but this guy's voice is really annoying

typically '80s post-punk pop music; this right here is the debut of the the. hmm, i wonder if it's pronounced with the same "the" or if it's like THEE the. anyways, this record here was created after a bidding war lead into a record contract. a bit was recorded in new york city and a bit was recorded in london. wow, this album has quite the sound! with the echoey synths and ESPECIALLY some of these PUNCHY drum machines... good lord, it's almost like a rollercoaster of sound. the instrumentation is quite colorful and i feel like the lyrics might resonate with a lot of listeners. i guess if there's one thing that sorta prevents me from giving it a five, truth be told i found some of the vocal performances to be a little odd. but damn, it's like a 4.3 for me. i'm almost sitting here and taking lots of notes because i'm frankly intrigued by this entry. i still honestly like infected better, but this album is pretty fun too! very quirky new wave... i feel like i might rate it higher if i listened to it again.

This has the classic early 80s feel to it and I guess was a precursor to the New Romantic scene. A couple of excellent tracks (This Is The Day) but a lot of the album is quite bland.

3⭐️

3.5

This is a cool album. It's obviously influenced some of my favourite artists. Great music to wander aimlessly to.

Always thought these were like a clash kind of band. Great wee surprise

Always meant to check them out properly, good stuff

Some great tunes on this (3.5)

I don't know who I thought The The were but it wasn't this. Still good

7/10

Una de las razones por las que empecé esta maricada fue para conocer artistas que tal vez no fueron tan famosos como para superar el paso del años, pero que son grandes referentes de géneros que me gustan y no me tocaron. Gran y delicioso postpunk,

A young 7 out of 10

Peculiar to say the least , should it be here ?

The bass playing, right from the get-go, is *incredibly* 80's. I'm not sure if it's a synth or a heavily effected instrument. At the same time, this record isn't afflicted by the reverb rot of most 1980's recordings. The overall difference is that all of the pieces in the music (instruments, voices) sound wonderfully clear and distinct. Even the sci-fi weirdness that inflects so much of recorded music in this time is crisply rendered. There's a confidence to not hiding under the mountain of digital reverb and this sound has a real immediacy and directness to it. It's electronic and widely considered post-punk but there's almost a punk-ness to the first track in ways that I can't describe. The party doesn't go on forever. The first half of 'The Sinking Feeling' opts for a more stripped-down focus on some staccato synth work and it sags for it. Johnson's vocals are still good but the sneering feel that he has is much better when supported by the full band. The bassline that kicks in at the end is excellent, though. Overall, Jonhson finds infectious grooves in his electronic music and also invests enough real instrumentation to keep the whole affair from feeling sterile. At 41 minutes and change in length, this also doesn't overstay its welcome. Its closing track, 'Giant', is the clearest evidence of a throughline from this sort of electronic post-punk all the way to things as diverse as Nine Inch Nails' modern industrial. This isn't one of my favourite albums. It's just too electro to get me really excited or effusive. On the other hand, I'd probably by it on vinyl and listen to it occasionally. It's really cool and a great antidote to the garbage overproduction of much 80's popular music. 4/5 -- not perfect but definitely a landmark.

There were some bits I quite liked, like the last half of "Giant," but overall this album didn't do a lot for me. The electronic music/synth portions were fun, but this album as a whole probably isn't something I will come back to. It doesn't feel like an essential listen to me. The first track is kind of hard to get through and starts the whole album off on a sour note, and the vocals are on the weaker end of albums from this list pretty much throughout. Unfortunately, this one is not really for me. Favorite track: "The Twilight Hour"

I liked this, Japan and The Cure vibes

I had heard of The The, but never listened to their music before. For some reason, I had it in my head that they were a punk band, but that's definitely not the case. I heard suggestions of The Cure, They Might Be Giants, Squeeze, Simple Minds, Godley & Creme, Level 42, and a lot of other acts, but the mix here is kind of a unique thing. It's well-produced, well-performed (including some killer drum and bass work), and generally interesting. They seem to be able to poke fun at themselves while still taking the music seriously, which is a rare gift. On the list to listen to again.

A little poppy for me, but these are all straight bangers.

"But sleeping boys catch no fish."

The album didn’t leave much of an impression on me as a whole, but The Sinking Feeling was my favorite track.

An interesting listen but nothing that got me too excited.

Surprisingly good album. Diverse songs covering many musical genre. Some songs I thought I was listening to Bowie.

I owned "Infected" BITD, and my recollection of The The was that there were a few great songs but the bulk of it was derivative and outdated pretty much on release. So hearing this MOSTLY confirms that perception. Especially with the rigid and mechanical 80s drum machines, 80s synths, 80s pop/funk bass in the first few tracks, it sounds like an 80s movie soundtrack (and not John Hughes level). But it gets better, looser, more interesting sounding. I thought "Uncertain Smile" was a great tune, the album's peak, "Twilight Hour" was more interesting, and "Soul Mining," "Giant," and "Perfect" closed out the album well. Overall, better than I expected, and a welcome surprise. Still, 3.5/5. Deserving of its place on the must-listen list? Eh, its a huge list, so, maybe? Probably not

Good in a INXS Kick kind of way, but not that good.

Fun little experimental, electronic record. It's pretty gentle overall, but he comes up with some interesting sounds and compositions. I like the sound of this one overall.

Album #130, The The, Soul Mining ⭐⭐⭐ First time listening to this band outside of the song Giant. I’ve never actually heard any of their other songs. I liked it for the most part. It’s quite a sophisticated kind of 80s synth rock album. The positives are that it sounds great. Musically, it’s a real belter of an album. From the opening track, I’ve Been Waiting for Tomorrow (All of My Life), the drums are loud, punchy and right in your face. They’re not afraid to go heavy-handed with the drums, and I think that really suits the music. It’s very energetic, and all the arpeggiated synths add an awful lot of colour to it. The songs take unexpected turns, and there are lovely textures and timbres throughout. I also love this kind of music when unexpected acoustic instruments come into the mix. On This Is the Day, when that fiddle comes in, I just think it’s brilliant. That’s probably my favourite song on the album. When I say the songs take unexpected turns, you’ve also got Uncertain Smile, which suddenly breaks into this huge piano solo that just keeps going and going. Piano solos are seriously underused in rock music. A good piano solo is hard to come by these days, so I really appreciated that. So as you can tell, the album was going very well for me. But it does take a big dip after Uncertain Smile. I think The Twilight Hour is really long, overblown and just boring. It’s a boring song. The title track is pretty good though. It’s got that real late-night atmosphere. Then it picks up again with Giant. Giant in particular sounds really ahead of its time. I’m always a sucker for music that feels like it was made years before it should have been, and this really does. It actually reminded me a lot of LCD Soundsystem. The reason it’s lost a star for me is Matt Johnson. I do think his voice suits the music, but over the course of the album it started to grate on me. More than his voice though, it was his lyrics. They all felt very self-obsessed. Lots of introspection and talking about himself in these grand, dramatic ways. They just didn’t really do much for me. A thought crossed my mind while I was listening: is this what Morrissey sounds like to people who don’t like Morrissey? The distinctive voice combined with very self-focused lyrics all wrapped up together. I love Morrissey, so I’ve never really understood the criticism, but listening to this made me wonder if that’s how it comes across to other people. Still, it’s a strong three-star album that’s probably leaning towards a four. Side note: my toddler absolutely loved it. He bounced around the room dancing to it, especially during This Is the Day, which he thought was fantastic. So for him, it’s a five-star review.

