Customer Reviews

Never Never Land

5 star:		(9)
4 star:		(2)
3 star:		(3)
2 star:		(2)
1 star:		(1)

 

 

When one of my former student housemates handed me a copy of 'UNKLE's 1998 debut album 'Psyence Fiction' a few years ago I knew it was going to be special. Not only did I have a lot of faith in this particular friend's recommendations, but the album featured some great cover art by the unmistakable Futura 2000, and the promotional sticker on the front mentioned collaborators like Thom Yorke Ian Brown, and Richard Ashcroft. Of course it was going to be good.

It didn't disappoint, in fact it became one of the most listened to albums of my whole 3 year stay at University.
James Lavelle and DJ Shadow had created something truly original. I even used the library's incredibly slow computers to download the video to 'Rabbit in your headlights' -- which, if you haven't already witnessed, is disturbing, cerebral, and quite brilliant.

The winter of 2004 heralds the return of James Lavelle to American shores, this time teaming up with Richard File to produce ''Never, Never, Land'' -- yet another revelation in modern dance music. Collaborators for this new album include vocals from Ian Brown, Brian Eno, Jarvis Cocker and 'Massive Attack''s inimitable 3D.

After a brief intro, `'Never, Never, Land'' opens with the ominous "Even now in Heaven there were angels carrying savage weapons" -- a track with a not-so-subtle anti-war message, with samplings from the movie 'A thin red line' used to great effect.

The album evolves through many atmospheric channels, from the heavy break beats and stomping baselines of 'Eye for an Eye',
to the thoroughly chilled ambience of 'In a State' or the free-flowing electronica of 'Invasion'. Some tracks like 'Safe in Mind' have obvious rock influences and vocal mixes used in very interesting ways.

Like it's predecessor, ''Never, Never, Land'' is not your average mix of club anthems or dance-floor hits -- you'll not find this at Ibiza this coming summer (except as a Sasha or Digweed remix, perhaps) it is a serious experiment, for fans of originality -- a refreshing alternative to more fashionable and generic sounds.

Which is why I love it, but also why I am a little disappointed. For me, it still holds true that a sequel is hardly ever as inspiring as the original. ''Psyence Fiction'' was such a raucous injection that I think Lavelle will have to work much harder to improve upon it.

I don't know if it can be attributed to the absence of DJ Shadow, or the fact that this time around the collaborators are not so `A-list' -- you can find much discussion of this around the internet and I'm not sure any of it offers conclusive evidence -- but there is definitely something missing.

Overall the album feels much more professional, more 'crafted' than their seminal work, -- this is what I find the least compelling. I just think some of the magic gets lost when all of the raw creative power of the original experiment gets whittled down by too much editing and perfecting. There is also the lack of epic tracks like 'Rabbit in your headlights' and 'Lonely Soul' to really draw me in.

And if anyone is wondering if the McLaren award winning video to 'Eye for an Eye' is included on the CD release -- sadly, no. I think this is another major shortcoming.

But having said all of that, this second installment is still one of the best dance music releases I've experienced in a long long time, and should still get credit for being bold and unusual in a genre that is mostly steeped in uninspiring clubhouse pop with lyrics like

Atleast that's what i hear, but not in the way the cover might suggest. It's not scary, its meditative. The odd lyrics from "the thin red line" bring a tone of solemn to the album. Regardless, of my early impressions the album is brilliant- and even more so, because i havn't heard sasha's remixes off of his Involver for quite some time. I wish I had bought this before i heard those monster tracks. The space has allowed me to be honest with this review, this is an incredible album- not a dance album though. This is an infusion of definate massive attack legend-- it's more easily relatable to mezzanine. but there are stints of acoustic guitar a current trend in beat music, along with vocals that mimic Beck at times. Arguably, its a failure to try and draw comparisons, this an experiment, a project for lavelle- and a success. maybe james lavelle should stick with this concept in general, leave the clubs behind- its not a bad way to hear your tracks remixed by sasha and hear him bending the ground with them.

I really like discs that push the limits or try to do somthing different than your standard mix CD. Don't get me wrong I love a great mix, most of my favorite CD's are mixed (my current favorite being Armin's Universal Religion Live in Ibiza). This CD is different - don't expect to DANCE to it - this is dark and melancholy and a good disc to think or write to or whatever you may do while listening to music. This disc is great from begining to end, and make sure to buy the special 2 disc edition becuase the second disc of remixes is outstanding as well. This is not for the everday run of the mill electronic listener, but if you are brave, willing to expand your music horizon, and care to take a slightly dark journey into UNCKLE, welcome aboard.

I don't know who U.N.K.L.E. is. The liner notes on this album are a dizzying mish-mosh of hundreds of names. Who, I wonder, is responsible for this harshly tender and touching album?

Ostensibly, the helmsmen are James Lavelle (who did much of the exquisite and expansive producing) and collaborator Richard File (whose voice shows up on over a third of the songs). But these two are guiding a ship that is staffed with a pretty talented crew, including Brian Eno, 3D (of Massive Attack), Jarvis Cocker, Josh Homme (from Queens of the Stone Age), and Ian Brown.

