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Sheffield post rock band 65daysofstatic hold two special places on the "mantelpiece" in this humble abode. The first is the trophy for one of the greatest piano instrumentals of recent years the truly awe inspiring "Radio Protector" from "One time for all time" and other for possibly the greatest song title from any British band the wonderfully named "Install a Beak In the Heart That Clucks Time In Arabic". You can only gap in awe at moments of inspiration like that! Indeed one of my favourite reviews on Amazon of this band comes from the reviewer who argued simply that there debut album "the Fall of Math" was "Aphex Twin and Mogwai meet down an alley in Sheffield. There's a scuffle, someone gets glassed. This is the result..".

This quote speaks volumes and well done "City Park" whoever you are. It still partly holds some truth although on this new album 65dos mark a move away from post rock to a clearer post noughties techno/electronica with some echoes of the Fk Buttons, Scuba, Pendulum and even the Prodigy. It makes for an album that Mike Myers in Wayne's World would describe as "Intensity in 10 cities" and like the great Tarot Sport it is chock full of filthy distortion and noise as waves of squall are layered like the sonic booms of multiple jet engines.

The album starts with "Mountainhead" with the sort of arpeggiated synthesizers so beloved of the Orbital but with a punch so sadly lacking from their latter albums. One of my favourite tracks is "Dance Dance, Dance" with its huge African sounding tribal drums and it has so much pace and verve that it could catch a cheetah. But the prize goes to "Crash Tactics" a brilliant if initially more restrained instrumental, married with that nasty synth that the Prodigy wickedly conjured in "Smack my bitch up" and bionic drum beats that threaten your very foundations. Pathetically the only thing I can say about it is "Wow". Mention in dispatches should also go to "Piano" fights and the slow burning "Débutante".

Inevitably you are drawn to the Robert Smith of the Cure backed centrepiece "Come to me" a eight minute anthem that builds with such slow and raw power it will be viewed by your stereo as a case of brutal assault. Smith's vocals often repeated on loops work perfectly and perhaps he should seek part time employment with the band. Tinkling piano leads into huge waves of sounds until it hits 5.45 minutes and loses it in a wall of cacophonous guitars which permanently part your hair and leave you begging for mercy. It is huge. The other great epic on the "We were exploding anyway" is "Tiger Girl" a near 11 minute techno monster which is so relentless it will have the dancers in the Ibiza disco gasping for bottle's of Brecon water in exhaustion, indeed by its 8th minute such a fever pitch has been reached that you are almost relieved when the more graduated fade out starts a minute later until the song finally closes.

65dos comprising the quartet of Joe Shrewsbury, Paul Wolinski, Rob Jones and Simon Wright have laid claim to the sort of originality that Sheffield once produced in terms of Cabaret Voltaire and the early Human League. Yet this is very much modern sounds for modern days and the wonderful cover tells its own story. Call it post electro, deep house, Euro disco, synth rock or any other label you deem fit, I call it sensational.
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on 22 April 2012
This album is excellent, and I have lost count of the number of times I have listened to it... Sometimes I get lost in it for months at a time...
Classic 65DOS, fast bits, slow bits, heavy bits, soft bits, all in a wonderful mix! there is soooo much depth to the 65DOS sound it takes a lot of listens to be able to hear everything in the music but if you get it up loud on an excellent stereo then it is a phenomenal experience...!
I like 65DOS, and this album is awesome :-D
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on 11 May 2010
In the 6 years since their superb debut album `Fall of Math', 65dos have kept to their signature template of scatterbeats + Mogwai guitar dynamics and never been less than good. They found something, and made it their own.

In a recent BBC radio DJ set, 65dos mixed MIA, New Order, trashy pop and a wider range of tastes than their music had previously hinted at and this album really bears witness to that breadth. It's bound to polarize fans: gone is the testosterone-soaked atmosphere, replaced by a bold bright aesthetic perfect for clubs and maybe even stadiums.

Let's start where "We were exploding anyway" ends: "Tiger Girl". Nothing captures the spirit of adventure as well as this thunderous 10 minute epic - sporting a 4-to-the-floor, fully tooled-up techno beat, (somewhat reminiscent of Underworld's "Born Slippy"). Bringing a decade of practice, 65dos know how to amp up the pressure higher and higher, until what I swear are sampled cannons top the crescendo, giving you a sense of what would happen in a battle between the Berlin Philharmonic and the Berlin Love Parade. Finally, Pink Floyd guitars soar on the wave tips and (I swear to God) cannons show up. It's absolutely huge and fearless. Yeah: we have moved on. Are you coming?

Right ahead of that (working backwards) "Debutante"; probably the best place to start if you wanted to try out the album - it's a more considered mix of old and new, but utterly radiant all the same. One thing 65dos have learned beyond all their peers is how to mix the energy of a live drum and guitar sound with completely synthesized textures, and the result has a urgency and energy that I can't say I've heard before. 65dos bring the rock band to new places: stealing from pop and baroque, house music and prog-rock. It's also noticeable glitch-free, marking a step away from the stolen Aphex Twin-isms of the past.

