Post-Punk music reviews

Smashing Pumpkins... Yeah, you remember them, right? They were that one band with the weird looking bald guy who dominated the airwaves/charts ten years ago. Well, like most of the people here will tell you, Siamese Dreams was their finest album and it was the pinnacle of their career. In my humble opinion, it was the only good thing to come out of the whole "Grunge" trend. But, even that doesn't do this album justice. Despite many people's accusations, the Pumpkins didn't try to capitalize on the success of Nevermind. If anything, they were more influenced by the wall of sound approach of My Bloody Valentine.

Listening to this album is an interesting experience for me. I was seven when it first came out, and even though I didn't hear the full album until around 2001/02, I remember some of these songs being played periodically on the radio. Most people do not realize just how big this band was at one time -- they were once hailed as "the new Nirvana." Of course, the label was misguided and used as a selling point. Nirvana's success was unparalleled, over hyped, and unexpected. Cobain didn't really "change the face of music" like most people like to believe. He just gave a new found recognition for bands that had once been obscure and underground. However, the Pumpkins stand on their own two feet, so do not believe the unsound comparisons to Nirvana. In any case, this is a solid album. It presents a lot of the same old overused rock cliches, but it presents them in a remarkably different way.

I think that when it comes down to 90's mainstream rock this was one of the better releases. Nowadays, most people know that the whole grunge trend was a farce. It was just the same old technique of presenting something that had been around for years as "the new." If anything, Grunge revived rock in order to kill it off in a more cruel fashion. It gave rise to the horrible rap metal, nu metal, and emocore bands that dominate the mainstream nowadays.

I used to listen to a lot of rap music like nas and biggie and underground artists until i heard today on the radio, within a week i had this amazing album in my hands and i have been listening ever since.
Now don't get me wrong i have plenty of good rock albums but this album just blew me away-there is not one bad track on the whole album. It's been 8 months since i purchased this album and i swear it hasn't left my stereo since-buy this album and find out way.......

Easily among the greatest rock albums ever. This is a must have!

When else have have seemingly mismatched driving rock and syrupy sweet vocals ever blended so well together?

Smashing Pumpkins... Yeah, you remember them, right? They were that one band with the weird looking bald guy who dominated the airwaves/charts ten years ago. Well, like most of the people here will tell you, Siamese Dreams was their finest album and it was the pinnacle of their career. In my humble opinion, it was the only good thing to come out of the whole "Grunge" trend. But, even that doesn't do this album justice. Despite many people's accusations, the Pumpkins didn't try to capitalize on the success of Nevermind. If anything, they were more influenced by the wall of sound approach of My Bloody Valentine.

Listening to this album is an interesting experience for me. I was seven when it first came out, and even though I didn't hear the full album until around 2001/02, I remember some of these songs being played periodically on the radio. Most people do not realize just how big this band was at one time -- they were once hailed as "the new Nirvana." Of course, the label was misguided and used as a selling point. Nirvana's success was unparalleled, over hyped, and unexpected. Cobain didn't really "change the face of music" like most people like to believe. He just gave a new found recognition for bands that had once been obscure and underground. However, the Pumpkins stand on their own two feet, so do not believe the unsound comparisons to Nirvana. In any case, this is a solid album. It presents a lot of the same old overused rock cliches, but it presents them in a remarkably different way.

I think that when it comes down to 90's mainstream rock this was one of the better releases. Nowadays, most people know that the whole grunge trend was a farce. It was just the same old technique of presenting something that had been around for years as "the new." If anything, Grunge revived rock in order to kill it off in a more cruel fashion. It gave rise to the horrible rap metal, nu metal, and emocore bands that dominate the mainstream nowadays.

I used to listen to a lot of rap music like nas and biggie and underground artists until i heard today on the radio, within a week i had this amazing album in my hands and i have been listening ever since.
Now don't get me wrong i have plenty of good rock albums but this album just blew me away-there is not one bad track on the whole album. It's been 8 months since i purchased this album and i swear it hasn't left my stereo since-buy this album and find out way.......

Easily among the greatest rock albums ever. This is a must have!

