Amazon.com

The Boo Radleys shoulda been contenders. Of all the bands on England's legendary Creation Records roster devoted to reinterpreting the psychedelic '60s in the '90s, Martin Carr and company had the goods. More forward-looking than Ride, more danceable than Primal Scream, nearly as challenging and creative as My Bloody Valentine but as pop-oriented as Oasis, the Boos had something for everyone. But while Oasis grabbed the brass ring in the U.S. with Definitely Maybe, Wake Up!-the Boos' jaunty, horn-driven fourth effort and a much better album-mostly fell on deaf ears.It may have all worked out for the best, since the Boos switched labels in the States, regrouped at Rockfield Studios in Wales, and produced their most ambitious, least commercial, and most inspired album yet. C'Mon Kids is a spirited invitation to join in a truly modern vision of psychedelic rock, recognizing that a geeky Englishman like Sice can rap his heart out on a tune like "Fortunate Sons" while Valentines-style chaotic guitars can be effectively paired with hip-hop rhythms on "What's In the Box" or "Get On the Bus." That's bus as in the indie-rock tour van, not Ken Kesey's, but to the Boos, there's not much difference. Their take on the psychedelic wall of sound is grungier and more gleeful than anyone besides the fabulous Flaming Lips. Acoustic guitars butt up against orchestras of fuzz guitar; theremins swoop and synthesizers swirl; demonic voices whisper in your ear, and your mind is blown but you find yourself cheerfully humming along. Jim Derogatis ... Read more

Reviews (7)

Melting Pot
The Boo Radleys'tendency to be all over the place is clearly both a curse and a blessing.In any of their albums we are bombarded by 2,3songs that never really take off,experiments gone awry;but when they get their mix just right it's a joy watching all those elements gel together in an unexpected,yet trully original way.

"C'mon Kids"is their most dense,heavy and arguably best effort.It's not as accessible as "Wake Up!"since it's much more complex,quite simply the hooks instead of being blatant and obvious are lurking beneath guitar fuzz or some other cool trickery.

Even if their combination of Beach Boys/Big Star melodies with punk energy,Julian Cope-styled embelishments and just about anything that comes around looking good isn't always focused or song-structure respecting you can't condemn Martin Carr for trying to be original.

The Boo's Rock Out (again)
After the bit of a lull decibels that is Wake Up! The Boo Radleys returned to the strange but thoroughly enjoyable pop-rock that only they could produce with this '96 release. This album is full of attitude not seen before from the group (there are even swears in the lyrics), but you have to love it. 'C'Mon Kids' is a call to their die-hard fans after what may have been a bit of a disappointment from the sometimes geek pop on Wake Up!. 'Meltin's Worm' is a strange beyond description but has plenty to love about it. 'Melodies For The Deaf (Colours For The Blind)' conveys just what the title implies. 'Get On The Bus' opens quietly but bursts into slashing, howling guitars before quieting down again to close. 'Everything Is Sorrow' has such beatiful but anguished tunefulness it may make you cry. 'Bullfrog Green' and 'What's In The Box' are weird rockers with melody and rhythm that few other bands have ever been capable of pulling off. If they don't get at least your feet tapping you must be dead. Then 'Four Saints' creeps up on you with a powerful message delivered with a wash of crawling techno beats, fuzz and classic shoegazer guitars. 'New Brighton Promenade' reminds you that this group was fully capable of writing a pretty, radio-friendly pop tune without compromising their artistry. 'Fortunate Sons' is a slow, dirty-sounding saunter into dub that seems to be a jab at the brats in Oasis but somewhat fails to keep up with the rest of the album. 'Shelter' rocks with a steady beat before accelerating into brief onslaught to close out the song. 'Ride The Tiger' is a Boo Radleys classic full of peculiar, yet moving lyrics and soaring music. 'One Last Hurrah' is the type of song every band wishes it had to close out an album. From beginning to end this album keeps you pulled in and wanting more. It ranks second only to Giant Steps as Boo's masterpieces. Fans of everyone from The Beatles to Pink Floyd to this years' crop of punk rockers (The Hives, The White Stripes) will appreciate its adventurous musicianship and hard-rocking attitude.

