Curse (Legendary Pink Dots)



Dave Henderson, Sounds Magazine

sometime in 1983 in the UK
****1/2

its tough trying to write about this album without
reeling off paragraph upon paragraph peppered with
superlatives. Comparisons are out of the window
too, the Dots aren't that easy to define.
Sweeping generalisations could label them as
anything from pop to psychedelia to weird, but that
would be futile as 'curse' is so many things
compactly structured.
Mysterious melodies creep through noisy extravaganzas
at times accessible and always intriguing.
Its a big sound that twists through numerous changes,
telling stories not merely in words but also through
melodies and construction. the Dots don't write easy
songs, each piece is comprised of bits and pieces that
are welded together to give an atmospheric experience.
the diversity in the component parts of each piece
dosn't jar either; its all put together with wit and
intelligence and thats really what makes it stand out.
One minute your headlong into a pop song for
degenerates and the next you're transferred into a
sea of noise which then gives way to yet another
memorable phrase.
it's like listening to the history of music, both
western and ethnic, thrown together with precision
into an enormous musical cocktail. 'curse' is an
album that should go down as an all time great,
an innovative platter that's as educational as
it's enjoyable.
DAVE HENDERSON


Rex <richwill@xsite.net>

The second album was released in 1983 and again reissued on the LPD's TeKa
label while distributed by PIAS. This collection finds the LPDs still
working within the context of the full original "band" before the
proceedings were stripped down to the duo of vocalist/lyricist Edward
Ka-Spel and synth/keyboard wizard Phil Knight (aka the Silverman) plus a
number of revolving sidepeople. Curse is a developmental album, split
between macabre pop ("Waving At the Aeroplanes," "Lisa's Party"), strange
band/noise experiments sung in Ka-Spel's own arglavezh language, and
sophisticated, complex epics like "Love Puppets" which fully demonstrate
Ka-Spel's gift for word play and the Silverman's arpeggioed synth style.