Customer Reviews

Release (with Bonus CD)

5 star:		(42)
4 star:		(12)
3 star:		(8)
2 star:		(1)
1 star:		(2)

 

 

Today, 23 April 2002, we buried my grandfather, a veteran of WWII. While a chapter in my life has closed, hope for the future comes in the form of this collection of songs.

It's 21 years on, and the Pet Shop Boys have cranked out album number eight in a series of deeply personal, charming, alarming and fascinating pop music. Their evolution over the years is complex, but one thing is clear: love is center stage in their lives now. On old albums like "Please" and "Actually," PSB would discuss politics, life in London, the Royal Family.

But every song on "Release" is a love song. The emotions are a wild mix of longing ("Home & Dry," "E-Mail"), recovery ("I Get Along"), sadness, anger ("Love is a Catastrophe") and discovery ("The Night I Fell in Love"). Their love lyrics in the past have never been overly cryptic, but on "Release," they come right out and say exactly what they're thinking. On "Love is a Catastrophe:" "What happens next? / With life I'm unimpressed / Pain like a cutter's knife / Never been lonelier in my life."

Certainly the hurting is present, but so is the happiness: "Well he just smiled / I guess it happens nightly / and so I fell in love." "The Night I Fell in Love" is the Pet Shop Boys at their most acutely gay. Teenage Neil Tennant teen worries over his newfound love's rumoured homophobia, but his lover "just shrugged."

Perhaps the most captivating moment here is PSB's very clever take on 21st century communication: "E-Mail." Tennant and Lowe always write intelligent lyrics, but on this track they're dead on: "Now time and distance melt away / No digits or delay / And some things can be written down that we're too shy to say." Tennant sings about the insecurity of his lover being across the sea, dealing with that lover's possible temptations while away, and making himself feel better by "writing this e-mail to say I love you." "Release" doesn't get much happier than this high middle point of the album.

Up next is the superb, danceable "Samurai in Autumn." The scant lyrics are plain and puzzling, but PSB show here, at 47 and 42 years of age, they can still churn out moody, infectious club killers. Back to business on the still dancey "Here," where Tennant exclaims his care, and offers of "you've got a home here." His understanding is pure: "And if you ever feel / the pain is far too big a deal / I say with pride / I'll be on your side."

PSB are still growing, and they really stretch out with the wistful, gentle country sparkle of "You Choose." This is easily among PSB's best closers. Tennant's voice rings with the almost parental wisdom of a full life of love and loss: "He's gone / you've lost / Stay behind and count the cost / You try, you lose / You don't fall in love by chance / You choose." You might not agree with his cynical assessment of love, but keep listening. If his careful articulation and Northern British accent don't send chills straight down your spine right now, listen again. And again. Neil has experience with this, and maybe his lecture is for us all: "Play the sad songs / Sing the blues / You don't fall in love by chance / You choose." A lesson indeed. Listen again.

"Release" is a return to the relaxed, melancholy atmosphere of their classic "Behaviour." Perhaps this is where the Pet Shop Boys' groove is. The album's packaging is the dependable PSB-style professional design, with lyrics alternating stark drawings of various flowers in various stages of life. Sonically, the album is similar to "Very" (but the addition of Johnny Marr's guitar is indispensible here) and the content is more consistent that the erratic "Nightlife" and "Bilingual." Lyrically, there must be something in this album for anyone who's loved, and for anyone who's lost.

Listeners around the world will find much to enjoy here. With age, Tennant and Lowe simply get better. "Release" is ten more reasons why I'm proud to be a Pet Shop Boys fan.

Neil and Chris return with their eighth album (not counting single/remix/b-side collections) of sheer and utter brilliance, cleverly entitled "Release". I'm sure there will be dance fans that will be disappointed that "Release" really is not a dance album. Sure, there are songs that you can shake your tail feather to ("The Samurai In Autumn"), but this is really a lower key sort of PSB outing.

