Real Life

Yes please. Love the Barry Adamson/Nick Cave/Dave Graney/Siouxsie and the Banshees thread that this has formed for me. Post punk has become one of my favourite genres and this all makes a lot of sense as part of the genesis of that whole scene. Post punk is the most intriguing genre in terms of its timelessness. This could have easily been released in 2022 and been very successful (with maybe some slightly less Buzzcocks vocal stylings). Very subtle and very not tacky pre 80s synthesisers which for me is a rarity. Solid amount of shred too.

There's a reason that I usually give albums more than one listen, and Real Life is a great example. I found the first listen irritating and boring, but the second listen has made me love this record. The instrumentation is wonderful on almost all of the tracks, and it sets quite the tone for post-punk. I especially love the Bowie-like vocals on track 5. I can see myself coming back to this album just as much as I come back to Unknown Pleasures. Highlights: 1, 2, 3, 5, 7, and 9 (not including 2007 release with bonus tracks).

An album that gets more odd and beautiful as it breathes over time. I want to spend more time with it before I have other words, but it rocks and I’m really glad I discovered it.

I think it's safe to say that, had Howard Devoto decided not to leave The Buzzcocks and stayed put, post-punk most likely would have never existed. Featuring Devoto's expressive talk-singing, the spiky angular guitar of the incomparable John McGeogh, the equally incomparable bass masterwork of Barry Adamson and the drum/keyboard combinations of the awesomely named Dave Formula and Martin Jackson, the aptly titled Real Life draws from the very blueprint lain out for other aspiring bands to follow that looked to equal or better what was in front of them, with songs that burst (no pun intended) through with it's spiraling five plus minute lengths (verboten in the punk world) and a sense of structure that left no room for snarl and spit. A great, often overlooked, debut that signaled the beginning of startling developments in late 70s Britain and it wouldn't have been possible without the talents of Magazine.

Now here's a fucking album. So ahead of its time.

Music was really moving at the speed of light in the UK in the late seventies. Released June 1978 only 9 months after Never Mind... and it sounds like punk is already in the rear view mirror. Sharp Shot (a legacy track from the Devoto/Shelley Buzzcocks) is both the best track and untypical of the rest of the album in its guitar thrash. Elsewhere it's jagged rhythms, Barry Adamson's moody bass, keyboards and shining through the first sighting of John Mcgeogh's luminous guitar work. An amazing album, and great though the other three Magazine albums are (until the first split) they would not recapture the consistency and quality of songwriting on here.

Post-punk and I have an uneasy relationship, so I wasn’t terribly excited at this prospect. Boy was I mistaken! By my third listen I was hooked, and by now I’ve listened to this at least 5 times in a 24 hour period. These are fantastically catchy songs with witty lyrics and some incredible musicianship! Magazine is willing to play some lush piano only to transition to carnival-style synth music. I am digging this! Theres sort of a punk-new-wave-beach vibe going on, but then there are little touches of all kinds of other fun sounds. And at times I just stopped to marvel at the drummer. This is one of my favorite musical discoveries this year!

Feels like Halloween, very creative melodically and conceptually. Fav songs “great beautician in the sky”, “motorcade”, and “shot by both sides”

Late 70s UK punk for me is The Clash, The Damned, Wire, and Magazine. This record fucks.

The only problem is that I had to listen to over 600 other albums before I got to this one.

The opening bars of the first track told me I was going to enjoy this, and that turned out to be true; right up my street - not sure how I haven't listened to it before.

A punk masterclass! Brilliant album from start to finish that dared to break out of the mire that punk had become.

Excellent, loved the buzzcocks, so this was a really enjoyable listen.

Gonna have to listen to this one again and again. Had heard the single, but now I want to own the whole album

Please algorithm, I beg of you, give me some good music.

A stone cold classic and one of the albums that launched post-punk as a genre. Every track is a winner. 47 years old, and it still sounds fresh. Magazine never really troubled the charts, but there were three further studio albums before they disbanded (and another 30 years later), all of which were great. But this album is the one that burst on the scene as the first flush of punk waned and reinvigorated things.

I have listened to this album a lot over the years, but every time I put it on I’m still blown away by its quality. Song after song is almost impeccable. Then you get to that aggressive bass line at the beginning of “The Light Pours Out of Me” which sets the tone for that whole track… perfection. This not an album for people who like super technical time/key changes or showy playing, but if you like well crafted songs it doesn’t get much better.

