This Nation’s Saving Grace

i had a beer with Mark E Smith once at some sort of "After Party" for a gig they did where my friends band supported them. he was exactly as everyone has ever said he is. i've met countless regulars in pubs with a vicious tongue and you never have a clue if they're being serious or not and that is the overall vibe Mark E gave off about the fall. it's like he found out a scam where he could spend all his time in the pub by being in a band and he didn't want anyone else to find out his secret, which is probably why he sacked people so often, they got too close to his secret. That they kept coming up with music that is so unique is absolutely mystifying. you expect this type of avant garde spiky post punk to come from an uber hipster not someone who looks and behaves like an accountant who's fallen on hard times that carries his stuff around in plastic carrier bags. I probably should have tried a bit harder as he might have recruited me as another willing participant of the fall army.

I've always skirted around The Fall, never truly getting into them or learning about them. Very glad I'm getting the chance to- only a few songs in and I can tell I really like it. It feels like hypnotic, half-obscene punky ramblings. "Spoilt Victorian Child", "LA", were fantastic.

I don’t like it. The British punk thing is cool, but it sounds like they were writing these songs while they were recording them. They found a two-bar lick they liked, stuck it on repeat, and mumbled over top of it.

Mark E. Smith sounds like he's on the wrong end of a radio for much of the runtime. A radio somewhere with thick, poisonous air, a shot out of a horror film. The difficulty doesn't come from that, however. It comes from the complexity of the texture. My ear was frustrated at first, and even after latching onto the guitars the rest of the music evaded simple recognition. In an ideal world, I'd prefer more and stickier bass and drum grooves: The guitar lines are too subtle to hook me. The samples (?) and occasional instruments are used deftly, on the other hand, and there is clearly precedent here for Sleaford Mods and Viagra Boys, very different bands which I am more familiar with. L.A. is a highlight, denser than the rest of the tracks and operating as a sonic and geographic escape. There's a horn-like tone on one of the early tracks which truly sounds wrathful. Damo Suzuki annoyed me a little bit. It's a meandering project, not quite as discursive as I prefer. The music feels litanic at times, but there are enough excursions from that space to keep things fresh.

If I were really drunk and stumbled into a 4 am bar, I'd probably love this band. The vocalist sounds like he's been punched in the face a lot, which makes me wonder if he sings like that because he's been punched in the face so much, or if he gets punched in the face so much because he sings like that. I did sort of like the first track, but there were no vocals. If I were making a horror film, I'd probably try to use that track in it.

IT'S THE FALL INNIT

I don't like, or see the point of, The Fall. I don't get why people love them so much, or would choose to listen to them.

Songs that go nowhere with an idiot mumble barking over them.

What a lovely drunkard. Such grooves.

90% of time I can't tell what they're saying. The production value is among the worst I've ever heard. Additionally, and it might be intentional, but sometimes it seems like the band isn't playing the same song as the vocalist or the other musicians. Best song on the album was Rollin' Dany. Then I looked it up and it's a fucking cover. The original sounds so much better too. Best thing I can say about them is the album artwork is nice and the song titles are interesting. To their credit, the songs don't all sound the same.

Yikes. This made me question if I even like music at all.

I see alternative-mid80s-UK and I'm ready and eager to enjoy it but jesus christ - this is like a terrible Velvet Underground (redundant phrase) tribute band that is depressing to listen to without any of the cool goth/emo aspects I wanted in my head. It's not even quality haunted moping like Joy Division. I just do not like this. Where are the actual songs? Each song follows a crap formula... a weak riff repeated for minutes that doesn't resolve nor progress - and no dynamics. "L.A." was almost the last straw - I liked the synthy riff and .... that was it. Like everything else, it went absolutely nowhere. Sum: Frustratingly awful faux-avant-garde lack-of-musical-talent-lazy-shitty album. And got actually *worse* the longer it went on - after 6 songs I was ready to just dismiss it; and by My New House I'm ready to hurt myself and others. One of the worst of >600 thus far, so congratulations. 1/10 1 star

Wonder if it's better than Live at the Witch Trials. The worst album yet. Yea this sucks.

