Penthouse And Pavement

I’m beginning to suspect that the author of this list misunderstood the assignment. This is clearly just a list of 1001 albums he has heard.

Oh this one was enjoyable if a little weird. Lyrics fit oddly well for the COVID era. Fave track: (We Don't Need This) Fascist Groove Thang. Should have been the theme song for Trump's presidency.

So you're telling me it didn't chart successfully, and it didn't wow critics successfully either. Then why the fuck would this ever be on the list? As an example of complete and utter underwhelming mediocrity? A what not to do? Ain't nobody got time for that. It's shit. And I don't need to listen to shit for shit's sake.

Some albums age well, while others remain rooted in the time that they were made. Heaven 17 may well have been significant pioneers of synth-pop, leading the New Wave revolution in the early 80s, but this album is a difficult listen now. Over-pleased with the new technology that enables unnecessarily complex musical patterns, the attempt to be edgy with sixth-form political potshots is simply lost in the mix. How this ends up in any list of great albums is a mystery to me.

Favourite songs- Penthouse and Pavement, Play to Win, Song with no Name I'm not a big fan of synthpop but I feel there's a lot of better synthpop out there than this. Some songs feel almost annoying and immature on this album. Synthpop is also something that needs to be really well produced for me to enjoy it, and I think the production here was not amazing. Also, you look at a synthpop band like Kraftwerk, which were so ahead of the curve that you have to respect their inventiveness, but this is a record from a time where tonnes of bands were making stuff like this, so it doesn't even seem terribly original to me. Not a bad album, certainly not my style, but I would argue that this is not an essential album. On the first track, [We Don't Need This] Fascist Groove Thang, the verse has some cool melodic ideas, but then it descends into this really repetitive chorus, that infiltrates your ear in an unpleasant way. Also the percussion is some of the most annoying stuff I've ever listened to. Next comes the title track. It starts off with a cool riff played on a synth, but it almost sounds like a horn. The percussion here sounds a bit better. There's obviously another vocalist on this track too. The melodies are cool here too, catchy, but in a fun way. I'm not a huge funk fan either, but this was an enjoyable track, though it did not need to be almost seven minutes long, as there are a lot of parts where I feel a bit of a lull. Still a great song though. Play to Win is okay, not an amazing song, but it's got some nice moments. It was one of the shorter tracks on the record, which I appreciated, as a lot of songs were really stretched out. This was the perfect length. Again, some really repetitive motifs that got kind of annoying, but this was okay. Next on the record is Soul Warfare. I'm not really a fan of this song at all. The piano sounds really pitchy and kind of like a toddler's just playing at random points. Then the hook (which is a pretty appalling hook. Seriously, write a better chorus) sounds really pitchy again, and it bothers me a lot. Another overlong song. Geisha Boys and Temple Girls is fine, until you get to the chorus. It's so nursery rhyme-ish that it puts me off the whole song, which is a shame because I was enjoying the verse. The laser sound effects do really annoy me as well. Let's All Make a Bomb might be the most annoying song on the record. From the farting synths to the weird melody, this song just sucks. The Height of the Fighting just repeats, over and over and over and over... then the verse is really strange. I'm sure it was a big political statement at the time and stuff, but the song just isn't enjoyable to me. Song With No Name is kind of dark in an interesting way. I can see why someone would enjoy this, and it's not bad at all. Got some weird moments, but definitely a highlight of the record. The last song, We're Going To Live For A Very Long Time, is another very childish song. Super repetitive and annoying. Not a fan at all. So yeah, I wasn't a huge fan of this record, but I do see how some people would really like it if they were into this style of music. It's just not to my taste.

This makes me want to squirm around on the ground like God’s favorite bug 🐜🦟🐜🦟🐜🦟

the lyrics are amazing. very interesting album to listen to. definitely gives a unique perspective to the time period. track 10 has serious thundercat vibes. i feel like i have been looking for this album since 2016.

