519:"Yeah, the idea was to be more direct, and I think some of it is. I felt like my singing was better so we turned it up a bit. Also, I wanted to try to do something with the lyric side of it and be more direct. Still, I don’t know that I have anything to say, and if I do, it probably comes through more in the music. Most of my opinions on things aren’t really the kind of things I’d want to put into songs. Like, “I hate government.” Well, if I put that into a song, it would just sound embarrassing. You have to be a really good lyricist to tackle a subject like that."
358:
715:
710:
705:
700:
695:
563:, the simple "Suncatcher" is purely acoustic. "Islands" is over eight minutes long, morphing "through distinct and attention-grabbing phases, beginning sparsely and building into spiralling crescendos." "Tides", like "Suncatcher", is acoustic-led, albeit "with a thin strand of whispery electronic squeal running through it." The darker "Chemicals" is an
383:, parts of the album were recorded in Pearce's home with his own equipment, before " it together": "there are a number of parts that Rocker and I messed with over here a little bit. All the songs I did entirely here or I started them with Rocker and then finished over here. There’s nothing that was done entirely with Rocker’s digital set-up."
799:'s Jason Kane felt that, although the album occasionally meanders, "overall, these surges of sound are best enjoyed in the late evening or early morning hours, depending on your intention. Both results are great. Either you will enter one of your most relaxed states of sleep or will awaken as if by a wave of feathers."
765:
rated the album 8/10 and noted that, although the album is "initially cold, downbeat and distant" as a listening experience, it "will eventually seem beautiful, austere and stoic. If the sounds are new to you, you may find them too off-putting to justify repeated spins. Headphones will help you get
654:
reissue" and noted that "in place of liner notes is a blatantly hallucinogenic image of a psychedelic rainbow over a body of water, with creepy mutations of animals splashing about, and warped, gloopy flying saucers zooming past pink clouds. In a time when drugs are so revered by the hipster elite,
506:
Pearce felt the need "to make songs with an end, if not a chorus," and in an interview, he commented that he was "quite pleased with . I'm not so embarrassed about the singing. However abstract it is, they’re still meant to be songs. In the past, they weren’t very song-y, and this time I did really
490:
The album's background is layered with "atmospheric guitars", whilst "simple basslines provide the anchor, and sound effects take the sound further into space." In keeping with the album's variety, several of the songs incorporate "actual percussion." Unlike on previous albums, the folk songs on
394:
more rhythmic than its predecessors, and a departure from the "one snare, one symbol drumming" he had grown accustomed to: "I thought it would be interesting to see what it would be like to have fairly overt beats, however out of date they may be. I just wanted to see if that could work." As is
273:
Pearce consciously wrote more direct lyrics on the album, and his vocals and melodies are more pronounced and decipherable than on previous albums, where they were obscured and electronically processed. Upon release, the album was greeted with favourable reviews from critics, complimenting its
571:
and containing a "throbbing electronic rhythm, crunching beat, and processed vocals." "Dark Wind" is an ambient composition, "with undulating waves of sound blown by soft electronic winds, a rapid, mutating beat and strumming acoustic guitars fading in and out in the background."
353:
8-track recorder "with a dual cassette thing". Pearce stated: "Some people may go, 'Oh my god, a cassette eight-track! Oh dear, oh dear.' Even if they can handle the idea of a cassette four-track, they can’t handle the idea of cassette eight-track, but it sounds alright to me."
659:
noted: "From its wildly psychedelic, mirror ball cover and inner-sleeve art featuring wobbling flying saucers careening over a churning ocean filled with rainbows, pink rabbits, and sea monsters, we know we're in for something different this time from Flying Saucer Attack."
645:
The album's psychedelic album artwork, designed by Savage
Leisurecentre with typography from Savage Pencil and mirrorball imagery from Sandra Eggington, was seen as heralding in the band's new stylistic direction, and in complete contrast to previous album covers.
31:
551:. The effect of both rural and urban environments shines clearly throughout this record, suggesting a potential future in which a cohesive humanity can reconcile the introspection and simplicity of the countryside with the technology and progress of modern life."
