Candlemass - From The 13th Sun (1999)

Country: Sweden
Language: English
Genre: Doom Metal
Style: Epic Doom
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© 1999 Music For Nations
AllMusic Review by Eduardo Rivadavia
Having recklessly disfigured the iconic Candlemass doom sound on 1998's Dactylis Glomerata -- an album originally slated for release by Leif Edling's side band Abstrakt Algebra -- both bands' bassist and songwriter-in-chief set about trying to cover his tracks with the following year's back-to-basics From the 13th Sun, which was fittingly dedicated to Black Sabbath. A lingering affection for synthesizers and atypical science fiction lyrics (as opposed to the religious themes of yore) could not disguise the fact that new offerings like "Droid," the urgent "Elephant Star," and "Arx/NG 891" (a galaxy in the Andromeda constellation, in case you were wondering) ultimately harked back to Candlemass' trustworthy doom rudiments. Others, like the deluge-soundtracked "Tot," snail-paced "Blumma Apt," and ogre-slaying "Galatea," didn't even chance foreign sonic ingredients, while the mandatory ten-minute monument "Cyclo-F" dabbled here and there before succumbing to the cheapest possible time-filling gimmick: the drum solo. Which is to say that, despite its commendable re-dedication to Candlemass' core values, From the 13th Sun was no unqualified return to greatness, and the lack of fan endorsement where it counts -- in record stores -- pretty much said it all. And so Edling would eventually feel compelled to reconvene the classic Candlemass lineup several years later (albeit briefly) for a career-revitalizing eponymous LP -- only to once again part ways in familiarly acrimonious fashion with difficult frontman Messiah Marcolin before too long. [Peaceville Records' 2008 reissue of From the 13th Sun featured a trio of more uncharacteristic session outtakes in "Oil," "Nimis," and the notably energized "Rock 'n' Roll."]

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Candlemass - Candlemass (Limited Edition) (2005)

*European limited edition. 

Contains 1 bonus track. 10 tracks total.

Country: Sweden
Language: English
Genre: Doom Metal
Style: Epic Doom
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© 2005 Nuclear Blast Records
AllMusic Review by Eduardo Rivadavia

The arduous three-year process of reuniting Candlemass' "classic" lineup had all the makings of a psychodrama: one where an innocent wedding-day jam incredibly led to sporadic live performances; then rather noncommittal songwriting sessions that progressed into the recording of actual demos; and after everything fell apart at the last minute due to the usual "irreconcilable differences," a just as unexpected about-face that allowed the album in question to suddenly emerge in 2005! In other words, unlike so many band reunions, which retrospectively seem to quickly transform from impossible to inevitable, this special occasion should not be taken for granted by any fan of the Swedish doom titans -- it was hardly guaranteed. Having clarified this, possibly the most surprising thing about this long-awaited comeback is that despite its eponymous simplicity and white-cover starkness, Candlemass aspires to far more than the mere rekindling of a very successful formula; it represents the work of a band intent on moving inexorably forward. Such a combustible mixture of nostalgic purity and novel vitality can be immediately felt in the astonishing, irresistible drive of opener "Black Dwarf," the familiarly descending melodic figures of the lumbering "Seven Silver Keys," and the hypnotically circling riffs and grandiose contrasting keyboards of "Assassin of the Light." Varying degrees of the known and unknown follow, and for every new stretch like the space-themed "Copernicus" or the atypically political "Born in a Tank," there are prototypical and fantastical Candlemass doom anthems like "Witches," "Spellbreaker," and the instrumental "The Man Who Fell From the Sky." Thankfully, there is but one of the latter, since, as every old-time Candlemass fan will attest, the sound they most anticipated hearing is of course the still incomparable golden wail of singer Messiah Marcolin. Even better, the portly frontman has lost none of his operatic range, and as shown by the suitably epic finale of "The Day and the Night," its unholy union with bassist Leif Edling's endless stores of Sabbathy riffs, Lars Johansson's inspired solos, and the rhythmic support of second guitarist Mats Bjorkman and drummer Jan Lindh still constitutes a perfect marriage. And so, given both the music herein and the human events that led to its unlikely creation, one's faith is restored: the power of Candlemass compels you! [Certain editions of Candlemass contain a bonus track -- yet another fast-paced, esoteric number entitled "Mars and Volcanoes."