I would love to see a biopic of Mark E Smith. I ♥️ The Fall and I could hardly be later to the party. Great album. I love this kind of shit. Cynical Manchester drunks whose lives were changed by rock n roll. Punk rock, to be specific. Never heard this particular album before now and am retroactively embarrassed. Love it!

Living in my small home town, I recorded a few tracks off this from Peel. It was like having fragments of the Dead Sea Scrolls, dark, mysterious and difficult to comprehend. Then I moved to the big city and felt like Indiana Jones when I found a copy in a second hand shop. Ah, callow youth.

Sorti en 1985, "This Nation's Saving Grace" est le huitième album de The Fall, et il est un sommet dans la carrière du groupe. "This Nation's Saving Grace" est un album à la fois déroutant et captivant, un mélange unique de pop, de post-punk, d'art-rock, de garage rock et d'expérimentation sonore. Bien que l'album soit souvent classé dans le post-punk, il est bien plus que cela. La musique est complexe et inventive, avec des rythmes répétitifs, des guitares dissonantes et des claviers étranges. Le groupe utilise une grande variété de textures sonores, créant un paysage sonore riche et immersif. Quant à la voix de Mark E. Smith, elle est un instrument à part entière. Il gronde, il marmonne, il crie. Chef-d'oeuvre complexe, l'album dégage une atmosphère sombre et claustrophobe avec des paroles cryptiques et satiriques, qui dépeignent un monde dystopique et aliéné. "This Nation's Saving Grace" est au au final et si le genre devait être créé, un album de post-post-punk ou d'art-punk. "This Nation's Saving Grace" est considéré comme l'un des meilleurs albums du groupe, et il faudra presque 20 ans pour que le groupe fasse un album aussi bon. Un beau 5 sur 5 pour un grand et excellent album de post-punk.

I know few of The Fall's albums but this is fantastic. Looking forward to wading through their other 31 albums for anything approaching TNSG. I love the sequence of 'My New House', 'Paintwork', 'Damo Suzuki', and 'To Nk'.

Surprisingly excellent. I’m a big punk fan but I’d never heard of The Fall and I’m so glad I did. Really cool kinda droning art-rock take on punk music. Reminds me of Velvet Underground or like a pre-LCD Soundsystem

The missing link for me for so many bands that I like

Ok, I think I love The Fall. Where the fuck do I go next?

A chaotic postpunk entry that, just like many of The Fall's albums, requires several listens to either understand or shrug off. Production is lofi but full of intense energy and humor. Wild instrumentation and atonal devices demonstrate the peak of their creativity. Songs are fully fleshed out, with most of them running for 4-6 minutes, yet you never know where a song is headed. It's unpredictable to the point where many songs are intentionally repetitive but then travel in a sudden and unexpected direction. Few tracks I still find annoying, and I think an hour is too much to process. Thoroughly enjoyed Brix's contributions, who apparently wrote many of the songs. Favorites: Barmy, Spoilt Victorian Child, LA, Paintwork, I Am Damo Suzuki

Wasn't expecting to enjoy this, but there are some real gems on there... especially paintwork.

I... actually didn't mind this? Mark E Smith was bearable? I even enjoyed parts of it?? What is the world coming to!?!

Definitely cool, but a bit cacophonous for me

Bad Talking Heads? Not my thing.

This is #day236 of my #1001albumsyoumusthearbeforeyoudie challenge, and... here we are with my second The Fall album on the list. The first time I got The Infotainment Scan, I gave it a 3, and I wasn't entirely sure what to make of this band. After all, can you really grasp their elusive enigma? Listening to This Nation's Saving Grace is quite an adventure. I found myself thinking it’s like hearing a language I don’t understand, even though the band is British. Love them or hate them, The Fall are unlike any other band in '80s alternative rock. They're weirdos, sure, but also uniquely idiosyncratic, and it's worth celebrating. This is uncomfortable music, challenging music, uneasy music—whatever you call it—but that’s part of what makes it so fascinating. I can’t rate this album lower than a perfect score. If you're into post-punk and a bit of a vinyl nerd like I am, it surely deserves a spot in your record collection. This is a 5 out of 5. Looking forward to #day237.