Heaven 17 experiment with 80's synth pop in an effort that almost feels like a summation of the musical movement. Unfortunately, they fail to capture any of the pop magic of other contemporaries when it comes to catchy ear worms.

Shallow and Pedantic. Bass player is fantastic. But everything else is pretty elementary. Seriously, I'm struggling to not turn this off. It's like that guy in school who thinks he's a good song writer and keeps trying to share his demo but it's god fucking awful. And he gets a record deal, which is stunning until you find out his dad owns the label.

You may know Human League for their synthpop masterpiece Dare. Well, just a couple years earlier their music was more avant-garde, like if postpunk went complete synths and pop. Moving in a more commercial direction, founding members Ware and Marsh broke off to form Heaven 17 to continue their more abstract sound, giving us this excellent entry. Lyrics are incredibly left-wing, reminds me of Gang of Four, to the point where they outright call Reagan and Thatcher starting fascist regimes in the first track. "Let's All Make a Bomb" is a celebratory mood to bring about the end of the world. Although not revolutionary, it's a fresh relief to hear unique subject matter in such an upbeat manner. The first half is all high-energy dance tracks, littered with repetitive catchy choruses and addictive beats. Clearly inspired by American disco, this is most evident in "Soul Warfare" with the signature guitar chords. Second half shifts to "electric" dark wave, still maintaining that groove off the first half, but much mellower and atmospheric. I love it all, this is exactly my preferred genre of pop music, danceable with highly varied synth tracks not afraid to get weird.

Maybe a little generous but I was surprised by how much I enjoyed this. Fascist Groove Thang is great and although it lost me around tracks 3-4, the likes of Let's All Make A Bomb and The Height of the Fighting hooked me back in. It's very 80s in some ways but also still manages to sound futuristic to me.

Well, I was a little hesitant going in, since I never listened to Heavens 1-16, but I figured I'd get the gist of the plot through context. Pretty decent, some Talking Heads vibes (but worse lol).

Not really an electronic person. Not surprised I didn't really enjoy it.

meh songwriting

Its got groove. But somehow it feels very small, the sounds feel very small, and the vocals seem very of. This is pretty bad. 2/5 The further I progress, the further this uninterests me. Nothing happens. 1/5 It's like a parody. "Decline Of The West" is pretty good, but it's not on the original album, so I wont consider it in this context. But I will include it on my playlist instead of any of the other songs lol.

Synthpop. Dammit. The worst thing to come out of the 80s. It's blippy-bloopy, arpegiated, slam-drum crap with Devo-esque non-singing vocals. Also, there are random saxophone solos inserted for some reason. I hate everything about this genre. In the interest of fairness, there ARE some pretty groovy guitar and bass tracks on this album that are not typical of the genre. They're just buried underneath so many layers of blippy-bloop that they lose their grooviness. Even throwing it that bone, this album is awful and gets one star.

i agree with Dan LeRoy of AllMusic who felt that the album combined electropop with good melodies, and that Glenn Gregory was able to deliver the "overtly left-wing political" lyrics without sounding "pretentious"

Awesome new wave album with similarly awesome messages. The early songs on the record sound like Primus if it were a new wave band.

This kind of early new wave/synthpop can be hit or miss due to it being so raw compared to what most people are familiar with, but I really enjoyed this album!

Me: Mom, can we have Kraftwerk? Mom: We have Kraftwerk at home. Kraftwerk at home:

I like a lot of 80s music but this was a lot of fluff (needs more pumping base). I think I just wanted them to be Depeche Mode and they aren't. Honestly, this is what people are probably thinking of when they say they don't like 80s music. And why was this album so friggin long?

Another album I'm wondering why it's on this list. This was a struggle to get through.

A haiku: Heaven 17? Heaven 2 or 3 at best Aren’t I clever?!

I'm expecting another bad English New Wave band after looking at the cover of this album. Oh what a surprise I was right. This album was so bad it made me reconsider my enjoyment of other new wave bands.

