Talk Talk Talk

(2/5) This list has conditioned me to absolutely despise this style and time period of music. This album just reinforces that. New Wave is way too overrepresented and it has just worn me out with it's sameness. The Furs don't deviate from the 'New Wave' formula and are just another drop of water in this ocean. I guess, "Pretty in Pink" was alright but everything else sounded exactly the same. There's even a sort of pattern to many of the singers in this style and The Furs' singer has it copied perfectly. Just forgettable junk. Pass. Essential? Lol. Nope. Thank God for the small mercies -- this is The Furs' only album on this list. Hallelujah!

Stop me if you’ve heard this one before, I’d never heard of these guys before today. Seriously, I know my musical knowledge was quite narrow, but I’m growing surprised by the number of acts considered essential that I’ve just never heard of. New Wave was also a sound that never inspired me to go back and explore it. I’m fine with what I experienced in the 80s, and leaving it at that. This album was more enjoyable than I expected though, it snuck in just enough guitar work to keep it palatable to me. 3/5

Even though I was aware of them, I only remember a couple of singles, one of which is here. It has probably paid (rightly) for mortgages, childrens' educations and now, pensions. It's as well, because the rest of album is a bit dull and samey. If it were released later, it would sure have been designated landfill.

Having grown up when this album came out, I can say that it's so highly overrated I have no idea why it's on the list. I get that it may have been influential, and that The Psychedelic Furs were part of the New Wave movement with one foot still in punk, but I'm just not impressed. The heavy accent doesn't help. Maybe they weren't leaning into it, but it's so thick at times that it becomes distracting. Even today, I don't remember hearing any of these songs on the radio. Sorry, Dimery. This should have been a pass. My Rating: 2/5

Unkempt and unpolished attempted at posh nu wave. It was okay with decent guitar work and melodic numbers. The harsh accent and repetitive nature of the song structures left a bad taste in my mouth. Not udder shite. Just not very good in my opinion, even by 80s standards.

Will listen tomorrow

Considering the big-name track on this album was the name of, and used in, a John Hughes film I expected something much less post-punk / new waves, so it was a pleasant surprise. Not amazing but I enjoyed it.

Bumblefoot once said "if your drummer sucks, your band sucks". I wouldn't go as far as that regarding The Psychedelic Furs, but their drummer plays very basic without being extremely precise and their singer... well, kinda sucks. Their album "Talk, Talk, Talk" isn't exactly bad but absolutely boring and - probably due to limitations if their drummer and singer - monotonous. And the overrepresentation of British New Wave Bands on this list really sucks.

Some of the worst music I’ve heard

Die Londoner Band The Psychedelic Furs nahm ihr zweites Album 1981 in den RAK Studios auf, wieder unter Steve Lillywhite, der schon das Debüt betreut hatte. Phil Thornalley und Will Gosling saßen als Engineers an den Reglern. „Talk Talk Talk“ erschien bei CBS, in den USA bei Columbia. Die Grundlage bleibt Post-Punk, mit Gitarren, Saxofon und treibendem Bass, doch die Melodien stehen jetzt vorn und machen aus dem Ganzen New Wave. „Dumb Waiters“ machte die Furs zum ersten Mal in den britischen Charts sichtbar, „Into You Like a Train“ und „All of This and Nothing“ stehen dem kaum nach. Am bekanntesten ist „Pretty in Pink“, nach dem später ein ganzer Film benannt wurde. Für den Soundtrack spielte die Band den Song 1986 neu ein, geschliffener und glatter. Das Original hier ist spröder und gefällt mir, nein: es überzeugt deshalb mehr. Richard Butlers kratzige Stimme zieht alles zusammen, und seine Texte kippen zwischen Spott und Zuneigung. In den USA kam die Band damit erstmals in die Billboard 200. Das Album gilt vielen als ihr bestes, und das ist schwer zu bestreiten. Danach wurden die Furs glatter, hier sind sie noch ungehobelt genug.

a bit too much style over substance, i liked the guitar parts and the singer but the songs felt a bit weak

pleasant 6/10

The only redeeming factor in this record was that random, sexy-ass sax. Favourite Track(s): Pretty In Pink, No Tears Least Favourite Track(s): Dumb Waiters, I Wanna Sleep With You

Honestly, Talk Talk Talk is just way too safe for me. There’s nothing aggressively awful about it, but it just feels a bit generic at times and struggles to keep me interested. The opener is definitely the best track on there, but after that, it's a bit dissappinting 1981 was a pretty big year for music, and there were way more interesting, experimental albums coming out at the time in my opinion. It just feels too polished and formulaic to really grab me. Two stars—not terrible, just disappointing.

