Oblivion with Bells

( 2 )

Editorial Reviews

All Music Guide - John Bush
Like their heroes Kraftwerk, Underworld's Karl Hyde and Rick Smith appear to work in a completely sterile environment, unbothered by charts or sales projections or label concerns about their marketing abilities. They simply reemerge periodically with another full-length of precise but swinging techno, with vocals that somehow create a rather plaintive sense of detachment (Radiohead's similarity in this area should not be overlooked). More than 2002's A Hundred Days Off or 1998's Beaucoup Fish, Oblivion with Bells harks back to Underworld's 1993 rebirth with the epic Dubnobasswithmyheadman. (Even the cover design and accordion-style liner notes are similar.) The acid techno is...
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Editorial Reviews

All Music Guide - John Bush
Like their heroes Kraftwerk, Underworld's Karl Hyde and Rick Smith appear to work in a completely sterile environment, unbothered by charts or sales projections or label concerns about their marketing abilities. They simply reemerge periodically with another full-length of precise but swinging techno, with vocals that somehow create a rather plaintive sense of detachment (Radiohead's similarity in this area should not be overlooked). More than 2002's A Hundred Days Off or 1998's Beaucoup Fish, Oblivion with Bells harks back to Underworld's 1993 rebirth with the epic Dubnobasswithmyheadman. (Even the cover design and accordion-style liner notes are similar.) The acid techno is firmly in place, with little or no regard for developments in the form after the '80s. Still, unlike other electronica mainstays who have occasionally revealed a little weariness -- either from trying to change or trying to stay the same -- Underworld never sound particularly tired on Oblivion with Bells. Granted, the music is less innovative than before, and also more quiet, which makes Hyde's vocals more critical than they've ever been. Unfortunately, however, they don't benefit from the scrutiny. "Ring Road" and "Holding the Moth" are particularly odd, utilizing Underworld's usual cut-and-paste phraseology, but with productions and performances that never come together like their classics "Dark & Long" or "Pearls Girl."
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Product Details

  • Release Date: 10/16/2007
  • Label: Ato Records
  • UPC: 880882158125
  • Catalog Number: 21581
  • Sales rank: 210,344

Album Credits

Performance Credits
Underworld Primary Artist, Track Performer
Karl Hyde Group Member
John Newsham Group Member
Darren Price Group Member
Paul Clarvis Percussion, Drums
Haydn Cruickshank Group Member
Pete Kalopsidiotis Group Member
Toby Lovegrove Group Member
Danielle Short Group Member
Toby Vogel Group Member
Rick Smith Group Member
Technical Credits
Karl Hyde Composer
Darren Price Programming, Engineer
Miles Showell Mastering
John Warwicker Art Direction
Andrew Dudman Engineer
Colette Barber Studio Manager
Steven Hall Executive Producer
Rick Smith Composer, Producer
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Customer Reviews

Average Rating 5
( 2 )
Rating Distribution

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4 Star

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Sort by: Showing all of 2 Customer Reviews
  • Posted October 1, 2010

    more from this reviewer

    Exceptional

    Underworld seems to be somewhat forgotten by the world at large these days. The hype built up around them in the mainstream world due to "Born Slippy" on the Trainspotting soundtrack and the excellent single "Pearl's Girl" seems to be fading away. <BR/><BR/>Which is too bad because it means a lot of people are missing out on this wonderful album. As some reviews point out, there's nothing exactly new here - if you're an Underworld fan, nothing on this record is going to surprise you. But it will, hopefully, move you. It certainly has me. Underworld continue to do what they best and to improve on it considerably, and that's to bring something to techno which is often sorely lacking: profoundly emotional music.

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  • Anonymous

    Posted October 9, 2009

    No text was provided for this review.

Sort by: Showing all of 2 Customer Reviews