Lush Albums (4)
What The Critics Say
Lovelife represents a major shift in style for Lush. Nearly abandoning the trancy melodies and droning guitars that were its trademark, the band has crafted an album full of sharp hooks and melodies, one that owes a great deal to the Britpop mania of 1995. From the circular melody of the opening "Ladykillers," it's clear that Lush had been influenced by the direct, jagged pop of Elastica, but the band also has reached back into '60s pop. All of the ballads on Lovelife are rooted in the hazy dream pop of the early '90s, but they are given stylish, mod arrangements complete with muted brass. Even more startling is the Nancy Sinatra/Lee Hazlewood pastiche of "Ciao!," an irresistible duet between Miki Berenyi and Pulp's Jarvis Cocker. Lovelife simply would have been an embarrassing attempt to seem fashionable if the band hadn't succeeded in updating its sound. However, Lush has been able to recreate itself as a pop band and the result is its most direct -- and arguably most rewarding -- album. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Entire albums spent exploring the depths of the various nasty things surrounding romantic relationships were nothing new by the mid-'90s, but the vaguely cinematic and slightly conceptual Split is something more. Perhaps it's the manner in which each distinctive song manages to melt into the next. Or maybe it's the across-the-board improvements over Spooky. Most knew they were capable of more after the decent but flawed record, but it's doubtful many could have predicted something this thoroughly wonderful and varied. Throughout, Lush sounds confident and downright muscular, as opposed to the feathery wisps of earlier material that could be knocked down with the slightest of breezes. Miki Berenyi's high-heaven vocals have increased range, power, and presence. Chris Acland's drums propel the proceedings more than before, perhaps pushed into better realms by new bassist Phil King. Producer Mike Hedges knows just what to do with the band's elements, adding grace and balance that no other could previously achieve. Kudos as well to a bang-up job by mixmaster Alan Moulder. It's an ardent roller coaster ride, centered around the lengthy mourners "Desire Lines" (oddly a single) and "Never-Never," which clock in at eight minutes apiece. Berenyi effectively conveys the resigned and soul-deadened nature of the lyrics. "Blackout" and "Hypocrite" prove the band's ability to be more assaultive, laying the foundation for their sound on Lovelife. Through breezy pop ("Lit Up"), brief shards of electrocuting dread ("Invisible Man"), and tales of obsessive voyeurism ("Starlust"), Split touches on most forms of emotional turbulence. Not necessarily a comeback but certainly a legitimizing stunner, the record prevented the band from being lost amidst the bunker of form-over-function dream pop bands. Split shattered every negative aspect of those failed acts with flying colors. A fantastic record within any realm. ~ Andy Kellman, All Music Guide
What The Critics Say
For Lush's first proper full-length, the band opted to work again with Robin Guthrie. Though generally delightful, Spooky suffers from being bottlenecked into a dream-drift haze that isn't as convincing as the ones concocted by the likes of My Bloody Valentine and A.R. Kane. On paper the Guthrie/Lush collaboration seems like a match made in heaven; however, this lacks a punch and balance that begins to frustrate by the latter half. Whatever dynamics Lush appear to be capable of are rendered limp by Guthrie's sonic razing. Saving the record from being buried is a batch of quality songs. Despite its faults, it's more hit than miss. It's easy to criticize the lack of drive, but the drifting nature is rapturous in spots. Regardless, the draftiness is relied upon too often. The three singles released from the LP ("Nothing Natural," "For Love," and "Superblast!") showcase the aggressive side, if only through a relative nature. As with much of the band's early material, guitars dart and veer all over hell's half acre -- just as you hear a gentle strum in one ear, another guitar whisks by like an overhead jet, only to be grounded to a halt by a swollen jolt from some netherworld. If stripped of its myriad effects, "For Love" would sound like a top-rate Go-Betweens song, filled with lovely jangles and smart songwriting. Closer "Monochrome" is a melancholy ballad whose cousin is Catherine Wheel's "Black Metallic." Beneath all the swooning and swaying, it almost suckers you into missing the cheesy "dum-dum-dum" drum lead-in to the choruses, airlifted out of your least favorite Top 40 schlock ballad circa '86. Those devils! ~ Andy Kellman, All Music Guide