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Candlemass - King of The Grey Islands (Limited Edition) (2007)

*Digipack release. 

Contains 2 bonus tracks. 

12 tracks total.

Country: Sweden
Language: English
Genre: Doom Metal
Style: Epic Doom
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© 2007 Nuclear Blast Records
AllMusic Review by Eduardo Rivadavia
Here we go again. With Messiah Marcolin's second acrimonious exit from the band that made him famous (and he they, in turn), Candlemass' long-suffering fans must once again contend with conflicting allegiances and emotions regarding the ongoing legitimacy of one of doom metal's charter groups. Of course, most would argue that it has always been bassist and composer Leif Edling -- not Marcolin -- who embodies the essence of Candlemass, but that doesn't make it any easier for the vast majority of their supporters to live without the operatic spark injected by the twice-departed singer's imposing vocal (and physical) presence. But live without it they must, as the hallowed Swedes forge ahead in their career via their ninth studio album, 2007's King of the Grey Islands, by welcoming none other than Solitude Aeturnus frontman Robert Lowe into the fold. This, as any veteran doom enthusiast will know, is an intriguing choice to say the least, since Lowe's former band was frequently described as "America's answer to Candlemass," therefore only heightening curiosity as to how he'll fare -- especially since, for their part, Edling and his instrumental cohorts have delivered a selection of songs that's easily as strong and consistent as that of their most recent, eponymous effort with Messiah at the helm. Even so, it must be said that Lowe's exceptional pipes still come across like José Carreras as compared head-on to Marcolin's booming Pavarotti in terms of sheer, stupefying power, but Lowe's range as a stylist is arguably more versatile, as he is capable of exploring softer cadences on songs like "Of Stars and Smoke" and the curiously Slayer-ish "Embracing the Styx." The band also achieves truly sterling results on epic old-school crawlers like "Devil Seed," "Destroyer," and the more energetic "Clearsight," as well as a few not so good ones like the Cathedral-styled "Emperor of the Void" and "Demonia 6." So even if there's never a satisfying consensus over this whole "Messiah mess" (and there won't be!), doom fans can rest assured that King of the Grey Islands once again proves Candlemass' enduring relevance and near supremacy in the upper echelons of the doom field.

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Candlemass - Death Magic Doom (2009)

*U.S. pressing

Contains 1 bonus track. 

9 tracks total.

Country: Sweden
Language: English
Genre: Doom Metal
Style: Epic Doom
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© 2009 Nuclear Blast Records
AllMusic Review by Alex Henderson

Candlemass founder/bassist Leif Edling has been quoted as boasting that Death Magic Doom is "the best album we have recorded since Nightfall." Edling definitely exaggerates; this 2009 release isn't their best album since that 1987 classic. But Death Magic Doom is excellent nonetheless, and it could easily go down in history as one of the finest metal releases of 2009 -- regardless of the absence of Messiah Marcolin. Some longtime Candlemass fans have a hard time believing that the influential doom metal band can excel without Marcolin on lead vocals, but truth be told, other lead singers have also served Candlemass well along the way (including Johan Längqvist in the beginning, Tomas Vikström in the early '90s, and Björn Flodkvist in the late '90s/early 2000s). And on Death Magic Doom, Robert Lowe (of Solitude Aeternus fame) has no problem rising to the occasion. A powerhouse of a singer, Lowe brings an appealing, somewhat Ronnie James Dio-ish quality to darkly melodic, Black Sabbath-influenced gems such as "Hammer of Doom," "Clouds of Dementia," "The Bleeding Baroness," and "Demon of the Deep." Lowe really goes that extra mile -- and between the impressively consistent songwriting and Lowe's inspired vocals, Death Magic Doom is clearly a winner. Nonetheless, some of Marcolin's admirers will refuse to listen to this 47-minute CD because of his absence and will wish that his reunion with Candlemass had worked out; that is to be expected. But Lowe's performances are nothing to complain about -- and even though Death Magic Doom isn't Candlemass' best album in 22 years as Edling has claimed, it is nonetheless an exciting addition to their catalog.