When else have have seemingly mismatched driving rock and syrupy sweet vocals ever blended so well together?

U2-Achtung Baby *****

The greatest album of all time? Maybe. We certainly wouldn't have the U2 of today without this album. Thats right no All That You Can't Leave Behind, no How To Dismantle An Atomic Bomb. Achtung Baby laid the blueprint for what would become modern day U2. No more western influence, no more country western sounds (well except for the occasional stunt with the late and very great Johnny Cash). With Achtung Baby U2 embraced the underground techno-club scene that was happening in Europe at the time and brought it into rock and roll. While throwing all caution to the wind and letting any and all ideas be used and letting all the creativity flow U2 managed to create one of the if not the all time greatest rock and roll album. One things for sure it offers something for everyone.

Bono, what can you say about this man that hasn't already been said a hundred fold? As a person he is amazing, as a musician he is even better. His voice reached a peak on this album. Sometimes operatic, at times raspy, and others just signature Bono. Many believe that Bono hit a lyrical peak with this album, and their write. Much wider of subject matter, and more passion behind the subjects. The Edge absolutely kills on this album. Simply fantastic. Doubt able that he ever played better then on this album before or since. `The Fly' alone is a testament to that. Larry and Adam did more then step out of the box on this record they created a whole new one, one that many weren't ready for but were glad to hear.

`Zoo Station' opens the album, a song that threw many for a loop at first listen. "This isn't U2!" Well it was and a totally new U2, one that was better then ever. A great way to open the album. `Even Better Than The Real Thing' is one of the strongest tracks on the album and a true fan favorite. A classic in fact.

`One' The single greatest song the band ever recorded. Nothing like it in the bands cannon or in anyone elses. Perhaps the most misunderstood song ever along side The Polices' `Every Breath You Take.' If you were to compile a list of the greatest songs of all time this would be in the top fifteen.

`'Until The End Of The World' is a downer. It points the finger at all the downers in the world and yet at the same time makes you feel better about yourself for not being one, unless you are then, sorry.... `Who's Gonna Ride Your Wild Horses' is one of the most original songs in the history of rock. The entire production behind the song is fantastic. The lyrical content is nothing short of amazing. Truly a classic among classics. `So Cruel' is slower and very melodic. Very deep with beautiful lyrics, some of Bono's all time best.

`The Fly.' `The Fly' is the coolest and most original song the band ever recorded. Totally uncatogorizable. It's rock, yet soul, and Gospel and so many more things all at the same time. It features a killer guitar solo by The Edge, one if his all time best, not to mention the brilliant guitar riff. The lyrics are a personal favorite, and the doweling chorus is over the top.

`Mysterious Ways' was the biggest hit single off Achtung Baby, and for good reason it has the greatest groove ever. The lyrics are so catchy it's ridiculous. `Trying To Throw Your Arms Around The World' is a really pretty song. Not sur eon the subject matter but one things for sure this is one of the bands all time best songs. Hands down. `Ultra Violet (Light My Way)' is a great song. Very spacey and different. One of the better songs on the album really. `Acrobat' is too cool to put into words. This is one song that must be heard to be understood, brilliant. `Love Is Blindness' is a very cliche song title, and in reality the lyrics follow the same pattern. But that doesn't take away from the greatness of the song. Easily the best choice for the closer.

The Joshua Tree showed us that U2 could fill arenas, Achtung Baby showed us that U2 was and still is one of the greatest bands in the history of rock and roll. So when I think of how to end this review a saying comes to mind, "Ahead Of It's/Their Time," well that just simply will not do. Timeless is more like it. Highly, Highly recommended.

I am not one of those that can say that I know the trajectory of U2. Im more of a prog rock fan in this field. However, I can spot good rock-pop music, and this album has it.. do not know the context of the bands evolution, but this is art.

Achtung Baby began the era where U2 went from earnest, socially-conscious Irishmen/Englishmen to "cool" rockstars who simply cared. They abandoned the mountain men clothes and bought some shades and leather. They left the desert, and put on dresses and makeup. Maybe one day we'll forgive them for that last part.

