Ministry / AmeriKKKant


Ministry is an American industrial metal band, founded in 1981 by Al Jourgensen in Chicago, Illinois. Originally a synth-pop outfit, Ministry shifted its style to become one of the pioneers of industrial metal in the mid-to-late 1980s. The band’s lineup has gone through many changes throughout its history, with Jourgensen remaining the only constant as the band’s main producer, singer, songwriter, and instrumentalist. Notable musicians who have contributed to the band’s studio or live activities include Paul BarkerMartin AtkinsBill RieflinChris ConnellyNivek OgreMike ScacciaRey WashamPaul RavenTommy VictorJason ChristopherTony CamposMonte PittmanBurton C. Bell and DJ Swamp.

Ministry found mainstream success in the late 1980s and early 1990s with three of their studio albums: The Land of Rape and Honey(1988), The Mind Is a Terrible Thing to Taste (1989) and Psalm 69: The Way to Succeed and the Way to Suck Eggs (1992), with the former of the two certified gold and the latter certified platinum by the RIAA. The 1996 follow-up album, Filth Pig, was also critically acclaimed but did not repeat the success of its predecessors; the album did, however, earn Ministry its highest chart position on the Billboard 200, peaking at number nineteen. The band has been nominated for six Grammy Awards, and performed at several notable music festivals, including participating in the second annual Lollapalooza tour in 1992 and co-headlining Big Day Out in 1995.

Ministry was dissolved in 2008 after 27 years of recording and performing, and Jourgensen had since stated that they would never reunite. However, the band announced a reunion in August 2011, and has released three more studio albums since then: Relapse(2012), From Beer to Eternity (2013) and AmeriKKKant (2018).

AmeriKKKant is the fourteenth studio album by industrial metal band Ministry, which was released on March 9, 2018. It is their first release on Nuclear Blast, and marked the longest gap between studio albums in the group’s entire career; at five years, following From Beer to Eternity (2013). AmeriKKKant is also the first Ministry album without guitarist Mike Scaccia since The Last Sucker (2007); Scaccia died in 2012 but appeared posthumously on From Beer to Eternity.

The Analysis—-

I Know Words—-Would you expect anything less than a Trump sample to open this release…of course not. Al remains as outspoken and political as ever. This is a clear poke at the disaster presidency that America finds itself involved in. This is a bit sparse as far as instrumentation goes…..perhaps setting the mood for the onslaught to come. The vocal samples are wonderfully done and intermixed to form full radical sentences….Brilliant!

Twilight Zone—-With even more trump vocal samples, the music is a bit beefier here and filled with a bit more urgency. While noisy and erratic, this still lacks a bit of power for me. Al finally makes a vocal appearance….sounding less maniacal and a bit pushed to the back of the mix. This does have that nice genuine Industrial sound of days gone by…all in all…not to bad. The point is being made!

Victims Of A Clown—-Melding from the previous track seamlessly, this begins a bit sedate and with strains of Circus music…get the message? Clocking in at over 8 minutes, this takes a very long time to get started. Once the bass heavy music kicks in, the song takes a really nice shape. The lack of urgency on this release is very noticeable though….it used to be Al would rant solid for an entire hour on a release…this just seems a bit uninspired. The ‘chorus’ is nice and muscular….and tings get a bit damn noisy for a bit….like the old days.

Tv 5/4 Chan—-This brief 40 second interlude is a barrage of gunshots, TV sound bites and serves to usher in….

We’re Tired Of It—-This is more like what I have been waiting for on this release….a huge barrage of urgency….aggression and released energy set to a blistering pace. The vocal is louder and more up front….everything smacks you right in the face. The growls and yells are classic…I really needed this.

Wargasm—-Layered once again with sound bite samples and almost undistinguished vocals, the track clears up a bit to allow for the vocal. Burton C. Bell adds vocals to the chorus ala Fear Factory style…giving the album at this point a much needed breath of fresh air. This is a favorite of mine..if just for the clear and concise chorus vocal alone.

Antifa—-Powerful and featuring a driving bass line, this is another favorite track of mine. This again, takes me back to the glory days of the band when they were kings of the Industrial 90’s. This is thick…dense and has a pulsating programmed line that really comes alive in the second bar….driving the song to a new height. This is really nice. A brilliant track…though the vocals still seem really buried underneath everything.