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Candlemass - Psalms For The Dead (2012)

Country: Sweden
Language: English
Genre: Doom Metal
Style: Epic Doom
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© 2012 Napalm Records
AllMusic Review by Eduardo Rivadavia

Candlemass did not act frivolously when selecting the title for their 11th career album, and third working with former Solitude Aeturnus singer Robert Lowe: Psalms for the Dead. In tandem with its mid-2012 release came the announcement that the celebrated Swedish doom titans would carry on touring now and then, but otherwise refrain from composing and recording new material, effectively marking the end of an often turbulent but overwhelmingly triumphant quarter-century run. Frankly, given the musical evidence at hand, it was time. By and large, Psalms for the Dead is another fine collection of songs: neither as brilliant nor as flawed as Candlemass' best and worst efforts past, consistent with the other two LPs (note the frequent backing organs) graced by Lowe's powerful operatic style, but creatively stagnant nonetheless. Clearly, Candlemass leader Leif Edling knows there's simply no point trying to mess with fan expectations or his band's well-established aesthetic (he's tried already), so why carry on beating it to death indefinitely? And for every persistent show of continued genius working within those limitations (including suicidal highlights like "Dancing in the Temple [Of the Mad Queen Bee]" and "The Lights of Thebe"), one must ask how long can grown men keep churning out songs about prophets ("Prophet") or waterwitches ("Waterwitch"), whatever they are? If anything (and notwithstanding the rare display of humor via the LP-closing "Black as Time"'s Monty Python-like intro), one can confidently state that Psalms for the Dead sees Candlemass going out, if not on a high, certainly in strong health, and obviously on their own terms. Godspeed old friends.... [Shortly following the album's release, it was learned that Lowe had in fact confirmed his exit from the band, leading to the recruitment of occasional Candlemass, Therion, and Krux vocalist Mats Levén as his on-stage replacement.]

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David Bowie - Scary Monsters (And Super Creeps) (1980) ☠

Country: United Kingdom
Genre: New Wave, Pop Rock

Label Number: PCD1-3647

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☠: Selected by Lass

© 1980-1984 RCA Victor
AllMusic Review by Stephen Thomas Erlewine
David Bowie returned to relatively conventional rock & roll with Scary Monsters, an album that effectively acts as an encapsulation of all his '70s experiments. Reworking glam rock themes with avant-garde synth flourishes, and reversing the process as well, Bowie creates dense but accessible music throughout Scary Monsters. Though it doesn't have the vision of his other classic records, it wasn't designed to break new ground -- it was created as the culmination of Bowie's experimental genre-shifting of the '70s. As a result, Scary Monsters is Bowie's last great album. While the music isn't far removed from the post-punk of the early '80s, it does sound fresh, hip, and contemporary, which is something Bowie lost over the course of the '80s. [Rykodisc's 1992 reissue includes re-recorded versions of "Space Oddity" and "Panic in Detroit," the Japanese single "Crystal Japan," and the British single "Alabama Song."]

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David Bowie - Let's Dance (1983)

