Sulk

The absolute worst that the UK has to offer. Histrionic, tortured vocals on top of bland, homogeneous instrumentals indistinguishable from any other Britpop LP out there. Getting real tired of these, feels like there’s at least two a week when many other albums from the era deserve to be on the list.

Music God #1: I have a genius idea. Music God #2: Lay it on me, bro. Music God #1: Now stick with me. Some day this will lead us to eargasmic electronica. Music God #2: Uh huh. What? Music God #1: OK. We need an album with some out there experimental sound exploration anchored with some sick keyboards. Music God #2: Experimental you say. Tell me more. Music God #1: Yeah. They are going to fill guitars with urine. Make a drum set with all different types of snares. Music God #2: I’m not so sure. Music God #1: Look, we’ll pair it with some cabaret falsetto vocals. They will complement each other nicely. Music God #2: Are you worried the music will sound like a soundtrack to a cheesy, low budget 80s horror movie spoof. Music God #1: You mean 80s cult classic. Music God #2: No I mean the kind of movie that is so bad it’s making fun of itself. Music God #1: Whatever. Eventually other bands will make fantastic music and this will be a loose step in the right direction to get there. Music God #2: I don’t like the sounds of this and neither will anyone else. I’m using my veto. Music God #1: I’m using my lone veto veto. It’s happening. Music God #2: Fuck.

if this album was consistent it would be up there with some of the best of the '80s. Sadly, it's all over the place but the high points are incredible. Is there a more exciting intro to a pop record than the jangle piano on Party Fears Two? A more entertaining vocal performance than on Club Country? Why aren't bands ambitious like this any more? Refrigeration keeps you young, I'm told

Like if Morrissey joined Devo

I used to work at a video store and we had a section of non-Disney animated features like Simba the King Lion: The Final Battle, stuff to make grandparents stock up on garbage so their grandkids can have lousy sleepovers. Anyway, crank this up and enjoy some Zaggy Moondust and the Arachnids from the Milky Way.

I love you, David Bowie, but you inspired some truly bad music.

Meh, the synthy new wave stuff on the list has been pretty hit or miss for me.

The machine chucked an unfamiliar multitude at me today: this record is really very good, and I wish I had more time to listen to it. It's sui generis, and I'm scrambling for references to anchor it - at times, it reminded me of early Sonic Youth, This Heat, Kraftwerk, and acid house, but it's really its own thing. The vocals grated at first, but on the second listen they seemed appropriate, a choice based on the material and what Mackenzie had available to him. Really tempted to give it five stars, though I've barely made it through twice.

There is a reason you have heard of Human League, Spandau Ballet, Duran Duran, David Bowie, Heaven 17, Depeche Mode, ABC, XTC, Thompson Twins, Flock of Seagulls, OMD, Ultravox, Erasure, etc etc - and NEVER heard of these guys.

This pick was so 80s it hurt me a little bit… I wasn’t a huge fan but I could see my mom jamming out to this!

Not a fan. It's got beeps and boops like some old videogame music. Very 80's. It does transition to boring old snth music and the singing is just annoying. Maybe this was significant when it was made, but it's straight up not enjoyable now.

I knew of The Associates from Party Fears Two, but hadn't explored any of the rest of their ouvre. The music video for Party Fears Two includes Martha Ladly on the keys, formerly of Martha and the Muffins. She's wearing a suit and a hat, and looks exactly as bored as she needs to for the song. It's bizarre, because she's also got the tiniest of beguiling smiles. And that sums up the song perfectly. It is tuneful, poppy and also, 100% entirely unnerving and discordant. The vocals are perfect - slightly Bowie-ish, but in the good way. I genuinely hated it the first time I heard it. It made no sense. It was dissonant. And then the Divine Comedy covered it. If Neil Hannon likes it, I should probably pay more attention to it... but no. Its still nonsensical, dissonant and unnerving. Several years later, with the song appearing in my life from time to time, I find it has changed from being a messy, awkward track to being possibly one of my very favorites from the 1980s. Given it was written in the late 70s, it rather cements The Associates as people to listen to more of. Which I finally got around to doing with this album. Which is excellent. It is both genre-defining, and genre-defiant. It is both a product and a producer of 1980s syth, new romantic and pop. I love it, and think I will continue to love it for quite some time.