Pretty alright album. A very unique sound. The Sinking Feeling was my favorite; the guitar is so catchy. 5.3/10

For years I tried to find a song I once heard in a record shop. I first thought it was a Lloyd Cole track, then I tried Nick Cave. Nope, it turned out to be a song by The The. The song in question isn't on this album (it's on an unincluded record) but the quest did spark an overall appreciation for The The. In other words, Soul Mining hits the spot for me even it's far from my favourite The The album. Like others have noted, it sounds like it could've been made in 1988 or 1992. Good songs, Johnson's iconic voice, and just an indomitable warm vibe.

I like this album a little more every time I relisten to it. This is the Day is an all time phenomenal song that I could probably listen to everyday and never tire of it. I really well done 80s album that could maybe benefit from a little more variety, but even so I'm looking forward to my next revisit of it.

Pretty 80s sound

I've loved Uncertain Smile for a good while now. Absolute banger! This whole album is a banger! Good variety of instrumentation. I couldn't stop moving for most of the album!

Pretty fun and unique but overall not to my tastes. Some strong highlights tho with Giant being my fav song and first listen. This Is the Day and Uncertain Smile were good too

Nix besonderes! 80er halt.

This is what scans as "cool" to me deep inside, and I wonder why I've failed to make the The Thes' acquaintance for so long. It's compendious – the parts that edge on 80s industrial, like the beat of the first song, go hard; the veins of synthpop and C-86 are agreeable; the pop-musician-style jazzy licks are objectively kinda bad but cute; the Erdal Kızılçay instrumental choices, the big beat reminiscent of Shriekback, the snarly bits from a regular voice aiming for something self-undermining yet still alarming, "little tough man" or summat (like Stuart Murdoch's arms); there's just so much here, and they creep and posture through it like Grant Morrison psychopomps in training (even the uninvited rape metaphors and talk about "moral decay" evoke a world, they do). Shades of "Red Right Hand," Daniel Lanois, Plus from Us, bands like Orange Juice, New Order, Human League, Echo & Bunnymen, a little white post-funk, .... All in all, the the The The Thes's are deffo the biggest discovery for me from this project so far.

I guess I don't have the ears for this one. I lived through this time period, and there's some great synth pop from then. I'm not hearing what makes this so special.

kate bush for men (weird and good). sometimes I didn’t like it but mostly I did!

Some tracks I hated, some I quite liked. Opening track unfortunately was a hate, but I liked the second track. Strangely inconsistent not only in quality but also sound, with the nu wave and electro sound not fully committed to all the way through.

Better than I expected.

Lyrics are a bit basic for me but the instrumentals are cool.

Decent enough, but nothing I'm going to rush back to. It's obviously a bit dated now, but there's still enough good stuff going on.

The album (much like the band name) is trying too hard to be clever.

2.4 Those electric drums on the opening track really turned me off and nothing really brought me back in

Nice

Fun 80's vibes. It was a good time, nothing amazing but good.

This is the second album I’ve had of theirs in close proximity and I might be a fan of these guys. I really enjoy the sounds they construct! Especially enjoyed This Is The Day and Giant.

Always loved this album! High 4+

Never heard of any of these songs or album. Don’t usually listen to this type of music but it was straight heat ngl.

Tough one, I really like the album when it's moving and grooving, but it's slower parts drag on. There are some cool beats and parts on the album, but the whole thing blurred a bit together for me. I liked the dramatic growling vocals for the most part. Synths were cool and old school funky. The drums were solid throughout. "This is the Day" is surely the standout on the album. In the end its a 3 for me.

<3 really enjoyed to listen this

8,5/ 2 first songs are okay... the rest is really good

Wasn’t bad, fairly solid album with a couple of standouts.

Didn’t know what to expect with this one and I liked it a lot more than I thought I would. Interesting choices all around. Loved the accordion, I think on track 2. A lot more creative than I thought it would be. 3/5

Love the band (or, at times, solo musician), love the album.

My 80s average rating is saved! It's about time we get some good early 80s synth pop! Great album!

I am officially a post-punk hater

Didn’t get much from this

Like Infected, sounds like an amalgamation of other things of the era. I think this is the better album, though, and not just because of This Is The Day.

Soul Mining is my young adulthood. I once made a cassette with the 12” version of "Perfect" on both sides so that I could flip the tape and play it over and over. It was sequenced so each side still worked as a kickass mix tape. It took far more effort than it should have, but it was worth it. Driving the coast on a summer evening. Carefree. Sunroof open. Blaupunkt blaring "Perfect". Perfect. Today I had a five-hour drive, and this album was my companion. I played Perfect a few times, the 12” version. I discovered that if you time it right, the lane-assist warning goes "ding, ding, ding" in time with the song whenever you drift over the center line. I played highway percussion for miles. Miss you guys.

The first song was extremely off-putting, but the rest of the album toned down the the quirkiness to an acceptable level.

Love that first song.

Didn't know The Sinking Feeling which was great in addition to This is the Day. Other than the first track, rest were good as well, was even liking the ridiculously extended outros

I prefer Infected overall, but this is another very strong outing, probably their greatest objectively. I love how aggressive the drums and synths are, it really impresses me how much of an impact it has.

Wow, didnt expect this. Love the vibe of this record in its entirety.

1980’s synth-pop, ok, but never really my thing.

Lovely and interesting album

4/5 Favorite Songs: I've Been Waiting For Tommorow (All Of My Life) This Is The Day Uncertain Smile Soul Mining

Very 80s

My first thought upon seeing the name of this band was there was already an air of pretentiousness here. A vague, absurd name you either get or you don’t. And I feel like that might have jaded or maybe informed my listening experience. I found some of the songs to be likable, but nothing was amazing. It just felt like a lot of shallow lyricism much of the time. I can absolutely see some people bragging that this is a hidden gem they were happy to know about at the time, but I think the luster has worn off and it’s just a so-so new wave album now.

Wasn’t underwhelming or overwhelming, just whelming, good background music to put on. Last track may have been the best

a really good new wave album

There’s some interesting things in this album when it came to the instrumentals but overall, I didn’t like it. I really wasn’t a fan of his voice

This Is the Day is the best song on there by far, its kinda meh otherwise.

fun indie vibes

Fabulous, interesting songs. So much creativity in the writing and instrumentation, with infectious rhythms. Uncertain Smile will always have a place in my heart, because I loved it so much at the time, although I'm a purist - it has to be the '82 12" version for me (and yes, I still have my copy. You can now find it on something called "The Singles of The The".) Matt is, rightly, treasured and respected as an important contributor to the indie 80s music scene, and he hasn't stopped yet, although, to my shame, I haven't sought out his recent stuff yet. My least favourite track on here is one of the best-known - This Is The Day. But I'm not knocking a star off. Love.

I listened in the car, on a long drive down the motorway. It was perfectly pleasant, but didn't captivate. The album peaks at the top with the wonderful 'This Is The Day', but I found it never really manages to scale such heights after that.

A stunning album full of well crafted songs. An epic upon release and still sounds very good now.

"The The" is a top contender for dumbest band name of all time. And, of course, it's a new wave album. A shitty new wave album. The songs all feel like they're a little too long, and there aren't really many good hooks. The lyrics are probably the best part of the album, but they're often hidden by the lackluster singing. I find myself forgetting every song after it concludes, and nothing here really stirs my emotions. This is just another mediocre new wave album in a sea of mediocre new wave albums. Hell, the sheer tedium on display might make this the worst one yet. And, worse, they have two albums on the list. Add this to the list of "random boring crud with no reason to be on the list of essential albums" instead of the list of essential albums. It is now my first 1 star album released before 1990. This album is ranked #8 of 16 albums for 1983. Other 1983 albums previously rated by me: Back to Mystery City(15/16)-2

Very campy, industrial and all around poppy. 5/5

I like this a lot, it’s pretty up my alley when it comes to 80s pop music. It’s creative and interesting, good melodies and songwriting. It still doesn’t really hold a candle to my favorites from that era — your Tears for Fearses, your Talk Talks — but it is good, I’ll revisit it, it’s a must-listen #ooo

I wanted to love it but it felt incoherent at times and simply didn’t land for me

No one needs to listen to this before they die. More British punk post punk new wave nonsense. To think of all the artists and albums that didnt make it over this

5: I will happily play this album anytime 4: I may occasionally play this album of my own free will 3: I will happily listen to this if someone plays it in the background 2: I will tolerate this if it is playing in the background 1: I will leave the room if someone plays this in the background

2 standout songs make this a 3

Great 80s album. Was only ever familiar by name, but really enjoyed it!