Country: United Kingdom
Genre: New Wave, Pop Rock

Label Number: CDP 7 46002 2

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© 1983 EMI America
AllMusic Review by Stephen Thomas Erlewine
After summing up his maverick tendencies on Scary Monsters, David Bowie aimed for the mainstream with Let's Dance. Hiring Chic guitarist Nile Rodgers as a co-producer, Bowie created a stylish, synthesized post-disco dance music that was equally informed by classic soul and the emerging new romantic subgenre of new wave, which was ironically heavily inspired by Bowie himself. Let's Dance comes tearing out of the gate, propulsed by the skittering "Modern Love," the seductively menacing "China Girl," and the brittle funk of the title track. All three songs became international hits, and for good reason -- they're catchy, accessible pop songs that have just enough of an alien edge to make them distinctive. However, that careful balance is quickly thrown off by a succession of pleasant but unremarkable plastic soul workouts. "Cat People" and a cover of Metro's "Criminal World" are relatively strong songs, but the remainder of the album indicates that Bowie was entering a songwriting slump. However, the three hits were enough to make the album a massive hit, and their power hasn't diminished over the years, even if the rest of the record sounds like an artifact.

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David Bowie - Tonight (1984)

Country: United Kingdom
Genre: Pop Rock

Label Number: CDP 7 46047 2

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© 1984 EMI America
AllMusic Review by Stephen Thomas Erlewine
On the basis of Tonight, it appears that David Bowie didn't have a clear idea of how to follow the platinum success of Let's Dance. Instead of breaking away from the stylized pop of "Let's Dance" and "China Girl," Bowie delivers another record in the same style. Apart from the single "Blue Jean," none of the material equals the songs on Let's Dance, but that doesn't stop Tonight from becoming another platinum success. Nevertheless, the record stands as one of the weakest albums Bowie ever recorded.

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David Bowie - Never Let Me Down (1987)

Country: United Kingdom
Genre: Pop Rock

Label Number: CDP 7 46677 2

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© 1987 EMI America
AllMusic Review by Stephen Thomas Erlewine
David Bowie broke away from the mainstream pop of Tonight with 1987's Never Let Me Down, turning out a jumbled mix of loud guitar rockers and art rock experiments like the failed "Glass Spider." While it's not as consistent as Tonight, it's far more interesting, with the John Lennon homage of the title track being one of his most underrated songs.

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Our Lady Peace - Clumsy (1997)

Country: Canada
Language: English
Genre: Alternative Rock

Label Number: CK 80242
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© 1997 Columbia Records
AllMusic Review by MacKenzie Wilson
Two years after their impressive debut, Our Lady Peace continue their rock journey with Clumsy. This time around, the melodies are more comfortable and the roaring rock riffs are calmer, resulting in a sound that earned Our Lady Peace the highest sales of their career. Raine Maida's lyrical screeching remains intact, sounding quite inviting on songs such as "Big Dumb Rocket" and "Automatic Flowers." The intensity found on the first album is a bit more tame, but Clumsy still beats the sophomore slump, and leadoff single "Superman's Dead" shows Our Lady Peace creating a unique type of post-grunge music. The album does introduce a more mature Our Lady Peace, and Maida's songwriting is far more internal, a reflection of personal imperfections and consequences that help fuel standout ballads like "4 A.M." But what makes Our Lady Peace a powerful act is their desire to keep it real on their own turf. Many may criticize Clumsy as less desirable, but it's their own deal. And that's how rock & roll should be, anyway.

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Doro - Love Me In Black (Limited Edition) (1998)

*Limited Edition. Contains 1 bonus track. 15 tracks total.

Country: Germany
Language: English, German (Deutsch)
Genre: Hard Rock
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© 1998 WEA
*No professional reviews available for this release.

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Doro - Fight (2002)

