U.N.K.L.E. – Psyence Fiction (25th Anniversary) Album Review
According to Webster’s Dictionary, trip hop is defined as: ‘electronic dance music usually based on a slow hip-hop beat and incorporating hypnotic synthesized and prerecorded sounds.’ Trip hop was as powerful as it was fleeting – a ‘you had to be there’ kind of musical genre.
No other album encapsulates the marvel of this era like U.N.K.L.E.s Psyence Fiction, released on this date 25 years ago. The strength of this work can be attributed to its ability to bridge the familiar with the novel. By the late 90s, many of us were already fans of James Lavelle, DJ shadow and artists like The Stone Roses, The Verve, Beastie Boys, Radiohead. To hear those worlds so expertly collide on Psyence Fiction was like unwrapping a present within a present within a present.
Here are a few of my favorites:
U.N.K.L.E. Main Theme I was always drawn to the spoken word phrasing towards the end: There were too many of us, we had access to too much money, too much equipment, and little by little we went insane. . . Upon researching this album, I found that this was a sample of Francis Coppola discussing the making of the film Apocalypse Now (1979). According to whosampled.com, there are 16 pieces sampled on this one, including a sample of another track on the album: The Knock: Drums of Death Part 2 featuring the undeniable vocals of Mike D. from The Beastie Boys.
Bloodstain It’s too late, and I’m too straight It’s time to blow this fire out Alice Temple’s arresting vocals remain the strength of this song. If you are a fan of her voice, check out her 2018 album, The End.
Lonely Soul Is there any sweeter sound than existential dread delivered by the brilliant vocals of Richard Ashcroft? The song departs, midway through, for a two minute instrumental interlude, eventually returning to the original arrangement with a seemingly enlightened narrator. I’m gonna die in a place that don’t know my name . . .
Celestial Annihilation With samples by Byron Davis and The Fresh Crew along with Newcleus, the one harkens back to the freestyle songs of the late 80s and are artfully interwoven with the most majestic of melodies.
Rabbit in Your Headlights Released as a single, this song samples dialogue from the movie Jacob’s Ladder (1990): “if you’re frightened of dying and you’re holding on you’ll see devils tearing your life away but if you’ve made your peace then the devils are really angels, freeing you from the earth.” The cymbals starting after the word peace (2:28) – impeccable. This song is simultaneously haunting, unsettling, and comforting.
Be There My favorite track and in my opinion, one of the best videos of all time: https://www.youtube.com/watch?v=gzJT0rElo0c . With an immediately infectious, seemingly endless hook coupled with Ian Brown’s soothing vocals, this is a stunningly haunting gem. As I look into your eyes I pay no mind I found a way To get inside you I’ll give you peace of mind
When Psyence Fiction was first released, one critic said “‘Psyence Fictioncan be chalked up as an ambitious failure; its principals can put it on their résumés, but cultural historians needn’t put in their books.’” Surely, no one could have predicted just how quickly trip hop would lessen in volume and popularity. But I heartily disagreed with his sentiment then and even more so now. 25 years later, Psyence Fiction not only endures as one of the best albums of all time, but an indelible artifact of the genre. They say, if you took it all away, this love would fall apart. I say no way, you don’t know the size of my heart.
Blur // The Ballad of Darren (July 2023)
I was a freshman in high school when I first heard “There’s No Other Way” on MTVs 120 minutes, and instantly I knew that I just had to get my paws on their album, Leisure. It quickly became a favorite among our friends as it was our first introduction, stateside, to Britpop – though we didn’t have any labels for it then. We just knew it sounded fresh, different, and catchy. How kind of the band to then go on and release an album for each subsequent year of my high school career!
One of my favorite performances of all times was seeing the band in 1994 at the Trocadero in Philadelphia. During “Girls & Boys” my friend John jumped on stage and kissed Damon as the rest of us watched on like proud parents. In addition, Alex James and I had a moment of extended eye contact while he was playing bass, cigarette pursed between his lips, hair in his beautiful eyes . . but I’ll save the rest of that for my fan fiction.
Blur // The Ballad of Darren (2023)
The Ballad An interesting choice for an opener. Be it the melody, the layered vocals, or the call-and-response between Alburn and Coxon, this tune is undeniably Beatles-esque. Up close I fell in love with you I met you at an early show
St. Charles Square This song is very reminiscent of Modern Life is Rubbish era Blur. Not surprisingly, it’s one of my favorites off this album. It is batshit unbridled chaos, in the best possible way, followed by delightfully manic exultations (Ahhhhhh!): ‘Cause there’s something down here And it’s livin’ under the floorboards I can only imagine (hopefully not for too long) how fun this song sounds when performed live.
Barbaric A fun, upbeat beginning that juxtaposes the lyrics: All of us carry trauma And in owe of an explanation I will pour oil from the cup on the pyre of abdication There is a common thread throughout these songs about loss, growing older, and the futility of squeezing that slipping grasp. But perhaps – as I bop my head to the melody – none of it matters. What matters is that we are still hearing, loving, fanning, and following. We can still dance to the beat, even if we do so blithely, obliviously.