뭐라 쓰지

This album is ridiculous. Fantastic. Spectacular. Exactly my kinda thing. Synthy, but really grounded, and bad vocals from a white guy who kinda knows what’s going on. Songs like “This is the Day” and “That Sinking Feeling” blew me away, and the production across the whole project is just superb. The use of synthetic percussion and melody combined with live instrumentation works beautifully here, and the entire project is just filled with these wonderful musical chord progressions, and vocal performances. It’s kind of like if Belle and Sebastian were angrier and more synthy. Yeah. It’s kinda like them. Holy shit, I can’t believe this album even fucking exists it’s so good. 9.7/10

"This Is the Day" and "Uncertain Smile" always fill me with such emotion and inspiration. All I need is to hear that accordion intro and I feel like anything is possible. But listening to the whole album in context, I hear the dark themes of isolation, pain, and despair that belie the pleasant musical backdrop. It's a very strong album, but a dose that should be taken in moderation.

The project giveth, the project taketh away (my sanity) fortunately this one was a great organic find. I was familiar with “The The” by name only. I’m glad this was my first exposure to them. Perfect sunny day pop. Not all tracks are happy-go-lucky but the musicianship behind each one is strong enough. The Twilight Hour was the only song I felt mildly annoyed by (repetitive keyboard) Everything else was refreshing and varied in such a way that I found myself engaged for the entire album. Certainly will be seeking a physical copy.

An album as bland and uninspired as the band's name suggests

Just like the other The The album in the generator, it's just so dull. It's one of those albums that is instantly forgettable. It's also a bit too quiet, and could have been produced much better. Other than two key hits, I have no reason to the The The band ever again. Favorite Track: "Uncertain Smile".

A few good songs on here.

It's not as bad as the other The The album we've listened to, but it's still a early '80s pop album and nothing special at that. 2 stars, won't be back.

Its a very different sound, alienish almost, not for me but i know someone loves this.

Crap

East Londoner Matt Johnson is probably the most unlikely funk hero of the 80s, but here I am, taking in the The's debut, & these synth-pop classics do for me what few other optimisms do: 'This is the day (this is the day) / Your life will surely change.' Even when they're singing of the 'symptom of the moral decay / That's gnawing at the heart of the . . . country,' there is a level of sanguinity that pervades the record that's as irresistible as crystal waters & cloudless skies. 'Uncertain emotions force an uncertain smile.' In the vein of neither Joy Division, The Smiths, nor The Cure, the The defines a third way, one that doesn't fight for glory but assumes its reliability. Soul Mining is an underrated classic. Appropriately, I feel moved to underrate it.

Overall: 6/10 One thing I really like about this album is the atmosphere. The slower songs were very pleasing to listen to. I will say it took a few songs for me to get into the rhythm, and I don't think this is something I'm likely to come back to, but I'm glad I heard it and I'd recommend it to most people. Fav Song: Soul Mining

I have friends who love this album but after a first couple listens I need more time with it. It’s darker than I thought it was going to be and I’m not sure I ever found the groove but it’s interesting and feels like there’s layers to peel back here. I will return…

I like this album. It was a different style of music than I usually listen to. Very chill synth-y

I'd only ever heard This Is The Day before - this was great! I'm pleasantly surprised and a little confused as to why the The weren't bigger. I waffled between 4 and 5 stars on this, but I'm rounding up to 5.

I enjoy a good synth-album, especially from the early 80s. So this should be right up my lane. And yet i struggled with this album. The songs are quite meandering, which isn‘t necessarily a bad thing but on Soul Mining it doesn‘t add much to the substance of the songs, i think. This is one of the very rare cases where i‘d appreciate a shorter edit of the album, or at least some of the songs. The contrast between Johnson‘s vocal performance, often brooding and in parts goth-adjacent, and the music itself is quite interesting and a lot of fun. Singing songs about how shitty you feel and how shitty life is over a happy synth-beat always gets me.

The The is one of those bands I’m supposed to like, but it never clicked. I can’t really explain it other than there are other bands from the genre and time period that do the same thing, but better. Dude’s vocals get on my nerves a bit. This Is The Day is great song though.

This that 80s sound that I love!

Crazy how this is basically LCD Soundsystem but 20 years in advance.

Bit all over the place for me

Didn’t really care for this

Better than most of the generic early 80's British new wave we've been getting on this list.

Я послухала двічі, але так жодного треку так і не запам'ятала. Проте уцілому музика залишила не погане враження і на фоні здавалася доволі приємною

I really enjoyed the other The The The The The The The album on this list, this one was a bit dissapointed. It wasn't bad by any means, but it didn't really pull me in and seemed to have less hit power than the other one. It's still good 80's pop, well made without being one of those cheesy sophisti-pop acts. Probably just needs another listen, into the back of the backlog it goes.

Très très cool des très bons sons là dessus

Singing not the best. Instrumentals are pretty kick ass sometimes. Not bad but this weird 80s pop stuff isnt my jam.

english punk pop👨‍🎤

It was ok. Once I got over the cheesy synth pop single opening track, it kind of calmed down a bit. Still, completely forgettable

First wave is my fav genre and this album is great!!! I used to play it on my radio show :)

Liked this one better than their other album on this list but still don’t think they deserved two entries

its 80's British Rock so naturally I steeled myself to have a terrible time, This Is The Day had me in a rough mood but luckily it passed, and overall my listening experience wasn't all that bad! My biggest issue was the sound production, and I'm willing to bet it was my headphones on this one. I had such a hard time hearing the vocals on some of these songs. I doubt I'll go back to check this out again, but I had a fairly decent time listening through. Also Twilight Hour seems like a pop song from another album, until the lyrics bring you back talking about chunks of your heart missing and so on. Overall, it was fine, and thats okay!

Very 80’s, very British. “This is the day” is a phenomenal song that buoys the album. I know it has its flaws but I just like this album

La verdad lo disfruté bastante. Me gustan mucho los sintetizadores y en general el sonido de este álbum es muy bueno. Tampoco es una maravilla pero sí me parece un álbum valorable.

Meh, very 80's sounding. The singers voice is annoying.

Like a series of Roxy Music demos. Uncertain Smile is great, but the rest suffers from that trendy droll, synth-pop vocal style and drum emulation that elicits a mild cringiness for me.

This Is the Day is a banger but it's my first time listening to the full album. A nice pick for my name day, I had a good time listening to it. I liked the second half of the album more than the first though 2/5

Segundo álbum de The The que me ha tocado escuchar de esta lista (el cual había sido generado primero, pero olvidé hacerlo en su momento), y me hallé más con este que con 'Infected'; es notorio que 'Soul Mining' es su predecesor, presentando un sonido más único que no refleja un intentar ser "la sombra de". No es el tipo de música que suelo elegir oír por mi cuenta, aunque lo disfruté bastante. ↑: I've Been Waitin' For Tomorrow (All of My Life), This Is the Day, Uncertain Smile, Giant ↓: –

This is the day my life did surely change. One of the records you just know you're gonna love, but since it's on the list, you just wait for tomorrow all your life. Everything here just feels so tailored to my tastes and experiences! I could've been Matt Johnson, if I wanted. Introspective, cynical, depressive lyrics to the sound of upbeat, groovy synth-pop is what I've been looking for all this time. I can quit the generator now.