A dazzling, very rewarding experience
I remember being very disappointed when I bought this CD when it was released way back in 1996. The reason was that I had expected it to be similar in sound to the great "Wake up!" from 1995. I wanted it to be sunny and cheerful poptunes with lots of 60's sounding guitars and the great special Boo-refrains. But instead I put on "C'Mon Kids" and was scared away pretty fast. Because the guitars were LOUD, the songstrucutres were COMPLEX and difficult, and I couldnt get any grip of the album at all. This album isnt quick or easy listening. You have to hear it many times before the smart and carefully arranged songstructures reveal themselves. I put the CD away for a while and gave it another try some time later. And one after one, I got to "know" the songs, the clever breaks, the daring effects and the gorgeous melodies that are hidden deep in under all the loudness and complexity. This album really is a challenge to listen to from start to end, because you dont know what to expect the next moment. I find it to be THE masterpiece of Martin Carr and the Boo Radleys. They could have chosen the easy way and just put together an album filled with happy poptunes like "Wake up!" but instead they make an album like this. An album that for sure will keep amaze listeners once they get passed the first shock of the loud and aggressive guitars and the experimental touch within every song here. I really dont have any favourite here since I feel that every song provides that little extra which makes it different and outstanding. The loud and heavy opening titeltrack, the eerie "Meltin's worm", the light and melancholic "New Brighton promenade". They took the psychedelic feeling for exploring melodies deeper from the album "Giant Steps"(1993) and mixed it with the catchy refrains from "Wake up!" and completely drenched it all and took it one step further with this loud, introspective collage of music. Because it ressembles a collage, a big pattern of different sounds put together to create little masterpieces that twist and turn. One last hurrah for the Boo's!

buy it buy it buy it!!!!!!!!!
Finally, the Boo Radleys achieved the perfect combination of sweet melodic pop with the experimental tendencies of previous records. Plus, the songs are infinitely better than most of the tracks on the overrated Giant Steps and Wake Up! This is an album that you can listen to endlessly, for the rest of your life and not get tired of. Every song just bursts with life and creativity. There is not a single cd I own that fills me with more joy than this one. You simply must buy it.

Consistently imaginative
This album reveals at least one clever hook or twist in every track. Returning to the spirit of "Giant Steps" a screeching wall-of-guitar noise dominates the title track, which leads into increasingly strange subject matter and fresh musical ideas troughout. Overall a highly uncommercial album, it nevertheless restored the band's repution as inspired pop expirementers. ... Read more

Reviews (2)

Their Best Single So Far.
To me this is the best single the Verve have produced so far. "All In The Mind" is fantastic. The fast, stood out beats of the drums by Peter Salisbury, booming backing of a bass line by Simon Jones, haunting loops of the guitars by Nick McCabe and the low, spread out vocals of Richard Ashcroft. "All In The Mind" is a masterpiece that is cool enough to get at least the number 5 spot back then. This got to number 1 in the inderpendant charts and I'm not surprised. If the Verve were to rejoin now, I think it would be a good start to write a song taken from "All In The Mind" and show everyone who the Verve really are and what they really do! A great single and definatly a great song. 5 star quality.

The singles are usually better...
Simply put, it was a shame to see The Verve break up. All we have left are singles that are hard to get a hold of in the states. All in the Mind is worth the effort. A great ambiance single with echo guitars and RichardAshcroft's unique vocals. "One way to go," is the best on thisand deserves repeated playing. It is a shame that most of the music thatshould be on the radio is stuck on awesome B-sides singles such as thisone. ... Read more

Album Description

UK digitally remastered reissue of the British indie act's1992 compilation that includes their early 'Ride' & 'Play'EPs. 8 tracks. ... Read more

Amazon.com

Remixers can treat sounds, rather than songs, as raw material, and this disc of remixes of tracks by the Swirlies--a Boston indie-rock band with a fondness for wild guitar tones and a My Bloody Valentine fetish--strips their old recordings down to the sound level, does away with their former structure, and reinvents them as dazzling electronica. DJ Spooky and Soul Slinger both turn up with first-rate tracks; lesser-known names like Bob Brass and Rich Costey contribute mind- and genre-bending mixes; the band interjects a few distorted interludes, found sounds, and synth experiments; and everybody's in a playful, inventive mood. The disc's got the bite of rock and the striking newness of the best abstract dance music. --Douglas Wolk ... Read more