Game Over—-After the previous track, this comes across as a ghost of a song at the onset. There is a nice melody line that travels through the song and makes it a bit more accessible. Of course, the song is full of soundbites from various generals…..and of course THE DONALD…..the layers of music that float over the melody line is pretty unique…..I don’t hate this.

AmeriKKKa—-Ending this release with a track that begins sounding more like a metal song, there are some nice elements along the way. I wish Al had more presence of mind to move his vocals up in these tracks…it sounds like he phoned in everything instead of actually participated. I like the slow, plodding sabbath style bass line… gives the track a doom filled atmosphere that appeals to me.

*** 1/2 out of 5


Editors / Violence


Editors are an English rock band, formed in 2002 in Birmingham. Previously known as PilotThe Pride and Snowfield, the band currently consists of Tom Smith (lead vocals, guitar, piano), Russell Leetch (bass guitar, synthesizer, backing vocals), Ed Lay (drums, percussion, backing vocals), Justin Lockey (lead guitar), and Elliott Williams (keys, synthesizers, guitars, and backing vocals).

Editors have so far released two platinum studio albums, and six in total, with several million combined sales. Their debut album The Back Room was released in 2005. It contained the hits “Munich” and “Blood” and the following year received a Mercury Prize nomination.

Their follow-up album An End Has a Start went to number 1 in the UK Album Chart in June 2007 and earned the band a Brit Awards nomination for best British Band. It also spawned another Top 10 hit single, “Smokers Outside the Hospital Doors“. The band’s third album, In This Light and on This Evening, was released in October 2009 and went straight to number 1 in the UK Album Chart. The band released their fourth studio album, The Weight of Your Love, in July 2013, followed by self-produced In Dream in October 2015.

Alongside their critical acclaim and strong success in the charts, Editors have consistently enjoyed sold-out tours and numerous headlining festival slots. Their brand of dark indie rock is commonly compared to the sound of bands such as Echo & the BunnymenJoy DivisionInterpolThe Chameleons and U2.

Violence is the sixth studio album from British recording group Editors. It was released on 9 March 2018 by PIAS Recordings.

The Analysis—-

Cold—-Full of atmosphere, the music wraps around the vocal remarkably well. This sounds so much like Ian McCullough, I had to double check the release title! The song becomes a bit more full bodied…but the underlying density stays puts and leaves you feeling sad and elated at the same moment. This is incredible.

Hallelujah [So Low]—-Shedding the more familiar sound of the previous track, this has a nice electronic edge to it that gives a full bodied and electric feel to the song. The noise becomes incredible during the second bar…a huge barrage of sound that threatens your headphones…then settles and returns again. A nice unexpected surprise here.


Violence—-A slight ambiance to the intro….the vocal is a nice mix of Ian and Bono…..perfectly in sync with the music and the instrumental mood. Delivering some sharp burst of noise here and there, the quality of the song still remains intact. This is dark…but not as dark as Editors of yesteryear. I still manage to fully embrace every release from these blokes though.

Darkness At The Door—-Again, there is a level of layered noise…but a jangly U2 style music that still remains accessible to long time fans. The vocal seems pushed to the back of the song…I would have preferred it much more i the front of the mix. I don’t dislike this release……but it seems a bit uninspired to me standing next to previous releases.

Nothingness—-A bit more sedate and still, the vocal again brings Ian to my mind and makes me really miss Echo And The Bunnymen. This has a really nice sound to it….perhaps my favorite track thus far…it is full of angst….hurt and melancholy…as well as a powerful accessible instrumentation. I really like this.

Magazine—-Atmospheric and a bit odd at the onset, I keep waiting for the song to truly develop… the chorus opens up…it does. The song becomes larger and more accessible….full of a rhythmic line that sucks me in. The vocal…still a bit removed from the front of the song still manages to be powerful. This is nice.

No Sound But The Wind—-Now this…..this takes me back to the beginning sounds of the band when they first began. This is remarkably stark and naked….stripped down and allowing the emotional music and vocal to form the song without a bunch of extra additives. This is just brilliant…a true masterpiece of a song.

Counting Spooks—-Layered and delivered exquisitely, this is again….a song that puts me right where I wanted to be when hearing this release. This is incredible…reminding me of when this band first hit my ears. This is brilliant….I love the consistent sound…all of that earlier noise was not necessary.

