Customer Reviews

Alice in Ultraland

5 star:		(5)
4 star:		(2)
3 star:		(0)
2 star:		(0)
1 star:		(2)

 

 

I had to pay $30 for an import copy of this, but is was worth every cent. Don't expect another "Dead Cities." FSOL don't live there anymore. This logically follows "Isness," but whereas the latter was more song-oriented, this is organized more along the lines of "Lifeforms" with ideas evolving into new ideas at a bewildering pace. Unbelievably spontaneous, yet crafted with meticulous, loving care throughout, "Alice" is almost impossible to describe: I heard Jerry Garcia, Axis-era Hendrix, Prokofiev, Curtis Mayfield, Bob Dylan (to name a few) and far more guitar and harmonica(!) than I ever expected to hear on an FSOL album. A lot of people are going to hate this album, I expect: every psychedelic and progressive rock device you can imagine, and some you can't, is thrown into the mix. Bear in mind that I've only listened to it once, but I found myself repeatedly looking at the "time remaining" and wishing it would never end, and I found it impossible to enjoy listening to anything else after it was over. This is a true tour-de-force in unbelievably eclectic psychedelia that you'll either love or hate. I suspect those who will love it will be those who are able to love the funky and the beautiful in music without making endless internal references to the ironical twists that "must" be buried somewhere deep within the music's "subtext." This is, I think, a playful, and at the same time extremely heartfelt homage to what, for many of us, (let's be truthful) was a fantastic time, and a gentle hint that such times can be again. It's humorous, serious, has uncountable moment's of incredible, unexpected beauty, and couldn't have been done by anyone other than FSOL. I think it's another absolute masterpiece, but bear in mind that I consider "Isness" to be the best album of the new decade, and own (I think) every commercially available FSOL and AA album ever made except for "Environments." And I love "Dead Cities" too, but if I want to listen to IT, I wouldn't listen to this, and vice-versa. I have only one reservation: something like this should end in a way that suggests more finality, but given the nature of the album, its entirely possible that the open-ended way in which the album draws to a close is intended.

A promotional blurb on the front of my copy of "Otherness" quotes Muzik Magazine describing it as "like a beam of white light straight from heaven." Indeed. If that's so, this is more like God deciding to give us a kick by holding a prism up to the sun and twirling it around for 70 minutes. While Hendrix and Garcia jam with Banco de Gaia, and Cobain and Dougans twist all the right dials. That's what this album "looks" like to me. Absolutely recommended.

I love the CD, great music... better than the Otherness.

BUT, the CD has some very nasty, intrusive copy protection that causes 2 of 3 players I own not to play the disc correctly - The "Copy Control" website warns some car CD players may have trouble playing the disc, in my case it's the only player that will play the disc correctly. Also, if you attempt to listen on your PC the disc requires you to update your operating system! I couldn't get the disc out of my computer fast enough... No Way some company is updating my system files to play a CD.

I believe Sony had some issues with similar copy protection technology and ended up pulling the discs.

Lest anyone think this CD really sucks because of the one star of the previous reviewer, I thought I had better speak up for it. It is the best of the 3 A.A. CDs, full of wildly creative music on all, and beautiful vocals on a few, of the 14 tracks.

Personal faves are "the emptiness of nothingness", "the witchfinder", and "indian swing". The only track I find a bit grating at times is "the summertime of consciousness", with its rather stoned Sid Barrett-like sound, which I'm sure was intentional.

I highly recommend this CD, certainly one of the most interesting discs of 2005. Check it out!

Judging from the little media coverage and low number of Amazon reviews, one cannot but feel this is a gem covered in dust. I guess it's because this album doesn't cause instant amazement like previous FSOL albums do, but its consistent quality of organic psychedelia and playful silliness does reward repeated listeners like nothing else. Just tune in the non-stop cosmic flow in ultraland and enjoy.

What FSOL did for electronica , rave , and those great AMP videos they are now doing for the world of Psychedelica . What was started in the Isness (which I also highly recommend) has blossomed into a Psych masterpiece do yourself a favor and check it out . I don't write reviews unless something truly moves me and this did the trick so get on board and take the TRIP. ProgMark

well the second album of the new millenium from the FSOL boys falls right in line with 2002's masterpiece THE ISNESS. this time around theres a more straightfoward acid attack on the senses- starting with the dark side of the moon influenced piano piece- the emptiness of nothingness! Once again the mixing and production are incredible- so much going on without any sound clashes- how do they do it? This album differs only slightly from the prior record-still plenty of sitars and morphing organic electronics- more guitars and flutes- better vocals from both guests and the band.(high and dry almost sounds like a mick jagger vocal though thru a distortion box!) There seems to be more instrumental songs as well- so when theres singing the songs are more accessible but in that late sixties pyschedelic way. nothing as farout as the mello hippo disco show but track 13 is another floyd inspired stunner. And the albums closer the wicker doll mixes ominous analog scifi synth with trippy nature sounds flutes and other electronic wizardry. other highlights include all is harvest( a slow sixties styled triphop psychedlic guitar jam) indian swing and yes my brother which revisits the song from the last album. Its nearly as good as the isness but perhaps it seems more like part two than another leap foward. Still the sounds and production are amazing- the mix of live and cut performances rival what any band are doing now- never has the past been rewritten so creatively as the fsol duo have been doing over the last few years. Will hold the test of time and is highly recommended!! Ps- play loud and at night for maximum effect!!

Have to agree with this last reviewer, this is an excellent offering from Amorphous Androgynous (FSOL). While it is certainly a new direction for this band (as was Isness), the result is refreshing nonetheless. The album is one of those that will be best played during certain times, but when you want to hear something farout, this is the ticket. I might describe the sound as Beatles, Zepplin, and a collage of 70's sounds on a shroom trip with some good samples and organic beats thrown in for good measure. Fun and playful, check it out!

Whatever they're calling themselves these days, Future Sound of London, a.k.a. Amorphous Androgynous, continue their regrettable and mind-boggling descent into laughable neo-psychedelia. Their previous misadventures into this territory, The Isness and The Otherness (get it?), at least benefited from Max Richter's luxurious production, but Alice In Ultraland expands upon the worst elements of those albums -- jangling guitars, noisy sound effects, awful vocals -- to create a really bad trip. I don't know what FSOL is smoking, but I sure hope they stop soon...

I've tried to understand the positive reviews for this album - I've listened to it a number of times now, but I give up. I've been a fan of Cobain and Dougan's Future Sound Of London for ages - but this album is just plain brutally bad. Their ersatz psychedelia involves taking a musical cliché and piling on swirling layers of stuff, ad infinitum, with no respite - salted now and then with awkward lyrics delivered with a suprisingly amateurish bent... Is it a parody? As a joke, even then it might be interesting if it weren't also so terribly recorded - it sounds harsh and muddled. The last few tracks are an improvement, musically and sonically, but it doesn't make up for the hackneyed and derivative stuff that preceded.