Album Reviews

Tiene dos canciones buenas y el resto es un bodrio. Muy largo y aburrido al pedo.

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Surprisingly liked this for not being familiar with it

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Whatever indeed

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Not peak Marley, but still worth your time

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Nothing about the Bytds has ever really rung that bell for me. 3 it is

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Starting with a new recorded Mannish Boy and you're off for one of the best blues rides. One downside: you stay on the same road for about 45 minutes. But is a nice road.

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So. SO so so boring. There's no "there" there. Soulless. An endless sea of khaki, polo shirts, shoulder pads, and aquanet at an 80s cocktail lounge. the equivalent of a white bread and unsalted margarine sandwich. So much musical competence to make an hour of music that has so little to offer. I'm not mad. I'm disappointed.

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Solid album. Fast pace, raw. Voice is eventually annoying. This album is kinda like tweeker nirvana

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"Same as it ever was" Let's begin by saying I enjoyed this album much more than the previous Talking Head album we had, "More Songs About Buildings and Food." I gave that album a "2" while this one gets a "3." Why? I think I was more forgiving of the weird delivery of the vocals. There doesn't seem to be any set style for this. The Wikipedia used the term avant-pop and that felt exactly right. An album of free association of words and sounds, sometimes shaped to resemble a pop song. If this is the best the Talking Heads have to offer then perhaps they are not a band for me. 3/5

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Forgot about the period of my life when Sweet Dreams was literally everywhere

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Really snappy and enjoyable. They deserved to lose both those songwriting cases though.

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Respect it more than I love it. Could be a grower though. Rubbish artwork. Dry the Rain remains a near peerless banger and nothing here comes close.

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9/10

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I prefer punk a little more angry, but this isn't bad. 2.5/5

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This is obviously a classic album. This would be a sure fire 5 if the piano ballads weren’t a bit mediocre.

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God I love this record. The energy, the bombast, the controlled chaos of the sound. Lineage of the music produced from this album is very much My Shit™

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5/5 One of the greatest albums of all time. Amazing rhythm guitar work from Johnny Marr who is in top shape compositionally on this record. Marr is one of my guitar heroes, and this album demonstrates why. His unique jangle sound and rhythmic chord melody style is top notch. The instrumentals are so wistful and moody, backed up by the top notch rhythm section of Rourke and Joyce. Morrissey, the other main star of this album is also at the top of his game lyrically and vocally. His delivery is very charming and exudes personality, and when combined with his catchy vocal melodies and memorable lyrics, the songs are elevated to another level. He’s one of my favorite singers, and I love how his storytelling strikes the line of tragic and hilarious. I can see how one would find him annoying, but I think it’s easy to relate to the drama of this record. Spectacular songs from a spectacular band.

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Great album, lots of hits, some classic folk and some more powerful songs as well.

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his last good album

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Not sure what makes the artist or this album particularly noteworthy or a “must hear”. It is fine but nothing to distinguish it from other similar pop-folk/country artists. Pleasant enough to listen to, though - just not special.

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Add it to the list of surprise fives that keep me coming back to this site. Tough to put in to words the kind of emotion that's in this album, which is probably why I'm not a famous songwriter. I've heard "Hallelujah" so many times throughout my life but this version was like hearing for the first time again. Incredible stuff.

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Sure

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10/05 The only album from The Beatles that I find to be decent

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Klassieker der klassiekers. Sterke nummers, dynamisch, geweldig geproduceerd, en ijzersterk gezongen.

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3.6705

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Love

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Heel origineel, relevant, en hard. Dynamisch en ritmisch ijzersterk.

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4.24. Solid B. A little monotonous

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iconic performance

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é muito legal que tem quase 2 anos que a gente tá submetido aos delírios de um inglês que lê blog demais e acha que qualquer grupo de idiotas ingleses com guitarras fazendo acordes fracos e falando sobre como é legal ficar na rua de madrugada enchendo o bico de pó e whisky é legal pra caralho (o que de fato é mesmo mas não vem ao caso) representa o futuro da música é mid pra caralho galera, vão bora, circulando porra

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Jimi's abums zijn als geheel ook ijzersterk. Niemand anders kan dit.