Achtung (Attention) Baby is U2's best album I've heard. The songs have more of an edge (no pun intended), and the album is more interesting than The Joshua Tree.

I'm hard to please when it comes to the idea of a "perfect album." Even records I've given 5 stars to, have at least one dud. AB is no exception: I don't care for The Fly. But as a listener and lover of music, I know that this song suffers from relativity. It sounds sub-par because of the stellar company it's in.

One is not just U2's greatest song, but the greatest song of all time. Forget Smells Like Teen Spirit and Billie Jean. One is the best. No matter how many times I listen to it (which seems to be on average 5 times a week) I get chills all over again. It is never a chore to listen.

Achtung Baby is great. It would be even greater if it were remastered. In fact, U2 need to remaster all of their albums from the 80s and early 90s. Then, I wouldn't hesitate to pick up War, and to listen to The Joshua Tree more than I do.

Ive been listening to this album for what feels like forever. and i still analyse the songs and relate. For those who know the offspring and what there newer albums have to offer please for the love of god check this out and it will be a life changing experience.. then thank me! After all who else writes legendary lines like "if you look away, you'll be doing what they say, and if you look alive you will be singled out and tried" i mean who? Also(going off the album) you get a cance to see them live, the atmosphere created is one of a kind.

this has got to be the offspring's best album ever! with the classics "come out and play", and "self esteem" this IS a classic! "gotta get away", "bad habit", and "nitro (youth energy)" are a couple more of the great songs on this CD. so if you're thinking about listening to any of the offspring's albums - this should definetly be your first choice! the songs in the beginning are better than the ways later on the album.

time to relax: 10/10 just a good intro, because you have no clue what to expect next!
nitro (youth energy): 10/10 awesome drum roll in the beginning! and it has a great sound - and tone!
bad habit: 10/10 some of dexter's clever lyrics about how lame *ss drivers tick him off!
gotta get away: 10/10 awesome song! great vocals, guitars - etc.!
genocide: 8/10 yeah a good song, i guess it can grow on you
something to beleive in: 7/10 not the best song. it just has a wierd sound.
come out and play (keep 'em seperated): 10/10 holy [...] - the best offspring song ever! the lyrics are so true. and the beat and rythmn MAKE you like the song - and the guitar riffs make the song fun.
self esteem: 10/10 another one of their greats! the bassline makes the song 20 times better - and it's hard to just not like the song!
it'll be a long time: 7/10 not the best.
killboy powerhead: 9/10 i just like the song overall.
what happened to you?: 6/10 to me this is one of those songs i'll probably only listen to once or twice my whole life...i don't think the ska thing is working that great for them...
so alone: 7/10 nothing really hits me about this song.
not the one: 7/10 same.
smash: 10/10 one of my personal favorites, because...for whatever reason - i honestly do not know...

The Offspring's recent albums may be really dissapointing, but because of their older albums, particularly Smash, I will always have respect for them and they will remain one of my favourite bands. People say all the time how 94 was a great year for punk, and this album is one of the reasons why.

Like all truly great albums, this one is great from beginning to end, starting with the witty "Time to Relax" down to the punk anthem "Smash". For one, these guitar riffs are just incredible, and the lead singer Dexter has got a really awesome voice. These two elements come together to create 13 of the best modern punk songs ever. "Come Out and Play" and "Self-Esteem" are classics, no question. "Nitro (Youth Energy)", "Gotta Get Away", and "What Happened To You" are some of my personal favourites, but like I said before, all these songs are great.

If you like punk/rock music, then you need to buy this album as soon as you possibly can because it would be a crime not to have this CD. Fans of newer Offspring should also check this out to hear what they were like before. I promise you will not be dissapointed. This is one of the best albums of the 90s, and really, it belongs in any CD collection.

I was introduced to The Cure in 2004, when I heard "Pictures of You" in an HP commercial, and liked the song. If I get a Cure CD, I might get this or "Galore." I think this is their signature album!