This is an album that has been on my radar for a couple months but until now I hadn't heard any of it. I wasn't aware of this album's connection to the Buzzcocks which is a band I really love so this was right up my alley! This album is incredibly energetic and catchy. The synths here are to die for. The highlights are "Shot By Both Sides", "Burst" and "Parade". This is my favorite first time listen from this challenge so far. I'll definitely be returning back to this album within the coming months. Favorite track: Burst 4.5/5

Less than a minute into the first song and I already knew this was going to be awesome! Even though I've never heard this album, it felt like I was listening to an old favorite because this is exactly the kind of music I lived for when I was young; it's weird, cool, edgy and definitely not mainstream. The Light Pours Out Of Me, Motorcade and Shot By Both Sides are the highlights.

Incredible music

Everything is perfect. The voice is too much annoying at first, but you just need to follow the mood 9-10/10

First time listening. Cooool. Punksy rocksy sometimes jazzy synth fun. I guess it's fair to say ahead of its time. I checked the reviews and learned that this is post punk and I love the genre without knowing it.

God I love this record so much. And now that I'm older I like it even more. I liked Magazine a lot in college but I think they're one of those bands you start really getting in the latter half of your twenties. Now I feel less like the object in one of Howard Devoto's songs and relate more to his point of view. It's cruel and cynical, it's sexy, it's sleazy, it's really self-centered and obnoxious, it's disaffected. Now being all those things in punk carries a lot of baggage, and maybe they did back then too. But it's something that punk is really missing. It's like nothing really ever stepped in to fill this void and everyone decided punk was just about hanging out and making friends. Anyway. Perfect record.

How come I didn't know this, as a Pixies fan! It's great, has enough punk vibe but also much more clever than what came before in terms of musicality. The songs are varied and I'll definitely listen to this again. 5* because it's so good and fresh after all those years.

Post punk prog ska

I am familiar with Shot by Both Sides, which is a regular feature in my general listening, but I have never knowingly listened to this album before. And I don't know why. How have I deprived myself of this record for so long? This is right up my alley; muscular post-punk, intelligent, angsty, aggressive (when necessary). Apparently, Howard Devoto recruited the band by pinning up a notice in a record store; "musicians to perform and record fast and slow music. Punk mentality not essential". And that's what he got. Howard Devoto's vocal styling can be overly arch, but the rhythm section is tight and powerful (shout out to Barry Adamson), the keyboards are fascinating but never overpowering. Magazine had clearly been listening to Bowie's Berlin albums. John McGeoch is that star player. His guitar solo on 'Burst' just slays me. I'm a little less impressed with his saxophone stylings, but I could listen to him play guitar all day. This definitely goes on my "must buy" list. Shame about the cover art, which is needlessly ugly.

Post-punk photo-supergroup in pulverising prog-pop blast debut shock. Heard five of these on the best-of compilation I own, which is testament to its strength. The heroic guitars, the synth stepping between futuristic whoosh and a Kraftwerk-adjacent classical European sensibility, and the rousing, declarative vocals of Devoto are an immensely stirring combination. The Light Pours Out Of Me is a permanent member of my get-pumped song stash. I was introduced to this by a dear former boss referencing a single, and being surprised that I did not get the reference. Thanks, Noel! Glad we’re not being shot from both sides any more!

wow, knew the occasional Magazine song (and Barry Adamson's solo stuff) but never got round to an actual album before. Ticks all the boxes while also sounding fresh and surprising. Great stuff, will get into them ASAP

Really good post-punk. Artsy Buzzcocks. 8/10 1. Motorcade 2. Shot by Both Sides 3. Parade

Ooh, proggy! This is not your average post-punk, and that made it a really interesting listen for me. Also, was pleasantly surprised to find the source of "The Light Pours Out of Me", which I was familiar with from Ministry's cover... Fave track - love the rising hysteria of "Shot By Both Sides"!

