Lush: Lovelife
by Jane Franklin
First I'd like to let you know that I'm smoking a cigar
while I write this. Damn I am so damn cool damn. In a
way, women are still confused, and Lush's new album
is full of contradictions and preaching on both sides of
the lines. What's new? Lush has brought the word "I" to
the forefront in this album, and the whimsical musings
and rantings while unfocused politically are also
painfully direct and audible. If you're listening for theme,
I suppose it qualifies in that category: I'm all confused
because I want to be loved and yet all these men treat
me like shit. Suddenly, Lush has a message, and they
want it to be heard above the instruments for once.
Maybe someone said to them, Hey why don't you kids
speak up? Maybe they took some elocution lessons.
Remember Lush's album "Split"? That was the album you could listen to and love for
years, and then during a boring lunch date open up the lyric insert and start saying,
"Jesus, is THAT what that song is about? Molestation? I thought it was about breaking
up." The music in "Split" is so swirlingly melancholy and blissfully unaccompanied by
words like "swallow my pain" etc. She may have been saying it, you just don't know, and
you don't care to know. The lines that do come out of the mush are out of context and
therefore charmingly enigmatic. You don't really need the lyrics. In "Lushlife," however,
Emma Anderson and Miki Berenyi have decided apparently that they want a speaking
part, not just a singing part. The words are now all to obviously clear. For example, how
old were you when you figured out that your heroes would stay heroes as long as you
never met them? In "Heavenly Nobodies," Lush is kind enough to catch up those who
were lagging behind. And the poor poor girls have been done so bad by mensies: "I've
tried to be strong, I've tried to be tough, but I think that this time I've had more than
enough. I've seen too much of your games and your immature stuff. You're a waste of
my time." THE VICTIM HAS LEFT THE BUILDING. Yawn.
Interesting songs on the album:
Ciao: a duet with Jarvis Cocker that is at least witty. Completely different, musically,
from anything else they do.
500: A pop-candy-sugar-joyride that you can bop your head to and sing along to in the
car. I like it.
Other than that, just try to forget that the album was ever made, and pray that Lush will
abandon this new lucidity and return to the comfortable abstractions of their earlier
work.
Honey, if you ain't got nothing to say, then just slur your words so much we can't
understand you!
Lovelife by Lush
Review by Pheiffer 007
Lush has finally released a follow up album to the critically acclaimed, Split. Lovelife the exceptional 12
song CD, will make sure that Lush is in the elite group of good girl fronted bands.
Lovelife starts off with a rather ordinary song, Ladykillers. But once the momentum starts, Lovelife
rapidly improves. Heavenly Nobodies is a natural Rock and Roll song. Heavy guitars accentuate the
vocals by Emma Anderson. Both help "wake" up the listener to the potential of this album.
The two finest songs on this album turn out to be, 500 and Ciao!. 500 is a slow, guitar song, reminiscent
of a ballad. Emma's voice transcends the "normal Rock and Roll" voice by artists such as Alanis
Morissette or Juliana Hatfield. Her voice moves into the realm of singers such as Ani Difranco, Bjork,
and Angie Hart.
The song Ciao! with guest vocalist Jarvis Cocker (lead singer of the band Pulp) is different enough that
the listener does not feel like they are in a rut. Jarvis, being the only male singing on Lovelife brings an
added dimension of testosterone. The song, which is about two people discussing how happy they are
about breaking up. If it were not for Jarvis, and only women sang this song, it would be very "90's".
Though some people might not find it appropriate.
Other songs, that are noteworthy include the song Runaway. A song about cocaine, "line by line, we talk
all night...Runaway to where the world is fine." Also the song Olympia is noteworthy because it features
acoustic guitars and a marvelous arrangement of strings. The strings, like in the song I am the Walrus,
truly makes the song.
All in all, Lovelife is one of the best female sung albums to be released this year. But then again Lita Ford
hasn't released a new album lately.
Lovelife is the ripping new release from Lush, their first new album since 1994's critically acclamed
'Split', and compelling proof that this quartet is among the brightest lights in music on either side of
the Atlantic. Recorded in London and produced by Pete Bartlett, Lush's gifts on Lovelife are
abundantly in evidence. Revealed is an affinity for soaring melodies, the ability to craft seemingly
perfect pop gems and an instinctive musical approach that by-passes the retro-headed idol worship
that so often passes for creativeity these days. In short, Lush sounds like no one else but themselves!
