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Post by oscillations. on Jul 19, 2007 1:38:26 GMT -5
Do they not remember the original reviews they gave these releases? How can Garbage's entire oeuvre suddenly be deemed worthless? I always thought it was just the newer stuff that was being shit upon, NOT EVERYTHING THEY'VE EVER RELEASED. Ouch. I hope they don't read this crap.
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Post by acereject on Jul 19, 2007 4:34:32 GMT -5
To be honest I expected the singles from G and V2.0 to be praised and from BG to be bashed, and from BLM to 50% liked but so far almost every review has been:
Garbage was benchmark debut album, faultless run of singles. V2.0 again successful album, singles sound a bit dated now BG lo-point...SYM bad BLM was underwhelming, doesn't compare to Garbage or V2.0 TMWIH sounds like its by Texas/Pretenders.... Tacked on old remixes on second disc Garbage need do become more relevant
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Post by oscillations. on Jul 19, 2007 10:49:25 GMT -5
But some even dare to diss the debut singles, as if the same publication didn't masturbate over them all only 12 years ago! And the whole "dated" premise is bogus. All music eventually sounds dated or like a product of its time. Even music that was ahead of the curve eventually will be taken for granted. It has to be viewed within its own chronological context. Typical revisionist bullshit. CGI effects from 5 years ago now seem dated. Does that lessen their original value? In my opinion, it should not. Not everything has to be seen IN COMPARISON TO THE PRESENT. Critics often fail to approach their subjects this way. In literature, it's better. Usually, when something was considered great in 1985, it will still be considered so today. There are exceptions (like when certain literary movements' relevance is played down), but generally, there's a more consistent consensus. Music is probably the most mercurial platform for critical comment.
If young, hipster-friendly bands namecheck Garbage in a few years as an influence, the critics be singing a different tune again. It's happened a million times before.
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Post by Fated to Pretend on Jul 19, 2007 10:50:36 GMT -5
In wish everyone would leave beautifulgarbage alone. I love it. I've been a fan from day one and I adore that record. Loved it from the minute I heard it and still do. It's got its faults I agree but it's worked it's way into my heart in a way the other three records didn't quite manage, even though I love them all. Secondly, according to teletext, TMWIH is between #20 and #40 in the midweeks but they didn't specify where. I agree!!! BG was the first G album I bought (because I was in love with Cup of Coffee & Cherry Lips) and I couldn't stop listening to it for weeks! How can you not love the haunting lyrics and melodies of Drive You Home, Cup of Coffee, Nobody Loves You & So Like A Rose or the amazing pop songs with clever lyrics: Parade, Cherry Lips, Androgyny & Breaking Up the Girl Strangely if you ignore critic's reviews and look at peoples comments on the TMWIH video on youtube or a post in a blog about its release or infact on the itunes page for the single then it gets a largely great response about it sounding new and different (bar the idiots who just say "it sounds like the pretenders" : *prays for top 20*
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glyn
Trash Man
Posts: 61
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Post by glyn on Jul 19, 2007 11:42:39 GMT -5
here's a nice review from Digital Spy. He doesn't bash beautifulgarbage either which makes a change ;D I'm not quite sure why he mentions HIMH though ----------- Garbage: 'Absolute Garbage' Released on Monday, July 23 2007
By Nick Levine, Entertainment Reporter When they first grabbed our attention in the Indian summer of 1996, Garbage offered a much-needed antidote to the irksome over-earnestness of Britpop. With their processed guitar riffs, gleeful indulgence in studio trickery and proudly manufactured origins – guitarist Steve Marker hired Shirley Manson after seeing an old clip of her on MTV – they never tried to conform to that most overrated of musical concepts: realness. This might have proved a stumbling block for some mid-nineties hipsters – a fact acknowledged in ‘Shut Your Mouth’s knowing swipe at closed-minded rawk fans: “We know your music but of course we'd never buy it - it's too fake