Honestly, I'm having difficulty thinking of what to say about Disintegration. What hasn't already been said about this album? It really is one of the greatest albums of musical history, and easily the best album by The Cure. However, I will admit that I am not a Cure fan in regards to the volume of their works. The only albums I enjoy are Disintegration, Bloodflowers, and Wish, in that order, which I guess you could say are their most accessible albums. The rest of the albums are a great big meh for me, and I just don't find them interesting or very listenable. As for Disnitegration, it is a masterpiece in every sense of the word. The songs are all perfectly written and produced, with no subtle sound being out of place, and no track over-wrought with excessive production. The vocals are brilliant, the lyrics are haunting, and the music is varied and majestic. Between dark rockers like Lullaby and poppy love songs like Pictures of You, Disintegration covers the gamut of fantastic music, and no song is mediocre on this album. If you can't listen to the album from start to finish, there might be something wrong with you. If you don't own it, buy it. If you don't like it, get some taste.

From the opening notes of Plainsong to the final bits of Untitled, Disintegration grabs the listener and envelopes them in its own dark atmosphere. Everyone has heard of Pictures of You and Love Song, But the true gem is the incredible Same Deep Water as You. Each note is clear and distinct, without distraction and overlapping sounds. Every instrument is precise and vibrant. In Lullaby, Robert Smith practically exhales every word as beautiful strings play in the background. This is an album that brings the listener into its world and shares its wonderful story.

This CD is awesome. This is what really established Less Than Jake in the public scene. This is a great album, full of catchy horns and just overall great ska. Some would say this is LTJ's best album, but I tend to like their newer stuff. That's the only reason I gave it a four, because I was comparing it to those. It's worth it if you are a LTJ fan at all.

This is one of my favorite LTJ albums. I am going to review each song searately so you can decide if you want this cd. (and you probably will.)
1. Automatic 5/5: The album opens with an old guy saying "This is the old dude Howie J. Reynolds and you're listening to Less Than Jake." Right after that, Automatic begins starting out with a great bass and then the trombone comes in. This is a very good song.
2. Happy Man 4/5: This is a pretty good, fast song, but it isn't my favorite. The lyrics are about a guy who is constantly working.
3. 9th at Pine 5/5: This is a pretty good one.
4. Sugar in Your Gas Tank 5/5: If I had it in me I'd stop my random thoughts and my dumb dreams, then I could deal with this non-stop spinning world (lyrics from the song.)
5. Shindo 4/5: Slower, but still good. Nice duet with both singers (Chris and Roger).
6. 107 5/5: This song is awesome! At one part, the singer yells "You're going down!" And now I always imitate that when one of my friends does something to antogonize me (like flicking my ear with a spoon.)
7. Johnny Quest thinks we're Sellouts 4/5: HahAhaHa! this is funny since Johnny Quest is an old cartoon character!
8. Krazy Glue 5/5: A pretty cool song about following your own point of view and not giving in to tradition.
9. Never Going back to New Jersey 5/5: Pretty cool.
10. How's my driving, Doug Hastings? 3/5: It could have gotten a 5 out of 5, but there is just too much profantiy in this one.
11. Just Like Frank 4/5: Nice one
12. Ask the Magic 8 Ball 5/5: Something about this makes me think of Lego Island. Don't ask. I have no clue why.
13. Dopeman 4/5: Cool drums and horns on this one.
14. Jen Doesn't like me anymore 5/5: How can Jen not like him when he's the lead singer of one of the best bands ever?
15. Rock N' Roll Pizzeria 4/5: Why is this song called Rock N' Roll Pizzeria!?!
16. Lockdown 4/5: Nice close to a great album.

All in all, this is a great album. If you like ska, punk, or rock in general, you have to get this for your collection. Also check out the albums "Hello Rockveiw" and the new one "In With the Out Crowd."

This CD is one of their best by far. All my favorite songs are on this. They truly shine through this CD, if your a Less Than Jake fan this is a must buy CD!

