Albums by this artist

Psyence Fiction (1998)

U.N.K.L.E.

Psyence Fiction

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» RUSS WAIT | STAFF WRITER

U.N.K.L.E. Psyence Fiction Mo' Wax, 1998 RiYL: DJ Shadow, DJ Spooky, Beastie Boys

Psyence Fiction is the much-ballyhooed collaboration between Mo' Wax boss James Lavelle and his label's brightest star, DJ Shadow. The album is hailed in many quarters as "electronica meets prog," as though what we really need is the marriage of fat beats and ELP-style bombast to make our lives more full. Was anyone feeling deprived?

Overall, U.N.K.L.E. succeed as often as it bores. It's not truly prog, though, as it lacks the tendency to state and re-state themes as progressive bands did in their attempt to fuse classical with rock. Although one song exists in two versions ("Drums Of Death") the only other example of consistency is the excellence of Shadow's hip-hop beats.

The disc ultimately rides on the strength of Lavelle's supergroup approach. For the most part, he invites top-notch help and gets fairly great pop songs in return. When he flops, not even Shadow's skills can redeem Lavelle.

Two female vocalists, Atlantique and Alice someone or other, demonstrate only that we need another Portishead album, fast. The track which features Jason Newsted of Metallica proves he can play bass fast in any kind of group and still not make one forget about Cliff Burton.

On the other hand, Kool Keith and Mike D. elevate both versions of "Drums of Death" to the status of unacknowledged classics. Thom Yorke does that claustrophobe-dread-alienation thing on " Rabbit in Your Headlights", providing an even better theme for your next suicide attempt than OK Computer's "Exit Music ( From a Film.)"

And Richard Ashcroft demonstrates that "Bittersweet Symphony" was no fluke. His appearance on "Lonely Soul" provides the disc's musical highpoint. A sprawling 10-minute opus of strings and beats, "Soul" simultaneously celebrates and mourns alienation, yet also notes how often the condition is self-imposed.

Both Ashcroft and Shadow bring the emotionally charged piece of work to a frothing climax and then let you ride out on a lush, symphonic catharsis. But in the final analysis, U.N.K.L.E. struggles for lack of more material like this.

Shadow's own compositions sound more like tired ' dub' versions of the strong songs. Strange, since Shadow's own Endtroducing... and What Does Your Soul Look Like are both non-stop groove-fests. Intriguing, but not electronica's defining moment. Guess we'll have to wait for that Chemical Brothers/Matchbox 20 set...

RUSS WAIT |