-I'm always a fan of rock+synth+other instruments -Great basslines throughout the whole album -"Recoil" is a great jam -"The Great Beautician In The Sky" has a cool circus-motif and a groovin' bassline -Cool like saxophone or something in "My Mind Ain't So open" -Solid album, I'll definitely be listening again

Weird, post-punk, art rock, almost new wave record. Pretty heavy use of synth, eccentric vocals. This might take another listen. Supposedly super groundbreaking, and it’s pretty cool and out there, but it’s not grabbing me on listen #1. Some Bowie influence here and there. Very vibrant and frenetic

7.5/10 F.t.: shot by both sides

Was pleasantly surprised at the beginning of this album based on the derangement of the album cover. About half way through though it settled into more of what I was expecting with the weirdness and punkiness.

crazy, rugged and excentric. Wonderful post punk record with a phenomenal soundscape. The textures were suprisingly creative. The vocals however, were at times a little too edgy for the sound, but overal this record was a great listen. Favorite track: My tulpa. Overall score: 7.0

Despite only being 9 songs (Apple Music has some bonus tracks tacked on) this album feels like it plays out longer than it should. It’s weird, I like the things that these guys are referencing musically…Bowie, Roxy Music, etc., but it doesn’t seem like they are adding enough originality to those references to make music that I find very engaging….also, that album doesn’t certainly doesn’t help.

Sounding like b52s with some more space and more English punk sound and of course there’s a certain way I feel about English punk

“Real Life” by Magazine (1978) Lyrics are good—frequently demonstrating artful juxtaposition of unexpected pairs of images. On “My Tulpa”, the line “My skin wants to crawl back to Ma” nicely demonstrates this. This feature forces the reader to read slowly, or the listener to listen more than once. But alas, the feature is almost undone by the musical compositions, which can obscure the words, or occasionally drive past them at breakneck speed. Magazine works hard to overcome this potential weakness through slow or half tempos, good mixing, and the almost comically exaggerated diction, all with partial success. So a serious appreciation of this album takes a lot of work. But it’s not quite worth it, especially since time and distance (UK of 43 years ago) make many of the idioms and references incomprehensible. The musical settings seem quaint today, utilizing then-innovative progressions and effects that are now dated, forcing us to adopt the same kind of ears we must use to appreciate, say, harpsichord renditions of compositions we’ve heard on piano. In term of performance, intentionally shabby vocals and ballpark tunings of guitar and bass require some getting used to. Guitarist John McGeoch should put down the saxophone. I’m not sure why at the outset I wanted to find this album ‘good’, but only ended up with a rating of ‘fair’. 2/5

4.8/5 Existential Leather Jackets Because this album doesn’t want to comfort you. It wants to poke your brain with a very stylish stick. Howard Devoto isn’t singing—he’s delivering monologues from the inside of a decaying philosophy textbook while the bass player quietly panics.

I don't know how I haven't heard this before. It's pretty great. Definitely adding this to the library.

Another one I haven't heard of but really liked from the beginning. Great synth throughout. Shot by both sides is a good single. Nothing super original here but it's overall pretty solid. I would definitely listen to it again.

Yes! Never heard of this band before and I loved this!

I found Magazine like a month ago in my post punk deep dive and am shocked they don’t get talked about more in the same league as the big names. Magazine also highlighted how incredible John McGeogh is. His work with the Banshees is my favorite of theirs as well. Their other albums are pretty good too but think this is their best. How can someone not like Shot by Both Sides? That songs sends you into the stratosphere. Definitely one of the most accessible post punk albums Rating: 4.7

Frábært brautryðjendaverk í postpönkinu, minni uppáhaldstónlistarstefnu.

I am such a sucker for this genre. Listening to this album, I NEVER would've guessed this came out in the 70s. Really awesome knowing music that sounds like this was being made back then. Overall, really really like this album.

Killer album! Love a great new discovery.

Magazine is one of those bands that lots of people love but I've never listened to. So I'm glad to have gotten this today. Solid album that gets better with repeated listenings.

Excuse my language but HOLY FUCKING SHIT BALLS was this album everything and more. this album is being bought on vinyl, put on my playlist and a forever favorite. they were definitely ahead of their time. 10/5

post-punk new wave excellence, finishing with a Shirley Bassey cover !

Ok - this was a new one for me and was fantastic from the first note on. Bit punky, bit proggy Really enjoyable and I can’t fault it

I had only ever heard Song from Under the Floorboards from the Left of the Dial box set so I was excited to have a whole Magazine album to listen to. It did not disappoint. Such a unique band with a unique sound especially in 1977/78.