376:
being recorded at Rocker's house, presumably the StAR Studios mentioned in the liner notes as the recording studio for four songs, Pearce noted his "fairly proper equipment", having been "building up lots of stuff over the years", although, as he revealed to
230:
on 17 January 2000. Lead member David Pearce recorded the album, his second solo project released with the Flying Saucer Attack name, with the assistance of one-time collaborator and
English producer Rocker from 1997 to 1999 during a long period of
599:, contrasting with the metallic off-kilter rhythm and electronic ambient textures of following song "Rise". Closing song "Star City" ends with a white noise section like that which opens the album, essentially bringing the album full circle.
1553:
803:
magazine felt that "with his Flying Saucer now grounded, looking for new ways to fly, and new dimensions of sound to explore. Pearce himself felt that this album recaptured a bit of the spirit of the early FSA recordings."
474:
also somehow manages to encapsulate most everything Pearce had done before, from unprepossessing acoustic laments, to blasted guitar scapes, to fried electronic pulsations, while also bringing new ideas to the table."
618:. The original British edition was a limited edition run of 2,000 CDs and 1,000 transparent LPs. Although the album did not chart on any national music chart, it did nonetheless chart on several radio charts; on the
840:, although kept the band's name alive by sporadically publishing limited edition releases of rare, archival recordings. In 2015, Pearce resumed recording as Flying Saucer Attack, and recorded and released the album
641:
s radio chart. Pearce mentioned that Drag City were pleased with the album's sales, and were eager for follow-up material. Drag City remastered and reissued the album on 10 June 2016 as an LP in the United States.
836:. I don’t know what it is—it’s pretty unfinished—but it’s not going to be more drumbeats. It’s going to be more bleak acoustic songs." Nonetheless, Pearce put Flying Saucer Attack on hiatus after the release of
595:, albeit pop turned brittle and wobbly by production trickery." The song features a standard rock beat that nonetheless fuels "a rare ethereal, distortion-soaked pop song." "Dust" features folk motifs over a
832:
In 2000, Pearce began work on the band's follow-up album, and spoke about it in an interview at the time, saying the work he had already completed for it "doesn’t seem to be along the same lines as
1561:
465:, said: “What I think I was trying to do before, I’ve done a bit better this time. By ‘better’ I mean ‘nearer’ to what I’ve been trying to do all along... something came out right this time."
795:
beats, which, when paired with Pearce's alternately distortion drenched songs, lend an uncharacteristic, urban vibrancy to portions of the work." Rating the album three stars out of five,
811:
is regarded as the culmination of Pearce's series of albums "that incorporated beats and a slightly glossier production." In a 2015 "beginner's guide to Flying Saucer Attack", Jon Dale of
527:
to "reflect both sides of the millennial chasm, incorporating the atmosphere of the countryside with the sound of hyper-modern urbania," critic Kerwin So felt connections between
495:
have intelligible lyrics and decipherable melodies. Pearce's vocals on the album are gentle, giving the album a mellow feel despite its sometimes aggressive music. A reviewer for
559:"Space (1999)" opens the album with "sweeping billows of sound," and features "white noise fuzz and phased acoustic-slide guitar" alongside melodic vocals. Taking influence from
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retrospectively commented that the album "contained some of the project's quietest, folkiest material, as well as blown-out excursions into drum'n'bass similar to
282:
success. Nonetheless, it was the final Flying Saucer Attack album for fifteen years, with Pearce putting the project on hiatus following the album's release.
1774:
1779:
318:
approach, almost disregarding "traditional song structure altogether" the album has retrospectively been referred to as bridging the gap between
395:
tradition for Pearce, the folkier songs on the album were recorded alone in his small kitchen. Nick Webb mastered the album at London's famous
1769:
292:
1729:
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302:
515:, he "had the title before any of it. In a way, that effected the kind of stuff recorded for it." He elaborated on his songwriting:
1698:
1638:
1608:
1526:
300:, rendering Flying Saucer Attack a solo project for remaining member Dave Pearce. After issuing the rarities compilation album
1076:
333:, Pearce was suffering from depression. Having felt that "phase two" of the band "never really happened", he instead posed
1142:
1232:
1056:
1028:
782:
asked of readers: "put this record on, take a deep breath, and listen with the lights off. And see where it takes you."
766:
the best perspective on this immersive listening experience. And if Mirror seems poppy to you, it’s time to lay off the
387:
587:
noise and imbuing the resultant clamour with grim and bloody determination." The song's rhythm has been compared to
503:
by saying it "is certainly noisy, fuzzy, and psychedelic as all get out. However, it’s also incredibly listenable."
