Dead Cities

This seventy-minute odyssey overloads your senses and sends you off on a cerebral dance unlike any other. Be prepared to embark on an adventure in mood and texture, to groove like never before as DEAD CITIES transports you to a hazy dreamland of ambient stylings. Future Sound Of London has a method to their madness, a way with their beats, grooves, layers and dubs that is uniquely their own. While this album may not be the appropriate response to all your moods, when it fits, it fits like a glove.
DEAD CITIES is more than just a great trance-inducer, it's an out-of-this-world experience, bringing you to a place where there's a lot to see. Some parts of this world are very beautiful and some are ugly, some soft and gentle, some cruder, but the contrasts are the most beautiful of all. DEAD CITIES IS A rich, textured album with more layers than one could count.|

Dead Cities turned out to be the Future Sound of London's bow out from the spotlight -- at least, nothing further was released by them for the rest of the decade and well into the next one. Compared to the crisp approach of Accelerator and Lifeforms' disorienting, surprising exploration into ambient sound, Dead Cities finds the group trying out something new yet again. The theme of the album, thoroughly explored in the art (as always, created by the group itself), seems to be one of futuristic urban decay, almost as if reacting against the perceived otherwordliness of Lifeforms, calmer moments like the acoustic guitar shimmer of "Her Face Forms in Summertime" aside. Hints of cyberpunk fetishism and atmospheres are everywhere, combined with a generally darker sound track for track and more upfront beats on a number of songs. "My Kingdom," a spooky choice for the initial single, blends in low-pitched drones with the echoing shuffle of the main rhythm, suggesting a Japanese city set somewhere in the outback after all the world's power finally ran out. As a further touch, the overall Blade Runner feeling of Dead Cities is heightened even more via the sampling of Mary Hopkin's haunting, wordless vocals from that film's soundtrack. The collage approach that has served the band well over the years recurs time and again -- snippets from unreleased spoken word performances and reworked orchestrations float up and down in the mix, feeling like an unusual sonic tour. That said, two of the strongest moments on Dead Cities -- the amazing single "We Have Explosive" and its semi-remix "Herd Killing," which starts the album -- come from the same source, namely Run-DMC. The brutal guitar stab and accompanying wah-wah and shout, which define both tracks, come from the Tougher Than Leather album, here reshuffled into a brusque, memorable punch with a killer, buzzing bassline. ~ Ned Raggett