While I am a fan of every Jimmy Eat World album, Clarity is easily the most meaningful and sonically beautiful experience they have ever laid to tape. Originally released in 1999, J.E.W.'s Clarity helped lay the groundwork for many of the bands I enjoy today (for instance, just listen to "Your New Aesthetic" and tell me that Brand New's Jesse Lacey didn't have this album lying around while writing Deja Entendu). In my opinion, Clarity is one of the most underappreciated albums to be released within the last ten years as every aspect of this recording is near flawless. From the gorgeous vocal harmonies and melodies to the layered string sections, this album just exudes brilliance. Much time was spent in the studio perfecting every track and it shows as each song is an epic ride, taking the listener through various moods and emotions that are at times soothing and energetic.

"Table for Glasses" leads off the album and can only be described as a constant build. Beginning as a slow shoegazer, the song eventually launches into a wonderful vocal round sang by Adkins with harmonies provided by fellow guitarist Tom Linton. With Adkins' earnest plea of "lead my skeptic side," the listener is drawn into a glorious head rush of vocal harmonies, chugging guitars, and bell chimes that must be heard to truly understand. It is this opening song that sets the amazing mood and high standard for the entire album.

"Lucky Denver Mint" is a faster track with an almost "dancy" drumbeat that is contrasted by Adkins' slow and deliberate vocal delivery. The first single from the album, it is truly a shame that this great song fell on deaf ears when hitting the airwaves. "Believe in What You Want" features choppy guitar rhythms for the verses before delving into an unexpected time change in the chorus that works remarkably well. "Crush" is an all out rocker that provides great lyrics, a memorable chorus, and raw emotional lyrics from Adkins while "For Me This is Heaven" relies on string arrangements and acoustic guitars to deliver arguably the best song on the disc.

I could easily write a novella about Clarity, but it is the music on the album that speaks volumes. It can be argued that great art is often misunderstood and unappreciated when first presented, which was exactly the case with J.E.W. as they were dropped from Capitol Records after the release of this album. Everything about this work (from Mark Trombino's excellent production to the great lyrics and song structure) showcases J.E.W. at the top of their game. Those who appreciate great music will recognize the genius of this album while casual music fans will prefer the watered down sound of J.E.W.'s next self-titled album (originally Bleed American). Thus, I urge anyone who is only familiar with J.E.W.'s latter work to return to the time when they were not radio darlings, but a relatively small band who had much to prove.

I'm not going to explain the songs here. I'm not going to list the high points and low points of the album (as if there were such a thing). I'm simply going to say - I've had this album for a long time now, and when I first got it I was obsessed and worshipped every speaker it played from. I listened to it tonight for the first time in a while, and all I could do was cry.

Occassionally a song will make you cry. This is an album that does it effortlessly. If you are a person who is able to get truly lost in music - meaning closing your eyes, blocking the world out, and sinking into the sound, forgetting you are even human - then you need to get this album to understand the definition of ethereal.

Every once in a while, you come across an album that not only impresses you, but just really makes you feel grateful to be alive. Something that just makes the world that much better of a place, knowing that something like this exists. For me, "Clarity" is one of these albums. I enjoy every incarnation of Jimmy Eat World, from the raw, indie punk of the early days, to the more radio-friendly sound they've adopted more recently, but this album is where everything just really came together. "Clarity" is huge, daring, multi-layered, unpredictable, and just mesmerizingly beautiful.

Here, the band really pull out all the stops. As compared their later work, there are far few catchy hooks, instead opting for massive soundscapes, and sweeping melodies. However, that's not to say that there's no hook power to be found here, as the elegant power ballad "Lucky Denver Mint" (which was sort of a minor hit) boasts a strong, driving melody, and one of the band's best choruses. "Your New Aesthetic", the band's rousing protest against commercialism in music, toggles wildly between power pop hooks and crashing Fugazi-like riffs. "Blister" and "Crush" are fast, hard, punk rock anthems, adding a nice sense of variety to an otherwise melodic album.

But the real brilliance here lies foremost in the epic, sweeping ballads. "Table for Glasses" opens the album, with its achingly beautiful buildup, and jaw-dropping vocal harmonies. "Ten", "Just Watch the Fireworks", and "For Me This Is Heaven" (which are all in a row) are just about the most beautiful and heart-wrenching ballads you can hope to hear, and all three of them put together are nearly overwhelming. It really is just beyond words.