I found this a challenging listen. He follows all the pure 80s synth pop but his song writing and arrangements are a little chaotic and you don’t really know where each track is going next. The vaunted piano solo on uncertain smile is well spectacular but some Of it feels like he hammered it out with his fists and made it up as he went along. Then he stretched it out to the end of the song and just faded it out because he didn’t really know how to end it…. He’s clearly a genius and just on a slightly different mental plain to his contemporaries. Kind of like if Sid Barrett got clean and recorded some 80s synth pop.

I often hear "this 80s band is like no other" but honestly many of these New Wave bands sound the same to me. This is a fine album. Nothing really special

I have to admit that I'm biased against dark electronic records from the UK from the 80's. I can respect the art, but it's not a time and place I want to be taken to all too frequently. That said, this one had some very nice melodies and soundscapes, and some fitting witty, moody lyrics. Faves: This Is the Day, The Sinking Feeling, Uncertain Smile

Was not expecting to like this as much as I did! "This Is The Day" is the standout here for sure, but also enjoyed "I've Been Waitin' For Tomorrow (All of My Life)" "The Sinking Feeling" and "Giant" a good amount! Lots of good hooks here, even if the vocals could be a little hit or miss sometimes.

am i missing something? at no point of this album is a 5 warranted.

Judged it by its cover and was decently surprised.

Have always loved Brit synth pop that makes me want a Marlboro.

I was definitely surprised by this album. I really like how it blends a lot of older classic rock with more experimental genres of the time like industrial. you can absolutely hear the JG Thirlwell inspiration, especially on tracks like I've been waiting for tomorrow. all this comes together to make a sound that is very ahead of its time. I will absolutely be adding some of these tracks to my daily rotation.

Yawn, just fucking yawn. Terrible singer, mediocre music. Was happy when this one ended.

Too '80s for me, but thats ok Best Song: This is the Day Rating: 6.5/10 Stars: 3

This Is the Day was worth the listen, and its a short album anyways

Better than I expected. But wouldn't make my personal list.

The The are yet another UK based pop group from the '80s that started as an underground experimental project, which then drifted closer and closer to more mainstream sounds until securing a few hits. I bring this up because it honestly seems like there was a minute where a lot of bands were doing this; Scritti Politti for example, just off the top of my head. But, regardless of where they started, by the time The The made it to their debut LP, they were basically a punk flavored synth pop project, which happened to have some artistic decisions that might make one think thatvthey may have started as a very different band. And while this isn't something that really ends up in my wheelhouse, it is definitely solid. Good pop songs are stretched in sort of a dancey way, and maintain momentum well enough to pull it off. Giant is the longest song here, and conveniently the best. It manages to scratch a similar itch to the one that This Must Be The Place by Talking Heads reaches, which is a rare compliment. But other highlights are The Sinking Feeling, This Is The Day, and The Twilight Hour, which are all great songs in their own right. But this has enough of thd aforementioned momentum, and great synthesis lines that the whole project ends up (more or less) working. As I said, The The are generally an interesting band, and the material here is solid, but a touch flawed, and a little out of my wheelhouse.

I wonder what someone finds in this that holds so much sway in their lives that it ends up on a list like this. The early 80s Casio keyboard beats.... you know what, I am not going to put a lot into this. This isn't for me. 2 star the fuck out of this.

As someone who only discovered The Cure in my 30s. The The has almost entirely stayed off my radar until this play through. “This is the day” either has shown up in enough pop culture that o have consumed over the year to be recognizable or it’s one of those songs that plays in the background of your life without you knowing. Either way, a truly enjoyable album. While lyrically at times it tries to claw you down into its own sadness, the production is bright and eager. I really likes this album.

The the drum samples used in the the 80s should be classified as a war crime. The the songs are not particularly good. Some are fun, but in the the end this is a disappointment.

I wasn’t feeling this. It was less post punk and more easy listening.

Soul Mining es un álbum fascinante que equilibra de manera brillante la luz y la sombra, logrando un sonido que transita con total naturalidad entre lo nostálgico y lo alegre. Lo primero que cautiva es la interpretación de Matt Johnson, poseedor de una fabulosa voz grave y aguda que dota a las letras de una tremenda honestidad emocional. A nivel musical, el disco es una mezcla maestra de géneros gracias a una inmensa riqueza de instrumentos y a la construcción de ritmos fáciles de seguir y pegajosos que invitan al movimiento mientras se procesan reflexiones profundas. El álbum regala momentos de una genialidad rítmica impecable. En "Twilight Of A Champion" (Twilight Hour), destaca de inmediato la arquitectura sonora donde las percusiones tribales, las cuerdas y la voz se entretejen para crear una atmósfera densa y magnética. Por otro lado, el cierre con "Giant" es una pieza monumental que destaca por el juego de las percusiones con la electrónica, arrastrando al oyente a un trance hipnótico. Con un uso del piano súper agradable que añade calidez a los sintetizadores ochenteros, este trabajo demuestra que ha envejecido bien, consolidándose como una obra de arte atemporal ideal tanto para el enfoque en el trabajo creativo como para un viaje en carretera.

Not a bad listen but nothing memorable

Heard Before? Not at all. Notes: - impressive variety of sounds and ideas. most post-punk and synth pop of the era tends to zero in on a narrow idea. - accordion always gets me. - somehow i guessed before reading the credits that this is a solo album. not sure if that is good or bad. - some songs lose steam, running out of ideas before they actually end. - vocals sound like a guy complaining. relateable, perhaps. Verdict: Almost danceable, but little in the way of real hooks, it's an album that can't quite make up its mind, and one I can't easily characterize. Listen Again? There were pleasant surprises here, but I'd rather hear Mind Bomb again. I should really give it another try, though

Definitely interesting. Distinct sound and good album. I enjoyed "This is the day", "Uncertain Smile"(nice piano), or "Soul Mining" (probably my favourite). It is somewhere between 3 and 4 stars. I typically like long songs, but I found "Giant" (at more than 9 min) is one of the less interesting tracks. So this is preventing this from reaching 4 stars.

I like the instrumentation etc but it didn't really grab me in any way on the first listen. I might be wrong!

намного больше гармоний и мелодий чем ожидала от пост-панка! пение очень 80е, но не бесит)

Not the worst The The album I've heard, but that's not a terribly high bar to clear.

it's fine, kinda seems like a one man show, and innovative in its way, just not that much fun.

I liked this vibe a lot. Might return at some point. 3.5

This record was pretty much the house record when I lived at 308 South Gilbert in Iowa City. In the grand scheme of things probably not a 5 star record but I just love it!