Belong—-An odd….drip drip drip of an intro, the beginning of the song is naked and stripped bare of effects and consistent instrumentation. The vocal is deeper and darker….strings wrap around it and show promise of the dark epic qualities of the track. This is classic sounding Editors…I love the naked and vulnerable sound of the whole thing. As the song develops….it becomes a bit noisier and a bit convoluted…but over all this is fantastic. A huge sad affair.

**** out of 5

The Restless Romantics / A SoundCloud Sampler

“The Reckless Romantics were a power trio based out of Los Angeles, CA and lead by Raphael Ascanio. Fueled by beer, whiskey, marijuana, and Raphael’s lament, the trio existed and performed improvised renditions of Raphael’s regrets, failures and lamentations. The band is currently on hiatus until the drummer is out of jail.”

The Analysis—-

Drinking About You—-Wonderfully constructed in the way the best 80’s synth pop was, this takes me back to the New romantic movement of that time. The disembodied vocal…full of a slight pain and loneliness still manages to sound suave and relaxed. A remarkable throwback sound that is at the same time, quite modern.


For Aurora—-Literally reeking of the classic Morrissey/Marr compilations of the mid 80’s, the slight and exquisite jangly guitar sound is fantastic. The higher tuned guitar seems to lay right on top of the vocal…creating a wonderful blanket of sound that makes you want to snuggle deep into. Masterfully delivered…this is fantastic.


Demo—-This live recording really catches the energy and the raw feel of the band. The style is classic Joy Division to my ears…the bass leads the song…but the crashing drums gives off a remarkable energy. The vocal sound is fantastic for a live demo…the deep baritone literally wraps around my head. This band has really captured me….I anxiously await more material from this up and coming band.


**** out of 5


The Killers / Wonderful Wonderful

Wonderful Wonderful

The Killers are an American rock band formed in Las VegasNevada, in 2001 by members Brandon Flowers (lead vocals, keyboards, bass) and Dave Keuning (lead guitar, backing vocals). Mark Stoermer (bass, rhythm guitar, backing vocals) and Ronnie Vannucci, Jr. (drums, percussion) would complete the current lineup of the band in 2002. The band’s name is derived from a logo on the bass drum of a fictitious band, portrayed in the music video for the New Order song “Crystal“.

The band has released five chart topping studio albums: Hot Fuss (2004), Sam’s Town (2006), Day & Age (2008), Battle Born(2012) and Wonderful Wonderful (2017). They have also released a B-sides and rarities compilationSawdust (2007); a live album, Live from the Royal Albert Hall (2009); a greatest hits album Direct Hits (2013); and a Christmas compilation Don’t Waste Your Wishes (2016).

The Killers are seen as one of the biggest rock bands of the 21st century, and the most successful rock band to ever emerge from the state of Nevada, having sold an estimated 22 million records worldwide. They have also achieved worldwide success as a live band, performing in over 50 countries and on six continents, headlining venues such as Madison Square Garden and Wembley Stadium.

The Killers released their fifth studio album, entitled Wonderful Wonderful, on September 22, 2017. The album was produced by Jacknife Leeand lead single “The Man” was released on June 14, 2017.

Wonderful Wonderful become the band’s first album to reach the number one spot on the US Billboard 200it also claimed the top spot on the UK Album Chart making The Killers the first international act to have their first five studio albums all reach number one in the UK.

The Analysis—-

Wonderful Wonderful—-A nice almost sonic intro leads up to a strong bass line that slowly allows for the introduction of Brandon and his unmistakable vocal. The track has a nice dark one to it…leaving the poppy madness of earlier releases in the dusk. It is when the chorus hits that you understand the beauty and mastery of the track. The faux [?] horns and big sound is unmistakable…..the song slowly grows on you. I’m sure his track will generate many U2 comparisons.

The Man—-A huge intro reminds you for sure that this is indeed The Killers. Brandon delivers a vocal that shines like a million stars. the remarkable melody line runs through the entire track…delivering a quasi-dance floor track that reminds me of the glorious days of bar music. Brandon and his vocal sounds refreshed and driven with an ambition not heard recently. This is stellar.

Rut—-A surprising introduction to the song…but what follows is just pure magic to my ears. As in many past releases, Flowers seems to call on his inner Springsteen to deliver a quiet but damn powerful ode. The music swirls around your head and gives your soul a slight joy…and causes you to push the replay button more than once. For me, this is a magical track.

