Now don't get me wrong. I love this band. In fact I flew to New York a few weeks ago see them live as they only played a few dates in the US. I spent hundreds on airfare and hotels and such to finally see one of their legendary live sets. They were my second to last "holy grail" of bands that I need to see live. Now I only need to see Kraftwerk in concert and I'll be happy.

And they did not disappoint at all. It was awesome. They played nearly all the songs I wanted to hear. I was able to get this album a bit early because I pre-ordered it from a link they showed on screen after the show. And I got a cool T-Shirt to boot. Needless to say, I am a fan and I was super super excited to get this one.

But Oblivion With Bells is a departure for Underworld. It is "slooww" to say the least. I actually fast forwarded through tracks, which I would have never guessed me ever doing. Virtually nothing happens on tracks 8,9, and 10. Seriously, nothing. Thankfully a "token" beat comes in for the last track. I have since gone back and listened a couple more times since. And it has grown on me. But there are few beats to be heard on this record.

This is the album I would have expected Smith and Hyde to make after Darren Emerson departed. But with A Hundred days Off they kept the energy going from Beaucoup Fish and Second Toughest. It still had some fast, mean tracks like Dinosaur Adventure 3D.

But Oblivion is slowed down. Way down. Don't be fooled by Crocodiles. It is the non representative single. And it flows right into Beautiful Burnout nicely. But the beats and hooks are quite minimal. Almost like loops for Hyde to speak over. Nothing terribly innovative really.

Oblivion has nice sounds, great production and the expected stream of conscious Karl Hyde lyrics. In fact his lyrics are brought to the forefront like never before. Very much the focus of the songs this time around. And you can make them all out this time around.

But there are no break beat-ish tracks like Pearls Girl or Something Like A Mama on this. No ten minute build up tracks like Born Slippy/NUXX or Cups. Certainly no Cowgirl on this one. But hey, that's cool. Some of those tracks are over a decade old. Cowgirl is nearly 15 years old now (wow). We can't expect the same thing over and over from these guys. But just so you know, think Push Downstairs, not Push Upstairs for this record.

If you kept up with the River Run series, this has more in common with the third release.....slow building, even a bit dull but still Underworld.

Pick it up because you love Underworld. But expect something different.

As most reviewers seem to agree, this is not something one might expect from Underworld; Darren's absence can definitely be felt. However, like SOME reviewers have allowed, I listened multiple times and it grew on me; I can honestly say I'm proud to chalk this one up as a fine release. Yes, the familiar Underworld energy may be all but missing; you won't find your "Pearls Girl" breakout here, but it doesn't translate as laziness or forced ideas; rather it comes across as a departure into more relaxed, soulful territory. Think of this album as the ringing in your ears after an amazing explosion, the echo of the thunder following a blinding bolt of lightning or the grey snow after nuclear fallout, the requiem for Darren Emerson. There's a ton to be appreciated here and I'm a lot happier to see the new Underworld duo trying new things rather than simply trying to repeat past successes with only two-thirds the ingredients; they seem to recognize that they're not the same anymore, so why should their music be the same? I think Underworld fans would have been more disappointed to have gotten this album and found tried ideas mimicked and mocked by the lack of the Emerson influence or an aging group clinging desperately to a failing career by essentially aping itself. Take this for what it is; leave it in perspective as the latest installment in a vast, amazing career of a group that has given its fans so much, and I honestly think you'll come to enjoy it and appreciate it for it's own merits. Personal highlights: "Beautiful Burnout" and "Glam Bucket." Enjoy.

I have to admit right off that Beaucoup Fish is my favorite UW album. I also have to admit to being quite disappointed in 100 Days off when it came out. Now, some years later, I have found 100 days to be much better than initial expected, and having listened even more to the earlier catalog and getting into it more than BC Fish, I suddenly "GOT IT". The dance tracks of BC Fish were an aberration, and were quite different to the norm.

That said, I think that this new album is really quite good. Crocodile and Beautiful Burnout are a wonderful epic pairing to start the album that harkens back to Juanita/Kitelss of Second Toughest. To Heal is lovely, even if it sounds like it was lifted from the intro to Where The Streets Have No Name. Ring Road is a triumphant stomper (to stomp to, not dance). Glam Bucket is some of the best ambient music they've put on an album in some time. And Best Mamgu Ever is a nice way to wrap up the album.

While this album doesn't have over the top dance tracks like BC Fish, if you really look back to UW's albums, you'll find that this album fits right in with the others in its minimalistic ambience. Coupled with the RiverRun project, they've been putting out some great stuff of late.

