The title both hints at and underplays the nature of this album. Yes, it is certainly ambient, but not in the sense of wanting to make me want to stab myself in the face after a week of listening to what threatens to be the most repetitive of genres. However, it also requires some work - this is not a record you can enjoy without committing some time to.
The tones and textures throughout the album sound particularly enveloping when listened to loudly on some big headphones. Tha was the standout for me, with its tube announcer-sampling, bubbling, blissed out, Underworld-on-valium feel. It isn't a track, indeed album, that grabs you by the scruff of the neck, but it does get under your skin. There are other enticing moments, such as the almost euphoric Pulsewidth, the childlike simplicity of Aegispolis, or the drum-led Ptolemy. We are the Music Makers almost descends into parody, which is unfortunate, but as low points go, it isn't really worth worrying about.
Given the more in your face nature of the Aphex Twin tracks I knew before this week, I wasn't expecting the level of subtlety this track offers. Richard D. James started out as an engineer, which probably explains his attention to detail. It was his later tracks such as Come To Daddy and Windowlicker that thrust him into more mainstream limelight.
I was pleasantly surprised by how much I enjoyed the album as a whole. It reminds me of some of my favourite soundtracks, Moon being one, with the subtle creation of tension and release through changing dynamics and clever manipulation of sounds. It works well as background music, drifting in and out of your awareness, but ultimately it deserves attention.
Chloe's album rating: 6
Chloe's favourite track: 3. Pulsewidth
Olly's album rating: 8
Olly's favourite track: 2. Tha
Next week is 969. Whatever People Say I am, That's What I'm Not by The Arctic Monkeys.
I remembered the name. I even remembered a song or two when I looked at the track list. I didn't remember much else, or even whether I liked the songs or not, which was not a very positive sign.
To describe the album as a bit lightweight is almost certainly not a controversial statement. Whilst dealing with a variety of issues, the majority of these are romantic love. Whilst not a feathery topic in itself, a pre-nu-soul take on this is almost certainly going to end with an element of style over substance. Rain tries to add an element of gutsy edge to proceedings, and in doing so only draws more intention to the paper thin and sanitised nature of the rest of the album.
The album is slick as anything, with excellent production values, and an almost obsessive level of detail to the tones and textures used. The drumming on Wishing Well, for example, sounds like each drum has been recorded separately, to reduce any spill between them. The guitar on I'll Never Turn My Back On You is sharp as anything, and Sign Your Name is the sonic embodiment of dry ice and synths to an almost Careless Whisper-esque level. There are plenty of synths (guess the decade it was released in!), and in some ways it isn't a surprise that it spent nine weeks at the top of the UK album charts.
When it's good, this album is very good, with smooth, catchy choruses that showcase D'Arby's impressive vocal talents. There is a bit too much autopilot here though, with songs that are scarcely memorable. I can completely see why it did so well, and there isn't much to dislike about the album per se. There are some excellent pop songs, and the vocals and musical detail in the backing band are clearly impressive, it just doesn't really move me.
Chloe's album rating: 5
Chloe's favourite track: 2. If You Let Me Stay
Olly's album rating: 5
Olly's favourite track: 9. Sign Your Name
Next week is 725. Selected Ambient Works 85-92 by Aphex Twin.
