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don't have that subconscious fear of coming up with the same song twice. It's a little bit harder than that, trying to make sure that you don't re-write the same songs ad nauseam." When asked if his writing style was different than Diggle's, he said "well, I tend to wait until the last minute before I write songs, where Steve likes to finish them all and have them all ready. I'm notoriously bad... all right you have to do the world tour tomorrow! So I just stay up all night writing the lyrics. If it was me, I'd wait until the day of release before finishing."
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470:. Derek Fudge engineered the sessions. It was reported on 19 July 1998 that the band had been recording for three weeks, with another three days to go, after which Barker will "come in soon to record all of the drum parts," whilst biographer Tony McGartland said that "with the exception of minor tweaking the album will be done in early September ." The band wrote 23 songs, but only recorded 14, with the possible intention to record the other nine songs at a later stage for usage as
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537:. Shelley said that the band were "trying not to make a rock album. So, instead of trying to make it sound like we were a rock band, we tried a more studio based approach. And, more control over what was going on. Also, we felt uncomfortable with trying to be a rock band, when everybody's trying to be one. We though, why bother...be more modern."
775:â! We got in and the car careered off the road, and I thought âFuck, Iâm gonna dieâ, was thrown about everywhere. we ended up in a garage and demolished the petrol pump, we could have all gone up in flames. When I got out my mate was on the floor, I thought he was ok, it seemed to take forever, he'd died. That changed my life a lot."
642:, is Shelley's ability to endlessly rewrite the classic adolescent pop narrative, albeit in gender-ambiguous terms and from an unrelentingly miserable and niggly perspective. We can only hope that Shelley's lyrical voice is not his own given that, after all these years, it's still distinctly unlucky and profoundly unhappy in love."
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proverb "even monkeys fall from trees"; Shelley said "I sometimes buy lots of
Japanese books, and there was one which was Japanese proverbs. And that was actually the title of the book, even monkeys fall from trees. It means even the most skillful people can make mistakes." "Why Compromise?" features
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was underway, lots of crazy parties, hedonistic times, that notion of living your life, too busy to notice what youâre doing, donât always stop and think âWho the fuck am I?" He added that "Don't let the Car Crash" dates from when he was in a car crash when he was 17: "my best mate died, we were all
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The album was released in the United States by Go-Kart
Records as a single CD and LP a week later on 14 September 1999. It did not feature the bonus disc, but most copies did feature new artwork, featuring a black album cover instead of the stark blue sleeve of the UK release, which was designed by
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song "Promises" and two of the early singles featured on the disc, "What Do I Get?" and "Why She's a Girl from the
Chainstore." The enhanced CD also features "loads of memorabilia", including a multimedia described by one critic as "a slide show without commentary and a bad interface" and the 1980s
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is rife with examples of irregular combinations of short punchy stanzas and lengthy, weaving run-on linesâsometimes stretched out for a painful but compelling durationâthat both carry and lead the songs. Moreover, this combination of the brusque and the drawn out line--on top of the contrast of the
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but "then again there's more distractions." He said "I think because a lot of the songs we did as the
Buzzcocks were all written five minutes before going into the studio. So, its easier when you start writing songs. You haven't got any songs that you know you are trying to write like that. So, you
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Pete
Shelley recalled that the band had become "uncomfortable with trying to be a rock band, when everybody's trying to be one." The band thought "why bother" and with their next album made an attempt to "be more modern" and inflict new influences into their music. The concept gave the album its
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as its starting point, but while the lyrical and musical framework of this foundational form is left nominally intact (the harmonies, the I/you romance narrative, the straightforward verse/chorus structure and the simple chord progressions), it is compressed into a shorter, faster package,
594:
was "something else entirely" from their previous albums, calling its title ironic as it "essentially up where the band left off in 1981" after they split because it "sounds like it was recorded just as punk turned into new wave." However, he also stated that "oddly enough, much of
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in the United States. EMI had contacted the band keen to release one of their albums and wanted to know when they could have one, with Barber replying to them "we have one done already". Upon being given the album in March 1999, EMI were reported to "love it already." In the UK,
864:". A music video was also produced for "Thunder of Hearts". As with previous singles, the band "let other people decide" that the song would be the first single: "We tend to go with the consensus. It seemed a bit arrogant to say that we know better than everyone else. I mean we
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agreed with the former statement, saying he assumed "the title is meant ironically because this is a very 1982 version of modern -- i.e., the
Buzzcocks have discovered synths and drum machines of the sort singer Pete Shelley was using in his brief solo career." Similarly,
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sound and a departure from the experimental music Shelly and Diggle had recorded away from the
Buzzcocks. Although it was a critical success, it was not a commercial one despite the huge surge in popularity for pop punk at the same time, They followed it with
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staccato beats and the whining, UK-police-siren-circa-'76 guitar sound--emphasizes the twin-pronged emotional thrust of
Shelley's lyrical content: that is, the expression of explosive angst and irritability coupled with lingering discomfort and frustration."