This has GOT to be a joke. One'est one out of five I've ever given and I hope the creator of this list has a really shitty day today. You simply can't seriously justify putting something this shit on a list like this. 522 albums in, it makes me want to stop because its a waste of time. I could have gone my whole life never hearing it. When my worst enemy goes to hell, I hope this is what they have to listen to on repeat. Matter of fact, whoever made this list should listen to this album on repeat if they think it's so fucking great. Maybe then they'll think twice about replacing it with something different, preferably not from the 80s

If you’ve ever wondered what it would sound like if David Bowie were half as talented and twice as pretentious, well, wonder no more.

Painful. Just painful.

I really don't understand what there is to like about this. This guy's voice is insufferable. The music sounds terrible. The only reason it's not a half star or zero stars is because it occasionally vaguely resembles music. 1/5

I feel a bit sad how much of a rough time this album is getting on here. For me it represents more than anything an early 80s post punk optimism that music could be reinvented with new sounds and shapes and still be pop.

I love how gloriously and unashamedly over the top everything about ‘Sulk’ is. The vocals, the production, everything about it is ridiculous. Sure, not everything works, example: ‘Bap De La Bap’ which is the low point of the record is just…shit, but when everything clicks it soars, and the albums highs: ‘No’, ‘Party Fears Two’, ‘Skipping’ and ‘Country Club’ are about as good as 80s synth pop/art rock/dance music gets.

This is the opposite of U2. I don't think these guys are as good as I feel they are but I'm digging this. You can feel see Scary Monsters by Bowie on a few of the songs and their instrumental stuff is fun but all over the map. Despite all that I have to say I do dig the singer. He has some moxie and good range. Fast pace and good energy. I also have to say that cover is something bold. ... So I just did a Wikipedia dive after listening and a cited fan and person who was inspired by this bad was... Bono from U2. He said they tried to rip them off because they like them so much. That is such a miss on the attempt. I could see myself relistening to this album. I know I'm rating this either a 3 or 4, if I end up picking 3 that's me voting for the quality more than my enjoyment, 4 is the flip. More and more I'm wondering if my ranking is trying to vote for something more objective in quality or how much I dig what I'm hearing.

This walks a fine line between the synth pop sound of its time and real experimentation. So many odd details throughout, but nothing that's off-putting or alienating. Just makes you feel a bit woozy. The tales of their decadence and playful insanity while recording the album are as entertaining as the resulting work itself.

This is probably the most 80s album I've had to date. It seems set up to grate, falsetto singing, synth pop, experimental sounds. However, I ended up really enjoying it. I knew the two "hits" which I guess are literally all I had ever heard from this band before. I had a dim recollection of when they first charted that was dredged up from the sludge in my head from the early 80s. This one is extremely hard to score fairly. I feel it's somewhere between a 3 and a 4. It's definitely not a bad album, but it's not a great one either, and I feel I wouldn't go out of my way to listen to it again. I was also horrified to see Spotify stick an extra 50-60 minutes of demos and alternate versions that I wasn't prepared to listen to. I think I'm going to be generous and go for a 4, purely because I love some of the weird instruments I can hear, particularly the jangling piano in "Party Fears Two".

A certified freaky album. And by that I mean 70% 𝕱𝖗𝖊𝖆𝖐𝖞, and 30% 𝓕𝓻𝓮𝓪𝓴𝔂.

This was a pretty challenging and interesting listen. It has a theatrical energy, with a style mix that seems to blend David Bowie-Roxy Music-Depeche Mode-Simple Minds vibes. There are some less successful tracks that get a bit irritating (Bap De La Bap, Nude Spoons), but others that deliver a good emotion and energy (It's Better This Way, Gloomy Sunday). Their use of electronic synth sound is definitely trapped in the 80's, but isn't too tragic.

6/10. Post-punk and pop is an interesting mix here, and it works on a couple songs. But not all of them.

From doing this project I firmly discovered that I really don’t care for this genre of music and this album is no different. Awful shitty music.

I was actually pretty close to giving this a 1 but after a while, I kind of started to respect the bands decision to make annoying, vocally grating new wave music. I think this might have been another case of "you had to be there", in which case I was certainly not.

A coke fueled product of its time. If you like synths and whining, you'll love this.