Life To Come—-Coming out of the silence with a low hum, Flowers enters over a sad and forlorn sound that again brings forth the Boss. The vocal is in the very front of the mix…as the music becomes even stronger, you are again reminded of classic U2 sounds that made the band so popular. When the song finally reaches it’s crescendo. you realize it is imperative to sit through the quieter moments. Just fantastic!

Run For Cover—-The intro to this track reminds me of classic Interpol so much…the atmospheric bass line and the building music. Flowers enters with an urgent vocal that drives the song along with the pace of the music. The chorus hits you and makes your brain agree…this is a classic Killers track. Huge and built for arenas, this will play so well live. I have no words for the mastery here…this is brilliant.


Tyson Vs Douglas—-Interesting track from the opening effects…..the music that opens the track is hyper kinetic and delivered with a nice urgency. I love the reminiscent quality of the song…this is obviously Vegas inspired. Flowers delivers that classic huge chorus that makes the band seem literally monstrous. It is a joy to know that he magic is still there….the band has never sounded better. This is a monumental track.

Some Kind Of Love—-With incredible song placement, the band returns to a more somber feel here and allows you to realize the band is so much more than Glam and Glitz. This is magically quiet and beautiful…Flowers reaching notes I didn’t think he was capable of. The ghostly and funeral feel of the song gives me goosebumps. This is fantastic…..

Out Of My Mind—-Brilliant and crisp guitars and drums open the track. Flowers sounds so much like Bono on this track, I’m almost confused. The lyrics…on every single song on this release, are meaningful and lead you somewhere. I don’t really care for the chorus here…the female singers seem to almost take the spotlight away from Flowers who is in the best voice here than in recent memory. Still a great track though…full of nostalgic lyrics.

The Calling—-Wow….politically charged and filled with lyrics that will make you sit back and think for a minute. The bluesy quality of this track came as a slight surprise to me…the classic downbeat guitar is remarkable…as well as the drums. The vocal is a bit to staccato for me…but the lyrical content is made to allow you to think. I really, if I do have a complaint about this release, do not like the female vocals all over this release. Other than that…no complaints here.

Have All The Songs Been Written?—-Ending this release on a fairly somber note, Flowers delivers such a remarkably clear and concise vocal…I have chills once again The music…a slow and low hum interrupted by short guitar notes gives the track and even lonelier feel. This is a magical track….the beats pick up and the song becomes a bit larger as it continues…but you never lose that lonely and melodramatic effect. Just masterful.

**** out of 5



Tears For Fear / Rule The World : The Greatest Hits

Rule The World: The Greatest Hits

Tears for Fears are an English pop rock band formed in Bath in 1981 by Roland Orzabal and Curt Smith. Founded after the dissolution of their first band, the mod-influenced Graduate, they were initially associated with the new wave synthesiser bands of the early 1980s but later branched out into mainstream rock and pop, which led to international chart success. They were part of the MTV-driven Second British Invasion of the US.

Their debut album, The Hurting, released in 1983, reached number one on the UK Albums Chart, while their second album, Songs from the Big Chair, released in 1985, reached number one on the US Billboard 200, achieving multi-platinum status in both the UK and the US. Their second album contained two Billboard Hot 100 number ones: “Shout” and “Everybody Wants to Rule the World“‘, the latter winning the Brit Award for Best British Single in 1986.

Smith and Orzabal parted company in 1991, after the release of their third platinum-selling album The Seeds of Love (1989), though Orzabal retained the Tears for Fears name throughout the remainder of the 1990s. The duo re-formed in 2000 and released an album of new material, Everybody Loves a Happy Ending, in 2004. Since 2013, the duo have been working on their seventh album. Tears for Fears have sold over 30 million albums worldwide

The Analysis—-

Everybody Wants To Rule The World—-It is always interesting to look back at the music that helped to form your teen years and see how it stands the test of time in your adult brain. I was disappointed at yet another Greatest Hits record from this band…but it is always nice to hear the classics again. This track is monstrous…melodic and really does manage to stand the test of time. The two voices when joined together are a force. Roland has that remarkable upper register. The synth drive of the song screams 80’s…it is brilliant.

Shout [7″ Edit]—-Laden with every trademark gimmick of classic 80’s pop music, this it’s heyday was an absolute monster. I assure you….it still plays with exquisite flavor in 2017. That classic vocal…the long notes from Roland that adds depths of emotion to the song…still can give you goosebumps even now. This is a remarkable reminder of why the 80’s still live on with a bit of success.