358:. One critic said that "rather than destroy the pop song they it, playfully reinventing it as a catchy, self-conscious pastiche of itself." Shelley's lyrical content express explosive angst and irritability coupled with lingering discomfort and frustration.
273:
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doesnât look or sound very modern, maybe 20 years old modern, but thatâs not bad. A lot of the tracks sound like
Shelley solo efforts would have sounded if he had stuck to guitars." Comparisons were made between some songs and Shelley's 1983 solo album
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record. If the
Buzzcocks were a new band this record would probably be getting lots of press, hype, and promotion. Letâs hope that enough people buy it so that Pete (Well Steve) doesnât feel it necessary to sell the rights to Autonomy to Microsoft."
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showed the band "looking for the same new love with the same new tunes" and rated it a "three-star honorable mention", indicating "an enjoyable effort consumers attuned to its overriding aesthetic or individual vision may well treasure."
1071:? Quite a lot actually. During its best moments--"Soul on a Rock", Rendezvous," "Runaround," "Choices," "Why Compromise" and "Under the Sun"âthis album is vintage Buzzcocks. And what more could you ask for?" Joshua Klein of
31:
1067:) took punk beyond the gesture and the pose and left perhaps the most substantial and enduring musical legacy." He concluded "so, to plagiarize a question asked by Pete Shelley quite a few years ago, "what do I get" from
557:
played down the electronic influence of the album, saying that the album continues the "pretty much" same approach as the band's 1970s albums: "short, sharp-edged, anxious and angst ridden, irritable and irritated
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is something else entirely: Essentially picking up where the band left off in 1981, the ironically-titled disc sounds like it was recorded just as punk turned into new wave", calling it "retro in the best sense".
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rated the album 3.5/10 and called it "wholly ill-conceived and mind-numbingly dull" and that " seems like a weak attempt by a once-great band to simply sound 'current', whatever that means." Mark Caro of
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instruments and drum machines, particularly on Steve Diggle's material, although Shelley's songs are more akin to the band's usual "catchy, tightly written punk and pop songs." Michael Sandlin of
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said that "rather than destroy the pop song they it, playfully reinventing it as a catchy, self-conscious pastiche of itself." Neate noted that as with previous albums, Pete Shelley's work on
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did it better. Now, it's not that angst ever disappears. But there's still something tragic about singer/songwriter Pete Shelley's attempts to milk those now long-dried wells on
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was favourable and rated the album three stars out of five, saying that although "Diggle's songs sound a little weaker than Pete Shelley's" due to their electronic influence,
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1144:"reaffirmed Buzzcocks' position as a band deeply loved and revered by a global audience, simultaneously true to their original ideals and open to new ideas." Regardless, in
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for a blueprint of British punk. The Pistols wrote the book on punk-as-situation / style / shock, while the Clash covered the political angle, but the Buzzcocks (along with
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throughout the rest of 1996 and then record and release a second album for I.R.S. Records in 1997, but the closure of the label led to the band having to cancel the plans.
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at the time, that song came through running into those people, seeing casualties, lots of people thinking they were going to make it, their dreams becoming a nightmare."
762:". When asking Diggle if the band were inspired by him on the album, replied "Iâd forgotten 'Speed of Life', it was a little in-joke to me because I was taking a lot of
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a minimalistic electronic drum sound and has been described as an "discoid anthem." "Don't Let the Car Crash" is one of the album's less immediate songs. Mark Caro of
486:, with extra engineering by Joan A. Rivers, a process which concluded on 2 October 1998, and was belatedly mastered in June 1999 by Chris Blair at the world-famous
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said the band "still write great songs" and said that although the album might not appeal to fans of 1977 punk rock, it would appeal to Buzzcocks fans. Kilwag of
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said "as goofy as the production on âDoesnât Mean Anythingâ is, it grows on you." "Turn of the Screw" is one of the album's examples of Shelley's "straight-ahead
430:, but the label closed only two months after the release of the album, leaving the band without a record label. The band were intending to tour in promotion of
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beats, adding that "still crucial too is Shelley's distinctive vocal style which continues to unsettle the traditional, formal symmetry of conventional pop.
