Description:
Album Description
Introducing '64-'95, the third instalment in Lemon Jelly's rich history of long-players. Breaking away from any (Jelly) mould, Fred Deakin and Nick Franglen have altered the ship's course somewhat and we are treated to '64-'95; their most diverse record yet. Lemon Jelly have made an album entirely based upon unlikely samples swiped from their vast record collections. Not unlike one of their DJ sets, they flip between musical styles at will and make light work of cramming metal, 70s pop, Euro house, R&B, punk and more into just one album. The title, '64-'95, simply signifies the span in years of the vario
Album Description
Introducing '64-'95, the third instalment in Lemon Jelly's rich history of long-players. Breaking away from any (Jelly) mould, Fred Deakin and Nick Franglen have altered the ship's course somewhat and we are treated to '64-'95; their most diverse record yet. Lemon Jelly have made an album entirely based upon unlikely samples swiped from their vast record collections. Not unlike one of their DJ sets, they flip between musical styles at will and make light work of cramming metal, 70s pop, Euro house, R&B, punk and more into just one album. The title, '64-'95, simply signifies the span in years of the various samples they've used and, as ambitious as the whole thing sounds, it works. The list of musical mavericks willingly plundered in the cause of the good ship Jelly includes 70s popsters Gallagher and Lyle, Scottish post-punkers the Scars, US R&B balladeer Monica and none-more-heavy metallers, the Masters of Reality. Each track manages to come as a complete stylistic surprise without losing any flow from one to the next; having said that, it's probably best not to mention the Maori crooner or Captain James T. Kirk for the moment.
The resurgence of rock in most aspects of popular music has certainly not gone unnoticed by Lemon Jelly's Fred Deakin and Nick Franglen as '64-'95 is littered with epic guitars and explosive refrains nestling amongst the downbeat soul for which they are best known. Opener "Come Down on Me" is tense, fiery, and for the most part dominated by the partnership of crashing power-chords and a lead synth that, while not big-beat, wouldn't sound out of place on an old Lo-Fi's or Chemical Brothers' album. However, for anyone missing the sugary sweetness of Lost Horizons, most of the album is business as usual--strict drum patterns and rolling, mesmeric loops of lush strings, acoustic guitars (that sound great if a little bit cheesy), and lovable bass hooks. Among the deviations in formula are "The Shouty Song," which comes across as some sort of harsh, contemporary jig and "The Slow Train," which utilizes a barber shop quartet to fantastic effect. From start to finish '64-'95 is pretty much devoid of filler and it culminates in the wondrous epic "Go," with the beat poet talents of William Shatner building to a crescendo that'll send anyone home with a smile on their face. --David Trueman
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Manufacturer: Xl Recordings
Release date: 25 January 2005
EAN: 0634904018221 UPC: 634904018221
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