I Love You, But I’m Lost—-One of the new offerings that are offered on this release. I listen to this very carefully…looking for the magic that served as the propulsion for the band in the early years. The sound at the onset is dense, giving way to a synth laden happiness that captures my attention. The vocal is a bit odd for me….they sound more like MGMT to me. the chorus is not the huge affair I expected…but the track does not let me down. There is a catchy element to the song that makes me smile somewhere inside my self…I don’t profess pure love…but I don’t hate it either.

Mad World—-I think the key elements of this track were meant to burrow into your cerebellum and just stay there. this is a recipe laden pop song that hits a perfect 10 on every mark. The jungle drums…the static synth line…the guitar line…the beautiful and perfectly clear vocal…the intermittent horns….how can you go wrong here. This is, for me. pure pop perfection.

Sowing the Seeds Of Love—-This for me, was one of the best tracks the band ever produced. the track shows a progression of sound…while still retaining the trademarks that made the band a huge hit. The slight psychedelic feel of the song propelled them further…while the vocal harmonies were stronger and more intact than ever. The horns at the end of the track were incredible. This is a pure masterpiece…a song I never really ever tire of hearing.


Advice For The Young At Heart—-I remember when I first heard this song, I though maybe i was hearing a new song from Icehouse or Icicle Works….I was surprised. This is wonderfully layered with that magic emotion the band was able to produce…as well as a chorus that will live with you…even twenty plus years on. This still sounds great…still sounds important as ever…and still plays in my brain like the very first time. Those voices…it’s like magic.

Head Over Heels—-Perhaps the biggest selling single for the band…and the one that sent them way over the top in the 80’s and the video driven world, this still plays as well as it did from day one. The vocals are so strong…the way the band plays off of each other is just pure magic…there is an almost pulley system between the two….where the voice and the guitar strive to be the best. The synth lines are so strong…producing a magical melody that will never leave you alone…this was a pure magical time.

Woman In Chains [feat. Oleta Adams]—-Funny to hear this song with the climate of the nation today. It seems right in line with all of the stuff that seems t be going on. And the vocal guest from the fantastic Oleta Adams is literally heartbreaking and wrenching. This is timely…and should be played everywhere. the soaring vocals give me goosebumps…this is brilliant…way before it’s time.

Change [Radio Edit]—-Another one of those tracks that carries so many familiar sounds of the times. At certain times, the synth line sounds like a pure rip off of Rio from Duran Duran…..but the vocal kicks in and you know this is classic. The long drawn out vocal sounds from Roland gives the song a remarkable emotional quality….even while the instrumentation plays right up in the front of the song. This is brilliant.

Stay—-The second of the two new tracks on this compilation, I find this rather flat and a bit uninspired for my ears. The trademark sounds of the band seem to be largely missing…where is the play of the back and forth between the members. The vocal sounds almost foreign to me….I really do not like this very much….but I’m still glad to have it.

Pale Shelter [2nd US Version]—-This has that nice synth driven sound that is actually aided by the guitar base of the song. I love the vocal…even though it seems almost hollow in this mix. The voice is one of the key elements of this band…and the way they play back and forth with each other. I wonder what would have happened if a band like INXS would have recorded this…….

Mothers Talk [US Remix]—-This has never been a very favorite track of mine….it seemed like the band was really coming apart during this period…adding all kinds of back drop vocals…nor heavy guitars and a distant between Kurt and Roland…you could smell the dissonance between the two here.

Break It Down Again—-Perhaps one of the most aggressive sounding tracks from the band, it is remarkable in melody and truism. The band offers a new bolder sound…but still managed to keep the base of the sound in the song at the same time. this has a nice anthemic quality to it. I really still love hearing this track. Really a nice memory.

I Believe—-Ghostly and full of a magical sadness that still can raise the hairs on your arms, the vocal is so pre and without any effect. The instrumentation has a slight underlying jazz edge to it that lulls you into the lyric of the track…this is so nice to hear….a magical moment.