Country: Germany
Language: English
Genre: Hard Rock
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© 2002 Steamhammer Records
AllMusic Review by Alex Henderson
When Nirvana and Pearl Jam exploded commercially in the early '90s and alternative rock became mainstream, a lot of '80s headbangers fell by the wayside. Pop-metal hair bands (Poison, Warrant) and gothic-themed fantasy metallers (Iron Maiden, King Diamond) both went out of vogue, and in this brave new rock world, the headbangers who were considered cutting edge embraced alternative metal (which could be anything from Ministry to Sevendust to Rage Against the Machine). But Doro is one '80s survivor who has kept plugging away; she isn't headlining Madison Square Garden, but still caters to a loyal group of die-hard fans. Released in 2002, Fight finds a 37-year-old Doro continuing to sound quite assured and passionate. The former Warlock vocalist makes a few alterna-metal-ish moves here and there, especially on the title track and "Descent" (which employs Type O Negative's Peter Steele). But Doro doesn't get nearly as far into alterna-metal as -- just to give one example -- Mötley Crüe graduate Tommy Lee. While Lee made a totally clean break from an '80s-like sound with his Methods of Mayhem project of 1999, Doro hasn't forgotten the '80s. In fact, many of the tunes are fairly '80s-sounding, including "Chained," "Fight By Your Side," and the power ballad "Legends Never Die" (which Kiss' Gene Simmons contributed). And for Doro's longtime fans, that isn't necessarily a bad thing. Those who have been following the German goddess religiously since the '80s will probably take comfort in knowing that even though a few of the tunes make alterna-metal-ish moves, Fight is generally quite faithful to her history. Although 1989's Force Majeure remains Doro's most essential solo album, her hardcore followers will find 2002's Fight to be an inspired, focused, and rewarding addition to her catalog.

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Virgin Steele - Noble Savage (1985)

Country: U.S.A.
Genre: Heavy Metal
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© 1985-1988 Steamhammer Records
AllMusic Review by Bryan Reesman
Originally released in 1985, this romantic metal masterpiece was later reissued through the German T&T label with six bonus tracks, some from that time period. Noble Savage showcases David DeFeis' incredible vocal range, Edward Pursino's fiery guitar playing, and a savage rhythm section that gives the sophisticated music primal undertones, thus living up to the album's title. Not only are symphonic elements present, but the band flirted with medieval and jazz influences on a couple of tracks.

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Virgin Steele - Age of Consent (1988)

Country: U.S.A.
Genre: Heavy Metal
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© 1988 Maze Music
AllMusic Review by Bryan Reesman
While Age of Consent features a couple of epic tunes, it generally focuses on shorter, slicker tracks. The band obviously is adept at more commercial numbers, and tunes like the savage "Chains of Fire" push home the point. But the main attractions are the epic "Burning of Rome" and the galloping "Lion in Winter."

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Virgin Steele - Life Among The Ruins (1993)

Country: U.S.A.
Genre: Heavy Metal
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© 1993 Shark Records
AllMusic Review by Bryan Reesman
This is the most overtly commercial of Virgin Steele's albums. It does have its moments: the anthemic '80s rocker "Love Is Pain," the tender ballad "Last Rose of Summer," and the highly libidinous, Zeppelin-esque "I Dress in Black." Some of the best pieces are the shorter keyboard instrumentals.

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Virgin Steele - The House of Atreus: Act I (1999)

Country: U.S.A.
Genre: Heavy Metal
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© 1999 Noise Records
AllMusic Review by Steve Huey
The House of Atreus, Act 1 is an incredibly ambitious project even for Virgin Steele, a band whose recent recordings centered on no less a concept than The Marriage of Heaven and Hell. It is essentially a partial retelling of the Greek tragedy concerning the royal family cursed by a hideous act of cannibalism and doomed in the aftermath of the Trojan War; the music is appropriately epic and grandiose, borrowing from classical and prog rock as well as traditional, straight-ahead British-style metal. To be sure, there are times when the music collapses under its own bombast or the weight of its pretensions, but it's surprising that Virgin Steele pulls off this project as well as they do.

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Virgin Steele - The House of Atreus: Act II (2000)

Country: U.S.A.
Genre: Heavy Metal
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© 2000 Noise Records
Reviewed by Chris for Metalreviews.com

