I first bought this album 8 years ago, and I think's it's just as amazing now, as I did when I first heard it. I'd like to give this album 6 stars, unforunately, this form won't allow it! This is real music, unlike the rubbish that gets into the charts these days. The first two songs on the album, Light From A Dead Star & Kiss Chase, both written by Miki, are full of passion and pain. Two of the best songs ever written. At 31, it was these two songs that inspired me to buy a guitar and learn to play it! Emma's songs too have just as much emotion in them. When I Die, written about the death of her father. And Desire Lines & Never Never are just amazing songs. To me, these songs have the same brilliance as PULP's This Is Hardcore & QUEEN's Bohiemiam Rhapsody. It's really ground breaking stuff, some fantastic guitar bits in there! Lush wrote brilliant melodies and fantastic lyrics, and have been an inspiration to women like myself who want to learn music. Sadly, true to the album title, Lush split some years ago after their drummer's suicide in 1996. Emma is still writing and making fantastic music though, teaming up with Lisa O'Neill and forming Sing-Sing. If you like Lush, then please support Emma, and go to Sing-Sing's website at [...] What else can I say about Split? It's fantastic. Go out and buy it.
Split is the sound of a truly exceptional band reaching their creative high - and boy is it high!
Opener Light from a Dead Star is like no other Lush song - spectral strings and piano arpeggios accompany Micki's mournful lament to lost love and fading hopes. Emma Anderson's always glacial guitars are absent, until we crash into Kiss Chase, a song with more gorgeous vocal melodies than it knows what to do with.
And about those vocals - they are clearer and more mature here than Miki and Emma ever sounded. Miki seems happier with her lower tone than ever before, allowing those wonderful Lush harmonies and dual vocals to shine at their bightest since previous career high, Sweetness and Light.
Blackout hangs on more memorable vocal work, and the sweetly chiming guitar refrain that cycles through the song.
The heart of Split lies in the singles, Hypocrite and Desire Lines. Released simultaneously, these two songs perfectly reflect the dual songwriting power that guided the band throughout their career.
Miki's delightfully spiteful Hypocrite is the epitome of Lush's spiky punk pop side (see also the Scar and Mad Love eps). Miki snarls venomously at some pathetic male, before turning in the twist in the tale - she's as guilty as he is!
Emma's Desire Lines, on the other hand, is an elegaic epic. Aching guitars swirl and curl around Miki's dreamy vocal. It's a song halfway between sleep and wakefulness, and it's utterly perfect.
Desire Lines captures exactly the side of Lush that Robin Guthrie hamfistedley ruined on Spooky. Split producer Mike Hedges recognised that Lush had their own fineley honed sound, that he allows to shine through here, on every magnificent track.
Hedges production is faultless, adding a fine shine to songs such as Lit Up and When I Die, bringing out the echoing dubby quality of Undertow, and generally allowing the band to do what they do best.
When this record was released, the 'shoegazing' fad had already crested, and Split suffered in reviews as a consequence. The hugeley inferior Lovelife garnered better reviews for 'doing something different' Duh.
Split is a classic. A masterpiece, no less. Those who remember the eternally underrated Lush, who saw them play, and followed them, will already cherish this record. To anyone who should stumble across it by accident, I kind of envy you.
Split is Lush's crowning moment. It melds the swirling aural soundscapes of their shoegazing past with the hook-laden pop sensibility they would bring to the fore on their subsequent album, `Lovelife'. Add in Mike Hedges' glacial production to the mix and what you have is an album of sparkling, yet delicately brittle guitar driven songs of varying tempo and intensity.
The combination of `Light from a Dead Star' followed by `Kiss Chase' is probably one of the finest starts to an album anywhere. In fact the first half, mainly written by Miki Berenyi is almost relentlessly upbeat and contains arguably one of her best ever songs, the bile spitting `Hypocrite'. The second half comprises Emma Anderson's more laid back musical architecture, including the deliriously languid `Desire Lines' and spine-tingly melancholic closer, `When I Die'. This half lets you down gently after the rush of the first half and gives the whole project a shape and sense of purpose.
Hedges, brought in to replace Robin Guthrie after the criticism aimed at previous album, `Spooky', draws on his early 1980s work and pitches his production somewhere between the sparseness of the Cure's `Seventeen Seconds' and the raw energy of the Banshees `A Kiss in the Dreamhouse'. It gives the album an almost glassily clear sound that draws you into its unfathomable depths.