If you don't like this, it's time to grow up. I should know, I was too once young and wrong.

This was more accessible than other stuff from The Fall I know. I think I like their noise, earlier stuff better, but this was still solidly a 5 for me.

Saw the album cover and artist name and assumed this would be stupid. I was stupid this is fire. Really liked a few of the songs and the rest were all good.

This was my first introduction to The Fall back in '85. It was tentative steps from Billy Bragg to The Smiths and then THIS. Impossible to categorise, apart from saying This is The Fall. You know what you're getting, but then again you never really do. It's a frightening album in places, yet full of optimism in others. But mostly it's just bonkers. Spoilt Victorian Child is the obvious highlight. But the riff on Barmy is Eurovision worthy. Cruiser's Creek is classic Fall. A brilliant, brilliant album.

This is exactly what I imagine a 1980s arts college in northern England would sound like. Amazing in its own way; it almost verges into hip-hop in places. RIP MES.

Mark Eeeee Smith at his scathing best. Floats in and out like a drunken tide. These are brilliant songs full of repetitive rhythms and melody. Ace!

I liked the music. I like the genre. I also like the repetitive nature of the songs. The album won't be one of my top favorites. But it's worth listening to again. 4/5

Can't go wrong with British post punk

As many albums as Guided By Voices? Twice in one week for us, and I am as delighted as I was first time. I always jump at the chance to use "Mancunian" in a sentence. I guess I'm spoilt. If I didn't have Spotify to help me, I wouldn't catch a word. "L." "A." was about it. Good job, Fall.

I’m Barmy for Barmy. Brix made this the more accessible than most Fall albums but I was always on board anyhow.

overall a pretty enjoyable post-punk album with a lot of repetetive grooves. a few songs i feel like i didnt enjoy but might grow on me 8/10 Favourite: I Am Damo Suzuki Least Favourite: Paintwork

This one fell right up the middle for me. There is a LOT of British (or British-sounding) 'post-punk' on this list and honestly I'm a bit tired of it - but this was more fun and interesting than most of it. Definitely above average for the genre from my perspective. It was a bit punky and a bit garage/indie/shoegaze... a good listen.

Great record this. Keep dipping in and out of The Fall but missed this previously as their back catalogue is huge. This sounds slightly more ‘friendly’/accessible than other records I’ve heard by them, but without losing that weird/edgy factor. Post punk at its best here. 4.5

The Fall really were the workhorses of post punk, weren't they? They just plowed along, releasing an amazing body of work over decades, while different styles and their flashier peers came and went. The musicianship here is fantastic, with standout performances across the board. The band maintains the looseness and off-the-cuff aspects of punk, but with an ear to moderation that reveals their method to be much more artful than you would expect. Their ability to judiciously use noise as if it's another instrument works great here. They also drift in and out of different genres and moods pretty seamlessly, which makes for an album that's really full of pleasant surprises, beginning to end. Fave Songs (CD and cassette version): Paint Work, Petty Thief Lout, My New House, Barmy, Bombast, I Am Damo Suzuki, Couldn't Get Ahead, Spoilt Victorian Child

Seriously thought this was a Hot Topic "mallpunk" band based on the name. Like a band that would open for My Chemical Romance. Nope. This is old and good. But I can see this band having influenced a lot of those bands. This was a totally unexpected treat and I'll definitely listen again and explore their discography.

Extremely idiosyncratic and hard to get into, but memorable in a good way.

I was not familiar at all with this artist. At first, a lot of the tracks seemed repetitive and had a similar formula. Vocals lacked clarity in places. On the second time through I found it more interesting and I liked a handful of tracks. Great bass line in Bombast. Overall I thought Side 2 was stronger than Side 1. Worth another dive at some point. 2.5/5 rounding up

I was always aware of The Fall, but somehow missed them. Which is even more surprising given they had 31 albums from the time they began thru 2017. Clearly operating as a true underground cult band. I found this album a bit scattered, most likely due to the caustic and erratic vocal stylings. But did enjoy its simple post-punk feel overall.

