Underworld

For veteran electronic producers Underworld, times have changed. After winning critics over with their 1993 mind-trip, Dubnobasswithmyheadman, the trio of Karl Hyde, Rick Smith and Darren Emerson went on to thrill a wider, more mainstream audience with their follow-up, Second Toughest in the Infants, a record propelled by the ubiquity of its Trainspotting-plucked b-side "Born Slippy." In a genre constantly at the fringe of pop music, Underworld became one of electronica's most prolific and accessible acts, churning out two more proper albums, a best-of compilation and a live DVD.

Yet in the five years that have elapsed since 2002's lukewarm A Hundred Days Off, electronic dance music has— at least in the eyes of the media—diverged into two distinct camps: the minimal techno that fuels ketamine-crazed club kids and the uber-stylish, stadium-rocking beats of Franco sensations Justice and resurgent disco kings Daft Punk. Which leaves one to wonder, how do two 50-somethings (Emerson has since left the group) fit into a genre marked by its youthful energy?

Thankfully Underworld's latest, Oblivion with Bells, finds the duo in fine—albeit different—form. Abandoning aggro big beat and trance-friendly anthems in favor of moody, piano-tinged melodies and icy, acid textures, the veteran Brits have crafted a subdued record more suited for a solitary headphone-listening experience than for a euphoric night at the club. With its droning chug and expansive synth tones, the epic "Beautiful Burnout" sounds like the aftermath of a late night out, expectations reduced to the loneliness of a train ride home as a neon cityscape whizzes past. The distinctly different "Ring Road" serves as the album's highpoint. Beginning with a slow, abrasive drumbeat, Hyde's hypnotic, spoken-word lyrics whisk listeners away as he beautifully describes the day-to-day activity of a sunny neighborhood, leaving us with a subtle track that feels as cathartic as it is catchy.

Though detractors will dismiss Oblivion with Bells as ambient techno lacking innovation, they'll sadly be overlooking the buoyant swing of tracks like "Holding the Moth," the head nod-inducing vibe of "Best Mamgu Ever" or the simple fact that Underworld have not forgotten that electronic music—despite its swelling popularity and mainstream acceptance—should still sound mysterious.

—James Jung
10.17.07

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." ~ John Bush, All Music Guide