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2.538

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Interesting album, nice discovery

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Found myself dancing by myself, doing some salsa moves that I didn’t know I had.

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Corporate slop

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The ugly face of shameless greed

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If Kenny G. had a mohawk, he wouldn't be punk If Yanni had dumb tattoos, he wouldn't be punk If Garth Brooks pierced his nose, he wouldn't be punk If Liberace sounded like the Green Day, he wouldn't be punk

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I can remember exactly where I was the first time I heard Portishead. I was at the Valhalla cinema when their short film 'To Kill a Dead Man' came on (unannounced? I can't remember expecting to see it) before the feature. I got the references to 60s spy films and Goddard and John Barry etc. I appreciated the low budget, homespun scrappiness of it, even if it is not the most compelling thing I have ever seen. It's an interesting artefact, full of retro references and throwbacks. The soundtrack is more sound design than music and only necessary listening if you're a mad Portishead completist. But then they played 'Sour Times' over the credits. "Woah" I said to myself "what's _that_?" It was mesmerizing and instantly grabbed me. I could immediately grasp what they were presenting. Languid down-tempo hip hop beats, cheesy 60s soundtrack guitar and smoky torch song vocals. It was a simulacrum of 60s torch song or soundtrack, like it was from a crackly vinyl record found in the back of a charity shop or grandparent's collection, but a world where hip hop beats were around in 1965. Or even the samples they created as if they were from (non-existent) old records. I chased the album down and it did not disappoint. 'Sour Times' wasn't even the best song on the album; 'Glory Box' gets the guernsey as best track, in my opinion. It was moody and sad and spacious and artful and different and stylish and gritty and cool and had a consistent and compelling worldview throughout. I was obsessed and listened to it a lot, nearly always as the whole album each sitting. It is one of the core foundational texts of trip hop, although I can see why the band distance themselves from the label. The signifiers of the sound were easily replicated and quickly established a clichéd genre of largely interchangeable moody wine bar background music. Some of it was not bad -- Morcheeba, Sneaker Pimps -- but a lot of it was really forgettable. Portishead shouldn't be blamed for any of the bland dross that copied their formula in the following years -- that is just Sturgeon's Law in action. What the imitator rarely understood is that it isn't about the signifiers -- the samples, the slow beats, the vinyl crackle, the smoky vocals -- it's the visionary _space_ that Portishead created that makes this so special. But I can see why Portishead's subsequent records are a reaction against the production hallmarks of Dummy. Personally, I really like the deliberately fucked up production aesthetic, but it is the songs and Beth Gibbons vocals that really make this album special to me. Moody torch song wasn't really much of thing in the 90s, so this album really stood out on release. I haven't listened to this in a long time -- possibly a result of me over-playing it in the 90s -- but it has been a pleasure to listen to this again today. It still stands up. (And now I confess; earlier in this project, when reviewing Isaac Hayes' Hot Buttered Soul, the track 'Walk On By' triggered a memory for me. "Oh, that's in a Portishead song" I thought, and scrubbed through Dummy about 4 times trying to find the track. Only to then realize the song I was thinking of was '2wicky' by Hooverphonic. Which is a pretty good song but stylistically ripped off from this album).

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Greasy fat rat

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I bought this CD when it first came out, it's a lot of fun. This album was wildly over-played in the 90s, so I haven't felt the need to play it much for about twenty years, but my 18-year-old son (hey Alfie!) recently discovered this, and so I have started listening to this again with him, and it's a really fun listen. It's a damn good time and you can dance to it. As a result, when I stumbled across a reasonably priced vinyl copy just last week, I snaffled it up for my collection. There are lots of things to like and admire about Fatboy Slim. He approaches making songs like a DJ, not a musician. He builds songs like miniature sets, with breaks and snippets cut in from his eclectic but well curated collection. The songs are full of hooks and snippets, transitions and surprising changes, and, above all, those big funky breaks. He is not afraid to let a beat play out for a while, augmented with DJ tricks like big sweeping filters, drops or stuttering delays. His taste is exquisite -- wide ranging and obscure -- but not cool. Norman Cook is less concerned with 'cool' than with 'fun'. Is the hook really catchy? Is it funky? Does this drum break insist that you absolutely must dance? And I like that. His songs are fun and inclusive and catchy and easy to dance to. He has a great ear for sounds, hooks, breaks and moments from other records. His sources are often obscure, but not for obscurity's sake. Rather he chooses them because they are a great fresh sound. These tracks are more than the mere sum of their parts; it's an accessible and optimistic collage of energy and excitement. I did copy Fatboy's habit of turning up to DJ gigs with only a box of 7" vinyl singles. I like the way it forces you to only play short, poppy songs, and I use the approach sometimes when doing my own DJ sets. This is the definitive 90s big beat album. Maybe not the world's most 'artistic' genre or album, but one of the most entertaining. Let's dance!