4.5 (rounded up as it was such a unique and influential moment in post-punk) Soul Mining by The The (41:42, up to 10 tracks (9 vinyl, 7 CD original) 1983, debut (sort of, Burning Blue Soul was released by Matt Johnson before the moniker The The) English post-punk and synth-pop Singles from Soul Mining "Uncertain Smile" (October 1982), "Perfect" (February 1983) "This Is the Day" (September 1983) The The is basically Matt Johnson (often a solo act) notably Johnny Marr contributed heavily but after this album. Also Barrie Cadogan (guitarist) plays a lot with Matt. For Soul Mining Matt was lead singer and songwriter, began recording in New York City, after a bidding war between major record labels resulted in the group signing a recording contract with CBS Records. The initial recording sessions were aborted after the album's first two singles, however, and Johnson returned to London where he wrote and recorded the rest of the record. Musically, Soul Mining is a post-punk and synth-pop album with influences of the early 1980s New York club scene, while Johnson's lyrics focus on relationship insecurities and social alienation, with imagery derived from dreams. Although the album received positive reviews, its initial sales were modest, reaching number 27 in the UK and charting in a number of other countries, but in 2019 the album was certified gold in the UK. Following the release of Burning Blue Soul (1981), Matt Johnson had started work on a follow-up, provisionally titled The Pornography of Despair. Although Burning Blue Soul had been released on the 4AD record label, the The had also released a one-off single, "Cold Spell Ahead", in 1981 on the Some Bizarre label run by Stevo (Stephen John Pearce,) and major record labels were expressing interest in Some Bizarre's acts following the worldwide success of synth-pop duo Soft Cell. Johnson and Stevo decided that the best way to achieve commercial success was to record a new version of "Cold Spell Ahead". Stevo verbally agreed a singles deal with London Records, and in May 1982 the label sent Johnson to New York to record the new version of the song, now retitled "Uncertain Smile", with Soft Cell's producer Mike Thorne, The song followed Johnson's original demo, with a Roland TR-808 providing the drumbeat and Johnson and Thorne playing guitars, bass and synthesizers. While in New York, Johnson visited Manny's Music store on West 48th Street, and was fascinated by a toy xylimba that he saw there. He bought the instrument and returned to the studio with it, using it to create an intro for "Uncertain Smile". When Stevo took the finished song back to London he reneged on his verbal agreement with London Records and initiated a bidding war, eventually won by CBS Records, and the The were signed to CBS's Epic imprint. The single became the The's first release on Epic, released in October 1982 and reaching number 68 on the UK singles chart. Johnson and Stevo returned to New York in October 1982 to record a second song with Thorne. The track was "Perfect", which was a reworked version of a song written for The Pornography of Despair and originally titled "Screw Up Your Feelings". Johnson wanted a harmonica on the record, and Thorne suggested his friend David Johansen of the New York Dolls. However, the second session at Mediasound did not go as smoothly as the first one had. In the intervening period Johnson had gone from being unemployed to receiving a rumored £80,000 advance from CBS. With his new-found wealth Johnson was keen to experience what New York had to offer, disappearing from the studio to explore the Lower East Side and take drugs, which left him in an unfit state to record. Johnson and Stevo also decided to make a road trip to Detroit, with Johnson saying that he had felt compelled to visit the city during the recording of "Perfect" because he felt he was being inauthentic singing the song's lyrics about down-and-outs unless he had experienced it personally, and that "although I hadn't lived there, I knew that I'd seen more than virtually any of the other bands in the charts so I had no reason to feel bad about it". The original New York-produced 7" single versions of "Uncertain Smile" and "Perfect" were included on the The's greatest hits album 45 RPM: The Singles of The The in 2002, while the two 12" versions were included on the second disc of the 30th anniversary reissue of Soul Mining in 2014. Having returned to London with only two songs, CBS asked Johnson if he had any other material that could be used. In response, Johnson began to re-record his unfinished album The Pornography of Despair, but he was not happy with the new versions of the songs, feeling that they lacked impact. He abandoned the album entirely, and decided to write a new album from scratch instead, with "The Sinking Feeling" being the only song retained from The Pornography of Despair. The remainder were written during 1983. In an interview with Melody Maker in May 1983, five months before the album's release, Johnson shared fragments of the lyrics that he was working on, and said that many of them were based on mental images and states of mind. He explained one image, "I'm floating into harbor in a soggy cardboard box", saying, "I've always had this weird thing about the sea, incredibly deep and cold". He also quoted another lyric in progress: "The sun is high and I've been out on the veranda sitting in life's proverbial rocking chair, blanket over my knees", and then explained that "I've always had these images on my mind, very strange dreams. The idea of a clear blue sky, a massive sky in the desert with this little American hut, a veranda, a guy in a rocking chair watching planes flying across the sky, philosophizing about his past life". However, he stated that another line, "I'm in the corner of an overgrown garden, head between my knees, trying not too breathe too loudly" (an early version of the opening lines from "I've Been Waitin' for Tomorrow") was based on a real incident from his childhood, when he had broken into a house – when the police arrived, he had fled into the garden and hidden in a chicken hut. In interviews for the 2014 reissue Johnson stated that some of the earlier songs such as "Uncertain Smile" and "The Twilight Hour" had the theme of "unrequited love", although as he had fallen in love with Skinner while writing the album, the later songs explored other themes. "I've Been Waitin' for Tomorrow (All of My Life)" was about the cognitive dissonance and confusion created by media propaganda. He rejected his reputation for writing depressing lyrics, saying that they were "supposed to be uplifting, but thoughtful. A poignant reflection." Throughout May 1983 The The held a weekly residence of concerts at the Marquee Club in central London, featuring many of Johnson's musician friends from the British post-punk scene. Johnson used these concerts to decide which musicians he wanted to contribute to the forthcoming the The album. These included Orange Juice drummer Zeke Manyika, do-it-yourself synthesizer pioneer Thomas Leer, and the experimental Australian musician JG Thirlwell, credited on the album as one of his early aliases "Frank Want", and who would go on to achieve some degree of recognition recording under the name Foetus. "Uncertain Smile" was re-recorded for the album, keeping the xylimba intro but replacing Crispin Cioe's saxophone solo with a lengthy piano solo by Jools Holland. The idea to include a piano solo resulted from the Garden studio having a Yamaha C3 baby grand piano, and it was suggested to Johnson that Holland would be a good choice to play it. Johnson recalled that Holland had turned up on a hot summer's day in full motorbike leathers, listened to a couple of minutes of the song as a run-through, and then played his solo in one take, with a second drop-in afterwards. In his 2007 autobiography Barefaced Lies and Boogie-Woogie Boasts Holland recounted that when he first listened to the track he had expected to hear his contribution used as an instrumental break in the middle of the song, only to discover that Johnson had edited together the two solos and used them as the song's outro instead. As with many of the The's early albums and singles, the original cover artwork was created by Matt Johnson's brother Andrew, a.k.a. "Andy Dog". The UK album cover featured a painting of one of the wives of Fela Kuti smoking a joint, adapted from a photograph Andy had seen in The Face. Johnson liked the painting, feeling that its colors and African connections fitted with Soul Mining's musical style, and insisted on using it for the album cover, despite Andy's reservations about its suitability. Andy had made a second painting featuring Johnson's head in profile and apparently screaming while being attacked by hammers, which was used for the cover of the US release. In a 2014 interview with Electronic Sound Johnson stated that his brother had been correct, and it would have been better to have used the second painting for the cover of the album in all territories. The 2002 remastered CD reissue replaced the original cover art with an early photograph of Matt Johnson. Both covers are remarkably similar but I agree I prefer the US version with Matt screaming. Graphic designer Fiona Skinner, who had become Johnson's girlfriend in 1982, created the bespoke typeface used on Soul Mining. The album and the single "This Is the Day" marked the first appearance of the band's logo, which also used Skinner's font, and which would be used on the majority of the The's subsequent releases. The album was released with several different track listings, depending on the format and the territory. In the UK and Europe the album had seven tracks and ended with "Giant", as Johnson had intended. Early pressings of the original UK vinyl album included a free 12" single of an extended remix of "Perfect", with "Fruit of the Heart" and "Soup of Mixed Emotions" as the B-sides (catalogue number XPR 1250). However, in the US a record company executive decided that seven songs was not enough for a full album, and a re-recorded version of "Perfect" was added to the US version of Soul Mining, as well as some versions of the Canadian release, much to Johnson's annoyance. This extra track was also included on the album when it was