Raoul And the Kings Of Spain—-Never a favorite track of mine…..I found nothing that was released around this particular period…out side of Sowing that appealed to me. This is so noisy and unorganized to be…like a smash and haberdasher track to satisfy an obligation….ummm….no……

Closet Thing To Heaven—-Again, there are certain elements of this track i really like. but the band seems to have lost a bit of direction here. The sound…the huge sound they always managed to produce…seems to be missing. The chorus is very nice…but the drums are too loud…the vocal sounds a bit weird as well. I like the melody…but where is the key element we love…the back and forth of the vocal and the guitar…..this is not a favorite….

**** out of 5






Pet Shop Boys / Elysium: Further Listening 2011-2012

Elysium: Further Listening 2011-2012 (2017 Remastered Version)

Elysium (/iˈlɪziəm/) is the eleventh studio album by English synthpop duo Pet Shop Boys. Released on 5 September 2012, it is the duo’s final album with Parlophone. The album was produced during 2012 in Los Angeles by Andrew Dawson and Pet Shop Boys.

As well as the remastered album with original track-listing, the ‘Further listening’ album of additional material features previously unreleased demos entitled ‘Vocal’, ‘She pops’ and ‘In slow motion’, as well as PSB mixes and remixes of ‘Leaving’ and ‘Memory of the future’.

The Analysis—-

Disc One:

Leaving—-From the very first opening strains of this track, you knew that the boys had fully returned to form after a few forays into a bit less that traditional PSB music. Tennant delivers a vocal line that wraps right around the instrumental melody and aided by backdrop vocalists the song becomes even fuller. This is traditional…remarkable and very damn pleasant.

Invisible—-The wonderfully melancholic strains of the song wrap themselves around your head right from the opening notes. Tennant delivers line after line of alienation that is so damn relatable it is almost sad. I love the underlying hum of sadness that runs through the belly of the song…allowing you to submerse fully into the mood of the song. this is a band that seldom does wrong.


Winner—-Originally written and performed for the Olympics, this has long been a very favorite track from this band for me. There is a certain empowering and joyous feel to the song….the whole damn affair seems to make me happy and a bit elated. The double track sound to the vocal…and the sing song delivery from Neil gives the song this huge sound.But it is the chorus of the song that truly brings it all into focus….the joy and the happiness is contagious….all the while the low sad hum underneath of everything adds a perfect landscape of a song that should have been HUGE!!


Your Early Stuff—-British humor and tongue in cheek delivery is in full effect here. Tennant has a way of delivering self-effacing lyrics that still produce a magical effect. Of course, The Boys must be realizing the length of time of their career and the difference in music as opposed to now and then. this is a wonderful nod to the past and realizing the future. And in the gay world…this takes on a whole new meaning. Tennant has his pulse on human emotions.

A Face Like That—-Building and building, this becomes a stomper right out of the gate. This has the classic Lowe sound to the synth line…full of shuffling beats that are replaced by the rhythmic dance beats that fill a dance floor. Tennant…by now, knows how to phrase and deliver lines that are in tune to the music…this is a wonderful track. The effects from Lowe come at you from all directions. Neil has a vocal that is echoed and removed from the fore-front…but it is still magical.

Breathing Space—-Surprisingly introduced with an acoustic guitar sound, the song is both airy and filled with emotion. Tennant amazes me….this voice never seems to show age or abuse…it is as remarkable as the very first day. when the chorus of this song hits you….the tears threaten the back of your eyes…the emotion comes right through your speakers. Perhaps this is a tale of an aging musician……wonderfully told.

Ego Music—-Delivering a nice break in the more introspective elements of the album, this delivers a nice simple kind of song…un-complicated and delivered with a bit of fun and a nod back to the Very release with the spoken word kind of delivery. Not a favorite…but a nice break….placement is everything. The lyrics speak of the true life of famous musicians everywhere…..classic.

Hold On—-Another huge and joyous song that seems to speak to me in the saddest and most overwhelming of times. The huge choir of voices gives the song an anthemic feel….you can wrap all of your negative energy around it…press play and send it flying out of the window. This is a beautifully constructed, cheerful and empowering track.

Give It A Go—-This opens with a classic Lowe styled synth line that magically gives way to the mellow crooning from Neil. The stark piano that rides on top of the subtle synth line is a PSB magical moment. I love this…it has every element that is required with a PSB track.

Memory Of The Future—-A nice shuffling synth line…..played underneath of a classic Tennant vocal. This track seemed to garner tons of attention from fans….I mean…I like it….but it was never a pure unadulterated favorite from this release. The chorus is huge and addictive…but repetitive and without tons of substance. I like the music more than the vocal…and that is rare with this band.