Quite odd.. Spotify wouldn’t let me listen to half the album. Otherwise very short

Penthouse and the Pavement has some sick bass playing throughout, but the title track has a standout bassline. The sound has perhaps not aged as gracefully and I find the songwriting a bit hit or miss.

It's OK as pure background music, but can't see it as anything else. The lyrics seem somewhat interesting, but I mostly didn't pay much attention.

Have never had a positive opinion of Heaven 17 – not sure why, just never had a good vibe about them… Could not have picked out a song of theirs – so it wasn’t anything experiencially-related, but it’s always been that way… Well – after listening to “Penthouse & Pavement” – my long-held disdain for Heaven 17 was absolutely dead on, as this album – as my good friend Keith is fond of saying – was fucking terrible!!! Not pretentious like many other “1’s” that I have given, nor was it mindless speed metal – which I have been known to trash – no, this was just a level of extraordinary suckitude that one doesn’t come across very often… The funniest part, was the ONLY song that I found even remotely listenable, was “Song With No Name” – which I’d probably give a 2-stars out of 7 – but after that, there was absolutely nothing else worth listening to, over the rest of the ONE HOUR & 22 MINUTE exercise of sonic futility… That was until Track #19 came on (i.e. I might have had listened to the deluxe version…) – and I was like, oh – that doesn’t suck as much as everything else… When I went to check what the title of said song was on TIDAL, I found it was called “Song With No Name – 12-Inch Version”… HAHAHAHAHAHAHAHAHAHAHA!!! Seriously, this was absolutely awful, and that’s ONE HOUR & 22 MINUTES of my life that I’m not gonna get back… Would honestly give this a “0” if I could, as listening to this actually pissed me off, but the site won’t allow it, so begrudgingly I’ll give it a 1…

WHO THE HELL IS PICKING THESE ALBUMS?! WHO DECIDED I NEEDED TO HEAR THIS?! 1/5

Shouldn't be on this list, in my opinion.

This is a cracking album with excellently crafted synth-pop with judiciously added instrumentation and backing vocals - and with a political edge to it that caused the lead single to be banned by the BBC. The original vinyl finished with a lock groove - though I only have the album as a digital copy after my vinyl copy was lost in a burglary. I think most of the contemporary music critics would have backed Ware and Marsh (with new recruit Gregory) over the remaining members of The Human League but in fact both bands were very successful.

It's because of albums like this that I've been on 1001albunsgenerator for 227 consecutive days. Discovering gems like these on a Thursday night is priceless. The album has a very creative sound, built on funk grooves. 38 minutes very well spent! Great lyrics. The vocalist sounds like Ian Curtis had joined a disco band. I don't usually give 5 stars to a newly discovered album, but today, I'll make an exception.

I think I listened to this, and then forgot I did, so when I listened again for this list, everything was nice and familiar. Admittedly a lot of the songs sound the same (Geisha Boys and Temple Girls, Play to Win...) - I think this might be because the songs all have a similar tempo. However, really, really like it. We Don't Need This Facist Groove Thing, Play To Win, Soul Warfare, Geisha Boys and Temple Girls, and Let's All Make A Bomb is such a strong run - deserving 5 stars for that alone. Bit long?

Wow! I really liked this!!! I've never heard of Heaven 17 before, but I will be listening to more of them for sure. The first track ("Fascist Groove Thang") was definitely my favorite. It felt very 80s, but also fresh compared to a lot of 80s synth pop.

Yes, perfect. The ideal rate and ratio of beeps and boops. Just enough Ronald Reagan libel/slander (that's a lie, I could go for a little more).

Deep down in my heart, I know that this isn't *actually* a perfect album, but man does it hit right. It gives me that perfect synthy vibe that I am always down for. Fun times all around!

i'd heard of this band but never listened to them prior. damn, was i missing out! this is some good ol' WEIRD 80s music. all these songs sound radically different and a little off-putting but i'm totally here for it, even if the BBC wasn't because they didn't want to offend the worst man of the late 20th century, ronald reagan. favorites: we don't need this fascist groove thang, penthouse and pavement, soul warfare, geisha boys and temple girls, the height of the fighting, song with no name

I like it

5. One of my favorite albums on this list so far

A five star album, even before listening to it once again. The precision in the recording and the sound is incredible. It still sits well in the early 80's critiques of Thatcherism. Unlike most, it has aged incredibly well.