Reviews (3)

Good mixes of a band that shouldn't be remixed.
Who ever would have thought the Swirlies would have a remix album? Better yet, who would have thought a Swilies remix album would still contain the atmospheric unease and spacious noise-clutter we love them for? Well, it's been done and it's worth checking out. The mix of 'San Cristobal de las Casas' was quite a sweet surprise, using all of the lyrics and some inventive arranging. The rest of the album holds up well as a piece and shows that any type of music can be remixed well.

schizoprhenic bop
Somewhere out there the Swirlies are laughing. And well they should. This remix album is yet more proof that genre boundaries are inconsequential and and meaningless. Alt-rock? Post-rock? Dance? Experimental? What me worry? It's good stuff, but you can't put in a box and label it anything. Not even "electronica" fits the bill. And perhaps that's what makes it endearing to me. Fans of Tortoise, Neu, DJ Spooky, and musique concrete will enjoy this ear candy.

Techno remixes of My Bloody Valentine-esque space rock.
This east coast shoegazing group hand over their tweaked tunage to several DJs and the result is a mind blowing fusion of melody, noise and rhythm. Extraneous noises collide with analong synth burbles, strummed guitars and jungle beats. While not always successful, this release a successful fusion of noise-rock and dance music, similar in concept to Third Eye Foundation's "Ghost" but far more chaotic and upbeat. ... Read more

Album Description

Full-length CD Aug 2002 KC017Struts & Shocks, Seana Carmody's first solo album, is fully representative of where she's been in her musical career (see bio) and who she is now. It's rich and multi-faceted, one minute reposing in the gentle land of dream-pop and the next busily ripping into noise strata via tangles of roughhewn guitar. There is a canniness of craft in these songs, so fully realized despite their mostly economical 2-3 minutes in length. Yet when Seana does choose to stretch out into space rock territory, she does it with the aplomb of a seasoned traveller. And traversing the changing musical dimensions is that voice, sounding alternately naive and seductive, but always steadfast, sure, and lovely. Assisted by Orrin Anderson from former band Syrup USA and Adam Brilla from Lockgroove, Seana Carmody makes all the right moves on Struts & Shocks. Listeners will be moved right along with her. ... Read more

Album Description

This is a compilation of the group's best work, now all out of print, and all of it previously unreleased in the USA.Bomp. 2003. ... Read more

Reviews (1)

Worthy introduction to former greats of uk indie music scene
Some ten years later than anticipated a fine compilation appears by these former regulars of the UK indie chart.

What you get here is 7 tracks from the 1st album and a 7 assorted singles. It makes for slightly uneasy listening: the tracks from Taste are mostly satisfyingly brutal chunks of raw noise. I particularly enjoyed the howling guitar sound of I Fall She Screams and the swirling noise of Anticipating Nowhere.

The remaining tracks come from the Creation singles and the change in direction is stark. On the sleeve notes of The House of Love's Creation compilation, label boss Alan McGee writes how everyone had been doing lots of LSD around the recording of their first album and I wonder if perhaps he had fed the Telescopes some kind of hallucinogen as the remaining tracks have a more psychedelic feel, complete with flower-power inspired lines like "Fill my soul with love" and various ohhs and ahhs. These songs range from the mediocre (Never Learn Not To Love) to the inspirational (Celeste).

Overall though it's a very worthwhile purchase, especially as Taste is once again unavailable. However, it could have been better. To Kill A Slow Girl Walking is excluded while the rather ordinary b-side Pure Sweetest Ocean, complete with very long sample of whale music is included. A further compilation including the early singles, plus Peel Sessions would be an ideal follow-up. ... Read more