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Music to listen to while your wife is fucking her boyfriend

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Low IQ theory

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One of my learning from this project has been that I don't mind a bit of outlaw country. I think Merle Haggard really hit his straps a few albums after this (and we miss the chance to grapple with Merle's complicated politics). But this is a pretty tight album.

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Destroy rock & roll by flailing it with wet noodles.

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It's pleasant and upbeat African pop from the early 90s. the production and cover art demonstrate the aspiration to a level of sophistication, even if the budget clearly didn't extend that far. Personally, I find that kind of fun and charming. But, not speaking French or knowing anything about Mr Koffi, I looked him up on wikipedia. The lengthy sections under 'Feuds' and 'Legal issues' have turned me off. Is his behavior much worse than any number of higher profile Western artists? Well, Koffi's crimes (most notably statutory rape, then fleeing the country to avoid imprisonment) are comparable to Roman Polanski. I think Polanski is irremediable too. The cognitive dissonance between the light and breezy cruise-liner pop (3 stars, I could dance to that) and the terrible actions of the man (no stars, would not recommend) leave me feeling queasy.

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"I won’t say anything ’cause no one ever listens to me, anyway. I might as well be a Leonard Cohen record" -- Neil, The Young Ones. This is the most Leonard Cohen-y Leonard Cohen album. Simple arrangements, mostly just guitar with tastefully restrained string or vocal backings. There are some classic songs here ('Avalanche', 'Famous Blue Raincoat'), and he is putting his back into the wordsmithing. His voice is an acquired taste, but the yelling on 'Diamonds in the Mine' is a real career low point. Cohen's songs often come alive when sung by other more accomplished singers (for example, the I'm Your Fan tribute compilation of Jennifer Warnes' album of Cohen covers Famous Blue Raincoat), so you gotta give him his props for the songwriting. But jeez, some of it makes me want to slash my wrists. 'Dress Rehearsal Rag' is one of the most depressing songs I have ever heard.

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i can't say i'm thrilled about that f bomb unless it turns out billie joe is sucking dick more than 50% of the time

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I was more of a rock guy than dance music guy in 1990, but Pacific State (in all its versions) was inescapable at the time. It is one of the best tracks of late 80s/early 90s UK dance, no argument. It is atmospheric and catchy and compelling, and even the terrible sax playing is weirdly affecting. I have read several reviews that suggest that 808:90 proved that dance music could be an album medium, rather than just singles. Well, 35 years later, there have been plenty of acclaimed dance music albums, but I still lean towards the opinion that dance really is a singles medium. That doesn't work well for this list, as focusing on albums doesn't serve all musical genres or artists equitably and leads to some unfortunate biases. That said, I own this record and the Quadrastate EP and Ooops 12". I think I inherited them from the vinyl collection of Mark Selway (RIP), my friend and former bandmate. Mark went down a deep, dark rabbit-hole of experimental electronic music. You can hear his work on the Lecter Macabre album 13 Hobbs Lane (https://joshshipton.bandcamp.com/album/13-hobs-lane). Be warned; it's difficult listening. Now that I come to think of it, I visited the Eastern Bloc record store in Manchester in the mid 90s because I had heard about it as the early meeting place of 808 State. I bought a really nice LP bag that I still use.

