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Track List
01) Bird 1
02) Always Loved a Film
03) Scribble
04) Hamburg Hotel
05) Grace
06) Between Stars
07) Diamond Jigsaw
08) Moon in Water
09) Louisiana
01) Bird 1
02) Always Loved a Film
03) Scribble
04) Hamburg Hotel
05) Grace
06) Between Stars
07) Diamond Jigsaw
08) Moon in Water
09) Louisiana
6:50
6:52
6:58
5:18
5:11
6:06
5:36
5:42
5:05
Data Complete
80%
Total Rating
80%Total Rating
(4 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
2010
House
Energetic
Electronic
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Album
0 copies
Album Description
Available in:
Barking is the eighth studio album by British electronica group Underworld, released on 2 September 2010. The lead single, "Scribble", produced with Welsh drum and bass producer High Contrast, was released on 28 June 2010. The band released a radio edit of the track for free download on their website on 13 May 2010.
Each track on the album was written by band members Karl Hyde and Rick Smith in Essex, before being sent to producers well known for their contributions to trance, drum and bass and dubstep. The album sees further collaboration with Mark Knight and D. Ramirez, whose 2009 single, "Downpipe", featured lyrics and vocals by Hyde.
Barking received mostly positive reviews from most music critics. The album debuted at number twenty-six on the UK Albums Chart, selling 5,146 copies in its first week
User Album Review
If years in dance music are like dog years (and they are), then Underworld might as well have come bouncing into the world a few minutes after the big bang. Barking is their first album in three years, almost an hour of new music, and it’s welcome indeed ”“ it may underwhelm some fans, but it shouldn't.
It's a collective effort, in keeping with Underworld's history of collaboration, featuring an eclectic cast of co-producers including Lincoln Barrett aka High Contrast, Dubfire (half of Deep Dish) and trance maestro Paul Van Dyk. Barrett hauls the techno duo into the realm of drum'n'bass, and there are moments of Pendulum-ish fist-pumping, particularly on lead single Scribble. Always Loved a Film, meanwhile, is heavily redolent of lovable Canadian prog-house beastie deadmau5. Once leaders who sounded like nothing else, they're now content to mingle with the pack, soaking up influences and paying homage to their peers.
That shouldn't suggest that this isn't distinctively an Underworld album. It's still linear, euphoric and atmospheric, entwined with Karl Hyde's beatific vocals. Some of it ”“ particularly oceanic centrepiece Between Stars ”“ could almost be anyone, except for Hyde's characteristic intonation, swimming just below the surface of the mix as ever. It's frustratingly generic in spots, but always good. This is no one's idea of a lazily thrown-together or cynical project.
The final two tracks move in a way only Underworld can achieve. Moon in Water features a monotonous rhythmic narration which would be disturbing if not for the sweet, everything's-gonna-be-fine stride of the backing. Then tremulous piano-based closer Louisiana delivers a farewell of such honest-to-gawd transcendent comedown teariness that one should not tackle it in a vulnerable late-night state without mop and bucket.
What Underworld always retain is a unique warmth that exudes in great generous pulses from everything they do. There's a lightness and a jollity about their music which combines with an unabashed poignancy, and there's a sense of deep contentment and peace about this album. They may not be sticking their necks out as pioneers now but it's not important ”“ they are never less than themselves, and superficial quibbles aside this is the sound of musicians with nothing to prove and everything to give.
External Album Reviews
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User Comments
Available in:
Barking is the eighth studio album by British electronica group Underworld, released on 2 September 2010. The lead single, "Scribble", produced with Welsh drum and bass producer High Contrast, was released on 28 June 2010. The band released a radio edit of the track for free download on their website on 13 May 2010.
Each track on the album was written by band members Karl Hyde and Rick Smith in Essex, before being sent to producers well known for their contributions to trance, drum and bass and dubstep. The album sees further collaboration with Mark Knight and D. Ramirez, whose 2009 single, "Downpipe", featured lyrics and vocals by Hyde.
Barking received mostly positive reviews from most music critics. The album debuted at number twenty-six on the UK Albums Chart, selling 5,146 copies in its first week
User Album Review
If years in dance music are like dog years (and they are), then Underworld might as well have come bouncing into the world a few minutes after the big bang. Barking is their first album in three years, almost an hour of new music, and it’s welcome indeed ”“ it may underwhelm some fans, but it shouldn't.
It's a collective effort, in keeping with Underworld's history of collaboration, featuring an eclectic cast of co-producers including Lincoln Barrett aka High Contrast, Dubfire (half of Deep Dish) and trance maestro Paul Van Dyk. Barrett hauls the techno duo into the realm of drum'n'bass, and there are moments of Pendulum-ish fist-pumping, particularly on lead single Scribble. Always Loved a Film, meanwhile, is heavily redolent of lovable Canadian prog-house beastie deadmau5. Once leaders who sounded like nothing else, they're now content to mingle with the pack, soaking up influences and paying homage to their peers.
That shouldn't suggest that this isn't distinctively an Underworld album. It's still linear, euphoric and atmospheric, entwined with Karl Hyde's beatific vocals. Some of it ”“ particularly oceanic centrepiece Between Stars ”“ could almost be anyone, except for Hyde's characteristic intonation, swimming just below the surface of the mix as ever. It's frustratingly generic in spots, but always good. This is no one's idea of a lazily thrown-together or cynical project.
The final two tracks move in a way only Underworld can achieve. Moon in Water features a monotonous rhythmic narration which would be disturbing if not for the sweet, everything's-gonna-be-fine stride of the backing. Then tremulous piano-based closer Louisiana delivers a farewell of such honest-to-gawd transcendent comedown teariness that one should not tackle it in a vulnerable late-night state without mop and bucket.
What Underworld always retain is a unique warmth that exudes in great generous pulses from everything they do. There's a lightness and a jollity about their music which combines with an unabashed poignancy, and there's a sense of deep contentment and peace about this album. They may not be sticking their necks out as pioneers now but it's not important ”“ they are never less than themselves, and superficial quibbles aside this is the sound of musicians with nothing to prove and everything to give.
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