UNKLE
Where Did the Night Fall
Pod/Inertia
One of the stranger acts to emerge from the UK in recent times, UNKLE's ‘supergroup’ feel was bound to run its course eventually, but James Lavelle’s evident fascination with an evolving sound has ensured the project remains not only still alive, but kicking too. Gone are the days of having to wade through a dozen different styles over the course of one album, which certainly had its perks given early contributions from Thom Yorke, Mike D, Richard Ashcroft et al, but could also be frustrating. I’m sure I wasn’t the only listener who skipped to certain tracks on Psyence Fiction and Never, Never, Land, while hardly ever listening to others.
That tendency never really arises with UNKLE’s fifth studio album; Where Did the Night Fall is their most cohesive yet. Lavelle and his touring band seem to have settled on a sound that sits comfortably on everyone’s shoulders, a kind of psychedelic trip rock that always lingered in the background of previous albums, occasionally threatening but never fulfilling its potential. Bringing it firmly to the fore and dropping the big name guest vocalists in favour of more interesting, lesser-known voices pays clear dividends here.
For a long time UNKLE have been a sound in search of a band, Lavelle experimenting with different partners to varying degrees of success. It seems he has finally fallen in with the right crew now, particularly former Psychonaut Pablo Clements, and guitarist James Griffith of Baltimore’s Big in Japan. Together they provide a synth-laced, broken drum, psychedelic wall of menace that grounds all the tracks, allowing guest singers like Rachel Fannan of Sleepy Sun (whom I would have liked to have heard on more than one track), South’s Joel Cadbury and Clayhill’s Gavin Clark the freedom to let loose with their vocals. This has always been one of UNKLE’s strengths (witness Richard Ashcroft on ‘Lonely Soul’ and Ian Astbury on ‘Burn My Shadow’) but this is perhaps the first time guest vocals have not dominated the sound.
Lavelle himself sings on a couple of tracks, notably ‘Ablivion’, which is about as pure an UNKLE song as you’re ever likely to hear. That it is followed by Elle J. lifting the album into a truly memorable realm with standout track ‘The Runaway’, indicates Lavelle’s confidence that he is onto something here. If anything that track is too short, clocking in at a seductive 3:45 that leaves you wanting more. A single release and subsequent remixes would be highly advisable. Take note, Mister Lavelle.
Still, it’s actually the brevity of a lot of tracks on this album that make it work. Lavelle’s production experience and time behind the decks whilst touring with Unklesounds (his 2001 mixes for Japanese radio, Do Androids Dream of Electric Beats? are tricky to find but well worth it) has informed his decision to keep matters succinct and to the point. Where other producers would have indulged themselves with an extra minute or two on a lot of these songs, Lavelle wisely gets in and out fast. On the first few listens I found this frustrating but now it seems like a smart move as the album zips past, leaving a sensation of having experienced something consistent and solid that will eventually reap benefits, rather than having listened deeply to certain tracks. For me, that’s always a good sign that an album will endure as the listener slowly realizes that there are more than just a couple of singles padded out with filler – equal attention has been paid to everything here.
The lack of any apparent monster hooks may lead the casual fan to dismiss this album, but for those willing to give it a chance, there are great rewards to be found here in UNKLE’s most consistent, and best album, which has been a long time coming. James Lavelle’s dogged persistence is finally paying off and the slick, threatening sound contained herein bodes very well indeed for the future.
Chris Flynn