584:
588:
232:
611:
227:
135:
419:, most of which are largely prevalent in the album's second half, in addition to some of Pearce's melancholic
995:
787:
724:
615:
223:
130:
411:
features tracks that explore experimentation with genres and sounds that were new to Pearce, including
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634:
peaked at number 26, and stayed on the chart for over 10 weeks. The album also peaked at number 13 on
1764:
1180:
826:
636:
627:
539:–indeed, not too long ago Pearce moved from the English countryside to the more urban environment of
461:
219:
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43:
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306:(1995) to close "phase one" of the band, his first solo album under the Flying Saucer Attack name,
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86:
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310:, was a conscious attempt to start "phase two" of the band. Exploring new approaches such as
564:
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feel" due to its "blurring of lines between noise and notes, of sounds and music," although
412:
311:
297:
267:
256:
248:
236:
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30:
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from 1997–99 with contributions from his fellow
Bristolian collaborator Rocker. As with
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651:
623:
432:
420:
416:
279:
252:
240:
96:
1313:
821:, as though he’s enjoying music again." In a biography of the band, Jason Ankeny of
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576:
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583:
sound-clash," "pairing a driving, organic drum’n'bass rhythm with slabs of post-
580:
315:
260:
78:
443:
places its focuses on songs, with "the effects pushed just below the surface."
762:
747:
448:
215:
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was favourable, and said the album's "real surprises are the static-y, post-
596:
263:
91:
531:
and a combination of both urban and rural life: "It might be fair to label
296:(1995), Rachel Brook left Flying Saucer Attack to focus on her own project
511:, which Pearce has expressed dissatisfaction with, Pearce said that, with
822:
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687:
536:
424:
1396:"A beginner's guide to flying saucer attack and the Bristol underground"
540:
792:
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and "wanted to see if he could make it work," Pearce decided to make
774:
writer Ryan
Schreiber said that it was the band's best album since
356:
38:
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1083:. 9 March 2000. Archived from the original on 9 March 2000
1502:"Flying Saucer Attack - "Mirror" (Drag City 2000, DC177)"
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622:
Top 200, a chart "compiled from the top albums played at
610:
was released on 17 January 2000 in the United States by
1123:. 2000. Archived from the original on 22 February 2012
761:
was greeted with favourable reviews. George Zahora of
270:
that he originally established the band's style with.
852:
All songs written by Dave Pearce except where noted.
924:
Savage Pencil – illustration, typography (lettering)
163:
144:
121:
105:
77:
66:
58:
50:
37:
23:
655:it's good to see somebody living it up a little."
386:Under the influence of Rocker, who had acquired a
1227:(liner). Flying Saucer Attack. FSA Records. 2000.
1051:(liner). Flying Saucer Attack. FSA Records. 1997.
1023:(liner). Flying Saucer Attack. FSA Records. 1995.
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1101:: CS1 maint: bot: original URL status unknown (
614:and on 25 January 2000 in the United Kingdom by
1351:Zahora, George. "Flying Saucer Attack Mirror".
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1237:: CS1 maint: others in cite AV media (notes) (
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1033:: CS1 maint: others in cite AV media (notes) (
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459:-influenced psychedelia." Pearce, speaking to
290:After their critically acclaimed second album
921:Savage Leisurecentre – design (sleeve design)
918:Sanda Eggington – artwork (mirrorball images)
407:Considered the band's most accessible album,
18:2000 studio album by Flying Saucer Attack
8:
692:
1275:"Flying Saucer Attack: Mirror Album Review"
989:
987:
985:
983:
981:
1692:
1690:
1219:
1217:
1215:
1213:
667:
29:
20:
1785:Electronic rock albums by English artists
1452:"Flying Saucer Attack, Mirror- Kerwin So"
1422:"Mirror by Flying Saucer Attack (Review)"
243:approaches of the band's previous album,
938:
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1230:
1134:
1094:
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1026:
211:is the fourth studio album by English
1697:Mamone, Jordan N. (31 January 2000).
673:
251:experimentation with influences from
7:
868:"Chemicals" (Pearce, Rocker) – 3:39
1728:Keenan, David (15 September 2015).
1273:Schreiber, Ryan (26 January 2000).
