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Rock - Released March 12, 2001 | Parlophone UK

Just when you start to take a "Yeah, OK, old news, whatever" attitude about Neil Hannon, he hits you with his most accomplished work yet, reminding you of the impressive, inexhaustible depth of his abilities as a singer, writer, and arranger. With a huge assist from fantastically warm, sensual production by Radiohead's engineer, Nigel Godrich, Regeneration is the most ambitious baroque-pop LP Hannon's attempted outside of 1997's A Short Album About Love. And while that one-off was nearly, almost wonderfully overwhelmed by the orchestra he hired for the two London Shepherd's Bush Empire evenings it came from, here those same elements are ever-present but take a supporting role instead of the lead. What's emphasized instead are the things Hannon does so damn well: intelligently-constructed, highly evolved and involved pop with excellent lyrics, led by his deft piano touches and moody bass and guitar -- the music that best frames his unabashed crooning. Actually, on most of this LP he's a little bit more restrained than normal, cooing more than the man who wailed so melodramatically on the cultured old standbys that made his name (like "The Frog Princess"). Occasionally he still cuts loose, such as the sudden, belted swell on "Perfect Lovesong." But most of the time, he lets the spellbinding soundtrack and the beguiling radiance set up his more reasoned, strong vocal takes. Meanwhile, Godrich flushes absolutely all the absorbing elegance, splendor, and color out of such luxurious, twinkling, candle-lit enchantresses as the LP standout, "Note to Self," and the "Exit Music (For a Film)" and "No Surprises" (Godrich again) flavor of "Lost Property." And how about those crystal, hummable melodies that abound, like the stupendous soaring chorus of "Eye of the Needle" and the U.K. single, "Love What You Do?" Each song gives you something resplendent, refined, memorable and, most of all, opulent and lovely. This is bound to turn some jaded heads. © Jack Rabid /TiVo
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Rock - Released January 26, 2004 | Parlophone UK

With Absent Friends, Neil Hannon returns to the glorious whimsical form of his crooning pop masterpieces. While Regeneration seemed mired in murkiness and awkwardly styled angry tunes, and some wondered if Hannon would recover from sacking his bandmates, Absent Friends sees Hannon blending the finest themes of his previous albums into a gorgeous, mature tapestry of musical adventures. Longtime associate Jobi Talbot lends his usual magic and Regeneration producer Nigel Godrich stays on as mixer, allowing Hannon to expertly man the production boards himself. Album closer "Charmed Life," which marries twinkling pianos with airy orchestration and a thoroughly jolly sense of self-discovery, is perhaps most indicative of Hannon's rediscovered optimism. The song perfectly blends the light, literary style of Promenade and Liberation, but with the added crunch and bombast of Hannon's West End-leaning Casanova and Fin de Siècle. "Sticks & Stones" also traverses Casanova territory, while "Come Home Billy Bird," "Absent Friends," and "The Happy Goth" all feel like souped-up versions of Promenade and Liberation tunes. "Come Home Billy Bird" seems like the mature artist's version of "Bernice Bobs Her Hair." Where Hannon sang of schoolgirl pettiness on the latter, he moves onto the problems business travel causes family life on the former. Thus, Hannon has found a way to mix semi-autobiographical subject matter with the witty pop melodies that are his bread and butter. As always, it's Hannon's superb wit and impeccable sense of timing that allow him to mingle delicate and simultaneously revelatory turns of phrase for maximum emotional and musical effect. Who else could pull off a touching yet hilarious song like "The Happy Goth," where Hannon sings of lonely yet happy young lady "who wears Doc Martens and a heavy cross"? It is perhaps "Our Mutual Friend" that really drives home the confidence and sublime nature of Hannon's songwriting and execution at this stage of his career. Hannon had mined the orchestral strings and minimalism of composer and associate Michael Nyman in the past, but "Our Mutual Friend" is his finest stab at merging Nyman-like strings and rhythm with devastating, dramatic vocals. Singing of infidelity and the damage it causes, Hannon sounds absolutely floored. In an interview with Kitty Empire talking of his aspirations going into the album's recording, Hannon claimed he simply wanted to create a beautiful album, one that "sounds gorgeous on [his] stereo, with a roaring fire and a glass of sherry and a Labrador at [his] feet." With the thrilling and poignant Absent Friends, he has more than succeeded. It ranks high among his finest albums. © Tim DiGravina /TiVo
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Rock - Released June 19, 2006 | Parlophone UK

To say that any Divine Comedy album feels overly calculated is somewhat pointless, given that Neil Hannon's cheeky musical alter ego is a nostalgic figure caught in a 1930s time warp to begin with. It's all about affection, as it were. But Victory for the Comic Muse is almost mathematical in its calculation: open with a jaunty number to get the audience excited; slow it down for four consecutive reflective ballads to suggest maturity; split the album in half with a throwaway piano instrumental like an old movie intermission; inject some life into the proceedings with four sprightly, comic selections; and close with a tearjerker. Such a structure means the album feels like two separate entities, almost like two EP collections jammed together representing two distinctly different phases of Hannon's career. As such, its highlights are more satisfying on their own than in the context of an LP. The ELO-like opener, "To Die a Virgin," seems to be another stab at "Generation Sex" territory, right down to its Fellini-esque opening samples. The slower numbers that follow are pleasant enough, with some alternately witty and touching lyrics, but Hannon's voice is so subdued as to be positively inoffensive and his back-to-basics production is weak. The second half starts with some welcome drive, as Hannon tackles the Associates song "Party Fears Two" with whimsical aplomb. "Arthur C. Clarke's Mysterious World" presents the early Hannon eye twinkle and is reminiscent of previous creations like "Bernice Bobs Her Hair." Here Hannon suggests he needs a TV investigation just to understand his girlfriend. Yes, Victory for the Comic Muse has its funny moments, its sad asides, and some of the now standard Nyman minimalist moments, but in the Divine Comedy's overall discography it's a rather slight and often flat affair with unfortunate suggestions that Hannon might have milked the comic cow dry. © Tim DiGravina /TiVo
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Rock - Released August 11, 2006 | Parlophone UK

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Rock - Released June 9, 2006 | Parlophone UK

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Rock - Released August 11, 2006 | Parlophone UK

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Rock - Released June 12, 2006 | Parlophone UK

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Rock - Released June 13, 2006 | Parlophone UK

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Pop - Released October 13, 2006 | Parlophone UK

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Rock - Released August 11, 2006 | Parlophone UK

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Rock - Released June 9, 2006 | Parlophone UK

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Rock - Released June 9, 2006 | Parlophone UK

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Rock - Released June 9, 2006 | Parlophone UK

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Rock - Released May 15, 2006 | Parlophone UK