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Pop - Released November 5, 1990 | Rhino

What's that echo you hear? One of the Bunnymen has decided to sit things out, and it's none other than the frontman himself. Reverberation is really an Echo & the Bunnymen album in title only. Ian McCulloch is out to pasture on this one, embarking on a solo career, and in his place is Noel Burke. Somehow, newcomer Burke is a great fit with the remaining Bunnymen, and the result is a true delight, even if it makes little sense in the band's discography. Realistically, Burke sounds nothing like McCulloch, as his vocals are far higher than McCulloch's deep croon. Will Sergeant could have easily gone the route that Peter Hook would go years later, when he found a Bernard Sumner sound-alike for New Order offshoot Monaco, so Sergeant is certainly a risk-taker in this sense. When Burke does affect McCulloch's tones, he sounds more like Mark Burgess of the Chameleons, and that's an interesting proposition in itself. The Burke and Sergeant team cracks out their own share of would-be classics. "Gone, Gone, Gone" and "Enlighten Me" throb with catchy glee, and "Flaming Red" paints a picture of beautiful, quiet grace. "King of Your Castle" is perhaps the only occasion where Burke overly extends his range and falters, but the song's optimism is still quite winning. Indeed, the album could qualify as Sergeant's brightest and most uplifting creation. "Flaming Red," in particular, would have been far darker with Ian McCulloch at the helm, as its music seems a close cousin to "The Killing Moon," but Burke's vocals lighten the mood into one of delicate grace. It should also be noted that original Bunnymen drummer Peter DeFreitas died in a motorcycle accident shortly before Reverberation was recorded, and future Spiritualized and Lupine Howl drummer Damon Reece ably takes his place behind the drum kit. The liner notes dedicate the album to "Pete and all who loved him." Reverberation would have been a great debut had Sergeant and bassist Les Pattinson decided to operate under a different moniker. Who knows if Sergeant thought McCulloch would someday return to the band, but it would have made more sense for these ten songs to have been released under a new band name, because whether one likes or dislikes this album, Echo & the Bunnymen doesn't exist without the distinctive voice of Ian McCulloch, and it seems rather unfair that Burke had to go up against the enigmatic legacy of McCulloch. Though it confuses the Echo & the Bunnymen catalog, Reverberation is an accomplished, charming album that most Echo & the Bunnymen fans will appreciate, if not cherish. Why Noel Burke wasn't able to hop away from his time with the Bunnymen and make his own name is a reverberating mystery of its own. © Tim DiGravina /TiVo
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Alternative & Indie - Released September 19, 2005 | Cooking Vinyl

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Pop - Released November 9, 2018 | Rhino

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Pop/Rock - Released June 15, 2009 | California Dreamin'

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Alternative & Indie - Released December 3, 2007 | Cooking Vinyl

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Rock - Released January 1, 2014 | 429 Records

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After they reunited in the mid-'90s, Echo & the Bunnymen cranked out album after album of decent-to-good material, spotlighting Ian McCulloch's ageless vocals and the band's sure way with a dramatic hook. For 2014's Meteorites, the duo of McCulloch and guitarist Will Sergeant turned to legendary producer Youth to help guide the album, and came up with a record that compares favorably to the best work of their original run in the '80s. Where their previous effort, Fountain, was a big-sounding, very clean modern rock album that reduced the band to its essential core, this one aspires to more epic heights. Teeming with giant string arrangements, widescreen vocal production, and songs that hark back to the glory days of Ocean Rain, the album is a mysterious, murky, impressively nostalgic affair. With Sergeant providing his typically concise and perfectly complementary guitar lines and Mac digging deep to turn in one of his better vocal performances in a while, the duo give Youth a lot to work with and he spins it into some gauzy magic. Tracks like "Lovers on the Run" and "Holy Moses" have a dramatic intensity and sweeping power that their more focused and stripped-back songs of recent years have surely missed. When they go big, it works extremely well, like on the opening title track, a slowly unspooling epic with truly heart-rending string crescendos and some of Mac's most broken-sounding singing in a long time, or the huge-sounding "Market Town," which runs seven minutes, features a long Sergeant guitar solo, and doesn't flag at all. Even the simpler, more direct songs, like the quiet ballad "Grapes Upon the Vine," have a big sound, though not so big as to overwhelm the fragile emotions on display. Youth and the group walk the line between grandiose and epic throughout, never falling on the wrong side even once. Between the impressive set of songs, the totally invested performances, and Youth's brilliant production, Meteorites ends up as a late-in-the-game triumph for the band and a worthy successor to their finest album, Ocean Rain. It may be too late to really matter, and they may be doomed to be seen as a nostalgia act, but many of the bands in 2014 that are making neo-psychedelic albums would be well served to check with the Bunnymen to see how to go about things the correct way. © Tim Sendra /TiVo
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Pop/Rock - Released November 7, 2011 | Ocean Rain

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Rock - Released April 25, 2014 | 429 Records

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Alternative & Indie - Released January 1, 1997 | London Music Stream

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Alternative & Indie - Released April 17, 2006 | Cooking Vinyl

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Alternative & Indie - Released October 31, 2005 | Cooking Vinyl

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Alternative & Indie - Released September 5, 2005 | Cooking Vinyl

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Alternative & Indie - Released January 1, 2005 | Cooking Vinyl