Amazon.com

You'll hear the precedent for this album in the dustiest corners of Simon & Garfunkel's Bookends, in the tender devotionals of the Beach Boys' Pet Sounds, and on the sun-baked gospel-soul of Lambchop's Nixon. Idle comparisons maybe, but it's true that the Kingsbury Manx talk louder through their songs than through contrived image. The best kept secret of Chapel Hill, North Carolina--so much so that when they emerged with this debut album, local commentators refused to believe that it was their work--the Kingsbury Manx are four retiring college graduates who write songs that invigorate the rock form in a way unheard since Built to Spill's Perfect from Now On. This is an album of exquisite moments--check the spine-tingling slide-guitar whirl of "Blue Eurasians," the gorgeous a cappella glide of "Hawaii in Ten Seconds," and frontman Kenneth Stephenson's emotive choral pleas on "Piss Diary." While The Kingsbury Manx is not a stone-cold classic, this is merely the springtime of their existence. A glorious future beckons. --Louis Pattison ... Read more

Reviews (16)

starry-eyed
This is my favorite album -- it has been since the day I received it. It's become familiar and personal. I never get tired of listening to the Manx, and I RECOMMEND them to everyone who wants to hear dreamy harmony, thoughtful lyrics and a really pleasing sound. The combined genius of these four guys is amazing. The CD cover above is your first clue to the creative talent of the band...one of the members painted it. Definitely buy this music...listen to it often...sometimes it feels like they're singing right to you

beautiful music
Absolutely beautiful CD. I saw The Kingsbury Manx when they opened for Stephen Malkmus and the Jicks at Irving Plaza in NYC on March 31st, 2001. I had never heard of them before and the place was only half full when they came on. After the first song, however, I stepped out into the hall to buy their CD. It would be hard for me to classify their music, but in the interests of anyone reading this review, I'll try. It is deep, slow, sometimes heavy music. They make great use of the organ and a stand-up base. It is dreamy, sleepy, and harmonious. The only sound I could remotely compare it to would be The Red House Painters (very similar in some ways, but Kingsbury Manx is, I dare say, even more complex) or The Tindersticks. I think if you like either of those two bands, you owe it to yourself to get this CD. It is now like a rare jewel in my music collection, and I am highly anticipating their next release.

Indeed.........
Incredible album on all fronts.....very clever and calm lyrical delivery coupled with nice looping riffs to put you in a daze. Varying sound throughout the album keep you off balance but on the same path you are sure not to stray from. Do yourself a favor and purchase this record.....you will not regret it. Do yourself a bigger favor and see them live if you get a chance!

Decent, respectable, nonphenomenal
In the continual search for good music, my wife bought me this CD. Considering she had also previously surprised me with such gems as Built to Spill's "keep it like a secret" and Grandaddy's "The Sophtware Slump" I was enthusiastic. However, I listened to the album and thought it was only so-so. The band has a good sound, but something didn't click. That's fine, I don't expect to like something the very first time I hear it. But the problem was that after repeated listenings over the last year or so this album has never grown on me. I feel like I should like it, because the band is talented and some of the songs (Tracks 1 and 8) stand out, but even so it still seems bland to me. Perhaps their sophomore effort "let you down" is better. Or aptly titled.

Just average, really...2 and a half stars.
A lot people like this band, but five stars??

These guys do weave a hypnotic spell. Their dynamic wants to take the listener to a point where you fully expect the music to really take off and rock out. But it never quite does..leaving you wanting more. Like almost achieving orgasm. They do this quite well on songs like Cross Your Eyes, Blue Eurasians and Fanfare; and the effect approaches excitement.

They have a good sound and play well. The main problem is that most of the songs just aren't that strong or involving.

Not bad, especially for a debut, but not good enough to make me want to rush out and buy their new release...I'll wait til it shows up in the 'used' bin. ... Read more

Album Description

SUNTAN, Boston's new psychedelic torch-bearers, are back with the complete statement. Send You Home is revelatory. Its huge lysergic buzz envelops the senses, as if pulling all the sounds of the world into its dense sonic weave. The songs seem to emanate from a serene place and aspire to plateaus of joy, with the 4-piece SUNTAN's effects-laden guitars and drum and organ swells pushing whatever envelope their melodies are threatening to burst out of. Things can get pretty massive. Even their cover of the Them garage standard "I Can Only Give You Everything" becomes a hairier beast, drenched with reverb and galloping grandly toward something bigger than a two-car. If last year's SUNTAN EP was the sound of a band entering the space-rock wilderness, occasionally flirting with chaos amidst their obvious predilection for the sublime, then Send You Home finds them full of grace, unhurried and self-assured in their ability to blow your mind. This is a must-have for fans!of the past four decades of guitar-heavy head music, from '60's Quicksilver Messenger Service to '70s Television to '80s Rain Parade to '90s Spacemen 3. In the aughts it may be SUNTAN who burns the brightest. ... Read more