These guys subscribe to a simple two step process to writing songs. Step one: find a groove, even if it’s unremarkable. Step two: do not leave that groove. Sort of indifferent about this album overall and don’t think I’ll revisit it. Lots of tracks felt skippable, but there were definitely some I enjoyed. Middle of the road for me.

Didn't enjoy this as much as I had hoped. Knew all the highlights already (which are great), the rest sounded like, well, The Fall. As the man said: "always different, always the same". Maybe I'm just not in a Fall mood today.

Post-punk poets? Post-poetry punks? Punk-poet posties? If you're gonna make approximately 5 squillion albums in your band's lifetime, looseness has to be some kind of categorical imperative. That's certainly true of this mob, in which case something as restricting as genre is for the birds. But poetry in music isn't just about diddling words. It's about tone and feel too. And seeing as looseness as categorical imperative borders on "all art is useless" and some kind of poet said that, we may have our answer after all: all of the above.

What the hell was that??? Straight garbage from beginning to end. The vocals are a drunken, mumbling mess, with "L.A." being a highlight in how annoying Mark E. Smith's singing can be. The backing instrumentations aren't much better - at their best they're basic and repetitive; at their worst they're competing with the vocals in being as annoying as possible (the harmonica on Couldn't Get Ahead somehow wins that one). I didn't pay attention to the lyrics, muffled and slurred as they were, but I don't think I'm missing much if Spoilt Victorian Child is anything to go by. Dogshit. Just pure, concentrated booty.

My only previous exposure to The Fall was their debut. It had it's charm of course. The lo fi post punk rebelling against new wave, synth pop and hair metal. It's cool, and it fit a niche. But how much of that can you really listen to? "This Nation's Saving Grace" is a welcome change in direction, mixing the rough, off key nihilism with just enough accessibility to keep it interesting. The addition of Brix Smith seems to have really worked for them. It's just a much more striking album, and feels like The Stooges trying to be Joy Division. Or maybe vice versa? The Smiths appear to be rebelling against their own lives, with two tracks about moving house and painting, sounding like sarcastic admissions of domestic life. Contrast this to a song like "L.A." which captures both the sexiness and artificiality of Los Angeles. Cap it all off with a tribute to Can frontman Damo Suzuki and I now get the appeal of this band a lot more. Of course it influenced James Murphy. I can't unheard that now.

This album is loud as fuck, and repetitive as fuck too. To the point where it gets a little cerebral. This is the sonic equivalent of getting hit in the head with various instruments over and over again by loud and rowdy british men. The instrumentals are incredibly weighty and have such a keen goth darkness to them, while being remarkably catchy in their simpleness. Some songs are absolutely fried to hell in the best way, take Bombast, Barmy, What You Need, Couldn't Get Ahead. There's a genius in the simplicity, the brattiness, the fun of these songs. There's some animalistic traits in Mark's vocals, often times coming through in the way of wild grunty shouts. Rollin' Dany is a true rockabilly rollercoaster of a track. Garage-Post-Punk-Blues and fried to shit amps. Love it. L.A. is probably my fav track, goth excellence.

An absolute tour-de-force from one of the finest British bands ever. Mark e smith cannot sing. The band can barely play, but yet it somehow all comes together in a collection of powerful songs that are not soon forgotten…

The Fall are my most scrobbled band, so it's fair to say this is going to get a high score from me. This is the second LP with Brix Smith in the band, and continues a trend where The Fall (and Mark E. Smith) got a bit smartened up, moved in a more accessible directed and event had a few minor chart hits. It's a great album (I bought it on vinyl upon its release), and one of a run of great albums in what I suppose was phase 2 of the Fall - a bit less ramshackle sounding but with a reasonably stable line-up that was recognisably a band rather than Smith with a bunch of musicians.

I liked this album a lot, kind of reminded me of Fontaines D.C.. It's a pretty good blueprint for post-punk. They meander around a riff and let it breath and really settle into your brain, but in a way that's a lot more enjoyable than something like Dexys Midnight Runners. My favorites are probably Paintwork, My New House, Bombast and maybe L.A.. Great album start to finish.

