THE FINAL CUT ![]()
While they never quite reached those heights again, their later albums explored Gordon Gano’s upbringing as the son of a Baptist minister. James Christopher Monger writes in Allmusic of their second album (released in 1984): “After the surprise success of their landmark debut, Violent Femmes could have just released another collection of teen-rage punk songs disguised as folk, and coasted into the modern rock spotlight alongside contemporaries like the Modern Lovers and Talking Heads. Instead they made Hallowed Ground, a hellfire-and-brimstone-beaten exorcism that both enraged and enthralled critics and fans alike. Like Roger Waters purging himself of the memories of his father’s death through [the Pink Floyd albums] The Wall and The Final Cut, bandleader Gordon Gano uses the record to expel his love/hate relationship with religion, and the results are alternately breathtaking and terrifying.”
(November 2014)
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