Good

One more new wave random stuff. Wasn't even that bad. Just. Please god make it stop.

Yes, I remember loving this album back then. Still do. 4 "still seems a worthy entry" stars.

Окрім одного хіта, нічого якогось не сподобалося. Трохи дефолтно або я щось не викупив

Спочатку здалось що доволі забавний альбом, перша пісня прям взагалі клас. Але чим далі тим менше подобалось та і вокал так собі. Втім, пару пісень все ж для себе виділив, поставлю 3.

Plenty of nice tunes on a record that starts strong, but getting the feeling that new wave is over represented on this list.

Generic

I am familiar with The Psychedelic Furs - and currently have 13 songs liked by them on Spotify, but only have 1 song liked on this specific album - the song "Pretty In Pink". Fun fact - in 1987, I saw them in concert at a small university in Indiana. Twas a good show! Looks like the original album only had 10 tracks. I'll review just those. In general, I like the music more than I like his voice. But I noticed after repeated listens his voice bothers me less. I ended up liking 5 "new to me" songs - "Dumb Waiters", "Mr Jones", "Into You Like a Train", "It Goes On", and "All of This and Nothing" Liked songs on Spotify: 6/10 Rating: 3/5

I don't know what makes this album punk or any album punk and at this point I don't care to have it explained to me. The songs aren't catchy, aren't entertaining, aren't fun, and they aren't bad. I can't imagine someone liking this stuff but I'm sure there's some freaks out there that do. 2 stars

For a band called "The Psychedelic Furs" and having some very textured instruments, I'm missing a lot of psychedelia in here. In fact, I'm missing anything that interests me. I find this album quite boring in terms of songwriting and harmony. The voice is peculiar, but after listening to it for awhile, I ended up disliking its raspy pronunciation, very one-noted melodies and lack of expression. The instruments neither get saved from criticism, as they also are quite stale, playing what I feel are ordinary chord progressions and melodies. They are at least a bit better than the singing, as they count with some distortion that adds a bit of flavor, and they also use a saxophone, but they don't actually do anything really memorable with neither of both elements, so we are back at the beginning. Furthermore, some songs feel long, which is bad when they have very standard lengths, as I'm not talking about the longest cuts in particular. So indeed, I believe this is quite forgettable. They had the opportunity to do some interesting things with the most spacey moments and production, but they decided to play very mediocre post-punk.

Nice one.

Earlier sound for them than the casual listener might be aware of. Total post-punk record. Punk influences are everywhere and are beginning to meld with new wave nicely, creeping towards the smoother version of The Psychedelic Furs most people know from later hits like The Ghost In You & Heaven. As with U2, "The Furs" have evolved through the years making them sound like 2 different bands if you were to play a very early release of theirs back-to-back with a more recent release.

this was kinda boring

It was okay. Standard 80s music that was decent enough to listen to but, would not put this in my playlist.

I like British music

Not really my style of music (and there is a lot of the ear-bleeding guitar screeches in the music) but I did like the beats overall. Definitely some literal head bangers.

I'm a big fan of the furs but I don't think this is their best work. Overall I enjoyed it but it wasn't as good as I was hoping for.

you can definitely hear the nascent sounds of alt rock, but it feels more "important" than good

Was not expecting to like this as much as I did. I could name probably two Psychedelic Furs songs prior to this (one of which was Pretty in Pink) but I think this is such a cool mix of sounds. It's almost like if The Cure and The Clash had a kid whose name is David Bowie Jr? Has this sort of bratty punk sneer in the vocals, some new wave and post-punk flair, but a more Cure-like vibe to the instrumentation and guitars in particular, and still a layer of pop sensibility over it all. Quite good.