5/5. Never would I expect to give a post-punk album a 5 out of 5. A 3 was generous usually. But this one actually sounds like an album, and especially can see the influence that they took from along with the inspiration they provided to future bands. This is a 90s album through and through released 5 years before. The vocals are intentionally jarring but with the garage-rock sound it creates an air of punk because the thing about being punk is that you have to care a little bit, otherwise you are just an anarchist. And this is that nice balance of wanting to make enjoyable music while also not conforming to the standard. In other post punk albums it feels in spite of the standard instead of challenging it, and this album finds that balance. Best Song: L.A., Bombast, Mansion, Couldn't Get Ahead

Really thought this was cool! Very original and unique

A hypnotic, droney, mumbly mess. I love every minute of it.

I pretend I'm blind you see, put on some Armani clothes and act like ET

Was always going to give this a 5, I love The Fall and this is one of their best. Their style of post-punk just tickles something in my brain and i can't get enough of it. Just burst into a nice riff and play that shit into the ground for 5 minutes with drunken ranting on top. Brilliant stuff.

"This Nation's Saving Grace" is the eighth studio album by English post-punk band the Fall. The album is noted for its pop sensibilities, guitar hooks and John Leckie's accessible production. I'll agree to that. There was also a change in that guitarists Brix Smith and Craig Scanlon wrote most of the riffs as opposed to bassist Steve Henley who quit and then rejoined the band. Other bandmembers included group leader Mark E. Smith (vocals, violin, guitar, harmonica), Karl Burns (drums, backing vocals) and Simon Rodgers (keyboards, guitar, bass, electronic drums and backing vocals). Commercially, the album hit #54 in the UK and, critically, received lots of high praise. The album opens with the instrumental "Mansion." Eerie layered guitars, a prominent bass and loud drums. This sets the tone for the album. The prominent, forward bass continues in "Bombast." Add guitar slashes and Mark E. Smith's screaming and we're in post-punk heaven. Mark wants to "bring wrath to bastards idiots." I read one of them is Lloyd Cole. The band gets a hypnotic beat going in "What You Need." Guitar slashes. When this song came on I thought I had put on Depeche Mode's "Personal Jesus." Very similar sounding. Mark actually had lived in and hated LA so they made a song named "L.A." They get a really groove going here. Brix on lead vocals. Mark also joins in making various random noises. This song has an anxious, nervous vibe. Oh, yeah, Flea from the Red Hot Chili Peppers must have been in the studio during the recording. The most pop song on the album is "Paint Work." Acoustic guitar, bass and drums. And now, I hear the Pixies. Mark with scream of conscious lyrics, similar to Black Francis. An interesting song with home recordings mixed with the studio ones. "I am Damo Suzuki" is a fitting tribute to the Can vocalist with the same name. Eerie guitar keys, rumbling bass and idiosyncratic drum beats. I guess it's never a bad idea to throw in a little Can to the the album. Within two songs, I was like wow!, this is a really great sounding and probably a very important 80's album. I was right and the album got even better. Bass-forward, rockin' beats and grooves, catchy hooks, post-punk guitar riffs and slashes and, of course, the Mark E. Smith factor which gives it that weirdness factor from the lyrics and vocals to take it to the next level...this time in a good way. I heard a lot of other bands in their music including LCD Soundsystem, the Pixies, Depeche Mode and the Red Hot Chili Peppers. So, they were/are a very influential band. This is a fantastic album and I give it a very high recommendation.

This album goes so hard it actually managed to cut through my anxiety, depression, and suicidal ideation for a few minutes.

Merry Christmas! Here’s one of the Fall’s best albums!

Yeah. This is really, really good. It’s one of this albums that started out with me liking and thinking “Ok, this is a 4 album.” As it went up, it grew on me even more. I was initially not excited it was an hour, but now I’m OK with it.