Well, I'm always speechless lately when I listen Virgin Steele music... and I'm not surpised at all by the quality of this new opus. David Defeis is someone, he's really someone, I never met him and never had the opportunity to talk to him yet and I strongly hope that I get the chance to congratulate him for his genius... I deeply respect him, that's for sure !
This is not far from the perfect album... It's better than Act 1, and almost as good as Invictus, which for me IS the perfect release no questions asked :). House Of Atreus are metal operas (in two parts), actually Barbaric Romantic operas. And that's really that, I mean you get a lot of feelings and warmth from David clean vocals, like the guy is an angel or something (really !!!) and such aggressivity on his harder vocal parts. Like Pretty Maids singer, he can alternate clean and aggressive vocal, but the range is simply huge, like I said, it could be contrasted to angel and demon. Simply amazing, one of my favorite singers now !
House Of Atreus Part Two is the continuation of Act 1 but with less instrumental / story moments... everything or almost are songs now... and that's way better I'd say. And you get music for your money, 2 CDs !!! more than 90 minutes of music... I still can't believe it... Virgin Steele became one of my favorite bands right after Invictus and still are. This is a real metal opera piece if you ask me, and if you want to know what it felt to live in Greek old ages, with plots, betrayals, murders and playing with the Gods, then Virgin Steele is the band you are seeking for. But be prepared to be knocked on your feet, just like Zeus on mount Olympus, cause I'm sure David's voice is disturbing his sleep :) !
Two thumbs up !! I kneel and pledge allegiance to metal and to Virgin Steele ! The metal opera as seen in the divine vision of David Defeis requires the listener full attention, you might not like it on the first time unless you really listen to the music. Even so, I think this opus is a lot more accessible than the previous one though (because there's less intrumental/speech than Act 1). For me it's a buy-or-die-ignorant album and one of the best releases of this year.

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Virgin Steele - The Black Light Bacchanalia (2010)

Country: U.S.A.
Genre: Heavy Metal
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© 2010 Steamhammer Records
AllMusic Review by Alex Henderson
Power metal is full of young classicist/retro bands that didn't come along until the 2000s, but have faithfully emulated the old-school power metal bands of the '70s and '80s. The young revivalists certainly have their place; some of them are quite good, but it is important to hear the bands that are actually old enough to have experienced power metal's classic era first hand, and while Virgin Steele aren't as well known as Judas Priest or Iron Maiden, they are metal survivors who have been around since 1981. Creatively, Virgin Steele have had their ups and downs over the years, but The Black Light Bacchanalia turns out to be one of their more consistent efforts. This 2010 release, which comes 29 years after the band's formation, is melodic power metal at its most epic. Virgin Steele are as epic on "The Tortures of the Damned" and "In a Dream of Fire" as they are on "The Orpheus Taboo," "Pagan Heart," "Eternal Regret," and "By the Hammer of Zeus and the Wrecking Ball of Thor." There is a lot of complexity here; progressive rock is an obvious influence, and the album isn't easy to absorb on the first listen. But the more that one gets into The Black Light Bacchanalia, the more he/she realizes just how much craftsmanship went into the material. The Black Light Bacchanalia has plenty of aggression, but there is also melody, nuance, intricacy, and songcraft galore. And lead singer David DeFeis handles the aggressive and melodic elements equally well; he knows when to growl or bark with intensity, but he also brings an abundance of sensitivity to the table. Many headbangers who have been following Virgin Steele for a long time will acknowledge that some of their albums have been excellent while others have been erratic and inconsistent; The Black Light Bacchanalia, thankfully, is a fine album that these veteran metalheads can be proud to add to their sizable catalog.

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The Verve - A Northern Soul (1995)

Country: United Kingdom
Genre: Alternative Rock

Style: Brit Pop

Label Number: 7243 8 40437 2 8; YARD CD13

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© 1995 Vernon Yard Recordings
AllMusic Review by Jason Ankeny
Though shorn of the more overtly shoegazer-styled elements of their debut A Storm in Heaven, the Verve's sophomore effort A Northern Soul is no less epic in scope, forging a heavier, more traditionally psychedelic sound infused with a chaotic energy which mirrors the emotional upheaval at the heart of Richard Ashcroft's songs. Reportedly produced under the influence of excessive drug use, the album is harrowingly intense, its darkly hypnotic momentum steered by Nick McCabe's spiraling guitar leads and Ashcroft's incantatory vocals; tracks like the remarkable "On Your Own," "So It Goes," and the majestically morose "History" are searing evocations of isolation and desperation, soaring yet heartbreaking anthems of disillusionment and loss.