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There is a section in my record box for DJing parties called "floor fillers". They are singles pretty much guaranteed to get people out on the floor dancing. You can throw them on the deck when energy is flagging a bit or for the last set of the night when you want to leave everyone in a sweaty mess. I'm not prepared to reveal all my trade secrets, but 'Groove is in the Heart' is one of those songs. It is a fun and likeable confection, absolutely chock full o'hooks, and anyone can dance to it. Perfectly deployed guest spots in Bootsy Collins, Fred Wesley, Maceo Parker and Q-Tip. Everybody loves that track. It is one of the greatest pop singles of all time, full of nostalgic 60s and 70s references, sly jokes, soulful pop tunes, silliness and hip-hop inflections.. The rest of the album is similarly brightly coloured and camp fun, but listening through the whole thing is like eating 4lbs of candy in a single sitting. There are tracks here I would happily put on a compilation (or drop in a DJ set), but it is a bit rich as an album. Although I do admire their commitment to fun. There should be more of that. This is a solid 3 star album throughout, with one world class banger in 'Groove is in the Heart' for a bonus star.

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(1/5) There are NO edges on this, is there? It's been so thoroughly sanded down there is nothing to hate -- but likewise and more damning -- there's nothing to love. I haven't been paying attention to most music from the 2010s, but everything is just coated in this slick, greasy autotune bullshit, isn't it? I can't honestly tell if she's a good singer or not. How could anyone? She's drowned out by the persistent and overpowering ambient music, and then her voice is filtered through what seems to be a dozen filters and autotune. Add to my laundry list of reasons why this isn't good -- the extremely repetitive nature of all the songs. The tempo for what seems like every song is within 10 beats of one another. MIX IT UP! What a slog of a runtime as well. I won't blame Ms. Kelela for this, because I can barely tell what she contributed. Let's blast the flattened (apocalyptic perhaps?) musical landscape of the 2010s and later when the handful of major labels and styles just sorta merged into a gooey, greasy blob of autotuned shit. This is a great example of it and could easily be placed side to side with ANY OTHER contemporaneous music and it would truly all sound the absolute same. I feel gross, and I hate what it's all become. There's a hungry totalizing algorithm that says you better not deviate from the formula because if you do the stockholders won't be rich anymore!!! Fuck them all and fuck this.

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This might be the most developed of the 70s punk albums that I've heard. Much stronger musicianship than I would expect from British punk of the era based on what this list has handed me. I think 4 overall but a 5 in the context of its peers.

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(4/5) Yeah, Puffy was part of this.. so... It's 2026 and it's now clear that dude was the worst kind of monster. He's not ALL of the album -- it's still Biggy's album, technically -- but his nasty hands were in it.. deep. So in keeping with my (arbitrary) standards this otherwise classic hip hop album gets a star deduction for that fucker's involvement. Plus, the skits haven't aged well. I found that out when we had "Doggystyle" a few months back, but the music on that saves the day. The principle holds here too. In spite of the cringey skits and deeply troubling lyrics the music saves the day. It's just that Puffy was involved which... Eewww... Biggy was a metaphoric (and I suppose literal) giant in his brief moment in the spotlight and the production and music was top tier here. I just have a really difficult time reconciling that monster's involvement.

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Jesus, I think I've done it. I think this is album 1089 and I am done (until I start the user list tomorrow). It's actually been longer because I reviewed over 200 albums before I started a group, which meant I had to do those all again! Nearly five years, it's been a journey... Many thanks to the members of my group (especially Dave L., Peter P., Alan L. and Glen S.) who have staggered alongside me through this winter death march. A really special call out to Peter P., who really instilled a broad and unprejudiced love of music in me. He was my boss at the record store for about two years, but has been my friend for forty years. He introduced me to so many artists and records that I love. We DJ together. He encouraged me to take a more autobiographical approach to reviewing. Thanks Peter, I love you, man. Thanks to any critic who ever inspired me, especially Jessica Hopper, Bill Wyman (not the Rolling Stone), Amanda Petrusich, Simon Reynolds, Charles Shaar Murray, Robert Christgau, Elizabeth Nelson, Hanif Abdurraqib, and a plethora of others, all worth reading. But not Greil Marcus; fuck that guy. Many thanks to anyone who ever threw one of my reviews a thumbs up, I appreciate it. And a thousand thanks to Alexander for setting up this project and his technical support along the way. This project has been exciting and infuriating and exhausting, but I have appreciated the structure to my listening, and the opportunity to reflect on my musical tastes, history and the friends who helped form my tastes. In the words of the great Liverpudlian band: "All these places had their moments With lovers and friends, I still can recall Some are dead and some are living In my life, I've loved them all" And here we have Buck Owens as my final album, which is as good a place to finish as any. This project has given me an appreciation of classic country, and this piece of Bakersfield honky-tonk is a simple pleasure. I love a tight album that doesn't outstay its welcome, and this album is _tight_. I'm listening to the version with a couple of bonus tracks (including 'Act Naturally', love it) and it still only runs 32 minutes. There is not a wasted note on this album. The band is energetic and efficient, with special props to the wonderful Telecaster work of Don Rich. Could you argue that some of the songs border on being novelty tunes? Possibly, but they are fun and catchy and rollick along, so I don't care. I've spun this through three times in a row, and I am whistling along. I was going to give this a three, but I am really digging it. Call it 3.5 stars, rounding up!