Classic early-80s production, no mistaking Billy McKenzie's voice ! Really enjoyed this album, full of great songs

hidden gem goth Sparks freakout hell yeah 10/10

This is one of those albums that polarise opinion. And I'm one of those who do love this album. It's wildly over the top - Billy Mackenzie's soaring vocals and the extreme 1980s production values see to that. I absolutely love it.

This is such a great, undervalued band with their greatest moment. I loved this album and still do- Billy was a tremendous character with such a great voice. Brings back great memories.

electro-meh

One of these perfect and highly influential 80s albums that sound very catchy and experimental at the same time. There is a lot going on musically and (apart from the big single) it may take severals listens like all their work, so it is also one of these albums that are not so suitable for the 1-album-per-day 1001 format.. score:10/10

Aldri hørt The Associates før, men da va overraskande nice (vanskelig å hørra når folk snakke så masse rundt meg). Ohh siste sang va gøy

An absolute classic. Sounds like lots of other artists (Bowie, natch) and yet also sounds very original. Mackenzie's voice is something else too. The singles are the standouts here, but pretty much the whole album is a masterpiece of early 80s British dance pop while also sounding timeless.

cool

Amazing

I swear I’ve heard the Club Country 12” Version sampled somewhere. Otherwise this was completely new to me. But based on the art and year, it was exactly what I was expecting and it kinda ruled