Great album

Not for me. 1/5

Unfortunately, I was pretty busy while listening to this and more or less completely zoned out. I did get enough to write a very general review, but I'll definitely need to be revisiting this album later. I like the mix of synths and guitars. It reminds me a little bit of The Cure. That's a band that I wouldn't think I'd like, but I do. It's a similar thing here. Unfortunately, I don't love a lot of the lyrics here. They feel poorly written at times. The songs also just kinda feel repetitive at times. My main problem though is his voice. It's very raspy and monotone, and it just doesn't fit these songs. Again, my opinion on this album could change drastically if and when I relisten to it. But for now, it's just okay. ----- #0018 Heard on: 6 Oct. 2026 Rating: ★★★★★☆☆☆☆☆ (189 / 338) Favorite track: Pretty in Pink Least favorite track: I Wanna Sleep With You

6/10

8 / 10

80s music is generally so boring and this is no exception

Much better than I expected

pretty in pink!

This sounds like a lot of other music that came around during the same period, and it seems Butler took a particular shine to David Bowie. Neither of those observations is a deal breaker by any means, but they're not earning any originality points, either. Still, there's enough variety and catchiness to ingratiate, and this one earns a 3.5/5 that I may revisit should the earworms burrow deep enough.

221. Talk Talk Talk - The Psychedelic Furs (1981) 10.1.26 Variety: 5 Adequacy: 5 Listenability: 5 Uniqueness: 4 Emotionality: 4 = 4.6 rounded up to a 5 "Tell her that I'm not in here, tell her I'm a freak/ Tell her that I fall about every time i speak" The Psychedelic Furs are a weird band in that I really like them quite a lot, but I can't say if I have a preference among their first four ( and best albums by me memory). I listened to them all very close together long after having grown up hearing "Pretty In Pink" not infrequently on the radio, and soon had cobbled together a playlist of stuff from those first four. With a quick glance at the track lists, Mirror Moves has the most recognizable song names, bit who knows. This is the only entry from the group on the list, so maybe if I have time I'll make a day of those first four albums. Otherwise, the big singles pop up pretty frequently on the satellite radio station I listen to most, and they remain stapes of my 5-star playlist to this day. Richard Butler I've namechecked in these reviews more than a few times before( usually alongside Peter Murphy of Bauhaus), every time I think in reference to the massive influence David Bowie had over a certain segment of early 80s New Wave front-men, and I would argue he's one of the more successful knock-offs, if you want to call him that. Where some were much more influenced by Bowie's glam phase, I think Butler falls more in the Thin White Duke aesthetic. But not without putting his own stamp on the persona. THE TRACKS Side 1 "Dumb Waiters" - Dense and full of texture, and catchy as hell, and it's not even one of their biggest songs. Well, maybe a minor hit I guess. Just not one I ever heard in the U.S. until I sought the album out. Butler's voice is pretty distinctive, and I can see it immediately turning off a lot of people, but the whole package is on display here in my opinion, everything great about the band, from the guitar forward presentation that still finds room for some electronic accents, to the hazy atmospheric reverb, to the saxophones. It's all there on this first track. Not the deepest of cuts, but a great example of the high level of quality we'll be seeing. "Pretty in Pink" - At this point I think I must have heard the album version of this one just as much as the re-recorded single used in the movie of the same name. That one is more polished, and a lot peppier, and I think a bit more influenced by Bowie's "Heroes" in how bombastic and celebratory it gets. This one is just as good in my mind though, and feels more lowkey and sly, and world weary in the delivery, which I love. It is pretty funny that it became a sort of romantic ballad after being used as such in the movie when the lyrics seem pretty acidly cynical about the subject. The lyrics are just ambiguous enough though, that maybe Caroline does get the last laugh? The saxophone on the re-recorded version helps with this mood I think. I guess this would be similar to the "Born in the U.S.A." effect where people are happy to ignore the lyrics and messaging when the song is such a clear bop. "I Wanna Sleep with You" - We get a bit of a rockabilly beat to start this one off, with some heavy atmospheric noise layered over top. Major Scary Monsters (And Super Creeps) vibes off of this one, and it's swingy and disorientingly catchy in the same way a lot of the stuff form that album is. It's also full of a panicked and sweaty momentum that I can see not meshing well with someone looking for a more laid back, bubblegummy bit of pop. There's some shared DNA with some chugging Pixies tracks like "Cactus" here as well. "No Tears" - A pounding beat opens this one off, and we get more of a traditional bit of jangle pop than transforms in the refrain into something more driving and much heavier. This dynamic really puts me in mind of early R.E.M. The saxophone throws this comparison out the window, but structure wise and tonally, I think it still stands. Especially so on the rhythms. Butler has a lighter touch here with his vocals, which also adds to the more airy and power poppish feel. "Mr. Jones" - The Cars immediately came to mind with this opening, which has a driving beat, with a loose and echoey big ROCK guitar tone, and compares favorably as well to some of the faster stuff from Dr. Feelgood. This was a ton of fun, and holds up incredibly well, especially in comparison with some of those early 2000s garage rock revival bands, who in my opinion were drawing JUST as heavily from post-punk and new wave bands as they were from any real 60s garage acts. I could very easily imagine the Hives, for example, covering this one. Side 2 "Into You