311:(1996), the band became disillusioned with trying to be a rock band and set out to become more "modern," thus birthing the project. Recording the album in
1075:, on the other hand, wrote "the band reunited in time to ride the new punk wave, but something was missing from its two capable comeback albums. The new
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and the EP were not commercial success in either country, but the album saw steady sales due to the band's supporting tour. Pending contractual issues,
418:(1996), another critical success which saw the band experiment "here and there" on the album with atypical instruments and arrangements. Ned Raggett of
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1124:"served to affirm that Buzzcocks could still appeal to a global audience while still remaining true to their original ideals." whilst music writer
978:
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Buzzcocks and The Red Room. Another special edition was released in the US, featuring a pink vinyl. To promote the album in the UK, EMI released
1100:
said "The Buzzcocks' caffeinated punk-pop of two decades ago was fueled by teenage angst and desire, and of their contemporaries, perhaps only
553:
sees the band "work with strange, rapidly alternating sounds, sizzling guitars, synthesizers from a forgotten time." However, Wilson Neate of
705:
Opening song "Soul on a Rock" begins with synths and guitars which "combust with energy." "Rendevouz" has been compared to the new wave band
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377:, featuring early singles by the band and computer elements such as a slide show and video compilation. Although not a commercial success,
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700: âSteve Diggle referring to "Don't Let the Car Crash", which refers to a car crash he was in aged 17 in which his best friend died.
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reminds us that the Buzzcocks' significant contributions are often unfairly overshadowed by a tendency to look no further than the
1018:, they sound better than most of the young punk revivalists. And at the very least, that's somewhat noteworthy." Antek Pistole of
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393:""served to affirm that Buzzcocks could still appeal to a global audience while still remaining true to their original ideals."
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738:(1983). "Runaround" and "Thunder of Hearts" are "instant singalongs" that showcase Shelley's "guitar-driven bubble punk."
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saw it as an attempt from the band to sound "current" and compared its programmed drums and "sputtering synth blips" to
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a bit drunk going down the road, weâd been thrown out of a club for dancing with each other, sure they were playing â
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Although the album was recorded with the idea that it sounded contemporary, the album's sound was said to emulate
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as his helium-voice laments the return to fast cars, watched phones that don't ring and misbegotten romances."
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Despite being described by some and by Shelley as an attempt to sound more modern, many critics compared it to
403:
844:
545:"is contemporary, but it is definitely Buzzcocks," noting that his "voice is very distinctive." Antek Gun of
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influence, with electronic instruments and drum machines featuring on the songs, especially those written by
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687:"For me if you can walk down the street and you can see the sun then itâs all not that bad. It was like the
565:
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is a "minor triumph" that proves that "the Buzzcocks not only sound better than any of their punk peers on
508:, Pete Shelley said that, compared to writing songs in the 1970s, there was more ways of writing songs for
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said "catchiness without urgency equals something, but vintage Buzzcocks it ain't." David Daley of the
836:, an "excellent" video featuring studio and live footage, promotional videos, and TV appearances from
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2511:
2479:
479:
90:
860:â"Thunder of Hearts" and a radio edit of "Soul on a Rock"âand completed by the band's 1978 single "
809:
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638:"Also crucial to the Buzzcocks' reinvention of the pop song, and demonstrated perfectly again by
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described the experiments as "hints of trying to breathe once again beyond the basic formula."
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supplemented and shot through with jagged, saw-like guitars, and scattered with irregular,
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arranged and produced the new record, which was recorded in summer 1998 at The Surgery,
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record." Nonetheless, the record did have some detractors. According to Mick O'Shear,
272:
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1120:, music writer Mick O'Shea said that alongside the band's other post-reunion albums,
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407:, their first album since reuniting in 1989 and a return to the band's original
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369:, their first release for both labels. In the UK, CD copies were paired with an
120:
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displays a prominent electronic influence, especially on the songs written by
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is rated with two stars out of five and is described as "plastic new wave."
