on 6 January 2007
Dark and moody. You know exactly what you're getting everytime. Will Sargeant's guitar break on "No Dark Things" sounds like he's dragging knitting needles through the strings. "The Disease" -social comment to live your life by. "Over the Wall" - climactic, urgent and full of spirits from the other world. "Crocodiles" by the Bunneymen is also pretty subversive but this one just gets the edge.Unlike any other album just because they got it soooo right. The bonus tracks are a big plus too - 'Broke my neck' is on no other album (I believe)as it was the B side of "The Promise" but a great inclusion.
on 1 April 2001
This is it, folks...the Bunnymen's (very possibly) greatest album!! The band's incredible strengths shine through from tracks one to eleven on this second offering. The dark undertones are accentuated by Ian McCulloch's howling vocal presence.... The bounce and shine of "With A Hip", the glourious "A Promise", and the desolate "All I Want" are all prime examples of Bunnymen power and potential. It is strange to me that this is not a major influence upon many Industrial and Gothic bands of our modern day. This album will carry you from heights to depths and back, so grab a stiff one (or two or three!!) and let Ian & co. reveal fear, desperation, hate, love and life! No matter how many times I listen to this Cd it brings chills and emothional breadth with every spin! Necessary and essential for anyone searching for the best music that the 80's produced. Viva Bunnymen!!!!
on 2 November 2008
The Bunnymen's legacy lies with their first four albums and HUH is probably their greatest, albeit overlooked work.
Sure Porcupine is good and Ocean rain gets all the praise but Heaven Up Here is so deep and overlooked. Songs like Show Of Strength with its breakdowns and goth guitar textures really set the mood for a sound driven landscape that never lets up.
With A Hip follows in upbeat mode with a really catchy if disturbing chorus and more innovative and distinctive guitars from Will Sergeant. Over The Wall is an alternate take of the original that appeared on their Ep Shine So Hard and is more electronic and atmospheric but go back and hear the original, its totally spellbinding. Ian's voice also reached its highest peaks and on A Promise he really shows us what an amazing singer he is.
The drum and bass are so driving this fantastic record all the way and you get the impression you are on a roller coaster ride into the dark unknown! And what a journey it is. Side two is even better with the title track kicking in to an almost acidjazz like sway and those guitars doing all the right things swirling around you building layers of textured sounds and riffs.
My Life's The Disease with its dark and disturbed depiction of human suffering really grips you in its brief visit.
All My Colours(Zimbo on Shine So Hard) is accompanied by some nice tribal drums and nice acoustic guitars and is unique in their repertoire.
No Dark Things is an epic piece that captures the essence of this record and is one of the best songs they wrote.
All I Want ends this superb album and another of their best songs ever. Pumping drum and bass urgency and some more innovative guitar work comes to the fore with some great riffs. Forget Johnny Marr, Will Sergeant is the most inventive guitarist this country ever produced.
This album is a masterpiece.
on 12 March 2013
Finally have a copy of this. Saw the Bunnymen on the tour for this and their date at Daze of Future Past in Leeds too. It sounds very clear, possibly better when turned up to really feel the sound. I listened to it on headphones and it really sounded great - good clear sound and you get the full stereo effect. Lovely extra live tracks, I've had them on a 12'' EP for years and they've always been some of my favourite Bunnymen recordings. I purchased their first lp, remastered, some years back and it's just beautiful. They were so young, yet could manage such mature work.
on 2 February 2004
Like many Bunnymen fans I rate Heaven Up Here as their best album. I remember listening to it for the first time and being swept away by it. Everything just stood out - the musicianship, the way the songs were crafted, even the cover.
And this remastering is very sympathetic to the original recording that came out all those years back. From my experience, some 'remasters' sound tinny and lack depth. This one doesn't - probably because of the excellent production the first time around. And like most Bunnymen tracks, very little of this sounds dated. Play something from U2, or any of the Bunnymen's contemporaries from this time and the opposite is true.
As other reviewers have said, there are no duff tracks on this album, and along with the track listing it defies any attempts to play tracks out of sequence - the mark of a truly great album.
The inclusion of the spiky and brilliant B-side "Broke My Neck" is a fantastic addition to this remastering, much more so than the live tracks, which give some idea of the live brilliance of the Bunnymen around that time, but sound as if they were messed around with in the studio and have better versions elsewhere.