Like a Train" - Driving, and full of a determined energy, with some drumming that is reminiscent of Budgie from the Banshees, who I think came out of the same local scene. I'm noticing how a lot of these stand the test of time in regards to instrumentation, and though I really like a lot of the more bleepy bloopy stuff, it's refreshing to be reminded that the new wave wasn't JUST the electronic stuff. "It Goes On" - More early 80s Bowie sounds, which I might have to knock them for when it comes to originality, but then I'd have to apply that to a LOT of bands form the era. This one has scratchy, warbly guitar work that prefigures some late decade U2, and some chord changes and rhythms ( especially in the instrumental break) that remind me of Pixies, and would not surprise me one bit if Frank Black was a huge fan of theirs. "So Run Down" - A much more ramshackle beat, and some very PiL-era John Lydon-esque vocals as opposed to Bowie. Speaking of which, the vocal melody here is pretty cool, and there's an overall, well... psychedelic feel to things. Though it never rounds the bend completely into that, and stays just on this side of the jangle pop equation. More of that falling down the stair, Budgie style beats though, and tastefully applied sax for flavor. "All of This and Nothing" - This one starts off all airy, but full of an eerie menace that puts me in mind of some solo Peter Murphy work. Where Murphy's stuff is harsh and twisty, this is twinkly and spacey. Compare to Murphy's "Cuts You Up" for example. Butler's vocals on the chorus soar upwards a bit more than on most of the tracks hear, but the song stays down in tone though and instrumentally does a great job of gelling wit the bitterness and confusion of the lyrics. "She Is Mine" - All round more poppy and with a gentle touch that reminds me a lot of "Dreams" by Fleetwoood Mac with its locked-in, steady hypnotic drum beat and the airy guitars layered over top. HIGHLIGHTS - "Dumb Waiters" - "Pretty in Pink" - "I Wanna Sleep with You" - "No Tears" - "Mr. Jones" - "Into You Like a Train" - "It Goes On" - "So Run Down" - "All of This and Nothing" - "She Is Mine" MIDLIGHTS - LOWLIGHTS - FINAL THOUGHTS This one held up incredibly well for me, and was a welcome reminder at how great the band's deep cuts are. I mentioned that I was reminded briefly of the Cars on one track, and would say another point of comparison would be that both bands operate at a level where there's very little fat. They're stuff is pretty varied within the guitar-centric mode they've decided to play around in, and it's chock full of melodic hooks, interesting textures, and some cool atmosphere. There's not much about this I can find fault with, aside from the fact that there weren't any more GIANT hits on it. I may or may not come back with an edit to verify, but I'm guessing all four of those first albums I'll likely feel similarly about. This one usually pops up at the top of fan made lists, so maybe it's a bit more consistent, but we'll have to see about that. I'm definitely looking forward to listening to the rest of their discography, and maybe this time I'll get into the later ones. There was a release form 2020 that I heard a couple of good tracks from, so there's hope. My biggest knock on the album in general would be that as much as I personally love it, I think it's a prime example of a very high quality journeyman band at their best. They don't quite have the flair or the highs of a band like the Cure, but they stay well clear of some of the more abrasive and niche bands from the period playing in the same field. I keep coming back to them, but I would maybe say the same thing about the Cars on the U.S. side. Rarely ever a wrong step, with a string of great albums that are probably have the effect on a lot of people of "Oh yeah, those guys are great. I always forget about them." So for anyone who wasn't sold on the band by this, I would still highly recommend their greatest hits compilations. Some very fine stuff on there. One album from them seems appropriate though, and this is as fine a representation as any I guess. *EDIT: Going back to re-listen I think i might give the edge to this one actually, as it's ever so slightly more consistent than the others, which I'd rank as below: 1. The Psychedelic Furs (1980) - 4.6 Stars - The most raw, and atmospheric one of the bunch, and definitely the heaviest, and most punk adjacent, with just as many krautrock and Velvet Underground influences as Bowie ones. It's a toss up between this one and Talk, Talk, Talk as far as my overall favorite, but I might just give this one the slight edge 2. Talk Talk Talk (1981) - 4.6 stars - see above 3. Mirror Moves (1984) - 4.4 Stars - less atmospheric than Talk, Talk, Talk, but much more danceable, and with more stereotypical 80s electronic tropes creeping in 4. Forever Now (1982) - 4.4 stars - less variety, but full of more energy, and more rock-facing than Talk, Talk, Talk, and a more playful vibe Possible turn-Offs might include: - Butler's voice is not for everyone - even the big hit on this is probably not the version that you love - the fact that early 80s Bowie looms large over this, so if not a fan - beware You Might enjoy this if you: - dig atmospheric, yet catchy material - are already familiar with their hits and are curious - like your 80s British post-punk more on the approachable, radio-friendly side PLAYLIST ALTERATIONS - I'm good. FURTHER LISTENING Precursors: - Revolver by the Beatles - The Doors by The Doors - Roxy Music by Roxy Music - All the Young Dudes by Mott the Hoople - Transformer by Lou Reed - The Idiot by Iggy Pop - Scary Monsters (And Super Creeps) by David Bowie Contemporaries: - Kilimanjaro by The Teardrop Explodes - Pop by Tones on Tail - Soul Mining by The The - Deep by Peter Murphy - Underwater Moonlight by the Soft Boys - After the Snow by Modern English - Express by Love and Rockets Descendants: - Surfer Rosa by Pixies - Hot Fuss by the Killers - Antics by Interpol - In Dream by Editors - Everyone Who Pretended to Like Me Is Gone by The Walkmen