Altogether a much underrated album. Who said the 1990s didn't produce anything of note?
I happened to buy this album on an off-chance one day at the same time as I bought Lovelife.
The latter I can take or leave (it has it's goods and bads), however this album happened to quickly become my favourite album ever.
I can't think of a bad point in the album at all, and it survives repeat playing very well. Each time I listen to it I hear something new somewhere as there's so many layers to the music. It's also great for singing along to loudly whilst driving (and ten times better than the normal R&B rubbish you hear pumping out of other people cars)
Highlights for me are When I Die (favourite song ever), Starlust and Undertow.
I realise this isn't perhaps the best review ever, I just happen to like it an awful lot and want everyone to realise what an absolute gem of an album it is
There was everything wrong with Lush as a band: the singing was thin, the music fragile, sometimes tuneless and often repetitive. They also had a habit of veering wildly between wispy sub-Cocteau Twins soundscapes and the kind of punk-as-interpreted-by-Britpop sounds favoured by Elastica and Sleeper. Like Sleeper, they produced a few great songs on their other albums (e.g. Ladykillers) and a lot of weak filler. But whereas their last album, Love Life, was a disjointed affair that exemplifies these faults, Split is actually fantastic. Lush somehow managed to fuse their punky side and their dreamy side together to come up with something fresh and good that's not a million miles away from My Bloody Valentine's 'Loveless' (admittedly 'Split' is a lot less extreme). It's the kind of album that you listen to as a united whole rather than to the individual songs. The music is very consistent, dreamy, and melodic. The lyrics are occasionally trite but convey a true sense of yearning. It's a good one to put on and listen to several times over in a daydreamy daze while you're supposed to be doing something else... The album was produced by Mike Hedges, who also produced the Cure's 'Faith' album, and there's a similar kind of spacy, deep, probably-recorded-in-a-church feel to this one - particularly on Desire Lines.
Put simply, this is just absolutely gorgeous. From the opening `Light from a Dead Star', to the closer `When I Die', this album is an emotional and musical tour de force. I first listened to this album when it first came out, and have not ceased listening to it since, and have heard few songs in that long time to rival `Desire Lines' for sheer beauty. In short, I cannot recommend this highly enough.
1994 , and Lush a band that struggled but succeeded in their earlier years . Managed to put forth their second Full length album with much success .
I was 19 in 1994 , lived in North America and had seen one of their sets opening for a music festival two years before and this band was maturing in their sound , and getting some of the finest sounds and songs that had risen during the early 90's " alternative " rock music genre ...
While 1991 's Spooky had a really nice seal of quality to it . Split , and then Lovelife in 1996 moved in a direction that was fresh , triumphant and very objective from a artistic point of view .
While Spooky's Monochrome , Covert and others now still sound quite strong , and even stronger and better due to what musicians classify as a good aging process . Split as well is blessed by the kind and generous hand of time and age ...
Lush's peers from the early and mid 1990's offered quality product to listen to . But others , and myself included this band delivered product that now ; 20 years later can attest that not only does their music still stand strong amidst years of new bands and projects of the similar vein ... But will hope the remaining band members give the fans something new after such a long time away ...
Until recently I only knew Lush for "500 Shake Baby Shake," which I thought was fun, but slight. Then I read a Guardian article about their reunion, and began to wonder if I had missed something. An online listen to the new EP was impressive, so I got a copy of "Split," and was blown away. This is a genuine classic. It's not perfect. Even Emma Anderson herself said in an interview that a couple of songs were just filler. (She nominated "Blackout" and "Undertow," which is probably about right.) However it has variety, some fine musicianship, distinctive guitar and vocals, and an unerring melodic sensibility. Above all, though, it is genuinely beautiful in places. Clearly, Lush were very underrated, and I can only hope that the reformed group manages to get to Australia. I'd love to hear them live.
The album following Spooky, Lush's second album received mixed reviews from critics but in my opinion this is one of the most emotionally stunning albums around. From the first song 'Light from a Dead Star' to the last "When I Die', the album is an emotional rollercoaster of sadness, reminiscence and anger. This is my favourite Lush album - people may not agree with me but after one listen to Hypocrite and When I Die, this is quite clearly a record not to be forgotten.