![]() Murphy is as his dark best, producing nonsense noises when he isn’t shouting, the rhythm section is heavy as Flipper, and what we have here is a drone rocker as good as any by No Trend. Or take LP opener “Double Dare.” It commences with some heavily fuzzed out riffs, then the drums kick in, and this is metal, people. Take “Dive.” Daniel Ash’s guitar playing and saxophone work are brilliantly crisp and menacing, the tune proceeds at a breakneck pace, and Murphy’s vocals are a marvel he stutters, shouts, does it all. Clamorous and loud, it’s a wonderful example of the sonic possibilities of carefully controlled noise, and its wild sounds and angular riffs provide the perfect backdrop for the chilly vocals of Peter Murphy. I will concede that In the Flat Field is cold, but I also happen to find it brilliant-one of the finest LPs of 1980. I’m no Goth fan because I have a pulse, but I think the writers above are idiots. Too priggish and conceited,” before writing the LP off as “coldly conceited.” An NME writer described the LP as “nine meaningless moans and flails bereft of even the most cursory contour of interest,” while a Sounds writer dismissed the LP for having “No songs. Take their rude treatment of Bauhaus’ 1980 debut, In the Flat Field. Sometimes I’m ashamed for my fellow music critics. ![]()
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