Reviews (1)

Devoted Lush fan
This import is a re-release from Lush's 1989 EP 'Scar'. It contains the tracks "Baby Talk" "Thoughtforms" "Scarlet" "Bitter" Second Sight" & "Etheriel", all of which are also on the Gala cd. Lush has beautiful abstract vocals on top of layered guitars and drum beats. Lush were the best at what they did. Listening to this cd can take you on a wonderful trip though a dreamscape of love and loss. ... Read more

Reviews (1)

One of the best CDs I've ever heard
This album is, simply put, perfect. Dreamy, soaring, ethereal. A vehicle to places far away. Who would have thought floating through space would be so warm and cozy?
My vote for best Canadian album ever made. ... Read more

Reviews (3)

WONDERFUL
I LOVE this ep, and his track originally released for the "Bon Voyage" record is awesome! after all the lead singer is his wife and he wrote the song so why not put it on a SF59 record?

Simply amazing stuff!

good stuff
this is good stuff looking forward for the new one next year.

Very enjoyable
Great cd, worth every penny. All the tracks are solid, and they blend together smoothly. A chillin good time! ... Read more

Reviews (7)

get it
a great album, but has been out of print for some time. luckily, you can now download this album and eccsame the photon band (also out of print, and also great)at emusic.com for free.
so go get it!

Fabulous
Just want to echo some of the other reviews here. Lilys are an amazing band still around today (they released an album in 2003). Kurt Heasley is a genius at morphing styles from album to album, but in all of the iterations there is a hint of MBV shoegaze. This album is where it started - a soundalike for Loveless-era My Bloody Valentine. Derivative? Yes. Still brilliant? Yes! There is a hint of Ride in here too, but for the most part, it leans heavily toward the more up-beat MBV tracks. Each Lilys album has been intriguing, with forays into 60's British Invasion pop, trance, and others, but this is the one where it began - straight shoegaze. It will always hold a special place for me.

Lilys First Incarnation...A Shoegazing Masterpiece!
You've heard it refered to as the lost My Bloody Valentine record that was made in America. You've heard loads of idiot music critics say that this record is a fake, and that Kurt Heasley (the brains behind Lilys) robbed Kevin Sheilds of his genius. Okay, so here's the story on this legendary album which any fan of the shoegazing movement MUST own. This is the first record by one of the most amazing and intriguing bands that are still around today...just in another form, that's all. Kurt Heasley made this record for $1000, and not a penny more. Yes, this is true. Heasley was heavily influenced by the sound of My Bloody Valentine, and is also quoted as saying "I felt I could pull "Isn't Anything" (MBV record prior to "Loveless") out of my ass!" Quite a bold statement for anyone to make, considering that record is complete genius. Anyway, the fact is that this record sounds nothing like MBV, except for the hushed, mysterious vocals and the layers and layers of guitar texture, which is pretty much a staple in any shoegazing band. I am a HUGE Lilys fan, and have embrassed every single new direction they have taken...with open arms! Friends, this is one of their best records, and if you are a fan of shoegazing and legendary bands like My Bloody Valentine and Slowdive, then this record is gonna knock your socks off! One sidenote, Kurt Heasley recently gave Kevin Sheilds, who he is friends with, the demos to this record for Kevin to play around with, and possibly remix. Looks like shoegazing fans everywhere might be in the presence of "something" very soon. Oh yeah, this record is long out of print and I doubt that their will be a reissue, due to the fact that Kurt and his Lilys seem to go unnoticed in the music scene. Only those truly "in the know" regard Lilys as a rare and groundbreaking band...which they most certainly are. Find it, buy it...it's worth any price!