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The Verve - Urban Hymns (1997) ☠

Country: United Kingdom
Genre: Alternative Rock

Style: Britpop

Label Number: 7243 8 44913 2 1

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☠: Selected by Lass

© 1997 Virgin, Hut Recordings
AllMusic Review by Stephen Thomas Erlewine
Not long after the release of A Northern Soul, the Verve imploded due to friction between vocalist Richard Ashcroft and guitarist Nick McCabe. It looked like the band had ended before reaching its full potential, which is part of the reason why their third album, Urban Hymns -- recorded after the pair patched things up in late 1996 -- is so remarkable. Much of the record consists of songs Ashcroft had intended for a solo project or a new group, yet Urban Hymns unmistakably sounds like the work of a full band, with its sweeping, grandiose soundscapes and sense of purpose. The Verve have toned down their trancy, psychedelic excursions, yet haven't abandoned them -- if anything, they sound more muscular than before, whether it's the trippy "Catching the Butterfly" or the pounding "Come On." These powerful, guitar-drenched rockers provide the context for Ashcroft's affecting, string-laden ballads, which give Urban Hymns its hurt. The majestic "Bitter Sweet Symphony" and the heartbreaking, country-tinged "The Drugs Don't Work" are an astonishing pair, two anthemic ballads that make the personal universal, thereby sounding like instant classics. They just are the tip of the iceberg -- "Sonnet" is a lovely, surprisingly understated ballad, "The Rolling People" has a measured, electric power, and many others match their quality. Although it may run a bit too long for some tastes, Urban Hymns is a rich album that revitalizes rock traditions without ever seeming less than contemporary. It is the album the Verve have been striving to make since their formation, and it turns out to be worth all the wait.

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Pet Shop Boys - Actually (1987)

Country: United Kingdom
Genre: Synth Pop

Label Number: CDP 7 46972 2
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© 1987 EMI-Manhattan Records
AllMusic Review by Stephen Thomas Erlewine
With their second album, Actually, the Pet Shop Boys perfected their melodic, detached dance-pop. Where most of Please was dominated by the beats, the rhythms on Actually are part of a series of intricate arrangements that create a glamorous but disposable backdrop for Neil Tennant's tales of isolation, boredom, money, and loneliness. Not only are the arrangements more accomplished, but the songs themselves are more striking, incorporating a strong sense of melody, as evidenced by "What Have I Done to Deserve This?," a duet with Dusty Springfield. Tennant's lyrics are clever and direct, chronicling the lives and times of urban, lonely, and bored yuppies of the late '80s. And the fact that dance-pop is considered a disposable medium by most mainstream critics and listeners only increases the reserved emotional undercurrent of Actually, as well as its irony.

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Pet Shop Boys - Introspective (1988) ☠

Country: United Kingdom
Genre: Synth Pop

Label Number: CDP-7-90868-2
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☠: Selected by Lass

© 1988 EMI-Manhattan Records
AllMusic Review by Stephen Thomas Erlewine
Featuring a mere six tracks, most of them well over six minutes in length, Introspective was a move back to the clubs for the Pet Shop Boys. Over the course of the album, they incorporated various dance techniques that were currently in vogue, including Latin rhythms and house textures. The title isn't entirely an arch joke, however. Like Actually, Introspective was an exploration of distant, disaffected yuppies, which naturally resulted in a good deal of self-analyzation. Melodically, the essential song structures were as strong and multi-layered as the previous album, yet that was hard to hear beneath the varying rhythmic textures that composed the bulk of each track. Nevertheless, the mixes are more compelling than the remixes on Disco, and the songs include several of their best numbers, including "Left to My Own Devices" and "Domino Dancing," as well as the reconstruction of "Always on My Mind" and a cover of Blaze's club classic, "It's Alright."

tags: pet shop boys, introspective, 1988, flac,

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