Longtime die-hard Lush fans are in for a shock. "Lovelife" came out on March 5th and it's completely unlike anything they've
ever done. A lot of people have been disappointed by the three EP's Lush released at the beginning of the year, and having
heard the two "Single Girl" discs, I understand why. I think, though, that when most of those people hear the whole album will
be relieved that Lush is still a great band. Cheeseball bands like Bush aren't going to be happy. "Papasan" with its single guitar
cranked too high, is what their dopey "Glycerine" could have been. There are other familiar sounds on the album-"Heavenly
Nobodies" sounds like So-Cal punk, "I've Been Here Before" has a very Stereolab-sounding horn section, and the strings
from "Split" are back on a couple of tracks. In many ways it sounds like what's getting airplay now, but about a hundred times
better.
Lush songs have dealt with relationships and love since their beginning. Lovelife however (yes, it was a song on "Split") is
basically dedicated to voicing the ladies opinions about men in general, and guys, they're not pleased. I think the most unusual
track on Lovelife is "Ciao!", a duet with Pulp's Jarvis Cocker which was apparently inspired by Nancy Sinatra and Lee
Hazelwood duets from the 60's. With the cheesy keyboards and acoustic guitars it sounds basically just like you'd
imagine--weird. It still reminds me of Johnny Cash or something. The last track-"Olympia"-is one of the prettiest songs they've
ever done. This one song makes the whole disc worth the price.
The mixing on this album is completely different, the vocals are right up front, you can understand almost every word. If you
hadn't noticed before, some of their lyrics are pretty dumb, and it's especially evident on this one. From "500" we have "I've
never been inside you but you're so alluring--They call you little mouse by name in Rome and Turin." A lot of people have been
disappointed by the EP's that came out early this year and they think the whole album will be as bad. I think most of those fans
will be pleasantly surprised.
Play it loud, play it Lush
by Micaela Bracamonte
ince 1988, the English foursome Lush has delivered atmospheric
alternative rock with low-key vocals and pleasantly vague melodies
that, —despite critical praise and the occasional hit single, —has
ultimately earned them the dubious distinction of unfulfilled early promise.
These days, though, they're a band with a plan: pop stardom or bust.
Where singer Emma Anderson's voice was once dreamy and remote, it's
now more approachable and packs a distinctly poppy punch; and where
Miki Berenyi's guitarwork was once layered and labyrinthine, it's now
tighter and full of well-placed hooks. On their new CD (Lovelife), Lush
has started to write songs.
But they're trying for more than competent "girl-dominated" group status.
Anderson's declaration of independence in "Single Girl," for example—,
"Don't want to clean up your mess again tonight/I can do what I
want again tonight/Single girl, I just want to be a single girl", —does
sound more considered than the guy-slamming of so-called "riot girl"
groups glutting the aisles of stateside indie record shops. And if their
sound is reminiscent of the Cocteau Twins, it's no coincidence: both are
4AD bands, the small San Francisco-based label whose trademark is just
this kind of textured wall-of-sound popcraft; on Lovelife, Lush even
borrowed their equipment from the Twins.
Lush, Lovelife- Lee Graham Bridges
After several listens to this album, I put it aside and hoped I really wouldn't have to review it. But I soon realized that I have to
tell people about this album--that I have to tear up the newest release from one of my most favorite bands, Lush.
What a disappointment I have found Lovelife to be. From all the pre-release chatter on the Internet, and others' attempts at
describing of Lush's new sound, I tried to avoid expecting much. I wish I could make a lot of intelligent commentary about
what Lush sounds like on this album, but from a true fan's more emotional viewpoint, it is basically just far more dry and
meaningless than what I expected.
But what makes this album an atrocity is not just one single flaw, but a combination of failures. One problem is the full
degeneration of the band's ability to create their trademark ambience, at least in the recorded format. The second is that most
of their beautiful musical structure, nature of chords, song's progression, etc., are also lacking on Lovelife, and hence, so is the
warmth and vivacity contained in previous works. The third is the set of trite, substandard lyrics Miki and Emma wrote for this
album. You may even find yourself wondering, "is this the same band?"
The album revolves almost entirely around emotional turmoil in relationships. "Ladykillers" is about manipulative men. "Single
Girl" presents the ups and downs of single life. "The Childcatcher" explores the problematic age gap in a relationship. "Ciao!"
relates a very happy separation and features guest vocals by Jarvis Cocker of Pulp. "Olympia" is some kind of bittersweet
song about life's difficulties.
