Screamadelica
Primal ScreamCouple great tunes, some unengaging.
Couple great tunes, some unengaging.
Beyond my small ability to evaluate.
Engaging lyrics, yes, but the voice has the hypnotic beauty that carries the tune. All-star instrumentation. Frequent driving interplay between the voice and guitar. Pop should always be this good.
Not very interesting.
"Militaristic sounding industrial compositions"? Not my version of industrial.
I feel a deep sadness that Cave's son died unexpectedly. I expect songs driven by such unimaginable grief to be lyrically hoping for redemption and sonically orchestral, with droning synthesizers, zero percussion, wavelike numbness permeating the evocative voicing. If you would like that, go for this album. If you don't, stay away.
The opening track's guitar drama sets the the tone for the album's exploring the singularity of the Roxy approach. This is often called glam rock, but that doesn't really capture the complexity of Ferry's voicings or the shifting guitar, sax, synth interplay. When you think something's over, it's not, taking on new avenues. Deservedly brought Ferry into the higher echelons of rock wizardry.
The cover's surrealism is an accurate harbinger of what's to come, a fairly psychedelic experimentalism. While I love Rundgren's pop standards, I sure enjoy this album's growing complexity. You can hear the old Todd in You Don't Have to Camp Around but the new Todd starts right away in the opener, You Need Your Head. Yes you do.
Didn't know this at all. Enjoying the laid-back vibe. Her voice glides over the laid-back rhythms. Soul meets hip hop and they have a rhythm track baby.
Not really getting it here. Seems like the same song is often repeated. Vague psych overtones creep in here and there but are not explored (except in I Never Asked to Be Your Mountain). Phantasmagoria in Two shows how it could work. Title track seems a mishmash of 60s themes and tropes. A good try falling a little short.
Brilliant. Saxophone as poetry. Lyrical, moving, I could go on. Shut up and listen.
Not insightful about ambient or electronica, but if I were I would want it to sound like this. Dreamy but not one for all night--you wake up partly and begin to hum along familiarly, and a few demand you pay attention. You might even recall some of it throughout the day.
Absolutely a fan of Harvey through Uh Huh Her, but this album lost me, as if it was being self-consciously not a Harvey album. All and Everyone is a good example--starts off great then detours into a kind of talk poetry. Same for On Battleship Hill--starts great, then starts wandering vocally, gets back to very poetic rhythm, then wanders, then ends just when it got intriguing. Love Hanging on the Wire and wish the rest was as organized. Many of the parts of many of the songs grab me, but sad to say it didn't work for me.