The previous albums produced by Fred Deakin and Nick Franglen, 'KY' and 'Lost Horizons', having consisting of uplifting, often amusing, but very much light and bubbly sample-filled euphoric electro, I purchased Lemon Jelly's album '64-95' in anticipation of much the same.
To an extent it is. They definitely use the defining eclectic mix of virtually unknown samples and the usual depth on each track. There are even a handful of songs on it that are very reminiscent of their earlier use of light guitar riffs and melodic sparkling synths, such as 'Slow Train' and even 'Stay with You' (in which they branch out into a more commercial sounding - but non the less beautiful – euphoric dance track).
The majority of the album, however, is very, very different. Their ability to unnerve through samples and sound has been alluded to previously - for example, 'Page One' on KY, in which an official sounding voice describes an experiment in which a man is slowly killed by an administered drug - but the suspicion that they could and would produce an album of this sinister quality was completely unexpected. Each track is both different to and as powerful as the previous, with the 2 really outstanding two being their released single from the album, 'The Shouty Song', and 'Come Down on Me', the former using only vocals of someone shouting over a rocky guitar riff and the latter a quasi-darkwave culmination of deep sound and unsettling combinations of tone.
With haunting vocals, dark synths and breakbeat drums, Lemon Jelly immerse the listener into a world of sinful pleasure; deliciously indulgent for the darker part of everyone's musical taste.
A fantastic album and the greatest the London based duo have produced yet – definitely a must for the collection of any trip hop/ electronica fan.