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(3/5) I'm being kind and giving this a polite 3 because I liked the other album of hers we've had.. "Stories From The..". But -- full confession -- I don't get this one. It doesn't resonate with me. I understand the history of it and England's fall from grace as a colonial power and then subsequent ass kicking in the two World Wars. I'm sure the British people had (or may continue to have) a huge existential reckoning with that. Hell, I **KNOW** our number is up soon (maybe we're in the process?) with our own homegrown 'Nero' at the helm -- I'm American if you didn't catch the reference. That makes this album, however, really really insular. The music is ok. Stylistically it is all over the place but leans heavy into indie/pop rock on the slower side with folk elements. She's clearly a good songwriter, but here's another example of the Anglocentrism this list is filthy with. Sorry, lads, i don't get it. Additionally, it is another Mercury Prize winner that bounces right off of me.

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In typical fashion for this list, we just had our first PJ Harvey album (Stories From The City, Stories From The Sea) about 10 days ago, and after that introduction I really wanted to like this one. I even thought that it got off to a decent start in its first couple of tracks, which sounded distinctly different from that previous outing. But the long middle of this album took enough twists and turns that I got lost along the way, perhaps complicated by the fact that I am not British and the themes herein seemed to be directed specifically at that demographic. She's obviously intent on giving nods to every influence she's had, as it is also stylistically diverse almost to a fault. Still, I liked this slowed down version of her (closer to the Tori Amos and Fiona Apple sound that I'd expected before the last album) and will will score this one the same 3.5/5 as the last, this time without rounding up.

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I feel like much of this smart, stylish 90s electronic album is not designed for the dancefloor, but for listening in the lounge room while coming down from a big night out. It is more intelligent and varied than many EDM albums (largely attributable to the occasional use of guitar and the vocals). I have mixed feelings about the chant-like vocals -- they avoid the usual house cliche of whacking a big soul vocal over the top of an electronic track to give it some drama. The repetitive, rhythmic singing -- often just a single note -- and impressionistic lyrics make the vocals an intrinsic part of the track rather than a decorative topline. But I can't work out whether I really like that or not. Jury is still out. I assume that 'Born Slippy' was an album outtake they agreed to offer up for the Trainspotting soundtrack, which accidentally then became their biggest hit and turned out not to be on the album (oops), but belatedly added to the deluxe issues. The sound is pretty sophisticated, but of that seems to come down to the judicious use of digital delays and reverb. Better than most of its genre but still doesn't really move me.

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I can’t believe the top review for this record (as of Dec 2023) is from someone trying to use their PhD in Mathematics as justification for not liking hip-hop. Weak.

I really don't get rap, and I am completely aware of why. I'm a STEM guy, specifically a Ph.D. student in mathematics. Although my verbal intelligence is quite high, it's still about a standard deviation below my quantitative intelligence. Therefore, it should not be too surprising that I prefer melodies to lyricism, and that a genre based on the latter doesn't wow me. I know I'm pretty far out of step with public opinion on this one, but that can easily be attributed to the fact that hipsters with humanities degrees (i.e. extremely verbal-dominant people) are considered the ultimate arbiters of taste for some reason. (Side note: this also explains why prog rock is seen as being for losers.) Best song: Be (Intro), which had a decent instrumental part at the beginning. Everything else just sort of ran together.