Quintessential new wave / uk post-punk 80's sound, complete with sax solos. Richard Butler's vocals are so distinct that it almost works against them by making tracks blend together. The whole album is surprisingly danceable - clubs need to spin this, check out It Goes On for the mid-track drum and electric soprano sax(??) breakdown.

- A British post-punk album I can mostly get on board with. Some interesting textures, specifically with the brass and guitar combinations. - "It Goes On" is my favorite track; like the juxtaposition of the chorus and verses. - A+ band name, but nothing particularly notable here. Pleasant, but does not stand out.

Goth-lite for 80s teenies. Strip away the layers or reverb, an you have a bunch of Bowie wannabes without any of the required abilities.

Interessante

I thought it'd be more psychedelic, especially coming from a band named "The Psychedelic Furs". Even though I get why they had a decent success with this album, I also get why they didn't get super popular with it... It kinda looks like they were searching for a sound that could fits them but weren't able to quite find it.

:/

Opening song good

I liked the Psych Furs. Specifically, Richard Butler's distinct vocal sound. I haven't listened to a lot of them, nor do I often turn to the post punk genre. But this is a solid effort.

not objectionable but probably wouldn't listen again. clash versus the Pogues? 2.5?

I have a soft spot for his pushed raspy voice, and the driving synth guitar walls of sound, but the songs I like best give way from rage or sneering to lowdown backward looking longing and melancholia: No Tears, So Run Down, Pretty in Pink, She in Mine. Then the Furs hit hardest.

This had some appealing moments, like “Dumb Waiters” and “She Is Mine.” “Pretty in Pink” holds up. But there is too much pale nonentity in between.

I really liked the heavily detuned guitars and synths but otherwise I hated this. Kind of feels like essential listening for f*** boys 2026 (derogatory).

3,5 stars

Bien de papu rico.