If the album was a bit more condensed and focused this would've been a 5

Never heard of em, but the album is veeery pretty, caught my eye, I'd say genre is also welcomed in my taste. No high expectations, but I think I want to enjoy this just because of how good the album cover looks. Too many songs tho, I won't listen to the songs twice just because they are "different". I saw some extra ones tho, I'll try them only. Reviewers are quite against this, so I hope I won't dislike it as much. First song, start is very new wave already. Production is decent, wondering about how the voice sounds. It's low-key catchy, sounds like something else, DK what. Okay wtf, I didn't expect it to be FULLY instrumental, it was good, but no progressiveness or anything like it is boring. However, this does feel like a good album start song so I suppose nothing wrong with that, just they could have done more. Second song, wind sounds and something is rattling. Asmr vibes. Beat slowly came in and then the whole vibe, piano is doing a good job, it's in my right ear and in the middle. It's vibey, but it better have some vocals, God. Finallyyy his voiceee. It's a good one, so production and vocals are both listenable, even more than that tbh. Piano is still the best part in the song. It's kinda eerie, but also upbeat in its way. His voice makes it even more eerie tho. I expected more because of the start, but this ain't that bad. Third song, weird ass starts. What is that title, I think he's saying that now, oh he wasn't, but it was gibberish, now he's saying the title and some lyrics after it. Not bad for now, unless it gets uninteresting. Chorus is rocky almost because of the sound only though. The new waveness isn't into full action, but still a loveable song. Wonder if the lyrics contain some type of jokes. 4th song, yacht rock vibes, but there's an additional sound that progresses into an even more new wave sound. His voice is sadder here, though the song is upbeat. Sunday funday is replaced by a "Gloomy Sunday" apparently. Dunno the meaning, and apparently neither does Genius, but I'm just gonna spiritually connect to the song when it's Sunday, a gloomy one. His voice is very clear and instrumentals are kind of a background noise(in a good way), mostly voice is the one being less noisy, which iss annoyingg. 5th song, new instrument joined. The names are too funny "nude spoons" I mean, I'd never say those words together. I don't like his voice here as much. Production is fine, but feels far away. He changes the way he sings mid-singing and that's kinda fun, also vocalls a lot, but I don't see a pure talent. It's outro and there's a different sound in my right ear and it sounds extremely good, the kind of part I'll be anticipating when I relisten to this. 6th song, Suicide vibes, if you know what I mean. Songs does sound kind of same, but not sure because they are quite different in some ways too. This one has an amazing instrumental break apparently. Lyrical delivery kind of sucks. The bridge here (I think it's a bridge at least is a reaaaly good one). Him repeating the title in a weird way is the best part, it was hard to hear what he was saying at first tho. It's not even like beautiful to listen to, or in any way satisfying, it just is what it is, and it somehow makes me like it. 7th song, the production seems looooow here, I think remastered version would be better than this one, the instruments are far far away somehow. Probably the worst song for now. Rock came in with that electric guitar. Maybe it had good lyrics, too lazy to read them now. 8th song, alien-like start. Wedding sounds (not exactly tho). Oooh a happy happy song. Weird vocal delivery. The instrumental break is too good to ignore but verses are reaaally bad. Chorus isn't exactly catchy either. Every time that beat comes in, I'm like why didn't I add this to my playlist and then the verse starts. It's probably a grower so I'll just add it. The outro was fully unexpected, fits the vibe tho. 9th song, amazing start wtf. Oooh it stopped, AAAH WHAT A BEAT DROP. I'll ignore how he sings and just listen to instruments, there are a lot of them apparently. There have been a lot of headphone play in other songs too. Chorus has a catchy delivery. The instrumental break is very new wave, loving it. Ordered chaos vibes and it's too good for my ears. I think both of them are singing, feels like it. Loved this but, song quickly changed was there a transition? 10th song, quirky funky beat. Feels like there'll be no lyrics. Nothing much to write but I just realised that 11th song has this beat at the start so I LOVE THAT, but as this song being separate does not give me anything. 11th song, as I said the instrumentals are introducing 10th song's production fully, but not always. Lyrically it sounds exactly same, guess that's not what I should be paying attention to. Lyrically it's about having an affair I think, I barely read the lyrics so that's just what I think, he wants her, but she's getting too expensive. Not a banger. 12th song, this is a bop already because of the instrumentals, gotta say there are many extremely good production deliveries. Love how he's just casually being operatic now, also during that the beat is amaaziiiing. Lyrically it's low-key funny, definitely not a serious song in a good way. There were some girls singing some gibberish, made it better in a way. The girls voice at the end was the clearest sound of their, would love to see more of their appearance I suppose. 13th song, I've had a pause from this, so I don't even remember what this song sounded liked even tho it's just a version of the previous song. Start was kinda weird, but the beat and the voice is giving now. 7 minutes is too long tho. I remember the chorus apparently, good one it is I suppose. There's gonna be a big instrumental I sadly predict. It's dancey though. His vocal delivery is quite different from what I've ever heard. I could skip the song rn, because nothing new is gonna happen in the remaining time I bet, it's not certainly one of those crazy plot twist songs. By each chorus it's getting more and more catchy. As I said, there's this big break, which is better than I thought it'd be. The guitar is actually doing its job well. Idk what 12 version means, but it might be better than the original, don't remember that one tho. 14th song, instrumental only of the song which I apparently remember. The instrumental part is actually nostalgic, but I don't remember how he sang. It's actually been a long time since I was here, and this was the perfect album to stop midway. It's catchy af, idk how they do it. Quite a memorable melody I suppose. 15th song, dunno what alternative version means. The start was "white noise"y. Then the gibberish vocals was a good improvement. Sonically it's good too and now the verse is equally giving. I listened to the preview of the song with the same name just the original, and it sounds way different, but still good. Oh, It's the 7th song, and did NOT like it apparently, I was listening it on headphones back then, but idk why it sounded THAT bad, I'll give it a relisten I suppose soon enough. Russian talking at the end here, weird. 16th song, BURPING? So childish, love it. Guitar is giving and the whole Sonical beat is catchy. Verse is not as good, chorus will be better I suppose. The production seems experimental, saying that as a good thing btw. Verse is getting less bad. No chorus in the way. This is an alternative version, but I don't see the original one up in the album. It actually has a fast-walk-beat, basically a sped up runway. Is he mimi-ing rn‽ It sounds like Bloodhound Gang kinda, but these lyrics might not be as funny. 17th song, creepy ass start, guitar came in quickly enough, but the eerieness is still at hand. First time being spooked by an upbeat song tbh. Idek what he's saying. It's too permanent wave tho, I wish it could change at some points. Little opera vocalling. As I said it's too same all the way to actually like it, still worth a listen here and there. 18th song, dururuing already, to the guitar beat too I think. It's sonically catchy again. I heard french talking at one point. Bridge was probably the best part. Everything else stayed the same, but didn't really become boring. The outro was loud af, they're kinda screaming "skipping" I think. 19th song, John Leckie? Never heard of him. This is fully different production. It's too indie rocky. There's an actual beat and not an experimental one. Not baad, but is John singing, some new guy, because the voice seems the same. Not really impressed still. 20th song, same production start. Big ass intro. Are there even lyrics. It's progressing quite well sonically I must say. It was fully instrumental, not disappointed, but I wanted more, especially since the title was kinda interesting. 21th song, same catchy beat, but the song title isn't club country so idk why it has that beat. Lyrical delivery is majorly different though. Neither verse nor chorus standed out to me. Still fun I suppose, just idk why releasing that demo was a thing to do. 22th song, club country's fully different version with no catchyness. Chorus is still good tho. It feels like it was recorded live, it's too raw sonically so. I'm bored so I just wanna finish these songs quickly, since they are basically the same. 23th song, fully different title. Start wasn't interesting. Oop, neither the verse apparently. Sonically there's a beat in the background, the main one, that's kinda catchy, but it's too blurred out. Vocal delivery sucks, better to say, it repeats the one already used in other songs. Welp, still worth it I hope. If I rated this album based on every song in unison(which IS the correct way) it would be looow. So based on how they can make that catchy tune that hooks one in, despite how many times it's repeated. The vocals and the way of singing is another remarkable thing this guys do. I don't remember the songs above 13th song, but I do have some of them added in my "liked songs" so I'm just gonna say that 4 star is prolly the best choice. It's just not as good to get the highest rating, there were albums that deserved that status more, there's no real artistry here I think, the connection between songs and stuff like that(might be lyrically and I missed it but I can't help that rn). I enjoyed it quite much as I remember and as I did in the past half hour, I do hope I'll listen to their other record here, or I'll do it myself.

