'64-'95
The resurgence of rock in most aspects of popular music has certainly not gone unnoticed by Lemon Jelly's Fred Deakin and Nick Franglen as'64-'95is littered with epic guitars and explosive refrains nestling amongst the downbeat soul for which they are best known. Opener "Come Down on Me" is tense, fiery, and for the most part dominated by the partnership of crashing power-chords and a lead synth that, while not big-beat, wouldn't sound out of place on an oldLo-Fi's orChemical Brothers' album. However, for anyone missing the sugary sweetness ofLost Horizons, most of the album is business as usual--strict drum patterns and rolling, mesmeric loops of lush strings, acoustic guitars (that sound great if a little bit cheesy), and lovable bass hooks. Among the deviations in formula are "The Shouty Song," which comes across as some sort of harsh, contemporary jig and "The Slow Train," which utilizes a barber shop quartet to fantastic effect. From start to finish'64-'95is pretty much devoid of filler  and it culminates in the wondrous epic "Go," with the beat poet talents ofWilliam Shatnerbuilding to a crescendo that'll send anyone home with a smile on their face. --David Trueman