Amazon.co.uk Review
"I'm not worried about your state of mind, 'cause you're not the revolutionary kind," croons Ben Ottewell, Gomez's gravel-voiced singer on "Revolutionary Kind", but indeed, it's precisely this attitude that mobilises Gomez's harshest critics. Essentially,
Liquid Skin is the same album as 1998's Mercury Music Prize-winning
Bring It On--a potent hallucinogenic stew of Deep-Southern folk, blues, and country music played by--and here's the galling point--five white students from the North of England, graverobbing music's past without a new idea between them. There's an air of "having a laugh" that makes Gomez sometimes seem invitingly punchable, but all the same, it would be churlish to deny
Liquid Skin praise for its joyfully lackadasical approach to rootsy excavation. They've even gained praise in US alt-country periodical
No Depression, which is usually suspicious of outright fakery elbowing in on its genre, so there's clearly something in the plush, casual Americana of "Rhythm & Blues Alibi" and the acidic glide of "California" to endear it to the purists.
--Louis Pattison
CD Description
Gomez successfully combines the old with the new. On LIQUIDSKIN the band mixes touches of '60s psychedelia and hippie folk-rock with a gritty, angular, post-grunge alt-rock sensibility. Acoustic instruments abound, buoyed by rootsy-sounding organ and the occasional electric guitar rave-up. At times, the songs employ funky rhythms that could only have been born in the wake of hip-hop and electronica, but the lack ofelectronics and programmed rhythms makes them feel entirelyorganic. Gomez is more about songs than jams, but there is a sense of kinship to the expansive neo-stoner rock of groups like Phish and Blues Traveler. Unlike those outfits, though, Gomez retains a very British feel, whether the eclectic arrangements on LIQUID SKIN lean toward the orchestral or thepastoral.