Both more and less than what a partnership of
Sumner
and
Marr
would promise,
Electronic
's debut has weathered time much better than might have been thought upon its release, but ultimately only half works. When it does, though, it's fantastic, sometimes shifting from okay to fantastic within the same song. Opening number
"Idiot Country"
is a bit like that -- the beginning sounds a little too rushed,
's heavy wah-wah riff OK enough but
's semi-rap/semi-sung vocals a bit ham-handed. By the time the full combination of gentle keyboards, crisp rhythms, and the gentle, reflective chorus comes to bear, though, everything feels just great. Perhaps understandably
leans much more toward
New Order
than the
Smiths
--
had already proven his desire to work in dance-crossover since his previous band's breakup, while
's immediately recognizable, melancholic vocals call to mind
's rich history. With synth bass and Rolands standing in for
Peter Hook
's own unique way around the low end, though,
stands out more on its own.
's guitar work throughout tends towards the subtle via soft, brisk strums or the occasional repeated key riff; as he's credited for keyboards as well, it's likely much of his work ended up creating the pleasant synth melodies. There's nothing bad per se on
, merely mediocre or a touch forced time to time --
"Gangster,"
for instance, has a great, cinematic tension undercut by
's attempt at social relevance. The three singles from the album remain the highlights: the delicate, acoustic guitar-led slow groove of
"Get the Message,"
"Feel Every Beat"
and its appropriately slamming rhythms, and, in America, the group's brilliant debut effort
"Getting Away with It."
Neil Tennant
of the
Pet Shop Boys
, who memorably guested on that last number, brings bandmate
Chris Lowe
along to help on his excellent, sly duet with
"Patience of a Saint,"
another standout. ~ Ned Raggett