Everything Means Something—-An odd intro ushers in an almost orchestrated synth feel…..with a steady bass beat in the backdrop. Tennant delivers a vocal that seems less than heartfelt and almost by rote. I never gelled with this 100%. I like the chorus and the way it opens up…it just seems a bit lackluster to me.

Requiem In Denim And Leopardskin—-A classic proper ending to a PSB release. A tongue in cheek nod to the community that buys every minuscule element of the band and a nod to Tennant. This is the gayest track I have heard since New York City Boy…I love all the references and the true understanding of the community that we live in. The chorus is a huge Gay Parade affair that makes me want to dance and proclaim myself at the top of my lungs. A magical moment.

Disc Two:

Vocal [Demo]—-For a so-called Demo, this is well constructed and delivered in classic PSB fashion. There is nothing in the least under-developed about this track. This is a joyous romp through club-land debauchery that makes me happy….allows me to dance all by myself…and fills me with an unmatched joy that only this band can bring. Brilliant!

She Pops [Demo]—-From the very first note, this is literally BRILLIANT. That low mechanical hum that drives the song underneath everything adds to the feel of the song once Tennant begins to sing. This has a nice retro feel that is so damn addictive…I can’t stop listening to it. Why this was not huge is beyond me. This has every single element that constructs a classic synth pop masterpiece.

Inside [Remastered Version]—-Right from the onset, this was a track that I could take or leave. This duo rarely ever steers me wrong…and this is NOT a bad song…but it sounds a bit uninspired and less than driven to me. Even the vocal seems a bit distant to me….not sure what the problem was here…not a favorite.

In Slow Motion [Demo]—-This has such a classic PSB sound to it…it reminds me of every great moment in this career. The lyrics are tender and real…full of emotion and a certain realness. The synth line is true to form..understated enough that they belie emotion in their very delivery. The vocal is as perfect and clear as from day one. A true classic…..

Listening [Remaster]—-Hmmmm….a slow and plodding synth delivery introduces a vocal that sounds a bit empty…until the ‘chorus’ opens up and delivers a slight dark journey through perfect pop music. The synth swells suck me in…the chorus is what makes this masterful…I don’t care for the line to line of the song…but when you get that hook….damn…you are sucked right in.

Hell [Remaster]—-Returning to full on dance mode, there is a nice jaunty feel to this song that sucks you right in from the very onset. Lowe provides enough blips and bleeps to power a space ship. Tennant relies on a slight lazy vocal that seems to fit the mode of the song in a magical way…these two know each other very well. a nice magical moment.

The Way Through The Woods [Long Version]—-Well…..this really struggles to find a place in my memory bank. there is nothing for me that stands out as incredible for me here. I was a bit disappointed…because I never heard this before…but i find it lackluster and that it tries to hard. Not a favorite at all…..sorry

I Started A Joke [Remaster]—-Whomever decided that The Boys should cover this track was a pure genius. This is a spectacular result…the emotions of the original seem to grow even stronger with this version. This is another magical PSB moment. I freakin’ love this cover….it could be huge the entire world over. Tennant delivers a vocal that is so pained and emotional…i actually cry. This is brilliant.


In His Imagination [Remaster]—-A huge shuffling and undeniable PSB synth line introduces this track. This is perhaps one of the most brilliant tracks I have never heard from the duo. this is sad…uplifting…emotional…joyous….full on entendres… able……magical…….and wonderfully PSB. I love this track undeniably. That voice! That bass line….that magical quality…..this is wonderful.

Leaving [Believe In PSB Remix]—-Swirls of an almost Soundtrack quality introduce the track that fall away quickly to a deep house dance floor beat. This version begs you to hit the dance floor and become sweaty and trace dance with the magical synth lines….it is so easy to fall into the trance of the vocal delivery. This is magical. I love the breaks and the airy sound of the mix. Quality!

Leaving [Side By Side Mix]—-This offers a much more sonic feel to the song that is obviously designed for DJ mixing and club play….there is nothing new here…except the breaks that allow for extension…..we all have this already.

Leaving [Freedom Remix]—-This is a much. much, much better remix. The galloping beats and the synth sounds that dance from speaker to speaker are fantastic. The Lowe sound replicates an almost Moroder feel to the song that almost makes you wait for Donna to start singing. This takes a track and escalates it to a level that is historic. By far my favorite…this is magical!