Cool dark goth synth vibes. A little distracted this morning with this listen. Worth revisiting.

Hmm, this is grabbing my attention. I might actually like it! Never heard of these guys before, how is that possible! Gonna be bold and give 4 stars!

Caveat: I was a teenager during the '80s During the period when The Associates were creating their music, I was in the midst of a musical transition from Stevie Wonder (Songs in the Key of Life) to Prince (Purple Rain), and most of what we called New Wave was overlooked by me until the end of that decade... I've listened to the album 3 times in the past 18 hours, and I will listen to it at least 1 more time, not because it is worth 5*, but because this old man is enjoying the momories of highschool parties, weird hair cuts, and monochromatic clothes that abounded those lovely years!

August 12, 2024 HL: “Skipping”, “Party Fears Two”, “Country Club”, the instrumentals Perhaps I’m rating this too high, but I was fascinated with this album. Look at a song like “It’s Better This Way”- it’s not worlds apart from what the Cure were doing around this time, but perhaps even eerier with its repetitive, discordant synth strings. Or “Club Country”, one of the poppiest songs, yet the production drowns it in these aggressive, sci-fi sound effects in the background. I’m not making much of a case for why I like Sulk so much, but unlike a few of the new wave/post punks on this list, it grabbed my attention and didn’t let go.

awesome, eerie new wave album way too Low rating here

Ahh, torn on this one. It goes on too long. I’m surprised how experimental it is though. I was expecting a more poppy vibe. And I do like Billy Mackenzie’s voice. It seems to be divisive. His death is such a sad contrast to the glamorous pop star image. Oh go on then, have a 4. Probably should be a 3.5 though

Many moments of unique interest, but not for me.

I was pleasantly surprised by this album by an artist that I didn’t think I had heard of. Could really hear the influence they had on The Divine Comedy - from the cover of Party Fears Two, to the burp at the beginning of a song. Bravo.

On first listen I wasn't really sure about this but second go through it all started to make sense. The instrumental opener doesn't really set the scene for what's to come but No is a cracker of a track and he cabaret keeps on coming. Fave: Club Country

Slap some black lipstick on these lads and this would be goth AF! And the theatrical, overwrought vocals would probably make more sense in a gothy context... Rather enjoyed this - I like my new wave brushing up against my post-punk, and my post-punk sprinkled with experimentation! Fave track - "No". Great tune!

Really good! Nice gothy synthy stuff.

I'm not a fan of many 80s albums but this is something special and otherworldly. I love the angular rhythms and McKenzies voice. Strong.

First I didn't like it much but as the Album progressed I started to like the sound. It has a crazy energy to it

Fíla röddina oftar en ekki, lögin eru stundum ansi töff. Mjög dramatískur flutningur og production. Svolítið dósahljóð í soundinu, en ég toga þetta uppí fjarka.

Isn’t Asaph tabular as the singles

Psychedelic post-punk like an acid trip.