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in July 1996 had left the band without a record deal, the band signed to
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received generally favourable reviews from critics, being referred to by
347:
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110:
105:
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observed that "Speed of Life" and "Don't Let the Car Crash" both sport "
732:" songs. "Phone" has been compared to the music of Shelley's solo album
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817:
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takes the historically distant, paradigmatic pop format of 50s and 60s
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307:
198:
30:
823:(1989) and contains twelve of the band's early singles as well as an
534:
491:
446:
1136:, it "confirmed the Buzzcocks' latter-day renaissance." Alongside
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The album had some mixed and negative reviews. Michael Sandlin of
816:. This extra disc was an abridged version of the band's anthology
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564:
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38:
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rated the album three stars out of five in the fifth edition of
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788:
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362:
346:'s solo career, and was also categorised as sounding like the
153:
2315:
1522:
Brackett, Nathan; Hoard, Christian David (1 January 2004).
1944:"INTERVIEW: Steve Diggle (Buzzcocks)- Part One - Gigslutz"
876:
was belatedly released in early 2000 in Europe and Japan.
305:. After the critical success of the band's previous album
2079:â Buzzcocks | Songs, Reviews, Credits, Awards | AllMusic"
1604:â Buzzcocks | Songs, Reviews, Credits, Awards | AllMusic"
748:-esque titles," as David Bowie's electronic-tinged album
791:
in the United Kingdom and independent punk rock label
361:
The album was released in September 1999 in the UK by
354:, formed in the late 1970s by former Buzzcocks member
584:
of the late 1970s and/or early 80s; Joshua Klein of
504:
wrote the remaining five songs. When interviewed by
69:
22 Juneâ13 August 1998, 14 Septemberâ13 October 1998
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Ever Fallen in Love (With Someone You Shouldn't've)
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2528:
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Ever Fallen in Love (With Someone You Shouldn't've)
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described "Doesn't Mean Anything" as "rapping-over-
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37:
23:
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385:as a "minor triumph" and by another critic as "a
2262:"Manchester Music - News Story From the Archive"
1877:"Buzzcocks Modern (Go-Kart) I'm assuming the..."
1574:"Buzzcocks | Biography & History | AllMusic"
848:, and "some bizarro kids program" among others.
1711:: CS1 maint: others in cite AV media (notes) (
685:
636:
1670:"Interview with Steve Diggle of the Buzzcocks"
1517:
1515:
808:set; the second disc being the newly compiled
800:was released by EMI on 7 September 1999 as an
549:said that instead of being a punk rock album,
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1047:In a very favourable review, Wilson Neate of
331:, who wrote five of the album's songs whilst
8:
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827:element featuring the music videos for the
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1821:"CDs / LPs / Singles - Reviews BUZZCOCKS"
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2172:"Robert Christgau: CG 90s: Key to Icons"
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474:. The album was mixed over two weeks at
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1704:
1051:said that "during its finest moments,
1962:"Buzzcocks: Modern: Pitchfork Review"
1815:
1813:
889:
342:from the early 1980s, including from
297:is the sixth studio album by English
7:
2431:Another Music in a Different Kitchen
1552:. London: Music Press. p. 307.
1536:rolling stone album guide buzzcocks.
1402:Adapted from the album liner notes.
521:Unlike previous albums by the band,
1158:said that "each time you listen to
709:. "Thunder of Hearts" features the
1170:All songs written and composed by
18:1999 studio album by Buzzcocks
14:
2519:Operator's Manual: Buzzcocks Best
2237:The Encyclopedia of Popular Music
2207:O'Shea, Mick (20 November 2012).
2147:"Robert Christgau: CG: Buzzcocks"
2053:"Buzzcocks - Promotional Product"
1526:The New Rolling Stone Album Guide
1147:The New Rolling Stone Album Guide
1130:The Encyclopedia of Popular Music
910:
500:wrote eight of the songs, whilst
476:Woodbine Street Recording Studios
87:Woodbine Street Recording Studios
2638:
2637:
1964:. 16 August 2000. Archived from
1445:John A. Rivers â mixing engineer
977:
972:
967:
929:
924:
919:
914:
909:
525:makes prominent use of numerous
2105:Caro, Mark (29 November 1999).
1550:Buzzcocks: The Complete History
1493:¡ Music Review ¡ The A.V. Club"
1487:Klein, Joshua (19 April 2002).
760:Always Crashing in the Same Car
754:(1977) contained tracks named "
1530:. Simon and Schuster. p.
1181:
1132:(2011), saying that alongside
856:, an EP led by two songs from
1:
2234:Larkin, Colin (27 May 2011).
1880:tribunedigital-chicagotribune
335:wrote the other eight songs.
2035:"Buzzcocks - Modern - Vinyl"
1457:Tim O'Sullivan â photography
1162:it gets better and better."
