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Barking (Deluxe Version)

Underworld

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Customer Reviews

Where's the Grit?

Firstly, Underworld has long been one of my absolutely favorite groups. That's why I find this album all the more disappointing. This medicated, happy, poppy, shiny new sound just isn't what I would expect from Underworld. It's worlds apart from Second Toughest in the Infants, Beaucoup Fish, or even A Hundred Days Off. Though I should, I can't bring myself to give this album one star because I've always loved the group so much. However, this kitsch pre-fab euro-pop just isn't Underworld anymore.

A really powerful step in the evolution of Underworld's music

This is an important album in the history of the evolution of Underworld. First, i'll premise this by saying if you are nostalgic for the Underworld of the mid 90's, they've left you behind. This album is not for those stuck in the past. Like most things, the Underworld have changed and evolved, and they've embraced it. It simply cannot be a rerun of Born Slippy forever. Also, each of Underworld's albums have been distinctly different since Second Toughest in the Infants. All share similarities that innately make it Underworld, certainly. 'Barking' is important because it gives more relevance to 'Oblivion with Bells' as the gap that bridges 'A Hundred Days Off' and 'Barking'. 'Oblivion with Bells', while innovative in ways, felt directionless, and at moments a let down. It no longer does with the release of 'Barking'. 'Barking' is certainly more 'poppy' than past Underworld, but its also an effort to evolve - and evolve in a way i think is very positive. Throughout the album, i can hear traces of Ian Curtis (Joy Division) and Brian Eno (whom Underworld has never hid their respect for). Underworld is able to pull this off without sounding derivative in songs such as 'Grace' and 'Diamond Jigsaw'. There is really good balance between songs such as the darker, heavier Grace and the bouncy, vocal trip hop ear candy of 'Scribble'. Ironically, as opposed to some negative reviewers who feel that there sound is 'euro poppy' and less classic Underworld, I can't help but feel that most of the elements of this album purposely lack the innovative efforts of the 'Riverrun Series' and 'Oblivion with Bells' and focus more on polishing what Underworld does best, the powerful avant garde-dada vocals that make Underworld who they are, and the strong diversity in style and sound across each track that historically characterizes the Underworld. Again - if you're having trouble letting go of a time 13-15 years ago, especially the period of Born Slippy and Pearls Girl, this album may be a letdown. For fans that have really embraced the journey and evolution of the Underworld, its very like this album will please.

Phenomenal

Absolutely brilliant. May be Underworld's best album ever...

Biography

Formed: 1988 in London, England

Genre: Electronic

Years Active: '80s, '90s, '00s, '10s

Underworld became one of the most crucial electronic acts of the 1990s via an intriguing synthesis of old and new. The trio's two-man frontline, vocalist Karl Hyde and guitarist Rick Smith, had been recording together since the early-'80s new wave explosion; after two unsuccessful albums released as Underworld during the late '80s, the pair finally hit it big after recruiting Darren Emerson, a young DJ hipped to the sound of techno and trance. Traditional pop song forms were jettisoned in favor of...
Full Bio

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