man” - but it never held Garbage back. Twelve million album sales, eleven top 20 hits and an invitation to record a Bond theme isn’t bad for a band whose singer started her career as a member of Scottish indie flopsters Angelfish. Absolute Garbage, the transatlantic four-piece’s first retrospective, isn’t a complete singles collection – it omits a handful of the band’s less successful chart-botherers – and it’s not a definitive ‘best of’ either: ‘Hammering In My Head’, the industrial floor-filler that proved the highlight of their sophomore album Version 2.0, is missing in action. But it does succeed in explaining how Garbage managed to last a decade in such an uncertain musical climate. These goth-rockers might have swapped their guitars for kinky synths on 2001’s beautifulgarbage, but they never lost their knack for a killer chorus. 2005’s ‘Why Do You Love Me’ is as addictive and unshakeable as their Clash-sampling breakthrough hit ‘Stupid Girl’. Of course, Garbage were nothing if not a product of their times. Early singles ‘I Think I’m Paranoid’, ‘Push It’ and ‘Vow’ conform to the quiet verse-loud chorus formula of the post-grunge era. When you’ve got Nevermind’s knob-twiddler Butch Vig as your drummer, how can you not? But Garbage were never afraid to push the boundaries of their sound: the swooning pop of ‘Cherry Lips’ sounds like Blondie being produced by Phil Spector, albeit a Phil Spector who had access to the finest studio wizardry that the early noughties had to offer. What’s more, the bludgeoning riffs and hissed vocal of ‘Shut Your Mouth' seem inspired by the nu-metal phenomenon of the turn of the millennium. And then there was the ace up Garbage’s sleeve. Manson was never as hip as her Britpop contemporaries – she was neither as sexy as Elastica’s Justine Frischmannnor as iconoclastic as Sleeper’s Louis Wener – but she outlasted them thanks to her raging sense of individuality. Nobody else wrote songs showing the flipside to the carefree hedonism of ‘Walk On The Wild Side’ (the quietly shocking ‘Bleed Like Me’). Nobody else modeled her early-noughties image on Her From Roxette. And nobody else seemed determine to channel Siouxsie Sioux’s demented wail on every single vocal performance. As present, Garbage can’t seem to decide where they stand. Have they split up, or are they just on “indefinite hiatus”? Or perhaps they’re back together again? Whatever – barnstorming new single ‘Tell Me Where It Hurts’ reaffirms what Absolute Garbage succeeds in demonstrating time after time. By wrapping their nut-grabbing hooks and transcendent melodies in layers of gutsy guitars, Garbage managed to make pop music for people who thought they didn’t like pop music. For that reason, whatever happens next, they deserve to be remembered fondly. 4/5 --------
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Post by oscillations. on Jul 19, 2007 11:47:06 GMT -5
Finally, someone who can appreciate them for what they are. But Justine sexier than Shirl? That's a lark.
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Post by Modern Method. on Jul 19, 2007 13:33:26 GMT -5
here's a nice review from Digital Spy. He doesn't bash beautifulgarbage either which makes a change ;D I'm not quite sure why he mentions HIMH though ----------- Garbage: 'Absolute Garbage' Released on Monday, July 23 2007
By Nick Levine, Entertainment Reporter When they first grabbed our attention in the Indian summer of 1996, Garbage offered a much-needed antidote to the irksome over-earnestness of Britpop. With their processed guitar riffs, gleeful indulgence in studio trickery and proudly manufactured origins – guitarist Steve Marker hired Shirley Manson after seeing an old clip of her on MTV – they never tried to conform to that most overrated of musical concepts: realness. This might have proved a stumbling block for some mid-nineties hipsters – a fact acknowledged in ‘Shut Your Mouth’s knowing swipe at closed-minded rawk fans: “We know your music but of course we'd never buy it - it's too fake man” - but it never held Garbage back. Twelve million album sales, eleven top 20 hits and an invitation to record a Bond theme isn’t bad for a band whose singer started her career as a member of Scottish indie flopsters Angelfish. Absolute Garbage, the transatlantic four-piece’s first retrospective, isn’t a complete singles collection – it omits a handful of the band’s less successful chart-botherers – and it’s not a definitive ‘best of’ either: ‘Hammering In My Head’, the industrial floor-filler that proved the highlight of their sophomore album Version 2.0, is missing in action. But it does succeed in explaining how Garbage managed to last a decade in such an uncertain musical climate. These goth-rockers might have swapped their guitars for kinky synths on 2001’s beautifulgarbage, but they never lost their knack for a killer chorus. 