I'm always amused by the so-called "true fans" who only want their favorite bands to produce the same album over and over again. Sure, "Second Toughest in the Infants" was and is a great album...but whatever happened to judging an album on its own merits? You can't compare AHDO to 2nd Toughest, because, quite simply, the albums are 6 years removed. Would any Underworld fan really be happy if the group HAD produced the same album 3 different times, just because it did well critically? What artists worth their salt write music for CRITICS?? I am quite pleased with Underworld's new direction, actually. "2 Months Off" is a bright and cheerful barnburner, and a great choice for a single (the video for it was just perfect)...and the final percussion break left me wanting more, in a good way. "SolaSistim" blew me away as well, although in a different sense. I'd really like to hear the group try an all downtempo album after hearing that song.
It sounds to me like Hyde and Smith are using Emerson's departure as a launching point for new ideas (good or bad), which I always welcome from any artist...it's just unfortunate that the majority of listeners will always be comparing this current incarnation of Underworld with its early years. I loved Beaucoup Fish (God bless Jumbo!), and I love A Hundred Days Off...and I could care less what anyone else thinks. If musicians constantly lived in the past, music would certainly be boring, eh?

Underworld went into a state of limbo following the departure of one of their key members Darren Emerson in early 2000 and fans were left uncertain of their possible future. All of the uncertainties in my opinion have been completely blown away with their 2002 album entitled "A Hundred Days Off" and I have to say, it is another winning album.

The album might be disappointing at first. The songs are a lot simpler and shorter than and nowhere near as complex as those on their 3 famous previous albums. Despite the much simpler nature of the songs, this CD doesn't disappoint that much. Just don't expect explosive epic length tracks like "Banstyle/Curry" (Track 2 From "2nd Toughest") or "Rowla". Do expect great music to come from this album.

"Momove" leads this CD off. It starts with melodic bleeping effects and then becomes a highly danceable song with an odd atmosphere and grey ambience combined with pulsating rhythm. This song could almost fit well on "Beaucoup Fish". The song eventually intensifies towards the ending before the beats stop and the remaining parts of the song fade out. A wonderful opener. "Two Months Off" starts off with an odd whispering sound effect followed by a strong beat. The beat is followed by these odd chime like keyboards and then the song becomes a harmoniosl and upbeat song with a party like atmosphere. God only knows how well this song could do on the charts. "Twist" is a more laid back track with a darker and more tone down atmosphere but still with some upbeat and danceable rhythm. "Sola System" is an intoxicating ambient ballad with a jazzier style not heard before on any of Underworld's previous albums and has an addictive mix of keyboards, beat, and odd ambience that might appeal to those who love "Second Toughest". I just love the jazziness of the song. Quite frankly, there's more to this amazing track that this review can give out so it needs listening. I agree with a previous review, it would be great of Underworld made a down tempo album like this. "Little Speaker" is an odd track that starts with a mix of dubbing and jazzy keyboard fused with dance beat and a girl voice talking about something (It's hard to make out what she's saying). The song is kind of repetitive at first but eventually, piano parts come in when the song pauses and then a haunting almost New Agey ambience comes in and the song becomes a melodic track that is almost like a lighter watered down cousin to "Air Towel". "Trim" is a more twangy bluesy song that has some twangy guitars and light beats and almost sounds like a country song but much more sophisticated. A pretty good song. "Ess Gee" is a semi-filler track that is somewhat similar to "BluSki" but without the threatening intensity or edge of that song and feels more like an interlude. "Dinosaur Adventure 3D" though is classic Underworld bringing back the aggressive dance rhythms that defined their last album "Beaucoup Fish" with an explosive melodic dance track with aggressive beats and explosive electronica. "Ballet Lane" is a mid-tempo track with glistening guitars and an array of beat and keyboards reminiscent of those from "Dubnobasswithmyheadman". The final track "Luetin" is a quirky dance number that brings this album to a marvelous close.