Those opening tracks are generational. I really like the way they write songs. The bands that came to mind when listening to this were Sonic Youth and Women. Favorite song: Paintwork Least Favorite song: Couldn’t Get Ahead

Something about Mark E Smith is just so.....entrancing. I mean, dude is pretty much just ranting into the mic with some killer post-punk instrumentation, and on this album is works out beautifully well. What a great listen

It's madness to try and define the best ever Fall album, but this one would be in most people's top five. The balance between Brix-imported poppiness and earlier groove and noise is pretty perfect.

A key album from The Fall. Mark E Smith and company had their footprint fully formed at this point. If you want to start with their long catalog, this is your album. 4.5/5

This rules. Very 80's. Proto pop punk with a tinge of The Cure? Whatever it is, I want more of it.

Immediately struck by how influential this is. Elements of Radiohead, Blur, The Sugarcubes and The Pixies just in the first few songs. I remember there being a lot of critical acclaim and reverence for this band, but they almost never got airplay. So nice to get the opportunity to see what the fuss was about. This is very interesting. Their relaxed and irreverent vibe is a smokescreen for what is truly sophisticated music arrangement. Eclectic and different. This is very compelling. Not built for pop singles. Artistic and experimental, without being up its own ass. Very good.

„If it’s me and your granny on bongos it’s The Fall“ - Mark E. Smith (Legend)

Sweet! Det her er en overset punk perle. Der er så mange fede greb brugt, at den slet ikke følelse dateret. Jeg får associationer til Bonaparte, og Fidlar, men bare britisk. I starten nåede jeg lige at tænke: "Det her lyder som mild Duck Stab." Det her en en lille 5er så jeg helt sikkert vender tilbage.

Mark E Smith. Genius. RIP

Finally, The Fall album you need to select for a such a list. From post-punk scorchers (still rough around the edges, admittedly) to garage-rock-inspired excursions, from the catchy mock-synth pop of "L.A." to the full-blown delirium of "I Am Damo Suzuki" (a tribute of sorts to Can), Mark E. Smith goes to places his early fans didn't imagine him going, while preserving the abrasive, loony and somewhat disgruntled essence of his life project. The melodicism on the "pre-indie", borderline-folk cuts on the second side ("My New House" and "Paintwork") is also surprising and quite impressive, especially since it never waters down The Fall's true nature, once again. Of course, The Fall is The Fall, and as such it remains an acquired taste. That said, the short Brix-Smith-composed instrumental "Mansion" opening this LP will probably have a Pavlovian effect on many post-punk fans. What directly follows is admittedly filled with strange hairpin curves, but young (at the time) producer John Leckie--who had already guided Magazine into their *Real Life*, and later on production duties for famous records by The Stone Roses, Radiohead and Muse (!)--is here to make sense out of the mess. So even if you think The Fall is not for your ears, don't let yourself be daunted by the loose proceedings on the first side. This album really hits its stride with the fifth cut, "Spoilt Victorian Child", and if you like the latter, chances are that the music will never let you down after that. Because *This Nation's Saving Grace* is the sort of record that builds up its crazy-yet-inspiring artistry from one track to the next. There's a bit of everything for every weirdo out there. And yet the whole shebang is cohesive as f*ck. 4.5 stars out of 5 for the purposes of this list of essential albums, rounded up to the maximum grade. 9.5/10 for more general purposes. Number of albums left to review: 136 Number of albums from the list I find relevant enough to be mandatory listens: 371 (including this one) Albums from the list I *might* include in mine later on: 219 Albums from the list I won't include in mine: 278

Loved it!

Yep.

Spoilt Victorian child spoilt Victorian child spoilt Victorian child. Just great discordant grumpy joy.

Good beat, punk rock that's not too angry, I like it!

The Fall are out there!

The first time I listened to this, I was unsure as to how much I liked it--I knew that I did, but I was not sure if it was approaching a favorite status. The second time, I am positive that I love this. It reminds me of a UK Double Nickels on the Dime, which is an interesting statement for a post-punk band. The ending of this album is so, so good. Favorite track: Gut of the Quantifier

Loved it

it's got some real pop chops but it's kinda punk combined with avant/art rock lyrical musings that aren't really sung as they are declared. Some songs kind of remind me of Velvet Underground. So many catchy riffs... I really like it! Rollin' Dany is one song tha comes close to a conventional song, kind of sounds psychobilly. Other faves are Spoilt Victorian Child, L.A. Gut of the Quantifier, Paintwork, and I Am Damo Suzuki.