It is a slight reinvention of the formula that has made PSB a household name ... across the planet, but the main foundation of their formula is still present: profound lyrics and brilliant storytelling. If you need another PSB album to compare this to, think "Behavior". Reinvention is one of the things that has made Madonna one of the biggest stars in the universe, and PSB are savvy enough to realize that. You may be disappointed that the grooves aren't as fast, but this cd will most definitely grow on you after subsequent plays. ...Do we really want them to turn into some sort of horrific,tragic version of the rotten and elderly Rolling Stones? No! Here's proof that there will never be ANY chance of that happening. There's also no point in putting the same album out time and time again- so if you have reservations about this not being a dance album- think about that. Anyone with an open mind will not be disappointed. Long time fans of PSB won't have any trouble loving this album.

As always, the Boys have outdone themselves as far as the album packaging goes. .... Make sure you spring for this limited edition version (available in four different colors). It also comes with a 2nd disc of goodies!

It seems like with every Pet Shop Boys album, Neil Tennant and Chris Lowe dabble with a new sound, anything from latin influences (Bilingual), to just pure camp (Very), and this new offering is no exception.

While not a bona fide rock album, it does employ a lot of guitar (in comparison to their previous recordings). Synthesizers are also used to create ambience, but used to the point where they add an almost delicate sound to each track (as are strings). With the help of guitarist Johnny Marr, they created an album full of surprises. Here's a breakdown of each track.

"Home and Dry"- Their first single, probably because it showcases their new sound so well. It's a laid back, mellow track about longing for the one you love... ****

'I Get Along"- My favorite track so far, one of the more upbeat songs. I've heard it compared to a Beatles song... *****

"Birthday Boy"- I'm not sure what to say about this one. It has a haunting feel to it, but it sounds pretty good. ***1/2

"London"- A song about soldiers gone crazy. Chris and Neil's take on war... ***

"E-Mail" A really touching song about someone asking their significant other that timeless question: "Do you love me?" in a world where communcation is as easy as typing a few words and clicking "send". *****

"The Samurai in Autumn"- Neil and Chris revert back to their techno/ambient roots with this track. A nice danceable track with a hint of far-east sounds. *****

"Love is a Catastrophe"- Coping with the break up of a relationship, very emotional track all around. *****

"Here"- I love the beat on this one! A really happy story about a guy ready to commit to serious relationship, friendship or otherwise. :-) *****

"The Night I Fell In Love"- PSB's return to sarcasm! :-) About falling in love with a certain rapper whose name sounds like a brand of candy... ****

"You Choose"- Ah, the risk in life known as love... *****

Personally, I think this is one of their better albums (after "Actually" and "Introspective"). If you're fortunate enough to be able to buy the limited edition of "Release", it's well worth it, especially "Sexy Notherner", a foot-stomping club anthem!

When considering any Pet Shop Boy release one always harks back to their three signature elements:

1. Superb power pop with witty ironic lyrics, best seen on one career highpoint, the album Very.
2. Hypnotic melancholia, with Sondheimesque lyrics, best seen on the other career highpoint, Behaviour.
3. Pumping dance tracks, found on a number of the single remixes, Introspective, and Disco 2, which benefits from the impact of dance genius Danny Tenaglia.

Albums subsequent to Very are commonly seen to have struggled to reach those standards. Bilingual seemed to ape past successes without a strong sense of inspiration, regardless of how catchy Red Letter Day might be. Nightlife was more adventurous, and more successful. It had a theatricality, paralleling the Pet Shop Boys musical Closer to Heaven, yet never quite takes off.

On Release, the Pet Shop Boys work again with Johnny Marr to produce a "rockier" piece. Sadly it is not a form that plays to their strengths. Whilst they still prove to be great song writers, the first half of the album is so badly scarred by misconceived production you almost abandon hope before the second half arrives. And there you find an album as good as any they have done, a sort of romantic, more optimistic version of Behaviour. The Boys needed to work with some of the newer talents on the scene, Deep Dish, Air, Kruder and Dorfmeister.

