For a band that has been around for nearly 40 years, with a focus on its techno sound for 30, Underworld has shown no sign of lacking innovation. Just as recently as their 2019 album, DRIFT Series 1, the band decided to release the project as a one-song-a-week series for an entire year, something that could truly only happen in the age of streaming and digital media.
All of that makes it even more interesting that Underworld would take a traditionalist, anti-modern, approach with this album, Strawberry Hotel, with one line being repeated throughout the entirety of the album’s promotion. “Please don’t shuffle.”
It’s a stark reminder of the band’s commitment to making music that exists for a specific purpose. There is intention in how the music is ordered, and a message behind it all, however surreal that may be.
Songs like the album’s lead singles, “and the colour red,” and “denver luna,” feature repetitive swirling lyrics, with colors being repeated, discussing seeing Mickey Mouse’s reflection while looking in the window. It all adds to the world that Underworld is building, and the droning hypnotism that the band has become masters of.
This album features many of those qualities outside of the singles. The arpeggio through “Gene Pool” makes the listener feel lost in the song, and the sweeping synth pads give the track an ethereal quality that creates vivid imagery in the listener’s mind.
“Lewis in Pomona” does a fantastic job of creating an atmosphere of paranoia in the club. From the washed-out chords that open the track to the distorted kick drum and vocals drenched in reverb and distortion, the track builds a fantastic scene you can place yourself in, that only Underworld could create.
Many other tracks, however, steer away from this formula. The opener “Black Poppies,” the last single released in the promotion of the album, is a more ambient, almost classical piece. Strings back the vocals, and the synth that does prevail in the song is far removed from the techno sound that made them popular.
The closer to the album moves even further away from that sound, with nearly the entirety of “Stick Man Test” being performed on an acoustic guitar. The minimalism of the track affirms that this is still an Underworld song; the analog sound of the track, with the exception of the sub-bass that appears in the second half, is a striking contrast to the digital landscapes the band creates on other songs on the album, and really have for their entire modern career.
Another aspect that makes this seem even less like an Underworld album is the song’s lengths. Many of their biggest hits all exceed seven minutes. While that may sound excessive to many, it actually is a perfect length for the hypnotic techno sound that Underworld is going for.
However, on this album, numerous songs feel far too short to ever reach that same feeling. “Sweet Lands Experience,” which does feature a great build-up and thumping kick drum, falls short of 5 minutes. One of the album’s stand-out tracks, “Techno Shinkansen,” is a great call back to the ‘90s dance scene and the joy it can create, and it doesn’t even cross three minutes and thirty seconds.
Even with these shortcomings though, Strawberry Hotel is sure to deliver on what Underworld fans have come to love about the band. Hypnotizing, surrealist songs exist throughout the entire album, and while it may not reach the highs of some of their early albums, it is sure to still deliver an enjoyable experience for all who love the classic sound of techno.