Ahhh the 80ies. Adorably tame by today’s measures, and very entertaining! I giggled lots 😆

I can’t believe I never heard of these guys before. I feel like they should be spoken of in the same breath as Talking Heads, Television, etc. This is a brilliant record with a distinctive sound, yet also ranging across the entire punk/post-punk spectrum. Clearly highly influential as diverse as Radiohead, Sopor Aeternus and Of Montreal.

The layers in this album are mysterious, ingenious, and enchanting. Real Life is an experience. Every track is meaningful to the whole concept. I love Magazine, one of the gifts that this life gave us.

Absolutely perfect

Shots by both sides i the light pours out of me su među najboljim post punk stvarima uopće

## In-Depth Review of the Album "Real Life" by Magazine "Real Life" is the debut album by British post-punk band Magazine, released in 1978. The album, produced by John Leckie, is often regarded as a seminal work in the post-punk genre. This review delves into the album’s lyrics, music, production, themes, and influence, providing a comprehensive analysis of its strengths and weaknesses. ### Lyrics The lyrics of "Real Life," primarily penned by lead vocalist Howard Devoto, are a significant aspect of the album's identity. Devoto’s lyrics are known for their intellectual depth, existential angst, and poetic abstraction. #### Themes and Imagery 1. **Existentialism and Alienation**: Many tracks explore themes of existential dread and alienation. For instance, in "Definitive Gaze," Devoto sings about the desire to find meaning in a disorienting world. The imagery is often surreal and abstract, which enhances the sense of dislocation. 2. **Social Commentary**: Songs like "The Light Pours Out of Me" reflect on the impact of societal pressures on individual identity. Devoto’s lyrics critique the superficiality of modern life and the struggle to maintain authenticity. 3. **Personal Reflection**: Tracks such as "Motorcade" provide a more introspective look at personal experiences and emotions, wrapped in metaphor and allegory. The lyrics here are introspective and often convey a sense of melancholy and reflection. #### Poetic Style Devoto’s writing style is marked by its use of complex metaphors, literary references, and a non-linear narrative approach. This style requires active engagement from the listener, making the lyrics a critical component of the album's intellectual appeal. ### Music The music on "Real Life" is a fusion of punk rock’s raw energy and the more experimental tendencies of art rock, making it a pioneering work in the post-punk genre. #### Instrumentation and Arrangement 1. **Guitar Work**: John McGeoch’s guitar work is a standout feature. His use of angular riffs, unconventional chord progressions, and effects such as flanging and phasing creates a distinctive sound that is both edgy and atmospheric. Tracks like "Shot By Both Sides" showcase his innovative playing style. 2. **Synthesizers**: The use of synthesizers by Dave Formula adds a layer of complexity to the music. The synths are not just background textures but are integral to the songs' structures, providing melodic and harmonic depth. "My Tulpa" is a prime example, where the synthesizers create an eerie, otherworldly atmosphere. 3. **Rhythm Section**: Barry Adamson (bass) and Martin Jackson (drums) provide a solid and dynamic rhythm section. Adamson’s bass lines are often melodic and prominent, while Jackson’s drumming incorporates both rock and funk influences, giving the music a rhythmic flexibility. #### Innovation and Complexity The music on "Real Life" is characterized by its willingness to experiment with form and structure. Songs often eschew traditional verse-chorus formats in favor of more complex arrangements. This complexity is balanced by a sense of urgency and intensity, ensuring that the music remains engaging. ### Production Produced by John Leckie, "Real Life" benefits from a clean yet dynamic production style. Leckie’s experience with bands like Pink Floyd and his understanding of studio technology allowed him to capture the band’s energy while also highlighting their experimental tendencies. #### Sound Quality 1. **Clarity and Balance**: The production on "Real Life" is notable for its clarity and balance. Each instrument is distinct in the mix, allowing the intricate interplay between the musicians to shine through. This is particularly important given the album’s complex arrangements. 