The opening track, and first single Home and Dry is a subtle, yet ultimately catchy piece. It bodes well, but its strongest musical qualities lurk in some of the riffs you hear emerging at the conclusion of the song, and developed well in the trance remix. This would have been a far more fertile direction for the Boys to explore, and more in synch with where the cutting edge is today.

The second track, and second single, I Get Along, is catchy but the musical arrangement can only be described as a disaster. Here the Pet Shop Boys sound like a poor copy of Oasis, doing a poor imitation of the Beatles. Not only is it derivative, worse still, it is dated. It does not play to the Pet Shop Boys talents, or to the commercial realities of the "now" sound. Listening to the album one begins to wonder if the Pet Shop Boys have lost the plot, or has working so closely with Johnny Marr, ex the Smiths and Electronic, proved a retrograde step.

Then the rot really sets in. Birthday Boy is totally wrecked by the same stale pseudo rock production. If you cut through that it is a good song, harking back to Behaviour. It starts overproduced, and then you get the guitar solo. It reminded me of those appalling moments when the Carpenters would throw in guitar solos in their later songs, trying to make their sound harder, as in Goodbye to Love. I love great guitar based rock. This is not it. A good song is wrecked, and Release as an album hits an iceberg.

Contrary to other reviewers, on London, works. Here the Marr guitar sound is reminiscent of his stronger moments working in Electronic. It has an innocence consistent with the Pet Shop Boys pop sound. The song is catchy, lyrics are intriguing, reminiscent of The Theatre on Very. Interestingly it is the only track not produced by the Boys themselves.

And again contrary to other reviewers, E-Mail does not work. Whilst musically it is catchy it fails where Pet Shop Boys songs so rarely fail, in its lyrics. They are so cliché I sat cringing. It's the internet version of one of Stevie Wonders most compromised moments, I Just Called To Say, I Love You.

And then the album finally takes off. What a shame about the early scarring.

The Samurai in Autumn is a rare but effective harder moment on the album, with hypnotic PSB synthesiser riffs.

Love is a Catastrophe is almost overwhelmed by heavy guitar work, but thank god, survives. Tennant is at his best, singing about being alone and depressed, in his signature bedsit voice.

Here is very catchy pop with the understatement heard on Home and Dry.

The Night I Fell In Love captures what is strongest on this album, the delicacy of Behaviour, with a more optimistic voice, and less grandiosity. It feels musically halfway between two of the Pet Shop Boys greatest songs, Liberation, and Being Boring. Wonderful.

And then on You Choose we get a fitting poignant send off.

It is sad to think how great this album would have been if only it had been handed over to the right external producer. I ache to hear such a remix.

This is a great CD, the kind of PSB music that i loved when i was a teenager. Many people had compared it to "Behaviour", and that's not a bad comparison after all. There are a lot of pop ballads, but not any pop ballad. These are Pet Shop Boys ballads, and that means that they are cool, classy, and witty. There are a lot of strings and guitars (good examples are "London" and "E-mail"), but the songs don't lack the classical electronic edge that Chris Lowe give to them ("Samurai in Autumn" and "Home" bring me memories of the songs in "Alternative"). Neil sings with his soothing british gentleman voice and it fits perfectly in every song (If you listen to "The Night i Fell in Love", you'll easily understand).

Besides, this edition also includes a Bonus CD with 9 more songs (Nightlife, Break 4 Love, and Home and Dry remixes) that will put the crowd dancing for a while. And for the price asked, you won't repent for buying this CD (in a time when all that you hear on the radio are "pop" songs from Britney or a generic "boy band"). I wouldn't wait too long before getting this limited edition of "Release", since they are always hard to find.