Elsewhere, there's plenty of other goodness as well. "Believe in What You Want" combines lurching, offbeat rhythms with a sweeping melodic chorus. "12-23-95" is an odd, electronic-tinged track, with sparse vocals, and a tastefully done minimalist arrangement, and the title track is fluffy and multi-layered.

Now, having gotten 12 tracks into this album, you may think, at this point, that it can't possibly get any better. But guess what? IT DOES! The closing track, "Goodbye Sky Harbor", is a massive, 16+ minute epic of pure freaking divinity. It starts off seemingly conventional, your typical indie rock type song, but soon, it moves into a gargantuan instrumental section that's nothing short of magical. Centered around a simple but entrancing guitar melody, the song slowly and gradually builds an incredible atmosphere. About halfway through, the band members start doing these amazing wordless vocal harmonies, slowly layering them more and more, finally leading into a cool electronic drum bit, and culminating in a dynamite ending. While not everyone might have the attention span for something like this (if you've only heard the newer stuff, you probably can't even imagine them doing such a song), I can't get enough of it. The most experimental, and amazing thing these guys have ever done.

You know, I sort of hate writing more detailed reviews for albums I like this much, because I know that whatever crap I rattle off won't even come close to doing the experience justice. If you really love beauty in music, you really need to hear this. In the final moments before my death, I want this to be the last album I ever hear, because the way this album makes me feel is exactly how I want to feel when I leave this world. Jimmy Eat World have that rare quality of being both poignant and uplifting at the same time, like a happy memory of a time in your life you wish would never end. I don't know how they did this, but I'm forever grateful that they did.

Highly recommended.

While I am a fan of every Jimmy Eat World album, Clarity is easily the most meaningful and sonically beautiful experience they have ever laid to tape. Originally released in 1999, J.E.W.'s Clarity helped lay the groundwork for many of the bands I enjoy today (for instance, just listen to "Your New Aesthetic" and tell me that Brand New's Jesse Lacey didn't have this album lying around while writing Deja Entendu). In my opinion, Clarity is one of the most underappreciated albums to be released within the last ten years as every aspect of this recording is near flawless. From the gorgeous vocal harmonies and melodies to the layered string sections, this album just exudes brilliance. Much time was spent in the studio perfecting every track and it shows as each song is an epic ride, taking the listener through various moods and emotions that are at times soothing and energetic.

"Table for Glasses" leads off the album and can only be described as a constant build. Beginning as a slow shoegazer, the song eventually launches into a wonderful vocal round sang by Adkins with harmonies provided by fellow guitarist Tom Linton. With Adkins' earnest plea of "lead my skeptic side," the listener is drawn into a glorious head rush of vocal harmonies, chugging guitars, and bell chimes that must be heard to truly understand. It is this opening song that sets the amazing mood and high standard for the entire album.

"Lucky Denver Mint" is a faster track with an almost "dancy" drumbeat that is contrasted by Adkins' slow and deliberate vocal delivery. The first single from the album, it is truly a shame that this great song fell on deaf ears when hitting the airwaves. "Believe in What You Want" features choppy guitar rhythms for the verses before delving into an unexpected time change in the chorus that works remarkably well. "Crush" is an all out rocker that provides great lyrics, a memorable chorus, and raw emotional lyrics from Adkins while "For Me This is Heaven" relies on string arrangements and acoustic guitars to deliver arguably the best song on the disc.

I could easily write a novella about Clarity, but it is the music on the album that speaks volumes. It can be argued that great art is often misunderstood and unappreciated when first presented, which was exactly the case with J.E.W. as they were dropped from Capitol Records after the release of this album. Everything about this work (from Mark Trombino's excellent production to the great lyrics and song structure) showcases J.E.W. at the top of their game. Those who appreciate great music will recognize the genius of this album while casual music fans will prefer the watered down sound of J.E.W.'s next self-titled album (originally Bleed American). Thus, I urge anyone who is only familiar with J.E.W.'s latter work to return to the time when they were not radio darlings, but a relatively small band who had much to prove.