2. **Use of Effects**: Leckie effectively uses studio effects to enhance the music’s atmosphere without overwhelming it. The use of reverb, delay, and modulation effects is subtle but effective, contributing to the album’s distinctive sound. 3. **Dynamic Range**: The album maintains a good dynamic range, which is essential for the impact of the music. The quieter, more introspective moments have space to breathe, while the more intense sections are powerful and immediate. ### Themes The themes of "Real Life" are multifaceted, encompassing both personal and societal concerns. #### Exploration of Reality and Perception The album’s title suggests a focus on the nature of reality, and many songs explore this theme from different angles. There is a recurring motif of questioning what is real and what is illusion, reflecting the postmodern skepticism of the late 1970s. #### Modernity and Technology Several tracks address the impact of modernity and technology on human experience. This is reflected both in the lyrics and the futuristic soundscapes created by the band. The tension between progress and alienation is a key theme, as seen in songs like "My Tulpa." #### Identity and Authenticity Issues of identity and authenticity are central to "Real Life." Devoto’s lyrics often grapple with the challenge of maintaining a sense of self in a world that seems increasingly fragmented and artificial. This theme is poignantly expressed in "The Light Pours Out of Me." ### Influence "Real Life" has had a profound influence on the post-punk genre and beyond. #### Impact on Post-Punk Magazine’s debut album is often cited as a cornerstone of post-punk. Its combination of punk’s raw energy with more sophisticated musical and lyrical elements set a template for many bands that followed, including Joy Division, Siouxsie and the Banshees, and The Cure. #### Broader Musical Influence Beyond post-punk, "Real Life" has influenced a range of artists in alternative rock, new wave, and even electronic music. The album’s innovative use of synthesizers and guitar effects can be seen as a precursor to the synth-pop and new wave movements of the early 1980s. ### Pros and Cons #### Pros 1. **Innovative Sound**: The album’s blend of punk energy and art rock sophistication was groundbreaking and remains compelling. 2. **Strong Lyrics**: Howard Devoto’s lyrics are intellectually engaging and emotionally resonant. 3. **Excellent Musicianship**: The band members’ technical skills and creative interplay are exceptional. 4. **Production Quality**: John Leckie’s production is clean and effective, enhancing the album’s impact. 5. **Influence**: "Real Life" has had a lasting influence on multiple genres, underscoring its importance in music history. #### Cons 1. **Complexity**: The album’s complexity and abstract lyrics may be challenging for some listeners, making it less accessible. 2. **Consistency**: While most tracks are strong, a few might be seen as less memorable or cohesive. 3. **Era-Specific Sound**: Some production techniques and sounds are very much of their time, which might date the album for contemporary listeners. ### Conclusion "Real Life" by Magazine is a landmark album that has earned its place in the annals of music history. Its innovative approach to music and lyrics, combined with high-caliber musicianship and production, make it a standout work in the post-punk genre. While its complexity and abstract nature may not appeal to everyone, for those willing to engage with it, "Real Life" offers a rich and rewarding listening experience. The album’s influence on subsequent generations of musicians further cements its status as a classic.

