The trio's
one actual album is an impressive, wide-ranging effort collaging a range of
influences into an inspired, often unpredictable experience. With their former
band's generally gloomier shadows left behind, what Ash and Haskins draw from
their time with Bauhaus is that group's melange of styles -- their most
underappreciated strength. Ash, with his breathy purrs and slinky all-around
singing, works absolute magic on the quieter numbers, while more strident
pieces like the nervous tension of "War" benefit from his abilities
at more upfront projection as the need arises. Campling isn't quite as strong a
bassist as, say, David J, but he is more than fine. In the simple but effective
work he does on the opening "Lions," for instance, his deep, fuzzy
but not fuzztone effort locks the samba feeling of the song into place
perfectly. Haskins, meanwhile, is as in form as Ash, offering up everything
from minimal tapping and textures to full-bodied slams. Variety is clearly the
spice of Pop's life; the goofy, jazzy swing of "Happiness" and
catchy, dark shimmer of "Performance" are miles from "Real
Life" and its brittle, bitter acoustic/electric sentiments. Though one
could call the album schizophrenic in form, it's all still clearly the work of
one group with a set vision rather than a bunch of musicians chasing after any
number of styles. One of the most hilarious, truly trippy songs ever recorded
by anyone is right in the album's middle -- "Slender Fungus" --
consisting of Ash's nonsense main lyric, weirdly soothing backing vocals, and
an utterly strange percussion loop that sounds like people clicking their
tongues more than anything else. Pop ends on a fine high note with the
ambient-into-slow-paced-rock of "Rain." Ash's crooning has rarely
been finer, while the sheets of organ and e-bowed guitar that introduce and
then continue throughout the song are as atmospheric as it can get.
Ned Raggett.
Allmusic.com