2005’s ‘Why Do You Love Me’ is as addictive and unshakeable as their Clash-sampling breakthrough hit ‘Stupid Girl’. Of course, Garbage were nothing if not a product of their times. Early singles ‘I Think I’m Paranoid’, ‘Push It’ and ‘Vow’ conform to the quiet verse-loud chorus formula of the post-grunge era. When you’ve got Nevermind’s knob-twiddler Butch Vig as your drummer, how can you not? But Garbage were never afraid to push the boundaries of their sound: the swooning pop of ‘Cherry Lips’ sounds like Blondie being produced by Phil Spector, albeit a Phil Spector who had access to the finest studio wizardry that the early noughties had to offer. What’s more, the bludgeoning riffs and hissed vocal of ‘Shut Your Mouth' seem inspired by the nu-metal phenomenon of the turn of the millennium. And then there was the ace up Garbage’s sleeve. Manson was never as hip as her Britpop contemporaries – she was neither as sexy as Elastica’s Justine Frischmannnor as iconoclastic as Sleeper’s Louis Wener – but she outlasted them thanks to her raging sense of individuality. Nobody else wrote songs showing the flipside to the carefree hedonism of ‘Walk On The Wild Side’ (the quietly shocking ‘Bleed Like Me’). Nobody else modeled her early-noughties image on Her From Roxette. And nobody else seemed determine to channel Siouxsie Sioux’s demented wail on every single vocal performance. As present, Garbage can’t seem to decide where they stand. Have they split up, or are they just on “indefinite hiatus”? Or perhaps they’re back together again? Whatever – barnstorming new single ‘Tell Me Where It Hurts’ reaffirms what Absolute Garbage succeeds in demonstrating time after time. By wrapping their nut-grabbing hooks and transcendent melodies in layers of gutsy guitars, Garbage managed to make pop music for people who thought they didn’t like pop music. For that reason, whatever happens next, they deserve to be remembered fondly. 4/5 -------- I'm really glad he acknowledged the greatness of Hammering.
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Post by oscillations. on Jul 19, 2007 14:30:11 GMT -5
Strangely if you ignore critic's reviews and look at peoples comments on the TMWIH video on youtube or a post in a blog about its release or infact on the itunes page for the single then it gets a largely great response about it sounding new and different (bar the idiots who just say "it sounds like the pretenders" : *prays for top 20* Actually, you are correct there in pointing this out. I, too, have noticed that the general public by & large still like & respect Garbage. Even though their sales don't suggest current popularity, I'm surprised at the level of attention and discussion they still enjoy at mainstream music forums. It seems many people have discovered them retroactively (I'm talking about teenagers & the like here). I've noticed also a shift in the type of people who support the band. Newer fans tend to be those with a fondness for clever pop (for example, I know many Kylie, Nelly F., and Girls Aloud fans who rave about G), rather than those who are concerned with being on top of current "alternative" or indie trends. In a sense, then, you could say their appeal has become increasingly mainstream, but this is NOT a negative development. I'm sure some smug prick could claim, "see, Garbage's music fools the nondiscerning, Top 40-listening masses into thinking they are making innovative pop", but this is a.) patently false b.) missing the point. The point IS that Garbage's pop music has a timeless sparkle that people will continue to discover for years to come. People at Popjustice are seen as hipsters, but actually, there's a sort of anti-hipster mentality present on the forums, AND A HUGE AMOUNT OF INTEREST IN UNDERDOGS. Garbage gets discussed quite often over there. So, it isn't that people don't like Garbage anymore. They really do. Critics can't find room for them in their current agenda & radio doesn't know how to fit them into their programming blocks, but there will always be an audience out there for the band. That's why I have faith that the GH album will sell impressively in the long run.