The Whole Point Is to Sound Just Like MBV
I had this friend from Virginia who told me the story of how the Lilys made this record. It was a concept album to try to duplicate the sound of My Bloody Valentine's "Loveless" as closely as possible. When you listen to "Loveless" you might ask yourself "How did they do that? How did Kevin Shields manage to make his guitar sound so un-like anything I've ever heard come from an electric guitar?" Well, the Lilys decided to try and figure it out and I think they did a splendid job.

This record doesn't really break new ground but it's a wonderful record anyway, just on it's own merits. If you like shoegaze/mope rock like Slowdive, RIDE (especially the Nowhere album), My Bloody Valentine (obviously) you will love this record.
The great thing about the Lilys is that their sound evolves from one CD to the next - they don't always sound the same. Pick up any other Lilys recording and compare it to "In the Presence.." and you will find it is quite different but that it still retains that indie pop appeal and has enough hooks to keep us indie kids coming back for more.

Soundalikes
I stumbled upon this album here on Amazon.com, and read the reviews and heard some samples and thought they would be good. I went out and bought the disc, and was totally and thoroughly disappointed. Someone should have mentioned how these guys sound EXACTLY like My bloody valentine and they have no sound of their own...I sold the cd back to a different record store and picked up a better, more original album... If you've never heard my bloody valentine, but you like the Lilys, you are missing out. MBV are the real thing. ... Read more

Reviews (2)

was it a near-death experience or was it siddal?
was i dreaming? were there angels in my room? mermaids in my basement? Siddal are an ethereal band but stand on their own completely.The are unique in their arrangement.theres almost no way to group them.once you hear siddal you wont forget them and once you hear them again you'll know exactly who you are listening to.my favorite tracks are-maybe heaven-oil spills-secrets of the blind-women of mercy.i like the second migration it was a nice reminder that there was a first.....

Ethereal, yet very listenable with pop overtones
This is my first experience with Siddal. They were recommended to me by a European e-mailpal who said that if I like Stereolab I might want to try Siddal, Tortoise, and the like. Siddal reminds me of early- to mid-career The Cure. Aside from the vocals, I suspect others will pick up on the layering and guitar-strumming-like effects and how much they remind one of the Cure and other Brit bands who surfed in to the US during the New Wave. A good mood CD to have around when you are feeling like no one understands you. Siddal does.... ... Read more

Album Description

The third single from their 1997 album 'Ladies And GentlemenWe Are Floating In Space'. Contains three tracks: 'ComeTogether', 'Broken Heart' and 'Broken Heart' (Instrumental).Slipcase with protective inner sleeve. 1998 Deconstructionrelease. ... Read more

Reviews (5)

Hope you feel OK
"Abbey road" is a 4-track EP which will be primarily of interest to people who are looking to buy anything with the Spiritualized name on it. The packaging of this CD with its slipcase cover and the image which refers to the band's last album is quite nice, but there's nothing on this EP you cannot find in superior editions on "Ladies and gentlemen", so there's no point in shelling out the cash for a remake of "Come together" and two lackluster re-recordings of "Broken heart". The first track, an abridged take of "Come together" with multi-tracked guitars and crisper sound, leans heavily towards the pretentious pomp-rock end of Pierce's spectrum (no pun intended) and simply can't compare with the powerful yet still restrained album version. The problem with the "Broken heart" pieces is that they are also rather boring - neo-classical monstrosity with nothing really going on. The mix of "Broken heart" enhaces the symphonic sound of the original with a slightly different orchestral/vocal accompaniment but adds nothing really new. Maybe Jason Pierce wanted to break away from the spacy noise-rock sound one usually associates with Spiritualized, but were characterless remixes/re-recordings really the way to go? Much of the vocal harmonizing and arrangements of the aforementioned pieces are typical of the Beatles's latter-day work and sound fairly outdated today. The most interesting cut on this EP is Andrew Weatherall's (remixer of Primal Scream, MBV, and other early-'90s noise-rock bands) 15-minute deconstruction of "Come together", a track which is quite typical for Weatherall's own output under the Sabres of Paradise/Two Lone Swordsmen banner: The combination of strangely fractured rhythm constructions and dark atmospherics works best at a subliminal, almost subconscious level and provides an interesting sonic landscapes over which the listener can put his own thoughts and dreams. Not as breathtaking and progressive as Andrew's earlier remix efforts, but it still shows what can be done with Pierce's brilliant compositions. In conclusion, this EP might be worthy of consideration for the devoted one, if only as a curiosity piece, while the more casual fans who already own "Ladies and gentlemen.." or the double-disc live album will probably be wasting their time and money.

