By tf-lawyer.com In a recent conversation with Kitty Empire, we delved into the latest release from the techno titans, Underworld, who are back with their 11th album, “Strawberry Hotel.” Following their ambitious 52-week audiovisual project, “Drift,” collaborations with Irish producer Kettama, and a hectic touring schedule, this album marks a return to a more traditional format. Empire describes “Strawberry Hotel” as a fascinating blend that defies easy classification, showcasing everything from energetic tracks reminiscent of “Born Slippy” to a poignant closing guitar piece, including a unique lament sung by opera singer Esme Bronwen-Smith, the daughter of band member Rick Smith.
The album kicks off with tracks designed to ignite the dancefloor. Songs like “Techno Shinkansen,” featuring a gleaming disco house vibe and a bassline straight from the Giorgio Moroder playbook, along with “Sweet Lands Experience,” where Karl Hyde reflects, “I was more smashed than you were,” reveal that Underworld remains firmly planted in their club roots, even 30 years after their groundbreaking album “Dubnobasswithmyheadman” launched them into the spotlight.
However, it’s not just the electrifying beats that characterize “Strawberry Hotel.” Empire highlights the captivating abstractions found towards the end of the album, particularly in “Burst of Laughter,” where Hyde’s warm vocals resonate with themes of loneliness and healing. This aligns with the album’s opening track, “Black Poppies,” which serves as a powerful anthem for embracing change. Hyde’s lyrical prowess shines through in tracks like “Denver Luna” and the whimsically absurd “King of Haarlem,” where he effortlessly blends nonsensical rhymes that somehow resonate deeply with listeners.
As we look ahead to what Underworld has in store, the combination of their past influences with modern experimentation continues to captivate audiences.