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Post by ghosts of joy on Jul 19, 2007 14:46:59 GMT -5
That's probably the best review I've read for AG thus far.
I can somewhat understand how a lot of fans who adored their debut would find BG and BLM to be inferior albums, but I'm sorry, BG is a brilliant multi-genre confection. It's certainly not another G or V2.0, but I wouldn't want that from them anyway. Granted, it's taken me a lot longer to get into BLM -- I find the lyrics to be excessively repetitive in several songs -- but I don't see how anyone can refrain from swooning to the guitar-wails of "Bad Boyfriend" or "WDYLM."
Honestly, if they'd followed up each successive album with the same sound, I would've stopped listening years ago. And if the rumours prove true and their next sessions -- *crosses fingers* -- produce a softer, more acoustic sound, I'll be in line the Tuesday of its release with an open-mind. To me, "Milk" and "YLSF" are just as much a staple of their discography as "Vow" and "Push It." And if they were to introduce some live strings (orchestra or quartet) to their sound... oh, I couldn't tell you the kind of mess I'd make in my pants. The Massive Attack remixes of "Milk" are all kinds of sexy.
Anyway, I'm glad someone finally gets it. I will concede that AG is missing a few tracks I never thought wouldn't have made the cut, but it serves its purpose.
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Post by aztalanturf on Jul 20, 2007 1:15:03 GMT -5
Oh I was just about to post the Digital Spy review and you beat me to it (by a long shot)! This review put a smile on my face after having seen a few of the negative ones.
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Post by Garbage Addict on Jul 20, 2007 3:55:06 GMT -5
Yeah, the level of malice (& that's what it is) is shocking & discomfiting. It's almost like these critics have something personal against Garbage. It's rare to read reviews that seem so invested in destroying pedestals. Weird. It continues. NME gave AG 5/10, and attacked Push it for sounding dated. Kerrang! gave AG a 2/5 and attacked SYM for sounding dated......... actually apart from those reviews in particular the reviews have been mostly positive. I was really shocked at the Kerrang review after the 4K review for BLM - then again there never consistency amongst reviewers that be too much to ask - but to say half the material is so dated its reduced to "pop pap" is uterrly cruel and I think totally unfair - Garbage have some quality output and I think its a testiment to their longevity compared to other band that fell by the wayside. I see this collection as a bunch of hits as its meant to be - carefully exorcising the ones that wernt quite as big. I agreed more with the Music week review which was they've become "less relevant" but "no less enjoyable" which i think perfectly sums it up without going down the deliberately nasty "horribly dated route"
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Post by Tornado on Jul 20, 2007 4:52:05 GMT -5
Finally, someone who can appreciate them for what they are. But Justine sexier than Shirl? That's a lark. Justine is not sexy even at the left thumb from the right hand of Shirl' ;D
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Post by Modern Method. on Jul 20, 2007 13:31:17 GMT -5
Absolute Garbage by Garbage Friday, 20 Jul 2007 17:28 Warner Bros, out July 23rd. In a nutshell… Grinding, rocky, studio-heavy retrospective. What's it all about? This greatest hits collection from one of the defining bands of the post-grunge era looks back over 12 years of brooding electronica and snarling guitar rock. Beginning with a quintet of songs from their eponymous debut, the album comprises 18 of Garbage;s best tracks; ranging from the wry, darkly melodic Only Happy When It Rains to the anthemic Cherry Lips and the sweeping ode to megalomania that is Bond theme The World Is Not Enough. Who's it by Garbage release their first greatest hits collection after four studio albums and a long period of hiatus. Fronted by the gloriously-named Shirley Manson, Garbage’s brand of aggressive heavily-produced rock with varying amounts of gothic, glam and techno influences won them many fans in the early days, cemented by their reputation as strong live performers, thanks in no small part to the charismatic Manson. As an example… "I came to cut you up, I came to knock you down, I came around to tear your little world apart." Promises of vengeance in the opening track Vow. Likelihood of a trip to the Grammys New single Tell Me Where it Hurts is an uplifting summer anthem made for wide open fields and huge concert venues, but otherwise the album will mainly appeal to those who remember the early years of the band. So is it any good? With the tracks arranged in chronological order, it's easy to trace the development of the band's musical output; although with the most attention-grabbing songs coming from their second album, the prosaically titled Version 2.0, there's an inevitable feeling that the CD peaks too soon. The later tracks compress Manson's voice too heavily, robbing the songs of the sultry snarls and whispers of the first two albums, losing dangerous amounts of character in the process. While there are some gaping holes in the collection – where is the knowing glam-pop of Androgyny and the furious As Heaven is Wide? - Absolute Garbage is still anything but the suggestion of its title. 7/10 www.inthenews.co.uk/entertainment/reviews/music/rockindie/absolute-garbage-by-garbage-$1111370.htm
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Post by ghosts of joy on Jul 20, 2007 15:02:51 GMT -5
How many reviewers are going to fault the album for omitting a non-single?
