Techno, or our generation's disco, has its many detractors. It is often derided as repetitive, rigid, simplistic and listenable only to those taking high doses of drugs. And for the most part, it is all this. But, there is rhyme and reason to this madness. For some, the throbbing backbeat is used as a siren's call to lure listeners to the dance floor. For other artists, the broad soundscapes electronica has to offer lend a platform to relax and mystify audiences. A positive mix of both ends of the spectrum is what Underworld strive to accomplish on Oblivion With Bells, their fifth studio album.
The UK-based electronica group skirted the bane of unanimity with their single Born Slippy .NUXX."" Many will remember this as the fitting background theme to the monologue of Ewan McGregor's heroin-addicted Scotsman in the final scene of ""Trainspotting."" Though they peaked in the dance world by penning one of the pinnacle tracks of the '90s, Underworld have been able to consistently abide by the high standards they set for themselves early on.
Oblivion with Bells kickstarts with a symphonic effusion of synthesizer and pulsating bass drum. The rhythmic roller coaster begins with ""Crocodile,"" the opening track and single, and continues through the epic ""Beautiful Burnout,"" all the while laced with your obligatory bells and whistles. However, the ride comes to a stop as the steady heartbeat of the first few songs is traded in for a more ambient, downtempo style halfway through the album.
The second half of Underworld's effort devolves into unnecessary filler sounding ultimately like an updated collection of forgettable Brian Eno B-sides. The only continuity comes in the form of the ominous, agitating and wonderfully spacey tones that are de riguer for Underworld and befitting of the group's handle. In spite of this, gone are much of the sublimely and nebulously layered synthesizers that float over the top of the mix, acting as a counterweight to the darker elements. Additionally, gone are the lush musical landscape and the sense of urgency that play out over the first five or so songs. This side of the record is comparably minimalist with little appeal.
Luckily, the final electro-psalm, ""Best Mamgu Ever,"" may be the saving grace of this melancholic output in so much as it is strong enough and - clocking in at around nine minutes - just long enough to erase any memory of the preceding waywardness.
Labeled ""progressive house,"" Oblivion with Bells is not really dance and not really chillout, but rather a mediocre conglomeration of both, bookended by a couple of above-average tunes.