searing EP details highs and lows of life, love, chemicals
The Abbey Road EP, Jason's most recent release save for the live discs, is a heartrending and sadly overlooked addition to the Spiritualized canon. Primarily issued to the English market because Jason felt he would rather re-record "Come Together" than bleep out its numerous instances of the "F-word", and recorded when he was assisting Dr John on the Anutha Zone album, this EP has a seething undercurrent of heroin come-down that sees it as a miniature summation of earlier material like the Spacemen 3 LP, The Perfect Prescription. Whereas that album telescoped the life cycle from birth to death into a single heroin trip, Abbey Road builds on the towering arrangement of "Come Together" (a Spector-like wall of noise closer to the live version than the version that appeared on the masterpiece, Ladies and Gentlemen We Are Floating In Space) to depict excess and the dirty high in the same sort of vein (nudge nudge, wink wink) as earlier classics like "Take Me to The Other Side". Jason growls out startling lines about the dead-end, ephemeral highs of chemical hedonism: "Little J's a (messed) up boy who's dulled the pain but killed the joy," then: "those tracks of time those tracks are mine, little J is occupied." The second track, "Broken Heart" was, simply put, the most devastatingly beautiful piece of music ever put to tape. This version doesn't quite scale the heady heights of either the tear-stained strings of the original album version or the soulful skyward harmonicas of the live version but its relative brevity does make it the most externally accessible of the three. Still, when the choirs coo in, helping Jason mutter "I've been told that this would heal, given time, Lord I have a broken heart", every relationship you've ever had that's disintegrated will flash by, and the beautiful barrage of blue and maroon-tinged strings will minister your wounded soul. The instrumental version that follows works in much the same fashion, stripped of the vocals and cutting down to the crushingly pure sounds of Jason's broken soul. Astonishing.

This EP is no replacement for any of Jason's studio recordings or the cosmically transcendent live discs, but it IS a small glimpse into the psyche of the greatest artistic genius of our time -- maybe, of all time.

(The American version of the Abbey Road EP, sold here, also adds Andrew Weatherall ('The Two Lone Swordsmen')'s remix of "Come Together", which doubles the disc's length. Its bizzarre deconstructionism is well suited to dark, headphone listening and does not disturb the EP's delicate cohesion - if anything, it adds depth and resonance to the rest of the record.)

just terrible
The 1 star review on the bottom is on the right track indeed. This is uniformily terrible. The re-recorded version of "Come Together" (for video/ airplay purposes) sabotages the fact that it's a great song. The 15-minute 2nd track is wholly aimless & awful--an all-time low point--does Jason seriously think this is good stuff? The "Broken Heart" versions here are unbearably lame as well. It's clear from this EP, as well as the "Medication" EP before it, that Jason manages to pick the brilliant sounding takes of each track for the album, & that the other versions are clearly inferior. It's an interesting fact, but the tracks themselves aren't worth listening to for actual enjoyment purposes. At all.

Not hard to swallow..
the 15 minute Lone Swordsman remix of Come Together is pretty stony...worth five bucks? .......Yes

Several swings below par
Spiritualized have scored a first: They have delivered a release that is not worth listening to. J. Spaceman's drunk/stoned visions have devolved from beautiful fever-dreams to the DTs. The opening track is *essential* to MTV-watchers and the second track is a must-have for David Lynch fans, but overall this CD is an embarrassment. Skip it and wait for the Albert Hall CD. ... Read more

Reviews (1)