Russian Strings A bluesy lament, with Coxon’s guitar taking center stage. Reads like a continuation of the sentiment, or at least my interpretation of, “Barbaric”: With headphones on you won’t hear that much There’s nothing fake on earth There are strings attached to all of us There’s nothing in the end, only dust So turn the music up I’m hitting the hard stuff Coxon’s guitar – especially the ending solo – is indelible. I don’t know much about Coxon’s musical influences, but upon hearing this, would not be surprised if David Gilmour was one.
The Everglades (for Leonard) A poem of a song, and one of the shorter tracks. This one seems to act as a bridge between the others. Great acoustic guitar – a very moving melody.
The Narcissist This was the single that Blur so kindly released for us two months ago. Upon first listen, I was right back to remembering why I love this band so. Is there any salve better than Damon Alburn’s voice? Methinks not, for proof see: Imma shine a light in your eyes, you’ll probably shine it back on me Later in the ballad, I remembered that there is an even better salve – when it’s matched by the angelic vocals of Graham Coxon. A song that makes you grateful that Spotify recently enabled the auto repeat function.
Goodbye Alert An emotional missive about loss and grudges, with a similar guitar sound as “Russian Strings” I stayed away Got pulled inside Why don’t you talk to me anymore? Don’t punish me
Far Away Island No one does achingly heart-wrenching quite as exquisitely as Blur. FAI is similar to the earlier “No Distance Left to Run”: heartbreak followed by a dull resignation of the current reality Far away island, I miss you I know you think I must be lost now, but I’m not anymore
Avalon Highlights the range of Alburns’ vocal capabilities, gorgeous piano and guitar on this track.
The Heights The final song on the (first released) album is about, you guessed it, the end. But not the fun, come-downy Parklife “To The End”. Rather, this one implores: Are we running out of time? Something so momentary that you can’t even feel it
Standouts for me: St. Charles Square, Barbaric, Russian Strings, The Narcissist
A number of Blur’s contemporaries (The Cure, Depeche Mode, etc.) are currently staging successful arena concerts. Blur’s recent back-to-back Wembley Stadium shows were epic. Will a massive world tour be next? With Godspeed, I’ll heed the signs.
Review: Tiny Forehead (July 2023)
Tiny Forehead is a post-punk band hailing from the town of Boston in the United Kingdom. They are an original five piece who have been compared to Joy Division, The Fall, and Osees. With their manic style and surferish guitar-bass-drum combo, I’d also liken them The Cramps.
Their three song EP, Problems with Living, was released in 2022 and is available on Spotify. The first song, “It’s a Lie” begins with a killer bassline played by Dr. Krollspell, providing the perfect setup for the emergent lilt and echoes of singer Simon Barnabas. It’s a lie, he warns us, again and again and as the tempo gradually slows, he pleads:
Just give me something to live for
Or give me something to die for
But please don’t give me any more
Of your lies
The band rallies against government encroachment on the poetic track “Mandrake”, warning:
I’m the one you see / Hiding in the wings
Mandrake – breaking up our happy home
Mandrake- going where we cannot go
The funky, psychedelic trip of “Black Fax” is where The Cramps comparison emerges – surf guitar tones and echoes lurk from every corner:
You took my world
And gave me yours
“I Always Knew” is the latest (released) single from the band, and it’s an exercise in paradoxes – sounding simultaneously juvenile and sophisticated, both punk and polished. In this rumination, we have a man both defeated but also maniacally resigned to his current fate:
You don’t have to make me understand
You don’t have to make me cry
You don’t have to hold my hand
Explain the rational reasons why
With its unique sound and unpredictable drum work by Steve Thomson, this is my favorite track that is currently available on Spotify.
I also had the opportunity to listen to a few soon-to-be-released demos. There are currently a few band changes with the addition of Rob Padlock on guitar, George Whitelaw on rhythm guitar, and Shan Henry on backing vocals.
“Six Miles Under the Sea”, with its unrelenting transitions, seems to dovetail between The Clash and The Grateful Dead. If a song were an identity crisis, this is what it would sound like – in the best possible way. Barnabas is delightfully sinister as he asks would you like and declares kill me in Greggs!
The alliterative “Castle Corset” is the standout demo of this bunch. From the stripped down, searing guitar into to the luring cadence of Barabas’ commanding:
My sensible house where nothing stirs
Except the humdrum of years
That were denied by reasons far
Far too tame to count as war
There is an anger bubbling below the surface and just as you think it will boil over, enter Henry’s utterly gorgeous vocals to soften the blow. This song sounds fresh and familiar, as though (to borrow their words) ‘I’m in some kind of dream.’
Tiny Forehead is currently enjoying a bi-monthly residency at The Eagle Pub in Boston. You can catch their next performance there on Saturday, the 29th of July.
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