As the opening notes give way, and you begin to pulse and sway, you find yourself remembering just exactly why there is only one group that does it this way, and how they do it to perfection. Karl Hyde hasn't sung this beautifully since "dubnobasswithmyheadman". And, to tell the truth, that's what my first impression was about this newest offering; that it seemed like the distant offspring of "dubno.", complete with the abstract black and white cover art. Like a young girl who bears a striking resemblance to the old photos of her great-grandmother, so "Oblivion" reminds you of its' predessessor.

The first arrangement, "Crocodiles", is an a**-pounding, club-stomping symphony, one of Underworld's best numbers of all time. Every bit the opener as such heavy weights as "Dark & Long", Juanita/Kiteless/To Dream of Love", or "Cups".

Then comes one of their Slow Paranoia's, "Beautiful Burnout", aptly named, on which Hyde once again hits the right vibe, choosing low-register distortion vocals, to pleasing results.

There is killer use of the synths throughout "Oblivion", as one would expect from Underworld. The difference may just be that they have fine tuned their technique, upped the ante, so to speak.

"Holding the Moth" is dropped on our quivering ears next. Bouncing rhythm, Rick and Karl haven't lost a bit of their ability to layer the instrumentation of their song structures, inducing hypnotic bliss.

"One foot goes down in front of the other...", you obey. "With a glass eye on you..." Yes, we understand, we believe. I pull out my glass eye and roll it aroud a bit. "To Heal" follows. It does just that, washing over my soul with pure, cleansing waves of soothing synth. I look around, lotsa candles all out. All the herb-smoked minds are numb and glued to the bottoms of their chairs. Hold on...what's that? Yes, "the fear is in me." Karl breaks it down on "Ring Road". Sounds like a studio version of the young urban lads who pound on buckets and play flutes in the sun on your way downtown. "And all the old people smile. The young people look hungry." Check him out. "To the stay-shun." Funky Linguistic. "People are squinting to block out the sun. Complaining of suckin' it up. Praying for rain the next minute, for a sun-corched earth. What's it worth? Enough is never enough. Let's have a little more. Put the world to right, sit back and watch it all slide by. It's a view from a train." Nicely put.

"Glam Bucket" reminds you of slidin' through the clouds on a rainbow. More mellow bliss. Just puff, pass, and enjoy. Let it enrapture your spirit. Chew your food. Don't wolf it down. Stay patient. Enjoy the superb craftsmanship. Music I only wish I could make.

"Boy, Boy, Boy" and "Cuddle Bunny Vs the Celtic Villages" come and go without leaving a lasting impression, or maybe I'm melting in a babbling, incoherent, vegetative state.

"I don't want to get dirty with two scoops in white flakes and jelly, wrestling, 'would you do it?' 'would you do it?' go down with the body, hookers strokin', clutches caressin' on the corner, lip to lip, black and blonde, chocolate-eyed." "Fax invitation to oblivion with bells..." purrs Mr. Hyde over a smooth, hypnotic groove, on "Fax Invitation". I'm diggin' it. Who else is gonna serve it up for you like that?

"Good Morning Cockerel" is a short melancholy number, but the boys close strong on a warm note. The hypnotic, bass-fueled jam, "Best Mamgu Ever", which, sure enough, can draw just comparison to "dubno."'s "River of Bass".

Underworld seems to have greatly benefitted from their re-union with Darren Price. Maybe that's the true connection with their masterpiece from '93. Back then their sound was revitalized by the addition of Darren Emerson. Now it's the other Darren who comes back to give 'em a much needed shot in the arm. Four and a half stars for this amazing return to their past glory. I certainly wish there was more opportunity to see them stateside. Hopefully Rick will make a full recovery and they can commence to touring.

I listen to all types of music (jazz, classical, rock, electronica, etc.) and own 6 Underworld CDs. What I love so much about Underworld is the underlying warmth and emotion that pervades every song, and the fact that after hundreds of listens, the music never gets old. Chillout, ambient or dance anthem, there is always a great vibe that I just can't put my finger on...that keeps me coming back for more!

In this respect, "Oblivion with Bells" does not disappoint. Admittedly, I was a little taken aback by the instant appeal of the first two "club worthy" songs, and last song, vs. the mellow, minimalism of the remainder of the album. However, after a few listens, I've become equally hooked on the subtle ryhming over beautiful synthesizer tracks. I now listen to each song with equal zeal.

As other reviewers have pointed out, if you are looking for a collection of club tracks, this isn't the album, but the slower tracks are excellent for chillout/ambient moods, with lots of variety and that luscious Underworld feel. Perhaps the strangest aspect of this album is the track sequence - we're used to several up-beat songs with some chillout in-between to break it up, not the reverse!

So how and when do you listen to such an album? Well, listen as is or mix 'em up in your IPOD - all the tracks are decent and worth a listen, especially if you're an existing Underworld fan.