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• • • • • s third and final album, Lovelife, turns 16 this year. A sixteenth birthday is admittedly an unusual time to revisit an album, as tradition dictates that such occasions be reserved for anniversaries divisible by five, but Lovelife is one of those albums that has and will likely continue to remain uncelebrated and forgotten on its milestone anniversaries. Sure, Lush still retains a dedicated, loyal following and continues to gain new fans, but how often do they appear in critics top albums and songs of the ’90s lists? Not often enough. One of the guarantees in the world of music journalism is that any discussion of the history and relevance of shoegaze will inevitably focus on how Cocteau Twins and The Jesus and Mary Chain pioneered the shimmering style, while My Bloody Valentine perfected it. Sometimes, Slowdive and Ride will be included, but Lush will likely earn a passing reference at best. Despite generally positive reviews and a commercial viability that found the London quartet playing television shows everywhere and successfully touring American cities other British bands of the ’90s never dared to tread, Lush has seemingly been forgotten or omitted for consideration as one of the shoegaze greats.
This diminished legacy is at least partly because Lovelife is when Lush allegedly went pop.”. Ladykillers opens Lovelife with an attention-seizing circular melody and spunky vocals from Miki Berenyi that are no longer floating along in a sea of reverb. Confidently at the forefront, Berenyi eviscerates Anthony Kiedis, Matt Sharp, and men with transparent agendas and dubious attitudes towards women everywhere with an infectiously sarcastic wit. Its what would have been hyped as a girl power anthem had it been released a couple years later.
Driving the point home that Lush is too confident and extroverted to be content with ethereal drifting and effects pedal-fixating are spirited power pop anthems Heavenly Nobodies and chart hit Single Girl. The sublimely sweet 500 is probably the finest ode to a car of the era and a bona fide 90’s staple. Download Adverts. Pulp hero Jarvis Cocker guests on Ciao!, which is enough to make the song a fascinating novelty at the very least. Here, Cocker and Berenyi channel Nancy Sinatra and Lee Hazelwood as they go back and forth, each one-upping the others Im so much better off without you, so fuck you sentiment. This death-of-a-relationship celebration is a potent anti-love song thats especially cathartic for anyone whos ever needed convincing that they were more over a former flame than they actually were.
Aside from the earworms, Lush is still in touch with their roots on Lovelife. Tralala and Last Night capture that haunting, dreamy ambience that made the arrangements on Spooky so stellar, while enveloping it with layers of mystery and trippy sensuality. Gigabyte Ultra Durable Motherboard Drivers on this page. Yet, the general consensus is that Lush ran away from shoegaze in favor of Britpop on Lovelife. Since shoegaze and dream pop had been on the decline for a few years, some critics and fans have dismissed Lovelife as a case of bandwagon-jumping.
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