I didn’t know that this record is so good. It’s rough and very danceable. Perfect!

Wohoooo! Heaven 17.

10/10 VERY ambitious for a pop album, but I guess that’s just how 80s UK was

This album STARTED by calling Reagan a fascist outright and saying the world is fucked and needs to change all will be one of the catchiest songs I've ever heard. This couldn't have possibly NOT gotten a 5 from me. Damn this is the kind of stuff I use this site to find.

For some reason, seeing the cover made me think I would not like this - I think the ridiculousness of it was too tantalizing of a promise to be true - but luckily I was wrong, I loved it! The only thing I recognized was Fascist Groove Thang (I think from the LCD Soundsystem cover), but I liked most of these. I appreciate the political commentary, and the spare yet imaginative arrangements. The basslines in the first half of the album are so distinctive that I was shocked to find out that the bass player was not a part of the band - he was just some kid that happened to be at the local theater that one of the band members worked at when they were looking for a bass player. Really amazing story, well told here: https://www.songfacts.com/facts/heaven-17/we-dont-need-this-fascist-groove-thang

I've been patiently waiting for this one. It's about as close as it gets to RCE, if not in terms of sound, at least in spirit. Though honestly soundwise it's not too far off. The Kraftwerk influence is strong, but it's tempered with a decent amount of soul to set it apart. Right down to the BEF acronym, and just look at that cover! Listening to this is like getting DNA test results back and finding out who your long lost father is.

cool

Very quirky and fun album. Chaotic energy.

Classic synth-pop album. Perfect in every way (lyrics, art work, song writing) and part of a perfect 3-album streak with its two successors, The Luxury Gap and How Men Are.

This is a fine, fine example of early 80s British synth-pop, which is a genre I strongly connected to in my adolescence. Not that I knew this album, but I wish I had. It also gets points for the politics of the time. Coming today, on the U.S. election day, "(We Don't Need This) Fascist Groove Thang" helped me emotionally cope with a terrifying day. Maybe I can get through this with a defiant dance beat! Is it perfect? No. But it speaks to me and it made me happy today. And it has a perfect cover.

Despite growing up in the 80s, I haven't listened to a lot of Heaven 17 before. The album cover had me ready to like this album, and like it I did. I love this synth-driven, pop extravaganza. It addresses some pretty interesting topics (I enjoyed "(We Don't Need This) Fascist Groove Thang" as I placed my ballot into the collection box today). Some days the relative simplicity of a lot of the songs might not have appealed as much to me, but it was perfect today!

$/& sauced

10/10 LOVED IT. So very classy and every song sounded too interesting. Favorite was probably let’s all make a bomb

Very lovely stuff. Funky vibes mixed with electronic. Overall i liked all trakcs but the ones that stood out: Bassy play in "Groove Thang" was epic good. Fully instrumental goodness "Declines Of The West"

I have never heard of this band or album but it's great. 1981 is an interesting year in music and film and this album isn't an exception.

https://photos.app.goo.gl/V348yLxRHFDvpZAA9 But seriously, this album slaps - I only know the singles, but even they were longer and funkier than I remembered, so I probably only know the radio cuts? It sags on a few tracks, but overall, this was great, and brought back a lot of memories of seeing them live.

Classic of the New Romantic period. Still stands up pretty well. I can still see your mum dancing to this when we first met 😊

This was a very good listen. Not sure if I’ll revisit but a ton of interesting compositions at the beginning of the electronic music boom.