This is awesome synth pop for how demented it is, as well as there being some genuinely great cuts. The wacky cover of “Gloomy Sunday” belongs to the former category, while “Club Country” sits firmly in the latter. Overall, I find the novelty very entertaining

Synth-driven and very atmospheric 80s New wave. Lots of high-tone keys that texture and convey lead/counter-melodies. They get lots of strange and experimental tones/sounds from these keys - like a maxed out chorus pedal sound, a melting song-stopping effect. Vocals are a coy tenor, variously operatic and snapped out (a bit like Bauhaus). There is some swirling textural guitar work creating a stormy unsettling feeling on some tracks. Overall, it's a mixture of poppy major key songs and some dancey tracks but generally more minor key drones/dirges. Reverby drums add a lot of space. Favorites: Party Fears Two, Arrogance Gave Him Up, Gloomy Sunday, Better This Way

Awesome

Quite the album-Bowie-esque vocals and great keyboards. The Diana Ross cover is *chef's kiss*

Oh okay, we’ve got some kind of Scottish U2/Cure mashup here. I like this. I am picking up what they are putting down, and I’m liking it a lot! It runs on a big too long, but it’s such a unique vibe, I wanted to see where it was headed. Side note: Omg! I wrote this before reading the wiki on this band and there’s an ex-Cure member in it!!! Freaking Dempsey on bass, man oh man, my ears know what the fuck is up!

4.0

This album doesn't hang together as a whole. It's all the better for it. Sulk is bonkers, with grand, sweeping gestures. It's more like a musical than a pop record. There's no direction from start to finish. I like to get lost in music. Billy was one of the last great pop pantomime Dames. Party Fears Two: Song of the Century.

At first I was struggling to get behind the vocals, as while they certainly aren't the most polarizing I've heard, they do catch you off guard, especially after a instrumental opener. However, as the album went on, I was more enthralled by the near perfect blend of pop with that more gothic sound, where every track has you bobbing your head, tapping your foot, all whilst this sinister atmosphere surronds you. The vocals are no longer something to fear, but rather something worth embracing in the more surreal parts of an album. It's glamorous, like a party, but grimy, like an alley, and I think this album as a whole captures the scene of the mid-80s and its music perfectly.

Pleasant enough, felt very very 80s pop, and indeed it was.

I’m enjoying the gothy bits and the drums mixing with the synth. Can’t say I’ve ever heard of these guys but definately one I’ll explore further.

Better than I expected.

Wow - this sounds like a mutant ABC; if you turned the dials up on their arrangements and vocal affectations you'd get something approximating Sulk. The production sounds busy and Billy McKenzie's yelping tenor might be an acquired taste, but for me it's effective, exciting and idiosyncratic stuff. Full marks to 'Party Fears Two' and the stomping 'Club Country'.

As a fan of New Wave and Synthpop, I'm surprised that I didn't know this one. Pretty good, haunting voice on clever instrumentals. Sounds like an Echo & the Bunnymen record, but less flamboyant.

Dark, atmospheric new wave with a subtle gothic vibe filled with creative ideas and arrangements. I love when the challenge makes audacious choices like this. A great discovery.

Extremely 80s, I love it.

Kinda weird but I kinda love it

The second half was particularly strong!

Chaotic frenzied gothic rock, very much like a spiritual successor to Joy Division. A haunting and mysterious first side with a New Wave second side to dance to. Really enjoyed it all, plenty to offer and only a few forgettable tracks.

Poor Billy MacKenzie left us with some of the most beautiful songs ever made with the amazing drama in his voice, seems like syntho-oper! In this album Party Fears and "No" give me the creeps. The synts on some songs are bit outdated, but bless the Associates

Pretty sweet stuff, reminded me of the darker side of bands like The Cure. Kind of funny, the more popular song (Party Fears Two) was boring to me but the album cuts were sick. Special shout outs to Bap De La Bap, Nude Spoons, and Club Country for really rocking my world. Some parts fell flat but overall this is a very strong 4 and enthusiastic recommendation.

Really great project, so 80s. Can’t believe I don’t know these guys

I knew one song, Country Club. Extraordinary vocals. This is a distillation of ‘80s New Romantics/gothic indie/shiny synth-pop (Sparks/Bowie/Cure/Depeche Mode/Spandau Ballet). Takes a few listens, but glad I did because it’s infectious. The pop melodies and the swirling cure-style guitars get right under your skin.

Strong Bowie vibes

Jaunty brit post punk.

