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lemon jelly, "lost horizons"
XL
Admittedly, I do buy my share of soft, white, fluffy stuff. It's calledtoilet paper. While the duo of Nick Franglen and Fred Deakin haveproven themselves to be fantastic producers, none of the songs on theirfirst proper album seem to go anywhere. At times, the instrumentationcan be impressive and well-balanced, but other times it can be klutzyand oversaturated. In all examples, however, the melodies simply don'tchange for the nearly eight minutes of each track. What works is whencrystalline acoustic guitar riffs, piano melodies, and string soundsare finley matched with subtle breaks. This trend is established fromthe first few seconds of the album and thankfully continues for most ofthe first part of the disc. However, quite often the songs becomeburied in too many layers, consisting of the painfully British sound ofmuted brass instruments, tacky scratches and irritating vocal samples.For example: while the flute and bass guitar on "Ramblin' Man" arebecoming blissfully intoxicating, the obnoxious British twit listingoff cities forces me to hit the "next" button on the CD player. Matchthat with the obvious American influenced sounds of pedal steel guitarand harmonica and it's almost as if Lemon Jelly are suffering from anidentity crisis. Ironically, and this is in their favor, each song doeshave a clear identity and I never get the feeling that I've listened tothe same song eight times. I admit the guilt of having, "All the Ducksare Swimming in the Water" running in my head over and over again, andthe black-and-white horror film score feel of "Experiement No. 6" isfun too, but oversaturating a song with instruments and not changingthe melody doesn't change make for a listen worthy of repeating.
Admittedly, I do buy my share of soft, white, fluffy stuff. It's calledtoilet paper. While the duo of Nick Franglen and Fred Deakin haveproven themselves to be fantastic producers, none of the songs on theirfirst proper album seem to go anywhere. At times, the instrumentationcan be impressive and well-balanced, but other times it can be klutzyand oversaturated. In all examples, however, the melodies simply don'tchange for the nearly eight minutes of each track. What works is whencrystalline acoustic guitar riffs, piano melodies, and string soundsare finley matched with subtle breaks. This trend is established fromthe first few seconds of the album and thankfully continues for most ofthe first part of the disc. However, quite often the songs becomeburied in too many layers, consisting of the painfully British sound ofmuted brass instruments, tacky scratches and irritating vocal samples.For example: while the flute and bass guitar on "Ramblin' Man" arebecoming blissfully intoxicating, the obnoxious British twit listingoff cities forces me to hit the "next" button on the CD player. Matchthat with the obvious American influenced sounds of pedal steel guitarand harmonica and it's almost as if Lemon Jelly are suffering from anidentity crisis. Ironically, and this is in their favor, each song doeshave a clear identity and I never get the feeling that I've listened tothe same song eight times. I admit the guilt of having, "All the Ducksare Swimming in the Water" running in my head over and over again, andthe black-and-white horror film score feel of "Experiement No. 6" isfun too, but oversaturating a song with instruments and not changingthe melody doesn't change make for a listen worthy of repeating.