## In-Depth Review of *Penthouse and Pavement* by Heaven 17 Heaven 17's debut album, *Penthouse and Pavement*, released in 1981, is a seminal work that combines innovative electronic music with sharp political commentary. This review will delve into the album's lyrics, music, production, themes, and its influence on the music landscape, while also discussing its pros and cons. ### **Lyrics** The lyrics of *Penthouse and Pavement* are marked by a blend of social critique and personal reflection. The album opens with "(We Don't Need This) Fascist Groove Thang," which critiques capitalist structures and societal oppression. The song's catchy melody contrasts sharply with its serious message about the dangers of fascism and corporate control. Lines like “Evil men with racist views” highlight the urgency of political awareness during the early 1980s. Another notable track, "Soul Warfare," presents capitalism as a game where the stakes involve one's very soul. The lyrics convey a sense of spiritual desolation amidst the pursuit of wealth: “My strategy is clear, my soul is there for the taking.” This theme resonates throughout the album, showcasing Heaven 17's commitment to addressing socio-political issues through their music. The closing track, "We’re Going to Live for a Very Long Time," juxtaposes a seemingly upbeat melody with darker undertones about fanaticism and moral absolutism. The repeated refrain creates an unsettling atmosphere that lingers long after the music stops, emphasizing the album's exploration of complex themes. ### **Music** Musically, *Penthouse and Pavement* is characterized by its innovative use of synthesizers and funk rhythms. The album showcases a unique blend of electronic pop and R&B influences, creating a sound that was both futuristic and danceable. - **"Penthouse and Pavement"** features a funky bassline that draws from American R&B traditions, setting the stage for the album's exploration of class disparities. - **"Groove Thang"** stands out as a subversive dance track that challenges listeners to consider the implications of its upbeat sound against its critical lyrics. The production employs a variety of synthesizers, drum machines, and layered vocals, creating a rich sonic tapestry. The use of female backing vocals adds depth to tracks like "Play to Win," enhancing the overall groove while maintaining a politically charged atmosphere. ### **Production** The production quality of *Penthouse and Pavement* is noteworthy for its time. Recorded primarily in Sheffield during an era when many studios were struggling to keep up with technological advancements in music production, Heaven 17 managed to create an album that felt polished yet raw. Martyn Ware and Ian Craig Marsh, former members of The Human League, brought their expertise in synthesizer technology to the forefront. Their collaboration with producer Mike Howlett resulted in a sound that was both innovative and accessible. The album's mixing allows for clarity in both instrumentation and vocals, ensuring that the lyrical content is not overshadowed by the music. ### **Themes** The overarching themes of *Penthouse and Pavement* revolve around class struggle, capitalism, and social justice. The title itself reflects this duality: "penthouse" symbolizes wealth and aspiration, while "pavement" represents the harsh realities faced by the working class. - **Capitalism vs. Socialism:** Many tracks critique capitalist ideologies while advocating for socialist principles. The lyrics often reflect a desire for social change amidst economic hardship. - **Personal vs. Political:** While much of the album focuses on societal issues, it also delves into personal struggles within these contexts. This duality allows listeners to connect on multiple levels—both emotionally and intellectually. ### **Influence** Released at a time when synth-pop was gaining traction globally, *Penthouse and Pavement* helped shape the genre's evolution. Its combination of catchy melodies with politically charged lyrics set it apart from contemporaries who often focused solely on superficial themes. Heaven 17's approach influenced later artists who sought to combine dance music with meaningful content. The album's impact can be seen in subsequent works by bands like Depeche Mode and New Order, who also explored darker themes within pop frameworks. ### **Pros and Cons** #### **Pros** - **Innovative Sound:** The fusion of electronic pop with funk elements creates a unique listening experience that was ahead of its time. - **Political Commentary:** The incisive lyrics address relevant social issues, making it not just entertainment but also a vehicle for critique. - **Cohesive Production:** High-quality production values enhance both the musicality and lyrical clarity throughout the album. #### **Cons** - **Commercial Reception:** Despite its artistic merits, *Penthouse and Pavement* did not achieve significant commercial success upon release compared to other synth-pop albums of the era. - **Accessibility:** Some listeners may find the political themes too heavy or distracting from enjoying it purely as pop music. - **Niche Appeal:** The combination of avant-garde sounds with political lyrics may not resonate with all audiences, limiting its broader appeal. ### Conclusion In summary, *Penthouse and Pavement* by Heaven 17 stands as a landmark debut that skillfully intertwines innovative music with profound political messages. Its exploration of class struggle through catchy melodies ensures its place in music history as both an artistic achievement and a cultural commentary. While it may not have achieved immediate commercial success, its influence on subsequent generations of musicians remains undeniable. This album is essential listening for anyone interested in the evolution of pop music during the early 1980s or those seeking deeper meaning within their musical experiences.