first released on CD in June 1987, in both the UK and the US. In Australia and New Zealand, the album contained nine tracks, with "Fruit of the Heart" closing side one and "Perfect" at the end of side two. It was not until the The's early albums were remastered and reissued in 2002 that Johnson finally succeeded in having Soul Mining reissued without "Perfect", as originally intended. The US cassette version also included extended mixes of "I've Been Waitin' for Tomorrow (All of My Life)" and "This Is the Day" added on to the end of each side of the cassette. The UK cassette version contained the original seven-track album on side one, with "Perfect" plus five other extra tracks on side two. It is generally assumed that these tracks had originally been recorded for the unreleased project The Pornography of Despair. The extra tracks are "Three Orange Kisses from Kazan", "The Nature of Virtue", "Mental Healing Process", "Waitin' for the Upturn", and "Fruit of the Heart". The tracks were all later used as B-sides on various The The single and promo releases, or on film/soundtrack compilation releases, although "Waitin' for the Upturn" is the only track never to have appeared on CD. The 2014 2-LP "30th Anniversary Deluxe Edition" box set of Soul Mining includes an authentic vinyl reproduction of the 1983 release, with audio remastered in 2013 (overseen by Matt Johnson at Abbey Road Studios), and is expanded with a second vinyl containing alternate versions, 12"'s and remixes, intended to complete a "purist album experience". The album was well received on its release. Don Watson of NME said, "In days when the pop song has been reduced to the reiteration of catch-phrases, Matt Johnson flexes a rare literary flair. More importantly he has the command of music's immense possibilities to carry them through without self-indulgence. Ignore this LP if you must, but you'll be ignoring one of the year's rare heart-stopping moments." In Melody Maker Steve Sutherland said, "As you return to Soul Mining again and again, there will be times when you discover it was the last thing you really wanted to do. It will sound mawkish, almost absurd, like a voice crying wolf over and over ... Then again, there'll be times when it will sound obscenely close to the bone, as if [Johnson] were invading and defiling your most private thoughts and emotions ... In other words, you'll use Soul Mining as a barometer to your day and if that's the principal function of great pop, then surely Soul Mining is great pop." In Record Mirror Jim Reid wrote that Johnson was "not always able to find a soundtrack to complement his lyrical angst" but that "if Soul Mining is not the complete Matt Johnson it is an intriguing first taste". In the US, Kurt Loder of Rolling Stone praised Johnson's "sense of structure and his unerring ear for sonic definition" and highlighted "Uncertain Smile" and the "entirely gorgeous piano solo by the exceptionally talented Holland," but had reservations about the "obsessively self-absorbed lyrics... Youthful angst and anomie are fine in their place, but not all over the place." However, Loder concluded, "Johnson creates pop music with an agreeably individual stamp: In the current sea of synth-pop sludge, Soul Mining stands out". The release of the 30th anniversary deluxe edition in 2014 received universal praise from music critics. Michael Bonner of Uncut described the record as a "masterpiece" and said, "Released in the interzone between post-punk and synth pop, and reflecting both, Soul Mining thrums with ideas, tension and dread. Johnson's enduring lyrical concerns – social alienation, political disillusionment and troubles of the heart – are all present and correct, but unlike the industrial/psychedelic adventuring of Burning Blue Soul, they are here given a glossier sheen... Certainly, for an album of heavy themes, Soul Mining is musically surprisingly light." He concluded, "Soul Mining is arguably Johnson's defining work: ambitious, strange, exciting. And, 30-odd years on, remarkably fresh." In Q Peter Paphides described the album as being "like one long distress signal from someone being held against their will inside a Sartre novel". He stated, "The years might not have been quite so kind to Soul Mining were it not for the inspired guest performances that Johnson teased out of his collaborators", singling out Holland's piano solo as "a high point on an album full of them". "Soul Mining is a brilliant and very idiosyncratic album. Maybe that's why it's never really cited as an influence these days: you can't hope to mimic something this personal and unique." Melody Maker placed Soul Mining at number three in its critics' list of the best albums of 1983. In 1989 Record Mirror and Sounds both included the album in their critics' lists of the albums of the decade, Record Mirror ranking it at number eight. 1. "I've Been Waitin' for Tomorrow (All of My Life)" – 5:45 A deeply anxious, driving song about existential dread, paralyzed potential, and the painful passage of time. It captures the crushing psychological weight of waiting for a brighter future that never seems to arrive. The central hook—"I’ve been waiting for tomorrow all of my life"—is a bitter paradox. "Tomorrow" represents hope, change, or a moment when life will finally make sense or fall into place. By admitting he has spent his entire life waiting for it, the narrator realizes he has completely missed out on living in the present. He is trapped in a cycle of passive hoping rather than active living. The lyrics contrast childhood ideals with the grim reality of adulthood. Lines like "All my childhood dreams are dangling around my knees" evoke a visceral image of failure, where the bright hopes of youth have wilted and become heavy, pathetic burdens. "My aspirations have shriveled in the sun / I'm crippled by guilt, blinded by science" point to a sense of intellectual and emotional paralysis. The modern world has overwhelmed him, leaving him unable to act on his ambitions. The mantra-like outro chants, "My mind has been polluted and my energy diluted." This highlights a loss of purity, focus, and drive. It speaks to the modern condition—being bombarded by societal expectations, anxieties, and noise to the point where an individual feels completely drained and incapable of self-actualization. The song is a frantic, electronic warning about the danger of procrastination and passive living. It acts as a mirror to the listener's own fears of waking up one day to realize that life has passed them by while they were busy waiting for the "perfect" time to start living. 2. "This Is the Day" – 5:01 A beautiful, bittersweet anthem about personal reinvention, hope, and the sudden realization that change is possible. While much of Matt Johnson's work deals with dark, existential anxiety, "This Is the Day" stands out as a rare, radiant beam of optimism. It captures that exact, fleeting moment when a person decides to stop being paralyzed by their past and finally steps into a brighter future. The song opens by acknowledging a long period of depression, stagnation, and isolation. "You've been reading books of how to change your life / And looking for the sign" show someone who has been trapped in their own head, desperately searching for a way out. "You've been waking up across the floor" suggests a chaotic, unglamorous, and emotionally exhausted lifestyle that the narrator is finally ready to leave behind. The soaring, unforgettable chorus—"This is the day your life will surely change"—serves as a self-fulfilling prophecy. The song argues that change doesn't always happen slowly; sometimes, it begins with a conscious, powerful choice made on a single morning. It is a declaration of agency over one's own destiny. Despite the overwhelming optimism, the song is deeply human because it acknowledges the pain of moving on. In the verse "You look at old photographs and think to yourself / 'What a cute little boy/girl I used to be' / And you can't remember being that person at all," Johnson captures the profound disassociation we feel when looking back at our youth. The transition into adulthood means letting go of who you used to be, which brings a quiet sense of grief even when the future looks bright. If "I've Been Waitin' for Tomorrow" is the agony of passive waiting, "This Is the Day" is the joy of active arrival. It is a comforting, driving reminder that no matter how long you have felt stuck, sad, or lost, a single day can mark the boundary between your old life and your new one. Not many songs have an accordion hook. 3. "The Sinking Feeling" – 3:44 Acts as the dark, connective tissue between the paralyzing anxiety of “I’ve Been Waitin’ for Tomorrow” and the forced optimism of “This Is the Day.” The song takes a common idiom—the physical feeling of dread or discouragement—and expands it into a sweeping critique of personal depression tangled with societal collapse. The song opens with a visceral depiction of clinical depression, executive dysfunction, and isolation. “My head fills like a junk shop / In desperate need of repair” captures a brain cluttered with overwhelming thoughts, anxieties, and broken pieces of mental health. “The path of least resistance leads to the / Garbage heap of despair / I think I’d better get back in bed” illustrate the total lack of energy required to face the world, choosing the safety of sleep over the agony of existence. The unforgettable chorus shifts the perspective from personal misery to a grander political and social critique: “I'm just a symptom of the moral decay / That's gnawing at the heart of the country.” Johnson argues that his personal depression isn't happening in a vacuum. He views his mental health struggles as a direct byproduct of living in a sick, cold, and hyper-capitalist society (specifically reflecting the bleak, socio-economic climate of Thatcherite Britain in the early 1980s). Johnson targets the relentless march of modernization and capitalism with the intense line: “While I’m being raped by progress / Tomorrow’s world is here to stay.” represents a technological and corporate future that completely ignores human emotion and well-being, leaving the individual feeling violated and left behind by the modern world. Despite the pitch-black themes, the song offers a rare moment of stark, protective advice: “You can't destroy your problems / By destroying yourself / Death is not the answer...” It serves as a blunt, anti-suicide checkpoint. Johnson acknowledges how tempting it is to opt out entirely when feeling this low, but firmly states that self-destruction solves nothing. “The Sinking Feeling” is the sound of being actively trapped under the waves. It is a powerful anthem about feeling utterly powerless against your own mind and the cold world outside, while desperately reminding yourself to just stay alive. 