Really great stuff. Didn't know what to expect going into this one. Was delightfully surprised.

Never heard a single note by this band. I have been remiss in not listening to them. My daughter told me she liked the background music on the songs but not the words and she is wrong. Both the background music and the words are great. Really cool album and for every Duck Stab by the Residents there is a Real Life by Magazine and it makes this list worth it. Now I want to make a post-punk playlist so I can put Magazine in with the other bands like the Banshees and The Gun Club.

Amazing.

I feel drawn to this one. I want to listen to it at least one more time to pick up what I missed on the first pass. I'm surprised in a good way. The album goes all over the place, but it never stops being interesting and listenable. I really enjoyed this one.

Here I’m wondering why this rocks so much. Oh former by former vocalist of the buzzcocks.

Everything I have enjoyed about Roxy Music, Eno, Bowie, and then some. An excellent blend of the experimental and accessible, and yet their doesn't seem to be any clear "hits" to be found making it feel like a weird animal meant to be taken as a whole or in chunks. I love the keyboard/synth work, which gives some heavy prog/fusion vibes and the guitar lead lines are flat out wild. Each song has some twist or serious surprise while looking in the rear view mirror while simultaneously pointing to the future. Such a great discovery.

Als ik een staart had, zou ik kwispelen. Ik kijk nog altijd uit naar de dag dat ik langs deze hoes kom in een platenbak. En dan zonder exorbitante prijssticker. Meestal als je Real Life in real-life tegenkomt maakt je hart een klein sprongetje, om daarna de moed in je schoenen te voelen zakken. Voor €75 koop ik liever iets anders, maar ooit komt er een dag dat deze mee naar huis gaat. Met Magazine hebben we echt een post-punk plaat te pakken, waar ik bij Pretenders al even aan refereerde. Dit album is rauw, donker, lekker ruig maar heeft een enorm hoog tempo. De stem van Howard Devoto is typisch Brits en soms lekker een beetje vals. Het past echt perfect voor mij bij de rest van de muziek. De muziek is niet heel melodisch en het pakt je niet met hooks en ijzersterke ritmes. Het gitaarwerk (John McGeoch) vind ik sferischer en harmonischer. Ondanks het zwarte randje speelt hij veel majeur, wat de muziek toch positief stemt. Bij Burst gaat de snelheid wat uit de plaat, maar dat is prima. Tegen die tijd hang je allang aan hun lippen en mag de plaat best een tijdje in een lagere versnelling doortouren. 9/10 Highlights Definitive Gaze Shot by Both Sides Burst

Vaya sorpresa, me han encantado las melodías envueltas en esa vorágine sonora.

Now this is what post-punk is all about! It has the spirit of punk and is based on many of punk's stylistic choices, such as the forward vocal style and minimalist riff and beats, but is chock full of many creative ideas, including genres that haven't even existed yet. New Wave in "My Tulpa", proto-hardcore in "Recoil", Bowie-esque glam in "Burst", gothic in "Motorcade", and what I'd describe as dark cabaret in "The Great Beautician in the Sky". Every track stood out to me. I love the foreboding mood, the atmospheric use of synths and other creative tools (such as the piano in "Parade" or sax in "My Tulpa"), and the innovative stylistic choices. Production is clean, especially for a 1978 punk record. Very consistent, with no tracks out-of-place or feeling like rehashed filler. Track order is well-chosen, with 3 very accessible opening tracks that show their range, and a suitable satisfying closer "Parade" that sums up the experience.

Now we're cooking. A masterpiece of post-punk before there was a name for such a thing. Dark, artful, weird, and still catchy as hell. "Shot By Both Sides" will never not get me hyped up.

A post-punk masterpiece. As much as I treasure every post-Devoto Buzzcocks single and LP, what he brought to the group before leaving to form Magazine is truly special. This still has plenty of hooks, but with an angular guitar-led approach that makes it a completely unique album for its time. Essential.

Love the sound, love the album. Got a post-punk style that sounds like it would fit in today. The songs all all different and interesting, with my favorite being Parade. Reminds me a lot of Television, one of my favorite finds on this app.

yeah, honestly i really liked listening to this! definitely an album that's ahead of its time, being released in the 1970s but having a sound that's commonly associated with 1980s alt rock, trippy synths, drums reverberated to hell, and voices so crackly and gothic you can picture their pure black eyeshadow and lipstick. i am flat out embracing this vibe. it is a part of me.

Superb - a classic!

An incredible ride of alien-like synth, carnival-esque beliefs, and a downright whimsical yet oppressive nature to the whole album leads to an experience not found on many other big names in the post-punk genre. Its seemingly needless drive to weird out the listener than pull them in with the catchiest of hooks and breakdowns is fantastic, and its only when that purely punk side starts to shine do I lose interest ever so slightly, however that same heavy punk influence from the time in The Buzzcocks leads to an experience that feels sharper than its more dreary contemporaries, and I admire it all the more for it.

As I've done this project, I've changed the bar for a 5, only giving them if I truly love the album/would relisten. But as someone who hasn't been able to grasp onto punk or the genres spanning from it, this was an incredibly good album, and is deserving of it, even if I maybe wouldn't hold it as high as other 5s

Initial listen: I liked it, but wasn’t blown away. In fact, on Motorcade, I was almost distracted by how it sounded like Midnight Oil (who I feel are glaringly omitted on this list). But taking into consideration the year of its release and the artists Magazine influenced—including Radiohead and The Smiths—I started to listen to the album with different ears. In fact, it predates “London Calling,” “10-1,” and “Drums and Wires.” A lot of the sounds that initially seemed derivative were actually quite the opposite: they were foundational! And given that it was founded by Howard Devoto of seminal punk group Buzzcocks, it seems quite likely that this album is responsible for Post-Punk existing at all! I gave the album a second listen, and it’s actually so well done—interesting melodic ideas, some polytonal guitar solos, creative instrumentation choices.