Overall, I have to say that "A Hundred Days Off" is another winning accomplishment from one of the most unique techno dance groups of modern times. The album doesn't stack up to "Beaucoup Fish" and it doesn't even come close to reaching the terrifying heights that "Dubnobasswithmyheadman" and "Second Toughest In The Infants" did as they are the best techno/dance albums ever made will never be topped but "A Hundred Days Off" is an important album as it proves that Underworld were able to survive the departure of one of their key members and still continue to crank out great music for the ages. This is their fourth masterpiece on a row. Go and buy this CD. :)

When Darren Emerson left Underworld, anyone could see that a critical backlash was coming. After all, Underworld had been consistently well received by the critics throughout their careers, even in the case of the somewhat disappointing Beaucoup Fish. But now, the critics had the perfect chance to turn on them, and many did, claiming that it just isn't Underworld without Emerson, and Hyde and Smith should just give up since they're obviously doomed to utter failure, and so on. Fortunately, they are wrong. A Hundred Days Off is a great comeback after Beaucoup Fish, and though it isn't the best Underworld album (that honour stays with their 1993 debut), it's really far better than anyone could expect given the circumstances. For instance, Hyde's lyrics are actually about things again! And he remembered that he owns a guitar! It's absolutely incredible!

That's not the extent of it, though. Aside from being about things, Hyde's delivery is once again potent and inspired. Take the second single "Dinosaur Adventure 3D," for instance. The music, eight minutes of very aggravated jungle with one four-note lead over the drums, is the weakest part, but the vocals are great - Hyde keens desperately in a Celtic style, and when he gets to "War machine! War machine!" it really is quite rousing, which hasn't been the case with Underworld for a while. If the music had more variety, the song could have replaced "Cowgirl" as Underworld's best anthem, but even as it is, it's quite a victory. "Two Months Off," the other single, is Underworld at their most elated, showing that they don't have to develop the themes of "Dirty Epic" to be good. The song leads one on for a minute of drums and samples, only to unleash the heavenly leads and usher in the real song, which sounds vaguely New Orderish. I think that it isn't the three-note riff that carries the song, but rather the hefty punch of the percussion; in fact, I daresay that the rhythm track here may well be Underworld's best ever.

But fortunately, there's more to the album than two singles. There are the excellent dance tracks "Mo Move" and "Luetin," both infectious, edgy, fast-paced, propulsive and flawlessly produced. The former effortlessly resurrects Underworld's dark vibe; the latter, Underworld's sense of anxious wonderment at motion through strange places and images. Then there's "Ess Gee," which sounds like the best Aphex Twin track in over seven years, and "Ballet Lane," which is similar to "Ess Gee" in its rainy-day mood but is given away as an Underworld creation by its beat. "Trim" is a surprisingly effective depiction of a sluggishly hot summer day, featuring Hyde's underused guitar and the timeless line "get on a boat and float." All of these are successes in their own right. The other three tracks don't fare as well - "Twist" is decent enough filler, but "Sola Sistim" and "Little Speaker" could stand to have their running times halved (or, alternately, to be joined into one song). Maybe one of the B-sides for the album would have been a better choice. But no Underworld album is ever without some filler, and the highs greatly outnumber the lows.

Some might say that Underworld's sound is simpler here, continuing the trend set by Beaucoup Fish. To some degree, that's true: this album contains no ambitious epics. It's even the first Underworld album to run for less than seventy minutes and have no songs longer than ten minutes. But ultimately, songs are what Underworld were always best at, and an album with a focus on great songs is a perfectly good thing. Their future is still up in the air - repeating this album, good as it is, still won't be a very good idea - but I'd say that for now, they're certainly back in the groove.

I LIKE the album. I have been listening to it for months now. I ripped the album online because I love Underworld too much to wait until the final release came out. So, this isn't a biased review based on my first listening of the CD. Now that I have the original copy playing in my cd player I can finally give a real review. So, here's the break down of the CD in MY opinion.