For Hardcore Fans Only
Brokedick Car works as a nice compliment to the earlier Swirlies LPs/Eps. I was first tempted to purchase it because of my adddiction to their compressed, thick, fuzzy guitar sounds. Brokedick Car did not disapoint. It's theme centers around a song from Blounder Tounge Audio Baton: Pancake. There are two versions of this song that appear on Brokedick Car. The first version, Pancake Cleaner, is a stripped down take of the original. One can here the various chords ringing a bit more in this version and the heavier guitar track that rumbles through Blounder's version has been eliminated. It has much more of a melancholy feel to it as a result. House of Pancake is the final track on the EP. It is truly the most interesting track. It is constructed of the same chords and melody once again, but run over a drum machine keeping a vintage early '90s beat. One can even hear steel drums if they listen closely enough. The lyrics are a lot more clear in this version as well. It has a bit of a "house" feel and runs for about seven minutes. The album's first song "Wrong Tube (Edit)" appears on Blounder Toungue as well. It is essentially the same song. However, the My Bloody Valentinesque blurry bridge is eliminated from this version. It only makes about a 30 second difference in the song. You're Just Jealous is an interesting track with a cool hi-hat beat tucked behind a heavy and melodic baseline. It sounds as if it was recorded in the basement, and later on in the track we hear the Swirlies go off on one of their experimental noise tangents-- not for the faint of heart. Speaking of experimental noise tangents, Labrea Tarpit is just that. I feel that the only reason for this song may be to sit up with friends late night and figure things out with this song in the background. It is not slow and philosophical, but packed with sounds that get your brain buzzing. Not a song to cruise on the highway to, but there is always room for a late night thinking song. Brokedick Car is certainly an interesting listen, but probably only to those who are in love with the Swirlies enough to care about this album with its multiple versions of songs and spontaneous sounds. If you're a beginner, choose Blounder Toungue Audio Baton as a gateway, and perhaps move to this album if you fall in love. ... Read more

Album Description

Seattle's psychedelic groove-pop four piece, Voyager One, experiments with the sonic structure and content of current and past pop music. Paying special attention to the aspects of musical space and density, dynamics and timbre, they fuse melodic hooks and a liberal use of guitar effects with flowing rhythms. Time-lining themselves back through pioneering bands like The Verve, My Bloody Valentine and Ride all the while bluelined by groups such as The Smiths, Acetone and Spiritualized, Voyager One can break your legs and your heart in the space of a single song. The experience is at once intimate, explosive, spacious and entrancing. Voyager One dominate your senses, while pulling you willingly into their world. ... Read more

Reviews (5)

Promising indeed
Even though I was at first skeptical of their name (I like the Verve too, but c'mon), this disc has won me over. Asleep in a Stereo Field is particularly good with some very welcome guitar riffing. With so much lightweight (but still often good) stuff out there these days (Travis, Sparklehorse, etc), I really appreciate some music that makes me abuse my steering wheel. In fact, they do often remind me of the masters (The Verve) with their range when they decide to chill out and slow it down a little. I wish they would also re-release their earlier material (also quite good) and look forward to a new disc soon.

A response to the concern of an anonymous music fan
I play guitar in voyager one, and have been present from inception to present. I would like to assure "music fan" that every aspect of our music and what we do is sincere and heartfelt, without preconceived notions or intentions. "Music fan", thanks for your crusade to keep music pure and real. You are obviously dedicated to the cause. I couldn't agree more that people should be honest, and open, and allow for dialog, rather than throwing eggs, and then running away. Feel free to contact me at voyageronewords@yahoo.com. I would love to turn your obvious strife upside down and make you all smiley at the world again.

stunning perfection
stunning lush perfection

From the New Nation of Long Shadows
This is one of the best first releases I have heard. I am sold on the V1 experience from their shows to the CD, give me more.

These kids know what's up.
After being subjected to the same pop-punk, post-grunge, alt/rock that the Seattle music scene had become, happening upon Voyager One was the life support I needed. A friend gave me their demo a year or so ago and I was floored by their ability to rip off The Verve (which is where they get their name, if ya didn't know,) Ride, and Swervedriver and capture something that's completely new at the same time. They say immitation is the highest form of flattery and in some cases it's also the best way to make music. The affected english accent works for some reason. Probably because the sonic quality of the recordings and the accuracy of the music make it sound that much more authentic.

The live show is amazing as well. I'd highly recommend you see these kids if they come to your town. ... Read more