I'm not going to explain the songs here. I'm not going to list the high points and low points of the album (as if there were such a thing). I'm simply going to say - I've had this album for a long time now, and when I first got it I was obsessed and worshipped every speaker it played from. I listened to it tonight for the first time in a while, and all I could do was cry.

Occassionally a song will make you cry. This is an album that does it effortlessly. If you are a person who is able to get truly lost in music - meaning closing your eyes, blocking the world out, and sinking into the sound, forgetting you are even human - then you need to get this album to understand the definition of ethereal.

Every once in a while, you come across an album that not only impresses you, but just really makes you feel grateful to be alive. Something that just makes the world that much better of a place, knowing that something like this exists. For me, "Clarity" is one of these albums. I enjoy every incarnation of Jimmy Eat World, from the raw, indie punk of the early days, to the more radio-friendly sound they've adopted more recently, but this album is where everything just really came together. "Clarity" is huge, daring, multi-layered, unpredictable, and just mesmerizingly beautiful.

Here, the band really pull out all the stops. As compared their later work, there are far few catchy hooks, instead opting for massive soundscapes, and sweeping melodies. However, that's not to say that there's no hook power to be found here, as the elegant power ballad "Lucky Denver Mint" (which was sort of a minor hit) boasts a strong, driving melody, and one of the band's best choruses. "Your New Aesthetic", the band's rousing protest against commercialism in music, toggles wildly between power pop hooks and crashing Fugazi-like riffs. "Blister" and "Crush" are fast, hard, punk rock anthems, adding a nice sense of variety to an otherwise melodic album.

But the real brilliance here lies foremost in the epic, sweeping ballads. "Table for Glasses" opens the album, with its achingly beautiful buildup, and jaw-dropping vocal harmonies. "Ten", "Just Watch the Fireworks", and "For Me This Is Heaven" (which are all in a row) are just about the most beautiful and heart-wrenching ballads you can hope to hear, and all three of them put together are nearly overwhelming. It really is just beyond words.

Elsewhere, there's plenty of other goodness as well. "Believe in What You Want" combines lurching, offbeat rhythms with a sweeping melodic chorus. "12-23-95" is an odd, electronic-tinged track, with sparse vocals, and a tastefully done minimalist arrangement, and the title track is fluffy and multi-layered.

Now, having gotten 12 tracks into this album, you may think, at this point, that it can't possibly get any better. But guess what? IT DOES! The closing track, "Goodbye Sky Harbor", is a massive, 16+ minute epic of pure freaking divinity. It starts off seemingly conventional, your typical indie rock type song, but soon, it moves into a gargantuan instrumental section that's nothing short of magical. Centered around a simple but entrancing guitar melody, the song slowly and gradually builds an incredible atmosphere. About halfway through, the band members start doing these amazing wordless vocal harmonies, slowly layering them more and more, finally leading into a cool electronic drum bit, and culminating in a dynamite ending. While not everyone might have the attention span for something like this (if you've only heard the newer stuff, you probably can't even imagine them doing such a song), I can't get enough of it. The most experimental, and amazing thing these guys have ever done.

You know, I sort of hate writing more detailed reviews for albums I like this much, because I know that whatever crap I rattle off won't even come close to doing the experience justice. If you really love beauty in music, you really need to hear this. In the final moments before my death, I want this to be the last album I ever hear, because the way this album makes me feel is exactly how I want to feel when I leave this world. Jimmy Eat World have that rare quality of being both poignant and uplifting at the same time, like a happy memory of a time in your life you wish would never end. I don't know how they did this, but I'm forever grateful that they did.

Highly recommended.

I discovered Depeche Mode lately and simultaneously realized why so many sad little kids back in the day loved them so.

Setting the spotless synth foundations for other milestone groups like Nine Inch Nails (who broke into the scene only a year earlier) Depeche Mode combines their dreamy sound with deep expounding lyrics and quavering vocals.

Obvious hits like Personal Jesus will leave you hooked. The beats, lyrics and raging guitars create a song no short of awesome.

My personal favorite is Clean, the final track which I presume is about drugs.