The new sleeve notes and additional photos are a great introduction to anybody buying this album for the first time, as well as giving some of us oldies a little bit of nostalgia!
If you're in two minds about buying this, just do it. You won't be disappointed!
on 29 September 2009
Following their more psychedelia-based debut, Crocodiles, and subsequent "Puppet" single, Echo & the Bunnymen returned in 1981 with the darkest and perhaps most experimental album of their career.
Heaven Up Here lacks the signature hooks and melodies that would make the Bunnymen famous, showcasing instead an intensity and dirge-like songwriting approach built around the circular rhythms of bassist Les Pattinson and drummer Pete DeFreitas. Perhaps this is why the latter day bunnymen fail so miserably
In this setting, the band remarkably flourishes. Its strength is the way in which the Bunnymen seamlessly work together to shape each song's dynamics. The Chemistry between these four pretenders to the thrown was second to non. It was a time when the band gelled as a unit like nio time before or after.
It was a time of adolescent beauty, wonder and self discovery on Largely uncharted territory
Ian McCulloch, having found his trademark confidence, sings effortlessly with soaring abandon and passion throughout the album.
Similarly, Will Sergeant's guitar playing, notably freed from verse-chorus structure and pop riffs, is at its angular finest.
The message underneath that darkness, especially in McCulloch's cyrtic lyrics, is a call to overcome rather than wallow.
This a euphoric album the like you will never hear again. Sitting comfortably next to the pioneering work of contemporaries like Joy Division and a legion of simmilar bands such as The Sound, Chameleons, Comsat Angles and Cure, this is a rather fine -- and in the end, influential -- example of atmospheric post-punk.
Its Strange that the new Bunny Army who mostly consist of Post Reformation Rabbits, Ride on the tails of the demise of brit pop do neither appreaciate or understand this phase of Bunnymen Magic.
This is a time when the Bunnymen did everything on thier own terms, refusing to compromise at the cost of internation fame and fortune. Had the bunnymen talen a different route history would paint a diffent story.
This is a time when the show were a experience like no other and no other could match. The gigs were intense and the energy pulsated stronger than a herat beat. There was a sense of camaraderie betwen the band road crew and fans, as hundreds of apocalyptic youths would decend upon unsuspecting obscure venues.
This was the age of the bunnyman, This was their Time, This is their Legacy
on 24 December 2003
22 years on from its original release, this still sends shivers down my spine. And now, digitally remastered, it sounds even better. The production is crystal-clear, with Pete DeFreitas' drumming seemingly brought to the fore, most notably on the amazing Over The Wall and the oh-so-moving All My Colours. The bonus tracks are welcome, too, though the purist in me tends to think that a masterpiece should not be fiddled with.
If Julian Cope had dismissed this album, and specifically Ian McCulloch's vocals, as Victorian-sounding, it is presumably nothing more than jealousy that his own Teardrop Explodes could not come up with anything anywhere near as good.
Never mind The Beatles....this is essential listening from Liverpool's TRUE greatest-ever band.
on 11 April 2005
I will admit that it took me quite a few plays to appreciate how excellent this recording is, but once in you're never out.
Years later it still sounds like a brave and intelligent effort from a band that has never really got the respect it deserves.The bassline of Heaven Up Here is alone worth your money!
There's plenty of contenders for that title-the Stone Roses, the Doors-but in my view no album deserves the title as much as this one.It is simply superb throughout, everything is perfect on this record-the drumming, bass playing,very choppy and sharp rythmn guitar, great lyrics, great lead guitar. The album has been compared to a quiet narcotic and indeed it often works that way-eschewing bombast for a more low-watt but inspiring emotional power. 'No Dark things' 'The Disease' 'Turqoise Days' and 'All I Want' are unparalleled achievements, lasting footprints in the history of popular music that no band has managed to surpass before or since.
on 24 September 2009
I have just finished listening to this again on Spotify, along with all the other (frankly awful) stuff we listened to in the '80s. But this one? No. It's still magnificent, bleak and downright scary. From the quiet depair of "The Disease" to the black humour of "With A Hip", this leaves me as hollow and washed out in my 40's as it did in my spotty teens. I could do without the live tracks, but I never heard Broke My Neck (the original B-side to A Promise) the first time round, and it fits in to the set very well. It seems the monkey on my back won't stop laughing after all. Masterful.