401:In 1993, Buzzcocks released
2445:A Different Kind of Tension
814:A Different Kind of Product
375:A Different Kind of Product
2705:
1454:The Red Room@EMI â artwork
441:The album was mastered at
54:7 September 1999
2633:
2353:
2194:tribunedigital-thecourant
1548:McGartland, Tony (2017).
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1282:
1272:"Don't Let the Car Crash"
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517:Musical and lyrical style
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28:
2452:Trade Test Transmissions
2071:Erlewine, Stephen Thomas
1140:, it has been said that
665:bubblegum boy-girl songs
603:music founding Buzzcock
404:Trade Test Transmissions
397:Background and recording
315:with the band's bassist
1985:"Buzzcocks - Modern CD"
1915:Skate and Annoy Reviews
1448:Chris Blair â mastering
1370:"Stranger in Your Town"
1300:"Doesn't Mean Anything"
1004:Stephen Thomas Erlewine
647: âWilson Neate of
2679:Go-Kart Records albums
1442:Derek Fudge â engineer
1439:Tony Barber â producer
1174:, except where noted.
1026:was very favourable, "
697:
644:
577:
450:
2286:(Album liner notes).
2266:manchestermusic.co.uk
2213:. Music Sales Group.
1738:"Buzzcocks Biography"
1429:Philip Barker â drums
1002:was mostly positive.
998:Critical response to
568:
458:. The band's bassist
440:
373:compilation entitled
253:Released: August 1999
2512:Singles Going Steady
2480:Flat-Pack Philosophy
2190:"Modern - Buzzcocks"
2010:"Buzzcocks - Modern"
1697:(liner). Buzzcocks.
1652:"The Buzzcocks 1999"
1489:"Review: Buzzcocks:
885:Professional ratings
607:would later make in
277:Alternative US cover
2605:Flag of Convenience
2176:robertchristgau.com
2151:robertchristgau.com
1950:. 11 February 2016.
1911:"Buzzcocks: Modern"
1786:: Pitchfork Review"
1744:on 5 September 2009
1707:cite AV media notes
1451:Buzzcocks â artwork
1342:"Turn of the Screw"
1244:"Thunder of Hearts"
886:
854:Promotional Product
783:As the collapse of
717:The Chicago Tribune
614:The Chicago Tribune
250:"Thunder of Hearts"
2689:Electropunk albums
2674:EMI Records albums
2583:Harmony in My Head
2504:Compilation albums
2494:Sonics in the Soul
2312:(list of releases)
1968:on 16 August 2000.
1886:on 1 January 2015.
1850:"REVIEW - westnet"
1780:Sandlin, Michael.
884:
880:Critical reception
578:
488:Abbey Road Studios
451:
443:Abbey Road Studios
2651:
2650:
2240:. Omnibus Press.
2143:Christgau, Robert
2123:on 1 January 2015
1854:Consumable Online
1798:on 16 August 2000
1394:
1393:
1258:"Why Compromise?"
1116:In his 2012 book
1049:Consumable Online
996:
995:
657:Consumable Online
649:Consumable Online
555:Consumable Online
365:and in the US by
290:
289:
262:Alternative cover
225:
224:
166:
158:
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2669:Buzzcocks albums
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2640:
2593:Related articles
2372:Chris Remmington
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2119:. Archived from
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1073:The A.V. Club
1070:
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1042:
1039:quipped that
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890:Review scores
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835:
832:I.R.S. video
830:
826:
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819:
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811:
810:greatest hits
807:
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769:
766:at the time!
765:
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756:Speed of Life
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539:Ear Candy Mag
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2569:I Don't Mind
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2379:Pete Shelley
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2154:. Retrieved
2150:
2137:
2125:. Retrieved
2121:the original
2114:
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2100:
2088:. Retrieved
2082:
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2029:
2017:. Retrieved
2013:
2004:
1992:. Retrieved
1988:
1966:the original
1956:
1947:
1919:. Retrieved
1914:
1884:the original
1879:
1853:
1824:
1800:. Retrieved
1796:the original
1789:
1783:
1782:"Buzzcocks:
1765:Liner notes.