With each review, I grow more and more disappointed that their latter two albums are considered more or less throwaways because of the band's refusal to repeat themselves with each new release. Artisically-speaking, I still believe BG to be as significant an album as their first two albums, if not more so.
Oh well, it's not the first time I've been in the minority.
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Post by acereject on Jul 21, 2007 3:15:14 GMT -5
Kerrang! review (Kerr-apppp!) Daily Mail review And a few other things.... AG ltd edition is #47 and #88 in US and UK Amazon respectively, and Music Weeks says EVERY major store in the UK will be running Absolute Garbage campaigns instore. Tell Me Where It Hurts didn't even make the Top 200 in the UK singles chart on downloads sales either last week.
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Post by Tornado on Jul 21, 2007 3:39:24 GMT -5
About Kerrang: Mo*********rs they throw this band to... garbage now, even they used to have positive opinion about G. They are short-minded?!
About tom bryant (the reviewer; no, I don't forget the shift key): what a loser!
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Post by Modern Method. on Jul 21, 2007 3:52:21 GMT -5
Kerrang! review (Kerr-apppp!) Daily Mail review And a few other things.... AG ltd edition is #47 and #88 in US and UK Amazon respectively, and Music Weeks says EVERY major store in the UK will be running Absolute Garbage campaigns instore. Tell Me Where It Hurts didn't even make the Top 200 in the UK singles chart on downloads sales either last week. At least Kerrang got the 'For fans of' right but thats about all thats correct in that review!
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Post by Modern Method. on Jul 21, 2007 4:10:20 GMT -5
www.contactmusic.com/new/home.nsf/webpages/garbagex16x07x07Shirley Manson was for many, the Karen-O of the mid-to-late nineties and beyond, her provocative and unpredictable nature made her captivating and intriguing in equal doses. This nostalgic and well put-together compilation contains material spanning Garbage's colourful career, turning into a celebration of their uncompromising approach. Fitting opener 'Vow', from their self-titled debut album of 1994, is an apt reminder of the playful but destructive streak that has littered Garbage's past. 'I'm Only Happy When It Rains', encapsulates neatly the catchy pop and light Goth crossover that many people fell in love with over the years and, Manson comes across as cocky, stern and flighty. Story of her life, eh? This album turns into a stark reminder of the potency of the band and the lurid anthem of 'Stupid Girl', is a case in point. This reminder is something that is sorely needed by many fans in the UK, as the outfit pulled out of a much anticipated tour last year. It is a release like this that shows up the variety that Garbage has proffered over the years, contrasting with the one dimensional tag that has oft been slapped on their backs. The slow bass induced and brooding '#I Crush' from 1996, shows up their eerie darkness and Manson's vocals slow down to haunting levels, something must have provided inspiration for the likes of PJ Harvey and Bjork. Garbage was never a one person group, the winding and drawn out accompaniments that are the combined efforts of Duke Erikson, Steve Marker and Butch Vig ties the songs together. Drawing attention to this fact is the compact and slightly atmospheric 'I Think I'm Paranoid'. The Metallica riffs inclusive 'Why Do You Love Me', incorporates a hot and cold vocal drag. Showing the heavier, mosh inducing side of Garbage that used to annoy the hell out of the purists. For those who fear that a Best Of offering often signals the end of the band as they know them, new song 'Tell Me Where It Hurts', retains that slow-building and captivating climb to a tension releasing and tempo rising chorus. Whereby Manson embraces her pop-friendly side and so do her colleagues. It is a searching snippet, showing that this quartet's mystique has not yet been lost. That alone, if nothing else makes this release worthwhile.
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Post by Vow2cutUup on Jul 21, 2007 19:33:57 GMT -5
Here are some reviews, dunno if anyone posted them already...But they're good and maybe they'll help cheer us all up! : www.bloggernews.net/18682 ''I am weak, but I am strong. I can use my tears to bring you home.'' Crooned softly by Shirley Manson in the hit Milk, and backed up by the trip-pop sound of the band, these lyrics take on a greater meaning than could possibly be felt by just reading them. Encapsulating the image Manson portrays in music videos, songs, and on tour, these lyrics seem to define her persona. With her beautifully damaged voice revealing tormented pain and intense, hard-fought inner-strength, all of Garbage’s lyrics slowly entrance the listener into a sense of strange calm-before-the storm sensibility, all the while dangerously enticing the ears with a subtle vampiress-like affectation. After four albums and seven Grammy nominations, Garbage is finally releasing its first “best of” collection. This cd collection of their 18 greatest hits, Absolute Garbage, ties in nicely with the release of the DVD of the same title. The DVD includes 15 Garbage music videos and an hour of backstage, live, and interview footage. Playing through this 18-song collection is like revisiting old friends. Only these songs really aren’t that old. But with the popularity of the band peaking in the late 90’s with Garbage and Version 2.0 followed by the unfortunate post-9/11 (October 2, 2001) release of Beatifulgarbage and the disappointing sales of Bleed Like Me in 2005, Absolute Garbage almost feels like a reunion with a group that’s been MIA for longer than they actually have. With huge hits like Special, I Think I’m Paranoid, When I Grow Up, Stupid Girl, and the Bond theme The World is Not Enough this best of cd has condensed a four-album collection into the bare minimum for quality maximization. The dreamy sound loops and punctuated drum rhythms make the entire cd feel like one long, flowing song, with brief breaks in between each act. Like most best-of collections, any fan has heard this all before, except, obviously for the new addition album tantilizer Tell Me Where It Hurts (recorded in January of this year). Having all the hits on one album, though, does have its privileges, and until Garbage releases an entirely new album, Absolute Garbage is the next best thing. -------------------------------------- BBC: www.bbc.co.uk/music/release/pc3n/REVIEW: Difficult to remember now just how oddly perfect Garbage seemed when they burst from left field on the Britpop scene of 1995. While Britpop was overwhelmingly male and retro, Garbage were brazenly modernist and in Shirley Manson boasted an impassioned and very female icon. Debut “Vow” was a buzz-saw riffed statement of intent, but it was “Queer” – with its loops and fluid rhythm – that proved just how sonically interesting and fully-formed they were. That Garbage had in fact borrowed much of their sound (dense, swampy electronic production, topped off with sugar and spite vocals) from the extraordinary but commercially unsuccessful duo Curve didn’t greatly matter. Their self-titled debut was a terrific collection of angry/seductive future-rock songs, mostly skewering male arrogance, while in the slinkily addictive “Stupid Girl” it boasted an international hit. Second album, the wryly titled Version 2.0, lacked the element of surprise but demonstrated tighter songwriting. Both “Push It” and “I Think I’m Paranoid” showcased gleaming riffs and a bustlingly modern pace, as well as Manson at her most forceful and domineering. Fans of the band’s poppier side were catered for by the fierce but melodically lush “Special”. Sadly, Garbage ignored the curse of Bond and – like Duran Duran and Aha before them – their trajectory dipped after contributing the lacklustre, atonal “The World Is Not Enough” to the film of that name. Third album “beautifulgarbage” saw them attempting to escape a sound that was becoming a straitjacket, but the addictive, ultra-poppy “Cherry Lips” aside, it was unfocused and occasionally lifeless. Wisely, drab second single “Breaking Up The Girl” isn’t included here. And while 2005 comeback single “Why Don’t You Love Me?” had some of the old pace and bile, it was a