One of my favourite albums all times - postpunk does not get any better than this.

First impression: this is groovy. Overall, this was a fun album. I really like post-punk like this. Favorite track: The Great Beautician in the Sky, the eeriness gives me Danse Macabre vibes.

absolutely insane, seems like it influenced everything I love, the energy and riffs fit so perfectly together, the best chaos ever

Post-punk doesn't get better than this

I've never heard of Magazine before, but this album was fantastic. The instrumentation was kooky and strange, and while it reminded me of Siouxsie and The Banshees, it was still distinctly unique in its sound. I can definitely see how this album is seen as the first in the post punk genre, but I loved how there were still some elements of punk music present, especially the 'sneering vocals' that were present on a few songs. I loved the guitar playing, and the keyboards were fantastic as well. This is an album that will definitely make its way into my regular rotation.

New-wavey post-punk goodness

really glad I went into this with no knowledge this was so much fun, awesome blend of punk, new wave, and just that general wacky shit associated with talking heads etc. really enjoyable

Finally, some GOOD post punk. This was like Marquee Moon's younger brother.

Yes. Banging. Interesting. The light pours out of me.

I was completely unfamiliar with Magazine, so I went into this one blind. This is weird, cool, highly catchy and an absolute post punk weapon. The speed and aggression of Recoil, the spooky circus motifs of The Great Beautician In The Sky, the general implementation of synthesizers throughout, it sure had enough variety to keep me listening the whole way through. Definitely among my favourite post-punk records I've heard so far. Favourite: Recoil

One of my favorite albums from one of my favorite genres. You love to see it. Only 9 songs and 40 minutes and no dull moment to be found. "Definitive Gaze", "Motorcade", "Parade", and of course "Shot By Both Sides" and "The Light Pours Out Of Me". It makes me want to clap my feet together like a baby. Nutbuster Ultimate. The better proggy post-punk 70s album between this and Marquee Moon, although I owe Marquee Moon an apology for giving it a 2/5 and calling it "generic" - I was a stupid ass.

Great. Love "Shot by Both Sides." Definitely feel that nihilism and how it rubbed off on bands such as the Manic Street Preachers and Mansun.

Spiky brilliance.

My first impression of this album is that it predicts early 2000s British alternative rock. It incorporates electronic elements, garage rock influences, and surf rock elements to create dark theatrical music. The guitar work is very melodic, but the album also showcases a sparseness and bleakness that sounds like Joy Division like at times. Other moments sound almost like circus music. The use of mirroring the vocal melody in the instrumentation also stood out to me.

Weird and wonderful.

This goes HARD

Solid

A milestone for post-punk, with an adventurous spirit that goes way beyond the punk/"new wave" template of those times. The song topics, the melodies, the arrangements... Everything is terrific here. Some parts of those tunes are a little off-kilter, of course, but that's unavailable when you go wild like that. And most of them are instantly memorable anyway, as weird as they are. If only for "Shot By Both Sides" and its soaring guitar hook or "Definitive Gaze" and its bizarre synth line, along with "Motorcade" and the epic anthem "The Light Pours Out Of Me", this record deserves to be on this list. A quick aside: some key Radiohead members have repeatedly stated how this band had been a pivotal one for their musical upbringing. And if you delve a little into certain details, you can quickly understand why... *Magazine* was one of the very first productions by John Leckie, by the way. Yep, the same guy who would aptly produce *The Bends* later. It's always fun to point out connections between the albums in this list, is it not? Number of albums left to review: 652 Number of albums from the list I find relevant enough to be mandatory listens: 175 (including this one) Albums from the list I *might* include in mine later on: 83 Albums from the list I will certainly *not* include in mine (many others are more essential to me): 96