Memory Of The Future [New Single Mix]—-What I really like about this remix is that it begins with the chorus in your brain….so it is already laid in there…that magical quality. Even though Tennant delivers the chorus in ‘real time’ it is already in place…..this is brilliant. I have developed a new affection for this track.

****3/4 out of 5





Low / Christmas



Low is an American indie rock group from Duluth, Minnesota, formed in 1993. As of 2010, the group is composed of founding members Alan Sparhawk (guitar and vocals) and Mimi Parker (drums and vocals), joined by Steve Garrington (bass guitar). Previous bassists for the band include John Nichols from 1993 to 1994; Zak Sally from 1994 to 2005 and Matt Livingston from 2005 to 2008.

The music of Low is characterized by slow tempos and minimalist arrangements. Early descriptions sometimes referred to it as a rock subgenre called “slowcore” often compared to the band Bedhead, who played this style during the 1980s and early 1990s. However, Low’s members ultimately disapproved of the term.

Parker and Sparhawk’s striking vocal harmonies represent perhaps the group’s most distinctive element; critic Denise Sullivan writes that their shared vocals are “as chilling as anything Gram and Emmylou ever conspired on—though that’s not to say it’s country-tinged, just straight from the heart.

Christmas is an EP by the indie rock band Low. It was released in 1999 on Kranky. A Christmas album, it was released as a gift to fans. In 2013, the A.V. Club‘s Josh Modell described it as “the religious album even heathens can love”

The Analysis—-

Just Like Christmas—-If you are familiar with Lows’ music, you notice a bit of a difference at the onset of this opening track. The music that is produced is jaunty and a bit joyous…as it probably should be. the one common bond you will hear are the beautiful voices and wonderful harmonies. Mimi has a voice that is perfect for Christmas music…perfectly angelical and delivered with true emotion. This is a beautiful and perfectly delivered track.


Long Way Around The Sea—-From the opening notes, this track is much more familiar in sound and wraps around me like a warm fuzzy blanket. The two voices come together and produce a magical winter landscape that almost brings tears to your eyes as the describe the true meanings of this maniacal time of year. This is brilliant…beautiful in construction and delivery. Just remarkable.

Little Drummer Boy—-Perhaps the most stark and beautiful version of this song I have ever heard…..even from bona fide Church choirs. The melancholy feel of the song fits perfectly with the story. The remarkable and beautiful blend of voices will produce goosebumps…you will listen to this masterpiece of a song long after the season has left you…it is that exquisite and special. The tempo is maddeningly slow…allowing you to savor every single nuance of the words and story. This is a true masterpiece.

If You Were Born Today—-Staying true to the recipe that makes this band a indie phenomenon, the plodding slowness of the music makes it even more important. The minimalist instrumentation almost insists that you truly listen to every single word and digest it as the song moves foreword. This is remarkably beautiful…sad and a reminder of the reason people celebrate this time of year. This is just an incredibly powerful song….Low can do no wrong in my book.

Blue Christmas—-Taking a poignant song and adding the bands own personal spin, allows this classic Christmas song to become even more powerful and intense. Mimi delivers such an emotional vocal that you literally feel tears spring to your eyes uncontrollably. this is stark…naked and produces a feeling like no other version is capable of. This is heart wrenching and full of melancholy. Very powerful.


Silent Night—-With an incredible guitar based intro to the song, the two voices come together in a remarkably melody that could fit into any Christmas Eve service across the world. The feeling of the song is genuine and intense…the true structure of the original firmly intact but elevated by the beauty of the voices telling this story.

Taking Down The Tree—-A bit more of a livelier track, the banjo sound is really nice. Mimi adds her subtle percussion and Alan comes through with that sometimes really high vocal he sings in. The song has a sad element…as things are wrapped up for the season and we fall back into the mundane elements of winter as we aim for spring. This can produce a large array of feelings depending where you are at this point in the ‘season’….but that is the joy of this band.

One Special Gift—-Another track to wrap up this masterpiece of a release, that speaks of the let-down of the end of the season and the results of all the mayhem and the trials of the crazy thing we call Christmas. This is a poignant track…reminding me of the O’Henry tale about the combs. This is stark…naked and beautiful. A masterpiece.

*****out of 5