I think I enjoyed this but I have to admit it sort of washed over me and I forgot I was listening to it sometimes. Not a lot of dynamic intrigue but when I was dialed in it felt good. Perhaps I'm a 20 minute fan of the album and not necessarily a 53 minute fan.

Pretty in pink is an excellent song. Brooding cockney snarling over expert guitar and drumming. Then there is the rest of this album which is sorely lacking the same intensity and melodies. One song album

Mid

High nostalgia factor, since my mom used to have this on vinyl back in the day, but I won't be returning to this regularly.

Gosto de como esse álbum é o puro suco dos anos 80. Post-punk cru, caótico e experimental. Quando entrou o saxofone de Dumb Waiters, consegui imaginar o Bowie em Young Americans e, dali para frente, as faixas foram descendo fácil. É uma sonoridade que, para quem já escutou muita coisa daquela época, dá uma sensação estranha de familiaridade. Parece que você já ouviu aquelas músicas antes, mesmo quando sabe que não ouviu. Talvez seja justamente por isso que o final do álbum me cansou um pouco. Boa parte das ideias parece tão presente em outras bandas dos anos 80 que, em alguns momentos, perde o fator surpresa. Ainda assim, é um disco com personalidade e uma ótima fotografia daquela cena pós-punk que misturava caos, melodia e experimentação sem muito medo de errar.

my son said "wow this is really British, huh? is this your album of the day?" that was the strongest reaction to this album

This kind of tuneless caterwauling is not really my bag. I know some people like it, but it seems to me like Music for People With Lazy Minds.

so fun!

Psychedelic Furs played at Darker Waves Festival 2023 but I didn't care so much to see them, as they overlaped with another band I did want to see. Well I walked to the stage they just finished playing at to see The B-52s play. But it wasn't The B-52s. It was The Psychedelic Furs. There was some sort of delay at that stage so the sets were pushed back. So that's how I saw Psychedelic Furs in concert against my will. Anyway I think this is a great album and really has that 80s post punk sound. Oh and they were fun in concert too.

Partially known. Kind of unpleasant and all ends up sounding the same.

Didn't click right away, had this weird feeling at first, felt kind of unknown. But by around the third track it turned around for me and I ended up liking the album, not all of it though, some tracks feel a bit monotonous. Funny enough, I liked "I Wanna Sleep With You" more than the popular "Pretty in Pink". Though "Pretty in Pink" did give off real nostalgic vibes. Overall liked this one, was too skeptical going in, opinion's changed now.

It was ok. Liked No Tears and Mr Jones best.

звучит круто как вокал, так и инструментал приятно, мелодично, необычно, аутентично однако этот альбом в моем восприятии такой же как и у The Smashing Pumpkins. Да я понял кто это такие, для этого мне хватило одной песни ничего не меняется для меня от трека к треку, от этого альбом однозвучный 2.9

surely someone in the band or nearby town could have been called upon to be a more charismatic singer and frontman? maybe he’s more charming in person? the songs are there. they could be great, but the vocals are really bringing them down in a lot of parts. some of the arrangement sounds throw me a bit too, but the framework is all there.

“1,000 years from now there will be no guys and no girls, just wankers. Sounds great to me.” Trainspotting (1996)

Not bad, very British, but doesn’t really stand out to me within the genre. Fun in the background but I wouldn’t come back by my own choosing.

wow v good title v good album cover. Oh! These are the Pretty in Pink guys! (Unfathomably good soundtrack; will relisten soon). As for this album, I will not be relistening any time soon, so sorry. Though some definitely hit! Eg) Mr Jones.

I have a bit of an up and down relation with punk music. Some of it is wonderful, but other examples can be confusing. To me, the greatest asset of the genre is that it can make you think. Make you look both inside yourself, and at the broader injustices of society. But in order to do that, it needs to communicate it's point clearly. The vocals in this feel quite fuzzy. Like they've been recorded under an inch of water. Or over the loudspeaker at a stadium. A live show with no audience. 2020 style. But in this case, the problem with communication goes beyond parsing what the actual voice is saying. A great majority of the lyrics are extremely difficult to tease the meaning out of. I'll be charitable, and say they're so steeped in metaphor, that the meaning is lost on me. Though, it is possible that it's just nonsense all the way down. At best, I can offer a guess at the deeper meanings. I suspect that the common thread might be getting at love and relationships - and if so, it's very likely to be flying over my head, as they're not areas where I have a whole lot of experience. (I need to sort myself out before I feel safe to open up to others like that... I'm getting there, but that's beside the point). Back on topic, I think there's a story here about life, love, and relationships being corrupted by society. Capitalism, advertising, commodification all acting to subvert basic traits of what it means to be human. It's a message I can certainly get behind. That said, I'm not 100% confident that that's even what they're talking about. Their message is so unclear, that there's every chance I'm inserting it in, a whole cloth invention from my mind.