4. "Uncertain Smile" – 6:52 A brilliant, emotionally complex masterpiece about the vulnerability, obsessive infatuation, and terrifying anxiety of unrequited or unconfessed love. Originally titled "Cold Spell Ahead" during its demo phase, the final version on the 1983 album Soul Mining stands out because of its beautiful paradox: Matt Johnson’s lyrics are intensely brooding and melancholic, but the music around them is wildly upbeat, danceable, and ecstatic. The song maps out the confusing emotional landscape of being completely consumed by thoughts of another person. The song opens with the narrator waking up at an unusual time, realizing his entire mental schedule has been disrupted by thoughts of someone else. “Peeling the skin back from my eyes / I felt surprised / That the time on the clock was the time I usually retired / To the place where I cleared my head of you.” Usually, sleep is his escape—a sanctuary where he can wash away his obsession. But today, the obsession wins: “But just for today, I think I'll lie here and dream of you.” He surrenders to the fantasy. The chorus subverts a classic romantic cliché. I've got you under my skin where the rain can't get in / But if the sweat pours out, just shout / I'll try to swim and pull you out.” While "under my skin" usually implies closeness, here it feels borderline claustrophobic and feverish. The love is so intense it causes "sweat," and the narrator speaks of having to "swim" to rescue them—or perhaps rescue himself—from the overwhelming weight of these feelings. The climax of the lyrics paints a bleak, atmospheric picture of isolation “A broken soul stares from a pair of watering eyes / Uncertain emotions force an uncertain smile.” The "uncertain smile" is the core of the song. It is the mask worn by someone who is terrified of rejection. Faced with intense, chaotic feelings ("watering eyes"), the narrator cannot fully cry, nor can he genuinely smile. He is frozen in a state of emotional limbo, unable to bridge the gap between himself and the person he desires. You cannot separate the meaning of "Uncertain Smile" from its legendary extended piano solo, frantically performed in a single take by Jools Holland. While Johnson's lyrics trap the listener in a loop of anxious, introverted longing, the music suddenly breaks free in the second half. The cascading, joyful piano acts as an emotional release valve. It represents the triumphant, uninhibited rush of pure passion breaking through the narrator's mental walls—communicating the soaring ecstasy of love that his words were too scared to express 5. "The Twilight Hour" – 5:58“The Twilight Hour” A haunting, atmosphere-driven song about the agonizing loneliness of insomnia, emotional alienation, and the dread of being left alone with one's own thoughts. While tracks like "Uncertain Smile" capture a frantic, sweaty energy, "The Twilight Hour" slows the album down into a deeply introspective, cinematic chill. The "twilight hour" refers to that eerie, silent time of night—often between 3:00 AM and dawn—where the rest of the world is asleep, leaving the narrator entirely isolated in the dark. The lyrics perfectly capture the physical and mental restlessness of being unable to sleep when the mind is plagued by anxiety: “Washing the sheet from my sticky skin” evokes a feverish, uncomfortable physical reality. The bed, which should be a place of rest, has become a trap. “Twisting my body into positions it's never been in” highlights the desperate, futile physical shifting of someone trying to outrun their own mind. As the narrator looks out into the night, he feels completely disconnected from humanity and his own identity: “Looking through the window at the icy blue sky / Hoping to see a face I recognize / But there's nobody there, there's nobody there.” The world outside is cold, empty, and indifferent to his suffering. “I'm just a shape, I'm just a name” reveals a profound sense of depersonalization. Stripped of connection, he feels reduced to a mere silhouette, hollowed out by loneliness. For someone dealing with deep-seated emotional pain or depression, the lack of daytime distractions is terrifying. During the day, noise and routine keep the inner demons at bay. But during the "twilight hour," all armor is stripped away. The silence forces an intense, unwanted confrontation with one's fears, regrets, and existential dread. If "This Is the Day" is the triumphant morning of a new beginning, “The Twilight Hour” is the pitch-black night of the soul that precedes it. It is a raw, atmospheric portrait of absolute isolation, capturing the universal, sinking feeling of watching the clock tick toward morning while feeling completely forgotten by the world. 6. "Soul Mining" – 4:50 Both the titular concept of The The's iconic 1983 album and a track on the record. As a metaphor, "Soul Mining" means digging deep into the most vulnerable, painful, and hidden parts of one’s psyche to extract truth—even if that excavation leaves you emotionally scarred. Frontman Matt Johnson has described the record as a "rite of passage" about a young person navigating love, lust, isolation, and self-loathing. The phrase can be understood in two ways The title implies that the human soul is something vulnerable to a pickaxe or a drill. To make sense of the world, Johnson forces himself to dig beneath his social armor. This "mining" process isn't peaceful; it's a desperate, messy excavation. It uncovers the visceral, heavy bodily anxiety found throughout the tracklist—from "emotional scars" (I've Been Waitin' for Tomorrow) to a "broken soul" Though mostly an atmospheric, percussion-heavy instrumental track, the brief lyrical chorus perfectly encapsulates the tragic irony of human relationships and defense mechanisms: "Something always goes wrong when things are going right / You swallowed your pride to quell the pain inside." The song suggests that when we are hurt or insecure, we "swallow our pride" and change who we are just to survive emotional trauma. By burying our true feelings to keep the peace or protect ourselves, we are essentially "mining" away our own identity bit by bit. Ultimately, Soul Mining is about the agony and necessity of self-exploration. Matt Johnson once perfectly summarized the album's intimate, claustrophobic nature by noting that someone had called it "a record for small rooms but big imaginations." 7. "Giant" – 9:36 “Giant” is the monumental, tribal closing track of The The's Soul Mining. Matt intended this as the finale but for various reasons the record company added additional tracks on different formats. Clocking in at nearly ten minutes, the song represents the climax of the album's psychological breakdown and a desperate, cathartic cry for mental survival. If the rest of the album is about digging into the psyche, "Giant" is the moment the walls cave in, forcing the narrator to confront his absolute lowest point so he can begin to rebuild. Focus on alienation and a profound loss of identity: The opening image of being "strapped into a rocking chair / With a blanket part over my knees" in the middle of a vast desert paints a picture of a young mind feeling prematurely old, paralyzed, and completely stranded. The core thesis of the song rests on the lines: "I am a stranger to myself... When I looked into my face / It wasn't myself I'd seen / But who I've tried to be." It is about the painful realization that you have spent your life putting on a performance for others, losing your true self in the process. The admission of clogging his mind with "perpetual greed" and turning "friends into enemies" grounds the song in a very real, human regret. It's the ultimate crash after a period of selfish behavior. The haunting, repetitive question—“How could anyone know me / When I don't even know myself?”—replaces the idea of a "giant". The real tragedy of the track isn't the weight of the world; it's the total lack of self-knowledge. Bonus tracks UK Cassette 8. "Perfect" (Australia, New Zealand, Canada and US releases) – 5:36 Bonus tracks UK Cassette 9. "Three Orange Kisses from Kazan" – 4:27 10. "The Nature of Virtue" – 5:50 11. "Mental Healing Process" – 3:45 12. "Waitin' for the Upturn" – 4:30 13. "Fruit of the Heart" – 1:57 US and Canada included "I've Been Waitin' for Tomorrow (All of My Life)" [Special Mix] – 7:36 "This Is the Day" [12" Version] – 5:22 Personnel Matt Johnson – vocals, synthesisers, percussion, instruments on all tracks, chant on "Giant" Harry Beckett – trumpet on "Perfect" Paul Boyle – fiddle on "This Is the Day" Andy Duncan – drums on "This Is the Day", "Uncertain Smile", "Soul Mining" and "Perfect" Paul Hardiman – chant on "Giant" Camelle G. Hinds – bass guitar on "I've Been Waitin' for Tomorrow (All of My Life)", "Uncertain Smile", "The Twilight Hour", "Giant" and "Perfect" Jools Holland – piano on "Uncertain Smile" David Johansen – harmonica on "Perfect" Keith Laws – melodica on "Three Orange Kisses from Kazan" Thomas Leer – synthesisers on "I've Been Waitin' for Tomorrow (All of My Life)", "The Twilight Hour" and "Giant" Martin McCarrick – cello on "The Twilight Hour" Zeke Manyika – drums on "I've Been Waitin' for Tomorrow (All of My Life)", "The Twilight Hour" and "Giant", chant on "Giant" Jeremy Meek – bass guitar on "The Sinking Feeling" Steve James Sherlock – flute and saxophone on "Three Orange Kisses from Kazan" and "Waitin' for the Upturn" Anne Stephenson – violin on "The Twilight Hour" Frank Want – sticks on "Giant" Wix – accordion on "This Is the Day" Artwork Andy Johnson – artwork Fiona Skinner – (Matt’s GF at the time) typography The 1981 album Burning Blue Soul was originally released by the band's frontman Matt Johnson as a solo album, but later reissues credited it to the The.