I can thank the GTA series of video games to introducing me to Heaven 17. Penthouse and Pavement was in GTA Vice City Stories and I immediately enjoyed it. I went out and bought this album on CD not long after it and fell in love with it. It's by far their best album and completely envelopes the entire New Wave Synth-Pop song with some very funky bass playing thrown on top of it. Bonus points: The lead singer looks like an adult Draco Malfoy in the video for the title track. lol Must listen to songs: (We Don't Need This) Fascist Groove Thang Penthouse and Pavement Soul Warfare (check out the awesome bass solo in this one!) Let's All Make a Bomb Essential New Wave album. Rating 4/5. Not a 5 because a few of the songs are boring and I skip them even after trying to make it through them a few times. (I'm looking at you Song With No Name.)

Starts off as fairly straight pop, but quickly moves to experimental pop. Worth it just for the intro to Geisha Boys and Temple Girls.

Two days before the election in the US and that first track is feeling a bit close to home. This is a really good synth pop album

Fascist groove thing is great. Title track wriggles into your ear insidiously over 6 minutes with fantastic slap bass. Some weird stuff. Good album.

I liked Groove Thang. The rest of the album really scratched an 80s itch for me.

Not sure what it was about this, maybe it hit me in the right place at the right time, but I really dug it. Very date in a way that's ALMOST funny. But that's not a knock on it, because it's still good even though it's so dated. I'd listen to this one again.

Finally, music for yuppie socialists.

Almost like synth funk. Weird but I liked it.

This band has a sociopolitical bent that is reminiscent of Midnight Oil in places. But that would’ve been easy to lose in all the synthpop if they hadn’t opened with such a strong track about fascism that one could easily hear being played at (or about) current political rallies.

I love "Fascist Groove Thang" so much, but this album was kinda patchy too.

With increasingly timely and prescient fashion, Heaven 17's Penthouse and Pavement continues to glitter and glisten with its ugly overtones masquerading under bombastic electronic dressing befitting of its time. The decision to leave the ascendent Human League and start a new partnership, as depicted on the album cover, would pay off in dividends that would appear over time for Martyn Ware and Ian Craig Marsh, being flanked by a game Glenn Gregory. Come for the well tailored suits and slicked back hair, stay for the grooves and Kraftwerk indebted instrumentation. Favorites: (We Don't Need This) Fascist Groove Thang, Penthouse and Pavement, Play to Win, Soul Warfare, Let's All Make a Bomb, Song With No Name, We're Going to Live for a Very Long Time, Are Everything (12"), I'm Your Money, Decline of the West, Honeymoon in New York.

Spotify is missing several tracks from this album; was able to find it on YouTube. Funky bass. Had me moving and grooving. 4/5 Highlights: Penthouse & Pavement

The first half was kind of decent, but the second half was just banger after banger