Voe vittu.. muutama kappale kuunneltuna ja tuntuu vitoselta.. Mutta miksi? Mikä saa minut antamaan vitosen? Mikä saa minut edes käyttämään albumiarvosteluboksin, eli tämän tekstikentän täyteen oman arvosanani selittelyä, julistuksia siitä mitä annan albumille? Oma saamattomuuteni albumin arvostelijana. Eli työn palkattomuus. Hauskuutan itseäni numeroilla, minulla ei ole mitään muuta elämässäni kuin vain nämä numerot, ne ovat tärkeitä minulle. Muistan nämä numerot, ja ne ovat tärkeitä minulle, pidän niitä lähelläni, ne ovat aktiivisen työn takana, sillä muisti ei ole mitään kovalevy tilaa, jota ei tarvitse kirjoittaa kirjoittamisen jälkeen, siitä on pidettävä kiinni. Muisti on aktiivista, ja se kuluttaa paljon energiaa, se on jatkuva prosessi. Mutta nämä numerot ovat minulle tärkeitä. Mitä ne numerot tarkoittavat, en tiedä. Keskiarvo pitää vain pysyä pitkällä tähtäimellä, ja nyt sen pitää pudota mutta pitkällä tähtäimellä supeta, supeta kolmepistenollanollaan, vaikka numerot eivät normaalijakaumaa toteutakkaan. Ja tärkeä asia: Jokaisen albumin numero on muistettava ja se on suhteutettava ja harmiteltava on myös, jos olisi sattunut käymään poikkeama objektiivisuudesta, huh onneksi niin ei ole käynyt.. heh.. näenhän maailman totena ja oikeana, havaintoni eivät tiedosta subjektiivisyyttä... ne ovat.. havaintoja.. Onko art rock anomalia joka saa minut väläyttämään vitoskorttia? - Noh, vastasin minä. Onhan taide suhteellista, ja poikkeavat työt voivat poiketa huonoonkin suuntaan, jatkoin. Mutta tänne valitut työt ovat "parasta A ryhmää" niinkuin kummelissakin sanotaan, vaikkei tässä 1001 albumi kontekstissa sanotakkaan. Eh, nyt menee kiusalliseksi, Onko kaikki art rockilla leimatut albumit tuomittu tippumaan summary osioon komeilemaan? Eih vastasin, kun päätin että jos tässä ei olla pysytty 70 luvulla, vaan vaikkapa 80 luvulla, saa albumi 4:sen. Sitten kuuntelin, ja sanoin yhtä uhmakkaasti: Jos Ei PERKELE Tälläistä Ole Saatu Aikaan 80- Luvulla, Vaan 90 lukuun on tämän tekeminen jäänyt artisteille taakaksi, on se häpeä, ja albumi saa minun kirjoissani, numeroissani, niitä joita muistelen, noh albumi saisi vain 3 tähteä.. heh.. Tämä siksi että se tekisi hyvää numeroille. Ennen tuomioita ja säätämääni lakia arvostelulle, muistin kuitenkin että albumi olisi vuodelta 1978, joten oikeudenkäynti oli corrupt, eli suomeksi korrupti. (heh tiesin et 70 luku albumi heh) Musiiikista voi sanoa sen, että todella hankala sijoittaa mihinkään aikakauteen, tämähän on hyvä asia. Oikeastaan se jää yhden lempi artistini, Jarren jutuissa vaivaamaan. Hän uurasti hyvin paljon. Painava taakka vetänä.. Obelix konsanaan.. Hyvä muistaa keneltä Roger Waters kysyi nimmaria ihmisoikeusjuttuunsa.. Jarre! Jarre!... Turkkilainen tomittaja vankilassa keissi..Jarre antoi.. Jarre onnistunut tekemään musiikkia joka saa jotkut ihmiset sanomaan, että musiikki kuullostaa siltä, kuin se olisi tehty tulevaisuudessa.. hauskaahan tämä on objektivistin silmissä. Verrattuna Jarreen tämä oikeasti hämää vaikka heh.. satuin tietämään aikakauden vahingossa.. MUTTA SANA KÄY, TOTUUS SOI SUUSTA, EI EHKÄ YHTÄ SEKAVASTI, sekavasti kuin tämä albumi soi mutta, olenhan oikeuden säilö. Numerot ovat totuus, ja objektia, eli objektiivisuus tässä ja nyt, aina ja ikuisesti. Aamen.

Pretty good

like XTC

cool

😎

Really enjoyed this

was not really familiar with this one and didn’t get too much from it. Missing the bite and wit of the Buzzcocks (although Shot by Both Sides is clever. Always fun to listen to these bands with their take on Punk building up to what would be post-punk.

Was pleasantly surprised by this album, from a band I've never heard of, adding several songs to my library. Vocally and lyrically, it goes with the status quo of post-punk, but instrumentally it was very unique and appealing. Close to a 5 Star album, but there are enough ho-hum songs that kept it at 4.