The album fits like a glove but falls short when you question it's consistency. Depeche Mode remains the pinnacle of gothic techno-beat producing mongols that they are surrounded by. With the exception of Nine Inch Nails, which is another discussion.

Whereas "Music for the Masses" was my personal soundtrack for the summer of 1989, Depeche's follow on album "Violator" was my soundtrack for the summer of 1990. Neither as long nor as eclectic as "Masses", Violator still rocked my young world when I popped it into my car stereo in the spring of 1990, and kept me rocking until the first frosts hit in October.

As noted in the official review, this album is more "dancy" than the previous album, but the fully-grown sound of Depeche Mode is in fine form on such classics as "Policy of Truth" and "World in My Eyes". In many ways Depeche Mode's most commercially viable album, "Violator" in no way sacrifice's Depeche's signature style for mass-market appeal. Rather, I think "Violator" was something of a 'perfect storm' album: the right ground with the right combination of songs at the right moment in U.S. and U.K. pop history.

No Depeche Mode album since "Violator" has come close to capturing my attention as this album did. "Ultra" being, perhaps, the exception to this rule. Otherwise, I have found problems with the successive albums that came out in 1993, 1996, 2000, and 2005. If it wasn't production it was composition, if it wasn't composition it was the lyrics.

On "Violator", DM seem to have got it just about perfect.

Violator is nothing short of a modern masterpiece. It is absolutely filled with superb songs. It represents the culmination of everything that Depeche Mode did before it (though I much prefer the later works such as "Ultra") and is perhaps the apex of their interesting and varied career. Depeche Mode on this release began to explore the possibilities of using organic instruments (such as guitars) and combining these with their usual electronic/synthesiser sound (which they did to wonderful effect). The musical arrangements on the album, aside from effectively blending electronic with organic sounds, are also very original and well thought out - sometimes bordering on minimal and at other times overwhelming. Stylistically the album explores a wide spectrum and incorporates rock, electronic and even elements of classical. Nevertheless, the real key to the longevity of this release is Martin Gore's excellent songwriting which had matured substantially by this time. It is not only the more well-known tracks (like "Personal Jesus" and "Enjoy the Silence") that impress but also lesser known gems such as "Clean", "Halo" and "World In My Eyes" which help to make this album such a standout. "Clean" is one of my personal favourites - rarely has a band produced such profound and thought-provoking insights on the perils of drug abuse, lost innocence, purity, temptation and redemption. Harrowing and beautiful at the same time. Lyrically the album is sublime with Martin Gore contributing some of his most affecting work. This is definitely an album that gets better with time - one which has not dated badly the way so much of the other music of the 1980's has (although Violator was released in March 1990). It stands up very well in 2006 - much better than the albums immediately preceding it. The older I get it seems the more I can appreciate it. Overall this is a great album and a worthy investment for any serious music fan...don't let anyone tell you otherwise!

Snot has put out,what I assume a title that some patrons might tag as a hardcore CD with 'Get Some'.Upside of this release is that it was produced by none other than T-Ray(Helmet,House Of Pain).Overall,this fifteen track effort is pretty generic.Tunes that were okay include "Joy Ride","Snooze Button","Deadfall"(possibly the best song of the entire disc)and "Mr.Brett".Simply didn't do much for me.

This guy deserved it for real... he isn't or I should say he wasn't an icon at the time, but he influenced so many lives. Helped in so much music. Tragedy doesn't explain it. I have bought this album six times now because I end up giving it to someone who hasn't heard them. I would also do it 10 more times... The reviews will be sad, but the music isn't. It is just great Rock!

You want power...nuts...and emotional f***ing guts?!?!? The lead singer (RIP) delivers enough raw, peeled-back nakedness to make those "wannabe" rockers (Limp Bizkit, Machine Head, etc) pale in comparison. This CD rocks! Whatever your political persuasion, you cannot deny the passion that screams from this classic. I agree with other reviewers...had the members survived, SNOT would have easily surpassed KORN & the likes as THE MOST POWERFULL ROCKERS today. Buy this CD! I guarantee you will not be disappointed!