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Goodbye/And Goodbye/Whole Day

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Goodbye/And Goodbye/Whole Day album cover
And Goodbye
The Whole Day
Album Information

Total Tracks: 3   Total Length: 23:34

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since they appear switched....


This is the review posted for Rural Psychedelia: "We Say...Review by Andy Battaglia Flying Saucer Attack spread the rush and rustle of rock thin and wide on their 1994 debut. The flowing sheets of feedback sound as entrancing as they are enervating, but mellow spells of keyboard lend the atmosphere a folkie air. Flying Saucer Attack are a rock band with a texture fetish; songs like "And Goodbye" are all about the grain in would-be rock sonics, scanning like etchings of a blueprint faded by time and contemplation. "

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switched reviews


eMusic has the reviews switched for this EP and the Rural Psychedelia album.

They Say All Music Guide

Seemingly emerging out of nowhere following an initial single or two, Flying Saucer Attack’s debut album crystallized an incipient 1990s underground as in thrall to folk music as to feedback blasts and Krautrock influences. The description the band members themselves used, also considered by some as an alternate title to this album, was “rural psychedelia,” and rarely has form so readily followed function. The original duo of Pearce and Brook, with some help from friend/Third Eye Foundation mainman Matt Elliott on percussion and clarinet (thus creating an even more alien atmosphere on “Moonset”), created a thick, evocatively haunting collection of modern mind-blowers. If any one thing could be singled out about the album, it’s the continual contrast between Pearce’s soft, reflective singing, often sunk deep into the overall mix and treated with heavy-duty echo, and his often tremendous guitar work, electric squalls, and drones piled atop one another. Songs like the exultant “Wish” and “A Silent Tide” are the breathtaking results. Initial comparisons were made to My Bloody Valentine and the shoegazing crowd, but they’re misplaced — it’s a consciously different style employing some similar elements, but with notably varying results. Two astonishing drone/tribal instrumentals are named “Popol Vuh 2″ and “Popol Vuh 1,” both open tips of the hat to the long-lived German experimental group. The completely out-of-left-field number, though, is the cover of Suede’s “The Drowners” — changing nothing about the pace but overdriving the feedback and relentlessly toning down the vocals, FSA turn the neo-glam piece into a noisefest beyond description. Compared to later albums, Flying Saucer Attack sets more of an immediately consistent mood — some numbers aside, the dreamy singing, the seemingly straightforward guitar parts that get more involved the more one listens, and more continue from track to track, generally speaking. The end results, though, are more than worth it. – Ned Raggett

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