The press release describes "Papasan" and "Tralala" as "exercises in heart-wrenching balladry." It's strange this is said when
nothing on Lovelife matches the potency of previous "ballads" like "Never-Never" or "Desire Lines" from Split. Supposedly
"'Ladykillers' and 'Single Girl' positively drip with adrenaline" and "'Last Night' [exudes] an affecting eerieness." Wrong again.
Although "Ladykillers" and "Single Girl" are very catchy tunes, and the trippy, dark "Last Night" is the only example of Lush's
classic musical ability on Lovelife, you still haven't heard adrenaline or eerieness unless you've heard Lush's Spooky.
Current fans may have a very hard time with Lush's sudden abandonment of that which made them a true stand-out, and so
dear to those fans. By the same token, people enjoying Lovelife with no prior exposure to Lush may find themselves very
disoriented upon listening to past releases. This is how Lovelife has created an unappealing gap in what is an otherwise
impressive history. Even without referring back to Lush's exceptional previous work, Lovelife is, at best, nothing special.
No decent music fan expects a band to stay with the same style throughout their history, or to not jump to some other style.
But what Lush has switched to is not a style so much as a current musical trend...a bad brew concocted either because the
band really does like this sound, to sell more records, or because they forgot to show off their talent this time.
Imprint: New Revolutions (Friday, 14 June 1996 (Volume 19, Number 4))
Lush: Lovelife
Lush
Lovelife
4AD
Ohad Lederer, Imprint staff
Lush is one of those bands that falls prey to the press/fan paradox. For the past five or so years, this four piece outfit has been
ignored/ridiculed in the British press and largely ignored on this side of the pond. Usually this is due to the media's
determination that Lush's handling of moody, ethereal style of music is shallow and pretending and little more. At the same
time, they've built up a fair-sized fan base on albums that have received little fanfare.
With this release, Lush has changed directions. Fans looking for the beauty and mystery of the Gala compilation or 1994's
Split will be disappointed - this is assuredly an album of twelve pop songs. And yet, at the same time, the British press seem to
finally be coming around - the Face, in an unrelated article, is astonished that these are times "when Lush can be thought of in
credible terms." As was pointed out in a review earlier this term of the Cocteau Twins, when you've got a sound, and it's yours
for years, change and "sell-out" or stay the same and "lose your edge" seem to be the two fates that befall a band most often.
Not to compare the Twins to Lush, but the situation is not all that dissimilar.
So Emma, Miki, and the bunch play pop in 1996, and it's pretty good, if you're not disappointed at an aural departure.
"Ladykillers" is the all-catchy opener and first single/video, and the song that will probably get the most airplay. Needless to
say it's another in a long line of Lush songs less than sympathetic to the male half of the species. Written by lead singer Miki
Berenyi and sporting lines like "Oh God, the boy had such an ego/ He liked to talk about himself all day and all night/ You
think you're such a Ladykiller/ But you were nothing special 'til you turned out the light" it's not hard to see where her
sentiments lie. Another Berenyi composition, "The Childcatcher," is a he said/she said tale of incest accompanied by music
lighter in stature than the tune behind "Bitter," Lush's other great hate song. "Childcatcher," with the lyrics set further back in the
mix than the rest of the album, is the closest the band comes to the Lush of old.
Still, the absolute highlight of the album has to be, without question, "Ciao!" Slowed right down to a crawl, the song is a duet
between Miki and Jarvis Cocker, who is the Britpop superstar of the moment (he's in that band called Pulp - they're really, uh,
popular right now). The song, as promised months ago, is the "anti-love" song to end all anti-love songs. Miki sings "...you
were nothing but a big mistake/ And life is wonderful, now that I'm rid of you..." to which Jarvis, dripping with attitude,
responds "...I can't believe I thought I was in love with you/ But now the scales have fallen/ I can really see/ And I say go to
hell, 'cause that's where you took me." The song makes the album and makes my day just seem all that more wonderful.
The rest of the album is okay, not more nor less. "Single Girl," an Emma Anderson composition, is catchy but annoying, and
while a couple of the songs try to capture the (genuine) forlorn sadness that was evident on Split and the band's first full album,
Spooky, the songs just don't have the same overpowering allure.
This is not a brilliant album. If you're a Lush fan, don't expect Gala- or even Split-type material. It's pop music and it's worth
the price of admission, but that's me