1.) Mo Move = It's a song that's just like the first song on Beaucoup Fish. It gets the CD going, but there's really nothing much to it. You don't want to chill to it, you don't want to dance to it, it's just a simple UW song.
2.) Two Months Off = I've heard this one so many times now. My advice, just keep giving it some playing time. This song makes me dance like a nut, especially when the bells start in. Good choice for the single. Doesn't really sound like a classic UW song.
3.) Twist = This one definetly doesn't sound like an UW song. More like DJ Tiesto and Moby did a mix together. I don't like the bass, but it's a nice calm song.
4.) Sola Sistem = Awesome! This is good stuff. It's a great one to relax to, groove to, or get it on to. Definetly a winner here, but nothing that could be played live, which is really what UW is all about.
5.) Little Speaker = Good bass to it, but man, what I would of done to hear Karl sing to this song. The girl has a cool calm voice, but if nice lyrics were implemented into this song, it would of rocked.
6.) Trim = Sounds like a Phil Collins song. Good, mixes well into the CD, but I think you have to be a hardcore UW fan to enjoy it.
7.) Ess Gee = I like it, it's a perfect way to get into the next song, but it's a little too weak. Some good lyrics (again, what makes underworld who they are) or some good synths could of made this controversial "filler" song into something great.
8.) Dinosaur Adventure 3D = A lot of people like this song. It's really the only hard song on the CD. Maybe that's why people like it, because they finally came to a song that made them move. If only they put one or two more of these on the CD. It sounds a lot like KOS, which is a good thing. This song is going to rock live! Good everything here.
9.) Ballet Lane = This is what UW is about, slow dark song. So, so nice. Good bass, crisp background effects, great pace. Sounds a little like The Chemical Brother's new stuff.
10.) Luetin = The best on the CD. Easily going to be a new classic. It's going to tear apart the clubs and make newbies to UW enjoy the new CD.

All in all, I LIKE the CD, but I think it could have been so much more. I've listened to UW for so long now, and I do miss the dark tunes found in their older CDs. The best UW CD in my opinion (or ever in the world) is Second Toughest in the Infants. Juanita, Rowla, Dark and Long, Dirty Epic, M.E., Pearl's Girl, Cow Girl; these are the real classics, and yes, we do all miss them, but if you want them, go buy the CDs. If your in the mood to be a part of UW's new sound, buy this CD, you won't be dissapointed... but you also won't be taken away.

A Hundred Days Off is a tough listen. Anyone who knows anything about Underworld knows that Emerson shapped Underworld to what they have become today. Saddly, everything Underworld has done before will always be compared to this and every proceeding release after this one. So the big question I had to ask myself was, "is there life after Emerson?" I say definately.

They way I see it, Underworld are setting up to entities now: with Emerson and post-Emerson. Because with the loss of Emerson, he took his ideas and sound with him, leaving it up to Hyde and Smith to fill the his gap. Honestly, I don't think many other bands could do with the finess this duo has. While it's not a breakthrough or evolution, I see A Hundred Days Off as more a re-establishment for the band. Getting their footing back in the ground and finding where they want to take this band while Emerson does his own thing(which by the way if you didn't know Emerson released a compilation album called Episode 1 the same day of the release of this. It maybe closer to Trance than Underworld's genre hopping style but it's still high caliber stuff). In the this sense, I think Underworld has made one hell of a come back.

The material here is generally more mellow than what they've done previously(something like Banstyle/Sappys Curry from Second Toughest of the Infants). What stands out most on this album is the production. This is the first studio album they've made that is actually on the same level of production and sound as their live preformances(or what I can gather from what I have heard from Everything Everything). Its generally more encompassing and full than their previous outtings. One thing that I think is actually superior to their older albums is a level of subtitly that wasn't in the older stuff(I'm on my 6th or so listen I'm still hearing stuff I didn't hear before). There's some great percusion samples mixed in the normal back beats, sprawled across piano riffs, bass rythms, synths, and other assorted samples. Every track comes into place nicely and all come across as well composed pieces of techno(alright, so I'm not a techno
However, I still wont say that this album begins to compete with the brilliance of Dubnobasswithmyheadman or Second Toughest. Both were incredible albums and are certainly pinicles of the genre. Too much here feels like familiar ground and while its not a bad thing(all of the tracks here I high quality stuff except for Trim, which reminds me of Glory Glory from Underneith My Radar. An era of Underworld I'd like to forget), I was still hoping for more progression. But this negative turns positive. From my outlook, Underworld can only progress from this album onwards. This is my 5 star justification(dispite being a solid 4 star album).