Release makes PSB's previous album, Nightlife, look and sound like the dog's breakfast it truly was. Instead of throwing everything in the mix of maudlin ballads and iffy techno, and casting around for yet another interesting "look", Release presents PSB as 2 greying elder statesmen of pop (just check the inside back cover of the album's insert and the video of Home and Dry) - and because of the music, it works. It's surprising how good Release is. Without once relinquishing their unashamed aspiration for commercial success, PSB trim all the fat and present an album of beautifully produced, consistently tuneful songs. Nearly all the reviews have noted how much Johnny Marr's guitar features in all the songs, but the PSB trademark electronic sound is still strongly present; most of the sonic squiggles have been abandoned for a more subtle and subdued framework. It makes PSB again sound relevant and modern, something Nightlife conspicuously failed to do. A reminder of how scattered their approach has been in the last few years comes with the limited edition's bonus disc. Collected from disparate releases, it lurches from banal ballad to sub-par dance track, and is a schizophrenic listening experience. As usual, though, Release's design and packaging is up to PSB's usual standard: all shiny and modern, and ready to deteriorate at the first touch.
It's pretty unlikely Release will be a huge commercial success this late in their career, but it's good to hear there's still some juice in this duo.

The Pet Shop Boys have, in my humble opinion, consistently produced some of the best synth/pop music since the mid-eighties. From the catchy keyboards to the often moving, sometimes cynical lyrics, each of their albums have been a welcome treat, and their eighth, "Release", is no different.

Beginning with the quiet, plaintive opening riffs of 'Home and Dry', we know we are in for something a little different from the synth/pop duo. The familiar Pet Shop Boys sound is there, but we also hear guitars, and more percussion than is normal on a standard PSB album. Though not the strongest song in the group's canon, it starts "Release" out on the right track.

With "Release", the Boys have brought a sincerely 'earthy' sound to their music, and the result is superb. I must confess that not every song grabbed me at first, but most did. And with further listening, the album only grows in its depth and richness. These are some of the most intricate songs that the duo has ever compiled for one offering.

"Release" is an album primarily about love. But this is a very real, honest, even harsh love. 'I Get Along', 'Home and Dry', and the dark 'Love Is a Catastrophe' will attest to that. The sublime 'Here' is love at its most wearily simple. It preaches a warm acceptance. The final track, 'You Choose', nicely wraps up the album, giving an honest, interesting angle on the subject. There is also a slightly political song on the album, as well as a traditional PSB synth/pop, bouncy track included.

The United States has fortunately been granted the opportunity of a limited edition of "Release" which features a bonus disc of good material. There are two mixes of the lead single 'Home and Dry', one fast and one slow, which are solid re-workings. There are two b-sides from the single, which are as good as anything on the album. Other tracks are a hodgepodge of different songs that have been sort of scattered in their production or release. And then there is the video for the 'Home and Dry' single. It is.....interesting.

If you are a Pet Shop Boys fan, "Release" will definitely be a little different than what you're normally used to, but not very much so. Their familiar sound is readily apparent, and it is a beautiful album. If you are not yet a Pet Shop Boys fan, and enjoy good lyrics and well-done music, then "Release" is a good place to get your introduction into their world.

The Pet Shop Boys were born old, and until now they tempered that fact by disguising their heady meditations in the most adolescent of trappings - the sounds of the circuit party. This tension between the dissertation and the dance floor sustained a series of brilliant albums. By Nightlife, however, the formula had lost its freshness and for the first time, PSB product sounded a bit too much like yesterday's news. They followed it with something as stogy as a successful West End musical. They were, it seemed, in danger of becoming your father's Pet Shop Boys (Samurai in autumn indeed!).

It makes sense, then, for Release to let go of childish things and allow Neil and Chris to act - if not their age - at least their wisdom. A collection of mostly mid-tempo story songs, Release boasts no trappings fancier than the Boys' considerable way with a lyric, mood and melody. Touted as the Pet Shop Boys' "guitar" album, the set leans heavily on Johnny Marr's tasteful settings and calls on Neil to show more vocal chops than ever before.

