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From Here on In often meanders around, getting by on its influences, rather than seeking the necessary hooks and melodies.
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They definitely have some hummable hooks, and at moments the album feels like it's going to shake off the reigns of running the middle-ground, but just about the time you think things are going to bust loose like a rocking Monk and Cantella track, they swerve back into more agreeable sounds.
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Alternative PressSouth are at their most compelling when they apply the aesthetics and methodology of dance music to their epic rock music. [Mar 2002, p.88]
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This is the first absolutely essential UK disc of the year.
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From Here On In may grab you with a slide-guitar hook here, a tiny melody or vocal quirk there, after repeated listening. But it's hard to justify the five or six hours necessary to achieve such meager nirvana.
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At 70 minutes, it could've done with a pruning.
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At 16 tracks, the melancholy mood lingers a bit long, but hey, if you can handle some meandering in your Britpop, then Here's something for you.
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In the future the restless, insecure South-men may perhaps harness their broad tastes into a more cogent sound, but From Here On In finds them a well-produced but overly expansive mess.
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From Here On In is inches away from being a success. It's just that it's weighed down by so many repetitive textures and songs that fail to impact.
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All too often the guitar-led tracks expose their limitations.
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Sadly, not all the guitar-led tracks work, but for every failure there's a soaring, slo-mo anthem or a downbeat campfire singalong.
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SpinSouth's tunes tend to wobble in very slow circles, and Joel Cadbury has picked up soggy vocal habits from Coldplay's Chris Martin. [Mar 2002, p.127]
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toddtDec 6, 2004bettter than every thing