507:want for them to be songs." Unlike
1775:Trip hop albums by English artists
423:songs. According to Jason Kane of
337:as a new "phase two." He recorded
14:
1500:Fitzgerald, Jeff (January 2001).
770:books." Rating the album 7.5/10,
694:
1554:"FLYING SAUCER ATTACK, "MIRROR""
1552:Whitney, Jon (22 January 2000).
713:
708:
703:
698:
693:
439:felt that, unlike prior albums,
1669:"Flying Saucer Attack - Mirror"
1314:"Mirror - Flying Saucer Attack"
1117:"Flying Saucer Attack – Mirror"
895:"Rise" (Pearce, Rocker) – 6:50
1780:Intelligent dance music albums
1450:So, Kerwin (9 February 2000).
1:
1394:Dale, Jon (18 August 2015).
965:
957:
817:said "Pearce sounds free on
235:. The album builds upon the
1770:Flying Saucer Attack albums
1801:
962:
951:
650:compared the sleeve to "a
575:"Winter Song" features a "
543:, home of such artists as
455:" and "expansive, tribal,
349:was largely recorded on a
278:sound, and was a moderate
259:music, in addition to the
1181:"Pulled from the X-Files"
1141:: CS1 maint: unfit URL (
681:
678:
589:Psychick Warriors ov Gaia
447:has been referred to as "
171:
28:
844:later in the same year.
372:With regards to some of
314:, and a more aggressive
286:Background and recording
1649:(656): 19. 6 March 2000
1619:(660): 16. 3 April 2000
1533:(78): 78. February 2000
664:Reception and aftermath
1730:"Flying Saucer Attack"
521:
477:
415:and beats inspired by
369:
1703:CMJ New Music Monthly
1643:CMJ New Music Monthly
1613:CMJ New Music Monthly
1531:CMJ New Music Monthly
1077:"Ned's Nineties: 129"
930:Dave Pearce – writing
927:Nick Webb – mastering
877:"Winter Song" – 4:39
856:"Space (1999)" – 3:23
788:CMJ New Music Monthly
725:CMJ New Music Monthly
567:song, reminiscent of
360:
1179:Slaybaugh, Stephen.
827:Third Eye Foundation
785:Jordan N. Mamone of
669:Professional ratings
628:non-commercial radio
462:Ptolemaic Terrascope
431:has a "soothing and
220:Flying Saucer Attack
165:Flying Saucer Attack
44:Flying Saucer Attack
1233:cite AV media notes
1057:cite AV media notes
1029:cite AV media notes
859:"Suncatcher" – 2:44
670:
591:. "River" is "pure
585:My-Bloody-Valentine
1564:on 2 February 2017
1462:on 2 February 2017
1428:. 21 December 2000
901:"Star City" – 4:12
897:(featuring Rocker)
891:(featuring Rocker)
885:(featuring Rocker)
879:(featuring Rocker)
874:"Dark Wind" – 4:44
870:(featuring Rocker)
842:Instrumentals 2015
668:
397:Abbey Road Studios
370:
366:Abbey Road Studios
247:(1997), exploring
193:Instrumentals 2015
1506:Aural Innovations
1456:Consumable Online
1368:Missing or empty
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801:Aural Innovations
780:Consumable Online
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657:Aural Innovations
204:
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73:
1792:
1750:
1749:
1747:
1745:
1740:on 20 March 2017
1736:. Archived from
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1560:. Archived from
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1458:. Archived from
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862:"Islands" – 8:34
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413:electronic music
403:Music and lyrics
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1185:The Agit Reader
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994:Ankeny, Jason.
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914:s liner notes:
908:
883:"River" – 3:56
850:
778:. Kerwin So of
768:Terence McKenna
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593:psychedelic pop
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54:17 January 2000
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1675:. 10 June 2016
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865:"Tides" – 2:49
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648:Ryan Schreiber
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545:Massive Attack
535:as subliminal
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437:Ryan Schreiber
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222:, released by
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1609:"CMJ Top 200"
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1461:
1457:
1453:
1446:
1444:
1440:
1427:
1423:
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1401:
1397:
1390:
1388:
1386:
1384:
1380:
1375:
1362:
1354:
1347:
1345:
1343:
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1339:
1337:
1335:
1331:
1319:
1315:
1312:Kane, