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4 of 4 people found the following review helpful:
5.0 out of 5 stars
A Desert Island Requirement, February 16, 1999
By A Customer
One of my all-time top discs, I wouldn't want to be stranded without it. Full of rich, thick guitarsand Ian Curtis-like weight-of-the-world vocals, it takes me to the existential plane its title implies. Stockholm and American Money are full-on rockers that balance out beauties like Bruises. "So many bruises that don't show, found yours so long ago." Just good writing from top to bottom. If you get a chance to listen to the disc before this one, Pigeonhole, you'll be equally impressed with the sound, but understand why this is the one you'd trade your last coconut for.
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3 of 3 people found the following review helpful:
5.0 out of 5 stars
Pearls before swine, March 7, 2006
This review is from: Body Exit Mind (Audio CD)
I consider myself fortunate to have, by chance, heard the song "It's not what you know" on local radio and within minutes making purchase here of Body Exit Mind. This band in my estimation is one of the best examples of pearls before swine in a landscape of musical redundance that encompasses pop music. They had a real groove thing going, excellent rythmic structure, powerful and poinient instrumentation and lyrics. And puffft, they were gone.
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3 of 3 people found the following review helpful:
5.0 out of 5 stars
now this is alt music!, January 6, 2005
Compared to their previous album, Pigeonhole, NewFADs found their sound with Body Exit Mind. A much harder album, the band still clings to their unique sound and those darned bongos. Several of their songs are just great modern rock numbers, including Bong, I Take You to Sleep, Beatlemania (with its fun hand clapping), and the anthem American Money.
But the band is also persuasive with their softer edged Bruises, while staying true to their sound and the overall feel of this fantastic album.
I've said it before, and I'll say it again -- NewFADs are one of my favorite all-time bands, and this is the album that clinched it for me.
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