This is a huge risk, as the bling-bling boys will likely yawn and move on. They do so at their own peril, however, because Release offers a deeply rewarding set of gorgeous, intelligent songs, representing the duo's most effective mix of heart and soul since the brilliant Being Boring. Riskier still is Release's concept: it offers a mature look at the many modes of masculinity (from Samurai to messiah figures to immigrants-on-the-make to father figures to rough trade who are not "all football and fags") and unapologetic, normative same-sex love songs. Neil swaps narrative personae here almost as deftly as that whiteboy Detroit rapper everyone loves to hate: He's Linda Loman waiting for her Willy to come home (and dry), he's a teenage fanboy who seduces his pop idol, he's a master of haiku, he's an Afghan émigré. And he's written the definitive song about email's paradoxical ability to afford intimacy and distance at the same time.

Finally, if there's a more mature, knowing torch song than album closer You Choose, I don't think my heart can stand it.

"Release" is an extraordinarily solid pop album and there is definitely an art to pop music. Almost everyone who reviews this album seems hellbent on comparing it to other PSB albums and measuring its value by how much it is like 'Very' or 'Behavior' and/or how different it is from "Bilingual" or "Nightlife." Okay, just listen to the album and stop worrying about just how much or how little guitar there is so it really is/isn't a rock album or there's nothing to dance to except "Samurai in Autumn" (which is more chill out anyway...)

Unfortunately, and especially today, "pop music" tends to imply garbage or music not to be taken seriously since the landscape is littered with "groups" that are more or less musical revues (N'Sync etc.). Kinda like The Partridge Family or The Bradys. Pet Shop Boys haven't reinvented the wheel, they have put out an album of very strong songs both musically and lyrically, deciding that the collection shines more brightly without a hardcore dancefloor number (but remixes on the single)which would probably be labelled the 'centerpiece' of the album. PSB's songwriting craft is the centerpiece here.

It's pretty pointless to review albums by just saying which songs you like and which you hate. And in that sadly mass-media driven way, people seem to find it to an album's detriment if they don't instantly click with, "get," or memorize songs. Good songs have depth and resonance and need to be heard repeatedly to be appreciated. There is a lot here to like and discover. Reviewers also seem to like to tell you what songs are about. Listen to the songs and take away from them what you will but before saying there aren't songs about politics here or that "Birthday Boy" is about religion, or "The Night I Fell In Love" is about Neil seducing Eminem (yeah he alludes to Eminem but unless Neil is a young schoolboy...) read or listen to what Neil and Chris have to say about the songs' meanings. You can find it at their official website. A great song is one the may have a very particular meaning to the songwriter (think back to, oh say, "It Couldn't Happen Here" among others) but it is written such that it will hit different listeners with different themes.

A review at Rolling Stone online said it very well when it stated that artists that sell millions more records than PSB would kill to get their hands on stuff like this. "Release" is an album of ten songs, some slower, some faster, some happy, some sad, some that sound like another PSB song to you, some sound like something else somewhere else, some you will consider better than others. But it is a PSB and pop album par excellance. A lot of hype surrounded this release and hype is dangerous because it makes you evaluate something backwards - what it should be or probably is and then you discover its true nature, rather than hearing it and then deciding what it is. Nope, it's not PLEASE, ACTUALLY, BEHAVIOUR, INTROSPECTIVE, VERY, BILINGUAL or NIGHTLIFE. Thank goodness. Good bands put out solid albums. Great bands put out solid albums and continually change their sound and experiment. This time out, it's a resounding success.

"Release" may not have been one of the Pet Shops Boys more popular U.S. releases but this music is really wonderful. If you are a fan of the Pet Shop Boys you may or may not like this album. It doesn't include a lot of fast songs like their previous hits "New York City Boys," "I Normally Wouldn't Do This Kind of Thing," those type of songs. One uptempo song on the album "Samuri in Autunm" is just truly awesome.

The album opens up with the romantic "Home & Dry." I admit, I am a military spouse and when my husband was overseas this song used to choke me up. The album also includes the romantic songs, "I Get Along," "Email," and "London."

It's a really great album and fans of The Pet Shops Boys who missed this CD might really want to check it out. I am pleased as I always am with The Pet Shops Boys. Had it not been for the Pop Art Dvd I might not have ever discovered these great songs.