The Fall strikes again. It's hard to miss with dark, moody, British post-punk - especially with the bass mixed all the way up.

I've loved post-punk since I was like 13 but it took me until my mid-twenties to "get" the Fall. They grow on you until you wish every band sounded like them.

Guitar hooks for days! One of my absolute favorite Fall albums. At least 5 songs on the album get stuck in my head every time I listen to it. I’m definitely a fan.

Clearly belongs to the top 5 of best Fall albums, includes LA and Paint Work and lost of other strong songs.

Thank f&%£ for The Fall.

À strange universe I am enjoying.

This really grew on me as I listened to it. It's just a fantastic album. Kind of a missing link in English music, in a way.

lovely

There are many picks to choose from if you want to get into The Fall and the majority of them are sensible and worthy. But, for my money (and probably everybody else's), This Nation's Saving Grace is the best place to start. It has everything: bombast, disorder, intellect, accessibility, you name it. Mark E. Smith and his ever changing band of ramshackle ruffians, chief among them his then-wife Brix, create an atmosphere that brims with confidence and conviction that becomes career defining. While I'm not going to say that once you've heard this album, you've heard all Fall albums, This Nation's Saving Grace is without question their finest hour.

Uncompromisingly original and interesting hooks galore, plus hordes of melodic moments that contrast with the spikiness and dark hues. One has always loved the quirky vocal style – repetitive and talky as it surely is – and the unforgettable voice. Plus, the hard, dark, and insistently edgy sound that still leaves room for hints of sweetness and melody. "Barmy" offers an unforgettable hook, and some likable chaos besides. "Spoilt Victorian Child" swings grittilly and intensely and (just a touch) ominously and offers even a hint of sweetness. "LA" is hella cool. So are "My New House" and "Paintwork." One likes their willingness to stick to their angles and ride these oddball hooks and often askew sounds and structures; that's what it means to be uncompromising, one assumes. The whole thing gets better as it goes along. That The Fall seems to have set up so many other interesting artists – Sonic Youth, Jonathan Richman, Yo La Tengo – secures their legacy. "Petty Thief" and "Cruiser's Creek" have much to recommend them, too, demonstrating how this just keeps getting better.

endlessly creative post punk simply beautiful - 10/10

A lot of bands are an acquired taste, and can take a lot of listening before you really get them. And sometimes even needing to reacquaint yourself in between albums. With The Fall, I often find myself needing to require my taste in between songs. This Nation’s Saving Grace is an exception; it caught my attention when it came out when I was in college, and quickly became one of my favorite records of the year. Yes, it is wildly uneven in its tracks for such a long record. But the highs more than make up for it! And many decades later, I still dive in, joining Mark E Smith in the weirdness.

Really a 4.5. Bears relistening.

There have been other albums that have stretched the definition of music, but I feel like they failed and just made noise. This is the album that successfully starched music while still making music. This feels mind expanding while still just being punk. I loved it.

My relationship with Mark E Smith has changed over the years. At the moment we're going through a good patch. This is refreshing post-Punk although quite late for '85. Good melodies with the usual Fall sneer.

A bloody good record by The Fall. I've never heard Cologne pronounced like that before.

Naar mijn mening een essentieel album. Toen ik the Fall voor het eerst hoorde, dat was ook dit album, voelde het als een soort missende schakel tussen alle andere muziek die ik al luisterde. Zo veel bands, vooral in de UK scene, die deze sound meer dan 30 jaar nog steeds proberen te maken (ook succesvol!), maar dit is de kers op de taart. Het gaat van toegankelijke nummers als Barmy vlekkeloos over naar een nummer als I Am Damo Suzuki, een scherp eerbetoon aan Can en een van de meest unieke zangers die er ooit geweest.

It grows on you

Awesome

Something a bit different - I like it