blatant retread of their earlier sound. Garbage were no longer pioneers. The band are now rumoured to have split, though the epic, string-soaked new track “Tell Me Where It Hurts” suggests there might still be blood in the stone should Manson’s solo career stiff. If not, Absolute Garbage is a fine legacy, the sound of a briefly brilliant and always interesting band which sounds like no other greatest hits you own. Jaime Gill ------------------------------------- Scotsman.com/Scotland (5 STARS) living.scotsman.com/index.cfm?id=1101012007RELEASE OF THE WEEK GARBAGE ***** Absolute Garbage Warner 5144224872, £12.99 THIS no-surprise collection of her time with the Garbage men sets the stage for Shirley Manson's debut solo offering later in the year, a reminder of the uncompromising yet controlled power of her band. More slavishly lauded for the band's early work, storming songs such as 'Bad Boyfriend' and 'Cherry Lips' prove the equal and more of the company they keep here, guitars thundering with a force most metal bands can only dream of one day attaining. How this summer's festivals have screamed out for a band with this amount of musical muscle and vulnerability to unleash the soundburst of 'Only Happy When It Rains' which, with due respect to Fran Healey, is the only song to express the requisite aggressive defiance for such exasperatingly soggy occasions. Shirley should take pride from empowering a new generation of teenage girls who felt just as disenfranchised and alien as she did, 'Bleed Like Me' proving disgust is all the more potent when articulated with a degree of decorum. In the past decade angst-ridden female rockers have been 10-a-penny, but Manson stands head and shoulders above the rest. This Garbage collection ends with 'It's All Over Bar The Crying', and you cannot help but wish that is so. The one new offering, 'Tell Me Where It Hurts', is not out of place here, but neither does it better anything already said. Download these: Tell Me Where It Hurts, Bad Boyfriend ----------------------------------------------
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Post by Modern Method. on Jul 22, 2007 11:29:43 GMT -5
DVD Review: Absolute Garbage Remember Shirley Manson flying through the air shooting down planes in a desert landscape? That’s the video for the Garbage hit Special, probably one of their most memorable videos. Well, Garbage fans rejoice: now it’s available on DVD, along with 15 other videos and over an hour of backstage, live concert, and interview footage, on the new music video DVD Absolute Garbage being released in tandem with the cd of the same title and similar playlist. By pop standards it’s been a while since Garbage topped the charts, but it hasn’t been that long since they made a permanent mark on the pop world with their artsy intense music and music videos. Led by Manson’s presence, each of these videos is ”special” in its own way. From the black and white strangeness (”strangest of the strange”) of Queer to the polished glamour of The World is Not Enough, each video creates its own world around the song. Although for the most part the videos are vaguely bleak and depressing, watching Manson switch styles and still maintain her unique weirdness is visually stimulating. In a world of youtube where everyone has access to these videos 24/7 for free, it’s still a treat to have them all included here on one DVD for viewing convenience. The extra documentary is a welcome bonus that follows their ten year career from popular newcomers to exhausted pros. Covering all four of their albums, the tours in between, and even their brief separation as a band through interviews, candid backstage footage, and live concert clips, this hour is the closest to the essence of Garbage fans can hope to come. The only drawback here is that the video collection isn’t complete. There’s no video for Androgyny here and the video for When I Grow Up isn’t the one that most fans will remember from MTV, where Manson is prancing around in red and black dresses and white makeup. Clearly it’s still a privilege to have the rest of the videos gathered together for the first time, but these notable videos missing make Absolute Garbage less than absolute. www.bloggernews.net/18805
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