Sounds like a drunk David Bowie

Actually really awesome, I am astonished at the low rating here Dark and very dramatic post punk Dynamic and interesting 4/4.5

Another undiscovered gem. Not even a name I was familiar with. Loved it.

Really fun - enjoyed some songs more than others. Overall good!

Missed them and nice find.

So comforting is Sulk's fit in my mental genre map that I lose the Associate's specificity in the lull. The album's more instrumental moments are highlights, while the vocals are essential. This is of the masterfully-produced school, which unfairly hurts the effect. Very eighties, very prefigurative, etc. etc. Or maybe the lens of this nostalgia looms too large in the twenties. Either way, I'm a sucker.

frenetico e inesperado. gran sorpresa.

Super bonne première impression, mais j'ai fini par trouver ça redondant. Par contre, je dois dire que j'ai trouvé ça surprenant que ça date de 1982, je l'aurais rapproché des années 90, donc je présume qu'ils étaient plutôt avant-gardistes pour l'époque.

Feels like we got the same album for a second day in a row. I’ll be fair and give these guys the same ranking as Echo and the Bunnymen but I can’t help feeling like the generator is testing me. 7/10

somehow, The Associates made an album that is wreaks sensory hell upon me and still sounds very much spongy to all the sounds around it. it's music i can only imagine was recorded in studio by the do on the cover hopping around like 90's grossout cartoon characters, bouncing off the walls and getting glitter all over the place. it takes until the second half for this weird saute of genre to come together in a "satisfying" way, and it does have its moments, but the moment is always the same flavor of squirrely flamboyance.

2.5/5

The 80s were a time where creative ambitions really felt like they were flowing. People actually attempted to push boundaries and change the dynamics of popular genres without falling victim to conformity. But, as they say, not all that glitters is gold. I’m all for experimentation and new ideas, as they are the driving force of what makes music so great. But when I go back, I look at a lot of these older albums in hindsight with the context of the music that came after them. I can imagine this record by The Associates was probably pretty cool stuff for the early 80s. But I also know it wouldn’t take too long for someone to come along and upstage this in many ways. I’ll still give this album the credit it rightfully deserves, because it holds its own at several moments. I think, at its absolute best, this album showcases some of the most interesting and well put together synth pop I’ve ever heard. Stuff that can even rival the best that the generation had to offer, like Tears for Fears or Depeche Mode. I wish every song sounded like Club Country, because it’s a legitimate banger. But more often than not, the record does not reach those heights. It’s recorded in a very manic and energetic way. Almost to its own fault. The drumming, for example, often sounds all over the place and very random, and only occasionally catches its footing to really provide a solid beat for the music. The rhythmic gap left by the drums is primarily picked up by the many synth sounds, which tend to be the best aspect of each song. I don’t think the singer’s voice is bad, but it’s also all over the place, and feels like an amalgamation of every popular male singer’s voice at the time. That includes both the good and the bad. This albums biggest fault is inconsistency. Like I said, in a perfect world, every song was similar to Club Country and this was an amazing album. Unfortunately, it regularly falls short of its own highs. Rating: 5/10

Pretty good.

I listened to it yesterday, and I remember enjoying it a bit, but just one day later, I already started to forget it, and now I only have the impression that I listened to a good The Cure cover band. I'm unsure, but the album is probably good enough to receive 3 stars.

Heavy David Bowie influence in the music. Seems more like a Bowie cover band than anything original. Solid musicianship and the vocals were decent.

Nice find

some interesting experiments on here, but most tracks are misses.

I was not a fan of most of the instrumental heavy songs. Loved party fears two, club country, love hangover as some good 80s synth pop.

One of the lowest rated albums on the list, so I already know this is going to be a good day. The highs are very high. When they throw any semblance of pop aside and go full insane mode with those goth vocals and the brooding bass, it rocks hard. ("Nude Spoons") When they do some boring New Wave shit with Tarzan vocals, I lose interest ("Party Fears Two"). Somehow managing to make Gloomy Sunday (aka the "Hungarian Suicide Song") sound like an emotionless U2 song is an achievement in itself.

I don’t like everything about this, but I have to admire its weirdness. The generator has served up a lot of 80s pop albums and *a lot* of 80s post-punk albums but somehow, despite clearly straddling both genres, Sulk doesn’t sound quite like any of them. A freaky fever dream of a record.