Oh fuck yeah, now we're talking. Wait no, I swear I'm not being pretentious. This is the lowest rated album on this site because I guess mostly people aren't very fond of German people smashing metal plates together - who would have guessed. But halle-fucking-lujah, this is something this list needs more of. Albums that make you go "well, that was an experience and now I'm a changed man". Nobody is lying on their deathbed wishing they heard more crappy 80s post-punk or late 60s psychedelic rock. THIS is what we all deserve to be listening to as we embrace eternal oblivion. I'm giving this a high rating not only because I genuinely really love it, but also to help Kid Rock move to his rightful place as the actual worst album on this list. Together we can make a difference. Save the turtles.

Brings back vivid memories of when me and my mate Ray went on a trip to Dresden. We met this rotund goth in a bar, head to toe with tattoos and piercings, real filth and after a while took her into the disabled bogs for a spit roast. We were both pumping away in her with Napalm Death on in the background and her wailing "MEIN GOTT" at the top of her lungs. I remember spaffing all over her back just as Siege of Power kicked in. As i shoot over her, she takes Ray's cock out of her gob and says "do you want fries with that?" in a faux American accent. Anyway, we go outside and there's this gammy little geezer in a wheelchair sitting there furious, giving me daggers, because he's had to wait so long, so I lean into him and I go "I hope you have as much fun in there as we just did you little cunt".

Back when I was in college I used to go to a bar and listen to Neil tunes and do magic tricks for women. There was a bartender there, he was the best. I loved that guy. Some of the best years of my life.

Back when I was in college, there was this dude who would come into the bar I worked at on a Friday night and play fucking 10 Neil Young songs in a row. He would also hit on girls by doing magic tricks. I remember how angry I got every time he made me listen to an hour of Neil Young because I was just trying to have a good time, and he fucking made me listen to this sad, soppy fuck who writes nothing but songs that sound indistinguishable from each other and never seemed to enjoy a happy moment in his entire like. Fuck that guy, and fuck Neil Young. 2/5

Rap isn't my preferred genre of music. But I'm a shitty mathematician so I enjoyed this.

Shit like this on the list is both refreshing and infuriating. Refreshing because it is good, fun, interesting, and also not something I would regularly be exposed to! It's why I started this project and keeps me coming back. It's infuriating because the fact that it is included here means that Robert Dimery, the original author of the 1001 albums list is aware that music like this exists. He's clearly aware that there is an entire world of music out there. SO WHY HAVE I LISTENED TO 200 80s BRITISH NEW WAVE ALBUMS AND 200 SCOTTISH ROCK ALBUMS FROM THE 90S??!!?

Rage In Favor Of The Machine.

Music for incels to wank furiously by

Sorry Boomers/Gen X, I was like 20 when this came out so it's one of the best things to ever happen to me. Sorry it's not King Crimson or whatever.

The only enjoyment I got from this was reading the review about the brothers in Dresden and their lovely and talented tattooed friend.

The beauty of music is that it is subjective. It’s typically great for a certain group of people, though it’s never right for everyone. Some for the masses, some more niche, but it all has its place. Meanwhile, with lists like this, there’s always artists or records that anyone would have put on in place of what actually made it. Personally, I would have included Queensryche’s Operation Mindcrime, Live’s Throwing Copper, Joe Satriani’s The Extremist, Sara Bareilles’ Little Voice, or John Mellencamp’s Scarecrow album on a list of must hear records. Others would put totally different albums on and that's awesome. What someone likes vs. dislikes is truly subjective. Again, that's the beauty. With that said, this album objectively sucks. I mean truly horrible. Something had to be the lowest rated album on the list, and this was a place well earned. There is nothing redeemable about this record. To quote my wife, “they should have stopped at 1,000.”

I am definitely not the target demographic for this album, but I still thought it was very good. There's a lot of skill and artistry put into these tracks, so much so that it is almost invisible. 4 stars for me, plus an extra star just to spite the mathematics PHD guy.