1746:. Retrieved
1742:the original
1694:
1673:
1664:
1655:
1613:. Retrieved
1607:
1601:
1577:
1568:
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1535:
1525:
1502:. Retrieved
1496:
1490:
1418:Steve Diggle
1412:Pete Shelley
1401:
1232:Steve Diggle
1214:"Rendezvous"
1172:Pete Shelley
1169:
1159:
1155:
1151:
1145:
1141:
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1129:
1126:Colin Larkin
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812:compilation
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329:Steve Diggle
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39:Studio album
15:
2664:1999 albums
2600:Discography
2414:Tony Barber
2389:Garth Smith
2107:"Buzzcocks
1424:Tony Barber
1286:"Runaround"
1057:Sex Pistols
825:enhanced CD
622:said that "
460:Tony Barber
371:enhanced CD
319:producing,
317:Tony Barber
179:Tony Barber
121:electropunk
85:; mixed at
2658:Categories
2438:Love Bites
2409:Mike Joyce
2394:John Maher
2127:1 December
2111:(Go-Kart)"
2019:27 October
1994:27 October
1921:27 October
1462:References
1020:Ox Fanzine
944:favourable
547:Ox Fanzine
527:electronic
188:chronology
58:1999-09-07
2473:Buzzcocks
2347:Buzzcocks
2280:Buzzcocks
2156:1 January
2090:1 January
1802:1 January
1791:Pitchfork
1504:1 January
1434:Technical
1406:Buzzcocks
1398:Personnel
1384:"Choices"
1189:Writer(s)
1085:Pitchfork
1061:The Clash
1032:very good
988:Pitchfork
806:double CD
804:and as a
722:Casiotone
689:Wild West
531:Pitchfork
387:very good
303:Buzzcocks
217:Buzzcocks
186:Buzzcocks
44:Buzzcocks
2643:Category
2610:Magazine
2290:. GK058.
2282:(1999).
2084:AllMusic
1948:Gigslutz
1615:25 April
1609:AllMusic
1578:AllMusic
1356:"Sneaky"
1150:(2004),
1008:Allmusic
904:AllMusic
834:Playback
742:Gigslutz
730:pop-punk
711:Japanese
670:staccato
609:Magazine
601:art punk
560:punk pop
420:Allmusic
409:pop punk
383:Allmusic
352:Magazine
348:art punk
299:pop punk
174:Producer
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111:art punk
106:Pop punk
66:Recorded
51:Released
41: by
2625:Luxuria
2547:Singles
2487:The Way
2459:All Set
2310:Discogs
2288:Go-Kart
2057:Discogs
2039:Discogs
2014:Discogs
1989:Discogs
1701:. 1999.
1602:All Set
1314:"Phone"
1138:All Set
1134:All Set
1106:Modern,
821:Product
818:box set
779:Release
773:Starman
768:Britpop
758:" and "
707:Blondie
472:B-sides
454:title,
432:All Set
424:All Set
415:All Set
367:Go-Kart
308:All Set
239:Modern
235:Singles
221:(2003)
212:(1999)
203:(1996)
199:All Set
162:Go-Kart
56: (
2466:Modern
2305:Modern
2284:Modern
2244:
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2109:Modern
2077:Modern
1784:Modern
1748:14 May
1695:Modern
1556:
1491:Modern
1426:â bass
1387:
1373:Diggle
1359:
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1331:
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1303:Diggle
1289:
1275:Diggle
1261:
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1192:Length
1160:Modern
1152:Modern
1142:Modern
1122:Modern
1112:Legacy
1077:Modern
1069:Modern
1053:Modern
1041:Modern
1028:Modern
1016:Modern
1012:Modern
1000:Modern
992:3.5/10
898:Rating
895:Source
874:Modern
870:Modern
858:Modern
829:Modern
798:Modern
693:Camden
674:Modern
661:Modern
640:Modern
624:Modern
597:Modern
592:Modern
570:Modern
551:Modern
543:Modern
535:techno
523:Modern
510:Modern
492:London
464:Barnet
456:Modern
447:London
391:Modern
379:Modern
321:Modern
294:Modern
208:Modern
130:Length
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74:Studio
24:Modern
1186:Title
1030:is a
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350:band
301:band
237:from
165:(USA)
147:Label
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2242:ISBN
2215:ISBN
2158:2015
2129:2014
2092:2015
2021:2016
1996:2016
1923:2016
1804:2015
1750:2016
1713:link
1617:2016
1554:ISBN
1506:2015
1390:3:31
1376:2:25
1362:2:20
1348:2:38
1334:3:31
1320:3:02
1306:2:49
1292:3:27
1278:4:28
1264:3:32
1250:2:56
1236:4:32
1220:3:35
1206:4:00
1065:Wire
157:(UK)
2529:EPs
2308:at
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1059:or
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