I imagine them all in a basement just giving and the vibes were immaculate

I think criticism of this record is just wilful ignorance. Here is a group whose appropriation of the synth-pop genre served as a kind of revolutionary entryism to the charts, and a valuable critique of Thatcherite yuppy culture before it had even fully flourished. Whatever you think of this album, Heaven 17 were conceptually light years ahead of so many of their contemporaries. Undeniably the production has aged somewhat, but the bass chops provided by John Wilson on side 1 are nothing short of sublime, and the notion of incorporating a satirical put-down of a fascist movement that was a real threat in this country into a pop song is exactly the sort of statement that elevates this group and this album above the pack. Singer Glenn Gregory embodies every bit the snide 80s wheeler dealer persona, hammering home the absurdity of Thatcher’s social Darwinism in a way that deserves a far greater analysis than what I’m going to offer here (although the fact that this record DOES deserve that analysis in the first place is testament to its objective importance). People seem to be dismissing it on the most superficial terms. That being said, there is one area where the record arguably falters somewhat. And it’s an important one: the songs. Some of them just ain’t that great. Others, most certainly are. But for that reason I’ve been oscillating between a 3 and 4 star rating. Ultimately, I think this album is a rewarding listen, and deserving of its spot on this list. Heaven 17 took the most pioneering elements of its Human League progenitor, without compromising their social consciousness. We Don’t Need that Fascist Groove Thang more than ever now…

Well, another grower. I suspect that some of my preferences and surprising discoveries here reflect when I grew up and first got in to music. I confess that Heaven 17’s ‘Crushed by the Wheels of industry was the first single I ever bought. Not sure why. Never had anything else by them. Listened multiple times today. Torn between a 4 or a 5…

That was a big slap of 80s fun in the face! 3.8

My life is full of technically competent nerds with synthesizers and with no pop sensibilities. This album is what happens when you let them try to make a pop album. Charming and quirky. I kind of can't believe "Let's All Make A Bomb" hasn't been discovered as a low-cost needle drop for an Atomic Blonde type film.

i LOVE this exact flavor of 80s bullshit

"Across that great wide ocean Reagan's president elect Fascist God in motion Generals tell him what to do Stop your good time dancing Train their guns on me and you Fascist thing advancing" This album certainly isn't the best example of synth pop, but then again, fuck Ronald Reagan.

Catchy.

Certainly a foray into fusion. It’s as if Flea brought the bass slappin to The Talking Heads, while they had just listened to a fair amount of German techno pop. The production is exquisite and the recording is crisp. Very interesting.

I got a strumming pattern or two out of listening to this. Interesting but I don't think I'll be regularly returning to the waters here

I really appreciated how funky and weird this one was, but not all of the music worked for me. Certain parts were really repetitive and annoying. But I enjoyed it overall.

Noise.

Really good bass and all in all a solid album!

4/5 - long live south yorkshire synth-pop

I liked this one enough to play it twice. I'll be revisiting this one for sure. BTW - been a bit of a slacker due to family vacation in Oregon last week. I'm fully back in business now.

"Fascist Groove Thing" is a guaranteed party starter

Play to

Soul Warfare, Song with No Name is too slow

Pleasantly surprised, funky and groovy.

good synthpop

The first part of the album was very good. The other half not so much unfortunately. One extra star just for the bass!

Short. Sweet. New to me.

Amazing

Memories

Fascist Groove Thing is still a great song. Should be on the radio now. Haven’t heard Penthouse and Pavement in a million years. This all so perfectly 80s. Even the cover art is a spoof of the Yuppie takeover; a premonition of American Psycho, complete with executive ponytails. Oh snap, I totally forgot about Play to Win. Jesus, this is such a blast from the past. This is a fun little record. Did not expect to see it on this list. It’s really pretty good, though. Smart, upbeat, and funny. Final song is hilarious. Not everything is intended to be serious.

Enjoyed this one. The Dead Milkmen covered the Fascist Groove Thang and the original is just as good.

an enjoyable and lively synthpop album. there's a good amount of funk and i would say maybe disco influence scattered here and there. it starts off relatively on the pop side and then goes a little deep with the synthesizer and drum machine experimentation later on. this was definitely around that era of early 80s business capitalism... rebel stuff mixed in with current sociopolitical issues around that time. it's rad.

Nice mixing of electronic music. Really has the 80's sound. Not sure if this just a copy of that sound or the originator of it? First time listening.