Around 1990-91, I was a volunteer at 2SER student radio. Mostly, I did technical work helping my mate, Tim, who hosted 'Monday Night Football', a music program that ran from 1-3am on Thursday nights. Panelling, editing, that kind of thing. In 1991, Einsturzende Neubauten were touring Australia and there was an offer to do a radio interview with 2SER. I could actually pronounce “Einsturzende Neubauten” and knew a little bit about the band, so it was decided that I would do the interview. Interviewing was not really my thing, but it came with perks; tickets to their show at the Phoenician Club and a copy of the Strategies Against Architecture LP, so I said OK. I knew the legendary Blixa Bargeld has a reputation for not suffering fools, so I tried to prep questions that were interesting. So, on the day of the show the plan was to go down to the club after soundcheck and interview Blixa. It was a bit intimidating. I mean, EN were one of the world’s most dangerous bands and Blixa also played in the Bad Seeds, which made him an underground legend. Tim and I were in the equipment room gathering up a portapack and mics and whatever else we needed, when someone comes running in the room whispering “There’s a vampire in the lobby, and he’s looking for you!” And sure enough, there in the lobby, stands Blixa in full stage outfit, pale as death, six foot six in Cuban heels and his hair teased up and 100lbs wringing wet. He has a bottle of schnapps and a filthy look in his eye. He’s staring death at everyone. And then I hear my name called. Standing next to this imperious vision in black is a smiling Japanese man in bright green overalls with a flower appliqued on the front. His voice is oddly familiar; it is Rick Tanaka, former presenter of 'The Nippy Rock Shop', an experimental collage-style radio show from Triple J in the 80s. I was a fan. Turns out, he is the road manager for this EN tour, and he is asking for me. He hands me his business card: Rick Tanaka, Private Guy. We hurriedly shuffle Rick and Blixa into a meeting room and turn on the recorder, and I attempt an interview. It did not go well. Blixa did not want to be there, was much smarter than me, and was not very patient with my attempts at questions that were more engaging than the usual stereotypical “who gets to go to the junk yard to get scrap metal for your stage show?” Eventually, Blixa just started ignoring me and chatted to Rick. Tim and I kept the tape rolling for their conversation, and afterwards edited it up into something resembling proper radio. And then they left. Tim and I packed up and then walked down the road to the Phoenician Club. En route, we bumped into the Beasts of Bourbon, who were playing support. Tex and Kim were intensely focused and wouldn't say hello, but we chatted to Spencer for a bit. They clearly knew what was coming and were determined to put on a good show. They were the best I ever saw them play that night; tight, ferocious and angry, showcasing material from their Low Road album, that was not yet released. And then on came Einsturzende Neubauten. It was possibly the most intense, frightening show I ever seen. I confess I was a little freaked out by my encounter with Blixa and not really prepared for the experience of an EN show. By the end of their set, I was pressed up against a wall with my fists clenched and my eyes shut. The sound from the stage was so brutal and overwhelming. I can’t recall much of what went on, except for a bit with shopping carts with contact mikes crashing into each other repeatedly. It was really loud. I know I left the venue about 11.30pm. At 2am, I turned up at my girlfriend’s house, tapping on her window. I assume I spent the intervening hours walking the streets in a daze, but not really sure of what I did in that time. She yelled at me for a good 15 minutes for waking her up, but I was unable to put a sentence together, let alone explain what had just happened to me. It was a heavy, really heavy, performance. Ok, so given that background of my relationship with EN, what do I think about this album? I have listened to it once or twice before. EN is really influential on me. I love noisy things, really noisy things. I played in industrial bands through most of the 1990s. And this is like the ur-text for much of what industrial music became. It still sounds frightening and surprising now. That said, this is a massively difficult listening experience. I am reminded of Brian Eno talking about Steve Reich (I think), and how hearing one of his early tape pieces was massively influential, but he never listened to it again. Early EN (and this album in particular) is like that for me. It opened up a world of possibilities to explore, but I don’t need (or probably even want) to listen to it much. I certainly was much more enamored of their early 1990s material, which contains actual songs, rather than just this scary barrage of crashing rhythms and screaming. Kollaps is an important record for me, but I would not recommend it.