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Underworld - Oblivion With Bells
| Urb |
| While Riverrun kept fans on the Internet happy, Hyde and Smith kept their full-length project under such tight wraps nobody could crack a listen. So when the publicist arranged a listening party on Cielo’s full-blown soundsystem, nobody knew what to expect. Was it a signature-sound effort, or a further exploration of their film score work on Breaking and Entering or Danny Boyle’s 2007 sci-fi film Sunshine? These two worlds collide beautifully....full text |
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| Billboard |
| Underworld's fifth studio album (and second without DJ/producer Darren Emerson) doesn't have the moments of apocalyptic electro-bombast that won the band its legions without the benefit of a high-charting hit. The beauty here—and there is plenty—is of the muted kind: a rare sustained note for beatnik frontman Karl Hyde on the chorus of "Crocodile," the low-toned synth swelling over congas and strings on "Beautiful Burnout," the Tori Amos tinkle of untreated piano keys on "Good Morning Cockerel." This is the Underworld that scored two films last year, not the one that made chanting "lager, lager" a declaration of defiant slacker-dom on the "Trainspotting" soundtrack. If this is the band's version of maturation, we'll take it. "Oblivion" simmers without boiling, and the tension is intoxicating....full text |
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| Nme |
| Underworld were always the coolest of the '90s triumvirate of dance music for indie people (see also: Chemical Bros, Prodigy), as their tunes actually sounded better in clubs and they only made records when they needed to. So their first in five years feels like an event, even if relevance has long since departed. 'Oblivion With Bells' is less the comedown than the sound of the party still going 10 years on, dancers so monged that they're still flailing about, and comes as further proof that the limbs-aloft euphoria departed with Darren Emerson....full text |
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