Some argued (when the album was released, and even now) that despite (or because of) the wide array of talent around the record, the end result is uneven and unfocused. Lavelle, in interviews, countered by saying that a unifying theme was one of childhoods lost, of personal growth in the face of unstoppable time. This makes some sense, given the title and the lead track ("Back and Forth," in which we are told that life is "changes ... what you gotta go through your whole lifetime"). In spite of Lavelle's claim, thought, there is some sonic discrepancy between a few tracks, but this seems like small potatoes when those tracks are already so well done to begin with.

Most of the record is buffeted up by powerful waves of sound (some of them more than reminiscent of the men behind their making; 3D's "Invasion" sounds like it was lifted straight out of a Massive Attack album), floating on lofty currents of bass, much of it sparkling with arteries of synth bright enough to bring some light to the dreary lyrics. This is, to be sure, electronica, but it is electronica at its genesis, before it had taken great pains to distance itself so exclusively from anything even remotely mainstream. As such, a few tracks have a commercial hue about them, but none of them are anything but themselves. This is not the electronica of today -- experimentation for the sake of experimentation. This is a humbler and more naive version -- experimentation for the sake of good music.

And good music it is. "Glow" is an evocative anthem that seems to be fighting valiantly (and soulfully) against the effects of a general anaesthetic. "I Need Something Stronger," with its tender purrs and passive industrial heartbeat, unfurls like the soundtrack to an android's daydream. "Eye For An Eye" sounds inspired by Zepplin's anthematic energy, weaving bright vocals with a cataclysmic mesh of distortion and bass. "Reign," with its stringed backbone and slightly-trite chorus, is kept from sounding Prepackaged-And-Radio-Ready by Ian Brown's distinctively clear voice and a bass line provided by his ex-band member, Mani (of The Stone Roses).

The overall product is one that is billowing and clean, oceans-full and flowing, produced with meticulous attention to every trill and tremble. And although the various contributors (and, to a greater extent, U.N.K.L.E.'s fuzzy facelessness) mean that the songs don't always complement each other so well, that doesn't also mean those songs aren't good enough as it is. Because, in fact, they're great.

It took me more than one listen to begin to realize what a great CD this is. Sure, if you're looking for what Psyence Fiction had to offer, then this CD may not be for you. But if you're looking for great songwriting with a great groove and mood throughout, then this CD is right up your alley. Although the vocalists on this CD may not be phenomenal singers, their voices fit the songs perfectly. The music is very well written, and the style is awesome. I recommend this CD for anyone who enjoys... good music.

This album, just like it's predecessor is an amazing work of art and achivement that is, as it should be, respected by those who truly appreciate and repect the greatness of the masterpiece the artists involved in it's creation have graced our ears with once again. I loved the first album and had high expectations from this one and was not let down in the least. It would have been nice to hear more of Thom Yorke, but overall, I am impressed that they could pull it off a second time. Another great addition to my collection. Thank you.

Who: Richard File, songwriter Ant Genn, with James Lavelle, make up the trio with various guests (including Ian Brown) on vocals.

Why: It's dance and trip-hop music with a bit of broody guy vocals, angst without the whining, and manages to be not so dark. There's the guiding piano much like Ben Folds, a heavy breakbeat like Everything But The Girl, guitar riffs like Frou Frou or Goldfrapp, and string-driven like the Badly Drawn Boy, and pondering lyrics with vocals that remind you of Massive Attack. My favorite song - "What Are You To Me?"

When/Where to listen: For those strangely damp and moody times when you want to reflect on your life or maybe be in a dance-trance while going about your chores, pausing for a moment of flashback when reminded of somebody, but still want to be left upbeat and not delve or wallow in the gloom.

This is not the UNKLE we've grown to love. With that out of the way, we can take a look at this Shadow-less UNKLE release.

The album has a good length to it with some additional remixes at the end. You do get your money's worth though but at the expense of quality. With the exception of Eye for and Eye, In a State, and Reign, there really isn't much there. The remaining tracks are pretty good but nothing definative or memorable. This might be a good album to have as background music to a posh restaurant or lounge.

I can see how this might've turned off people expecting Psyence Fiction 2, but for a lounge album, this isn't bad at all. A solid 3 stars.

i love shadow, and i love the first unkle album. when i first heard shadow wasn't going to be a part of never never land, i was obviously dissapointed. but fortunately that allowed me to get my dissapointment out of the way early and go in with an open mind.


i love this album. i can definately listen to it over and over again. it transitions well from melodic and downbeat to hectic and intense. it's just a great album. you can listen to it when you are by yourself chillin or when you have other people around and are having some fun.

best when played LOUD.

why everyone hates this album? yeah it is different. but it is different for the better. haunting melodies, beautiful creations = genius!

this album is perfect for night time driving in the summer driving down the mountain going 90 miles an hour with all the windows down at 2 in the morning so no one is out on the road.

thats what this album is to me. its so amazing. every song is very well done and i always find myself listening to this album over and over again.