An interesting 80s albums that kept me engaged. Rating: 6.5/10 Favorite Track: This is the Day

While it wasn't always my cup of tea, it was a genuinely good produced album. It was a little too experimental for me from time to time, but I enjoyed it.

I feel like you have to be a fan of new wave in order to enjoy this album thoroughly. Thankfully, I am a fan of new wave, so this album was a hit. This Is The Day and Uncertain Smile are my favs from this album.

Colorful, bursting with energy. I feel I should like it more, but I was kind of put off by the first track and didn’t recover. It’s almost like the production is doing too much and the singer’s exaggerated delivery doesn’t help. The synth work is cool but ultimately I just did not rock with this. That closing track has no business being almost 10 minutes long.

Maybe I was in a bad mood for the other one, or this one is better than their other album. I like album cover a lot too Will I listen to again: 25%

If you love 80s new wave this is definitely for you. I thought the album was very fun experimentally but it’s definitely an acquired taste. This is the kind of album you grow to love the more you listen to it.

A friend lent me the singles of This is the Day and Perfect Smile before the album came out which I much preferred. I have since never been able to find those versions! However it’s still a pretty good album and very much an 80s classic.

enjoyed thoroughly

This guy sounds like he was recorded singing from the bottom of a well.

Could be a grower. Good moments but also very jarring 80s production at points.

This was interesting for sure. I enjoyed it and it's almost 4 stars, but I think I'll keep it out of the replay list. 3.5

This is a keeper, good music, good voice.

Awful all around.

Fine I guess

8/10 Best songs: I've Been Waiting for Tomorrow, Soul Mining, Giant What an interesting album. This is a new-wave/post-punk/quite experimental album that doesn't sound like anything else I've heard from this time period. In general the lyrics are terrific ("I'm just a symptom of moral decay" is amazing), but the music is 50/50 - half the time it doesn't really work/suit the vocals, but the other half the time it's engrossing to the extreme. This is sooo close to a 5 star album but a couple of the songs don't quite work for me... I may adjust the score upon relistening later.

solid not my fav though

One of those musical phenomena I just don’t get. Loads of people seem to rave about The The but I can’t personally find anything of great appeal. Afraid it does nothing for me

crazy sounds

Molto molto figo. Ombre malinconiche di Bowie e dei Blur qua e là

Stebėtinai neblogas. Galima net antrą kartą klausytis ir daugiau. 4,5 duočiau.

Feels like it straddles the line between Bowie/Eno and new wave techno stuff. Holds up as a weird relic of steadfast production in the post-punk/proto-new wave/techno realm.

Starts off pretty good but looses me more and more as we get along. The first couple songs are more than just dance beats. I know its more but thats the majority of what's on this record. Its one musical idea beaten into oblivion. Just adding 1 tiny new peice every 4 measures. I get its dance styled but hoo boy that kind of stuff gets old for me. I need a verse and chorus and a bridge to keep me entertained. The more new wave stuff is pretty nice but when it gets more post whatever the hell is where im out. Still OK to listen to but not great. Just ok

Some good songs, but I won't listen to it again.

I really like the hit songs I already knew, but I doubt I'll ever go back to this one.

I've never got my head around the idea of Matt Johnson. Associated with Some Bizarre and a regular collaborator with his stablemates - and vice-versa, as James Thirlwell and Martin McCarrick are on here - his is not an industrial sound... although the opening drums of I've Been Waiting For Tomorrow wouldn't be out of place on a Scraping Fetus Off the Wheel record. The drummer? Zeke Manyika from Orange Juice. British indie can be biting when it wants to be, I guess. But, for the most part, Soul Mining does sound like Aztec Camera. I resisted listening to The The for a long time, mostly because the cover of the album Infected, which was in one of the CD library CD racks every week, was repellent, but also intriguing. Suitably industrial. When I finally yielded, there was nothing repellent about The The. Although, neither was there anything infectious. The love and admiration expressed by Johnson's many collaborators, both the Some Bizarre weirdos and the indie rock heroes like Johnny Marr, must be partially informed by his personality - he must be a nice guy, because, while these are nice songs, the songs themselves aren't enough to justify his good reputation. 2.5 The connection you flagged with labelmates Soft Cell was something of a red herring I think. There is a tension between the desire to please and to harass in these songs that put me in mind more of Elvis Costello than Soft Cell, but I was left unsure, after multiple listens whether the The really does either quite well enough. It’s an interesting record and musically assured - but I wasn’t convinced that Matt Johnson knew what he wanted to subvert; something no doubt. 2/5

Really enjoyed this. Very fun.

One day in the 2010s I can't remember when exactly a song came on this mostly 80's pop radio station. As soon as the drums started on the little omnichord riff my wife joked that I had finally made it onto the radio. I looked it up later to find that the song was 'This is the Day' by 'The The'. I never investigated further into their catalog thinking it was probably a 1-hit wonder situation. I can't exactly say that is the case after listening to this. The rest of the album is about on-par with that song. Here in the present day I haven't really been feeling like doing my 1001 assignments so I wasn't very receptive to this album. My car stereo makes everything sound bad already so I wasn't really enjoying this. The vocals grated on me the most in that it seems like a deliberate stylistic choice to continue to do some kind of halfhearted crooning impression. I'm largely ambivalent about this at the moment. Not sure if I would put it on my own list but it might require revisiting with a better mindset and listening setup.

The band The The made the album Soul Mining in the 80’s. The album Soul Mining by the The The is good. The The The are one of the bands that when I listen to them I think “the The The are one of the bands that I like any time I hear their music”. The name The The makes it hard to find the band to listen to them though, and the name The The makes writing the write up on The The’s albums difficult because of all the The’s.