Eagulls
' self-titled debut earned acclaim for the way the band blurred its punk edges with shoegaze-sized walls of sound. This fondness for atmosphere was the only hint of the radical makeover they undertake on
Ullages
, an anagram of the band's name that doubles as an alter ego: if
was indebted to the gritty side of post-punk, then this is the glossy, but just as gloomy, flip side. Though
were specifically inspired by
the Cocteau Twins
while making the album,
' sonic cathedrals -- which were recorded in a converted Catholic church, natch -- evoke a host of dourly beautiful bands. "Blume"'s psychedelic leanings recall
the Horrors
and
Echo & the Bunnymen
before them, while the album's ringing riffs and
George Mitchell
's impassioned delivery often suggest early
Simple Minds
. However,
' most obvious reference point is
Pornography
-era
Cure
. Stripped of
' fury,
Mitchell
's yelp sounds more like
Robert Smith
than ever, especially when it's surrounded by crystalline synths and glassy guitars on songs like "Heads or Tails" and "My Life in Rewind," one of the most captivating examples of how
turned their debut's explosive power inward. There's no denying
is well crafted; the woozy interlude "Harpstrings" and glistening tracks like "Velvet" and "White Lie Lullabies" make the most of the album's darkly glamorous palette, but
often feels most convincing when the band injects a little of its old energy into its new approach. "Lemontrees" adds some bite to the album's sparkle, while "Euphoria"'s melodrama is matched by its powerful drums and "Skipping" harnesses some of
' anger. ~ Heather Phares