This feels like generic 2000s rock. It was fine. BUT WAIT. It was from 1981. Bonus points for being the inspiration and trailblazers.

I do like the group but now I don’t think as much. More pinkish to me rather than new wave.

This weren't bad. I started it predisposed to giving a 2: "Another 1981 British punk band bleh". But this was neato and enjoyable to jam in background.

Don't love it, don't hate it.

No me gustó tanto. Hay un par de canciones que están buenas pero el resto no lo pude disfrutar, es un rock muy duro a mi gusto… no consigo separar los instrumentos y me termina sonando a ruido

This tapers off in quality towards then end, but the first 70% of this album give me an almost euphoric feeing

I am a fan of Psychedelic Furs. I am sure the reviews will have lots of negative comments about Richard butlers voice, but I actually like it. Pretty in Pink is a sensational pop song. There are number of fantastic songs on this album. Maybe not my favorite Furs album, but this is still a great listen. Outside of Pretty in Pink standout songs are Mr Jones, and all of this and Nothing. 4 stars

Ok

I'm sure if I read about this band, I would find any number of reasons to include them here. Based on this album's sound alone, I don't understand what's its doing here. That said, it's totally fine new wave from the early 80s.

Was okay, the music was mid-good. Not a bigfan of the singing style. Light 3.

I've really been enjoying most of the new wave/post punk type albums I've been introduced to in this project, but this one missed the mark for me. Felt repetitive and a bit grating.

feels like it has gathered some dust but that's also why it feels sorta hypnotizing. the music feels warm and calm and yet the voice adds some edge and overall, it's never a boring listen, as i initially expected...

Actually really great post-punk. I always liked Pretty In Pink and Love My Way, but this hits just like REM from the same era. Haven't had a deep dive into the lyrics but it feels like he's making some interesting points. Solid album, needs a few more spins. 7/10

A few interesting tracks. The rest are somewhat forgettable.

Atrocious vocals, and the songwriting was never as interesting as it was trying to be. Boring and annoying, plus I'm getting massive new wave fatigue from this list

Amazing record!

Es zeigt die Psychedelic Furs als stilbewusste Architekten eines rauchigen, neonbeleuchteten Post‑Punk‑Universums. Der Sound ist kantig, verhallt, voller melancholischer Energie; Richard Butlers kratzige Stimme schneidet sich durch die dichten Gitarren wie ein eigenes Instrument. „Pretty in Pink“ sticht heraus, doch manches wirkt etwas gleichförmig im grauen Großstadtnebel.

great start but it fizzles out/doesnt stay interesting

This dude sounds like he's on the verge of death while singing, I hate it. 1/5

Nah

Someday I'm going to make my own 1001 albums you must listen to list, and I'm gonna put a bunch of shitty 2010s pop and niche indie folk just to spite all of the goddamn forgettable new wave and britpop slop I've had to endure on this list

Cut rate talking heads.

p479. 1981. 2 stars. Average early 80s Brit New Wave band gets lucky by having one of their songs picked for a hugely successful John Hughes film. Apart from that one track, there is zero reason for this album being on the list. Whatever happened to Molly Ringwald?

A very wired and eyes on the prize type of new wave album, which is full of some of the most mundane singing I’ve ever heard paired with some slick brass instruments and jangly guitar textures. I don’t know what to make of it. The songs need some more tuned singing and sometimes the vocals feel extremely phoned in. It was an interesting listen. I don’t know, I think it’s the most 3.5 album of all time. I will have to leave it at a 3 for now and maybe reassess down the line

Звук плотный и фактурный, в соответствии с названием группы.