I'm obviously not to be trusted - I've fallen hard and heavy for this album: more than any since, say, Loveless. There are thrilling tracks woven right through the 50-minute journey: "Dance Dance Dance" is also an absolute eyes-wide treasure - chiming guitars, 80's synths, beats from the 21st century. I'm hearing Prodigy and the goofy charisma of the KLF here. Precious few albums can really claim that they could only have been made now: this is one. Inevitably, there are traces of 65dos's goth band ancestry in the riffery of "Crash Tactics" and most surprisingly in the appearance of Robert Smith(!) in "Come to Me", but the beauty is in the balance.

This reminds me most of all of when New Order released "Technique" - a decisive break with their (glorious) past and a statement of commitment to the wider world and what was happening now.

If I was forced to look for weaknesses, it is something of a relentless assault - each track makes it to 11 one way or another. If you adored the piano-tinged melancholy moments on "One Time for All Time", this won't be what you were hoping for.
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on 5 January 2013
Probably my least listened to 65dos album but that doesn't mean to say it's bad. It's certainly heading in a different direction and it'll be interesting to see if the band keep on this road, or come back to their guitar heavy past. It's still a good album and I'll still give a 5 but The Fall of Math is a 6
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on 26 April 2010
A new album from 65DaysOfStatic is always a special moment for me, and this one has been no exception.

We Were Exploding Anyway is an onslaught of noisy metal guitars and hypnotic looping techno beats, perfectly melded to transport your tired brain to a better place. From the pounding drums and dirty bass that open Mountainhead, to the gentle fade at the end of the glorious Tiger Girl, there's barely any let up in the proceedings, and that suits me just fine.

As with any 65dos record, listening to it is more akin to a religious experience than a simple record. Put it on through a pair of half decent headphones, crank up the volume, and let it take you away to a better place.

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on 19 July 2010
I absolutely loved Fall Of The Math and One For All Time but for me the album that came after those two (The Destruction Of Small Ideas) was no where near as good. This new album though is back up there with the other two, with a slightly different style but still easily recognisable as 65DoS - if you were a fan of the first two albums then I would definitely recommend picking this one up.
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on 18 May 2010
The album is good, very elechtronic, not much guitar as "The destruction...". They are changing personality in little steps, keeping the well-known focus of 65daysofstatic.
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on 4 June 2010
65daysofstatic are one of the best bands this planet has ever seen and this is the next installment of their mind changing amazingness! It hasn't lived up to all my expectations but expansion and change is a part of evolution (and I'm sure we humans had some less attractive stages). So I put it down to part of the chain of music that will win the war! Keep it up 65!
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on 27 April 2010
65 are back! And oh how we've waited for this.

And the first thing you'll realise on listening through their new album is that the energy is most definitely back. There's so much energy and urgency. They've moved on from the more ambient, ambulatory sounds of the destruction of small ideas, and further away from the rock! sounds of the fall of math. And the result is great epic soundscapes of electronic, dancey all-consuming brilliance.

From the classic 65 structure of opener Mountainhead that'll have you punching the air with the force of the beat, or the pummelling Dance Dance Dance and Weak4 that'll destroy whatever's in your local vicinity (honestly the drums on this album are insane), to the hypnotic and utterly beautiful Debutante, with its choral accompaniment a la the soundtrack of the original StarTrek series (only awesome rather than ridiculous), to the ever building Tigergirl which gets bigger and bigger and more and more layered to the point where you're sure there is no more size and no more layers left to play with, this album is just incredible.

The sound on this album is just as brilliant as the song writing. The drums pummel, the synths/samples are wild and varied. In fact the main comment about the sound progression here would be that it is considerably more electronic/dance oriented than other albums. Which is great news because from tracks like '65 doesn't understand you' and 'Primer' that's where they should have been going. All in all the structure and arrangment of the tracks on 'We were exploding anyway' is incredibly mature and well thought out. Rarely is there a misplaced note or beat.

However, that is without mentioning track 6, 'come to me'. This opinion may be unique to me, but I loathe this apparently centre-piece track. It is the only track on here with vocals, and although I actually love 'the conspiracy of seeds' from 'The Destruction...' and its use of vocals as an extra layer at the climax of the track, their implementation here is an abject failure. Apparently its the guy from The Cure singing, which means little to me because I find The Cure insipid and irritating. Which incidentally would be my description of this track as well, primarily because of the vocals. They loop through most of the track like some sort of aimless, thoughtless, house dirge. I've tried to get into it but every time the vocal monotony starts I grit my teeth. The voice in question is just so opposed to what 65 are about. It's whiny and weak with no real character. To me it seems to be their antithesis. I hope this doesn't become the norm on future releases because I would probably cry.

I almost gave this album 4 stars. The quality of the music is astonishing, the song writing epic, the sound fat and fierce. 5 star material all over. But then there's that elephant in the room, 'come to me', and honestly I wish it'd never been born. That track alone should bring the rating down to 4 stars, but when I came to click the 4-star button I broke out in a cold sweat and just couldn't do it. I guess I'm so much in denial about it's existence that i can just pretend that the 8 track version of the album on my mp3 player is the real one. And when they play it live in a weeks time ill go to the bar.

So, another incredible release from the Sheffield lads. Buy it listen to it (loud loud loud) and be shocked and awed by the creativity and artistry packed into this little silver disk. Another classic. Just skip track 6.
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on 12 October 2010
Stick to what you're good at lads and leave this sort of twaddle to the Klaxons, if you've not heard 65days before might I suggest their previous albums, which blow this effort into the weeds. One can only surmise that their manager wants more 'commercial' success...
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