Music Review: Underworld – “Barking”

Underworld’s sixth studio album, Barking is the duo’s most accessible album yet. While this may scare away some older fans pining for the days of 10-minute long singles full of obtuse stream-of-conscious lyrics, it’s an overt attempt by the band to pull in more listeners by reaching outside of themselves. The result is classic Underworld, passed through the filter of the mainstream dance scene. The essence is present, but there’s more to discover.

Front man Karl Hyde has described the group’s previous album, 2007’s Oblivion With Bells, as inward-looking. While it still showcased Underworld’s unmistakable groove, the songs were mostly dark and admittedly difficult to translate properly into their amazing live shows.

Barking, however, is tailor-made for dance floors, especially the lead singles “Scribble” and “Always Loved a Film”, as well as likely future singles “Diamond Jigsaw” and “Between Stars". This is likely due, in part, to the fact that these four songs have been played live in some form for years already – “Always Loved a Film” made its live debut in 2003! Working out new songs on stage let the group road-test the tracks before recording, but of course this process isn’t uncommon to Underworld or any number of bands.

What is uncommon for Underworld is the other aspect of Barking’s dance floor outreach: guest producers. When Hyde and partner Rick Smith started making dance music in the early 90’s (first as Lemon Interupt and later as Underworld), the veteran rockers brought in the younger DJ Darren Emerson to help hone their sound. When Emerson left after the third album, 1999’s Beaucoup Fish, Underworld continued on as a duo, later bringing in another DJ Darren (Price, who’d previously remixed and toured with the group as an opening act) to help with their live show. They’d also collaborated with composer Gabriel Yared on the score for the late Anthony Minghella’s film Breaking & Entering, with the legendary Brian Eno on live improv performances, and with Mark Knight and D. Ramirez on 2009’s excellent single “Downpipe”. Yet Barking is the first time where outside collaborators had a hand in crafting an Underworld album.

Demo versions of the album’s nine songs in place, Underworld reached out to their peers in the dance community to help them flesh out the tracks. Knight and Ramirez, Dubfire, Paul van Dyk, High Contrast, Appleblim, and Al Tourettes all took passes on their respective tracks, working back-and-forth with the band, “jamming through the wires” as Hyde might say.

The efforts of the varied production team are mostly successful. The tracks where the guest’s contributions are noticeable -- “Scribble”, “Always Loved a Film”, and “Between Stars”, might be jarring at first for the long-time listener. The latter seems over-produced, as if the song (with an actual verse/chorus/verse structure uncommon for Underworld) is struggling to breathe under Knight and Ramirez’s additions. When the line between Smith and guest blurs, the results are far more interesting. “Diamond Jigsaw”, heard in live iterations as an 80’s Van Halen-meets-New Order dance rock anthem is both reigned in and opened up with Paul van Dyk’s help, yet his specific input isn’t easily discerned. “Moon in Water”, the slower of High Contrast’s two assists, has none of the drum 'n bass rhythms he’s known for – a conscious effort on his part to branch out from his comfort zone and try something new, much like Underworld themselves.

Closing track “Louisiana” is a strangely beautiful but somber ending to an otherwise fun and upbeat record, yet somehow it works. No guest producers – just Hyde’s voice and a piano set the tone, sitting the listener down to relax after all the dancing that’s come before. The extra-vibrato effect on the vocal is a bit much, but is easily forgotten once the drums come in. It may not be the track you sing along to in the car, but it’s the one that will be stuck in your head later on.

If you’re a long-time fan like me, your reaction to Barking will likely depend on when you discovered Underworld’s music and how much you cling to whatever you consider their ideal sound to be. If, however, you’ve never heard of the group, or maybe only remember that song at the end of Trainspotting, do yourself a favor and give a listen. I have a feeling that this one was made with you in mind.

Pop Culture Beast score for Barking: 7/10

Barking is out today on Om Records.

Pick it up here and check out a full stream at Underworld's MySpace page.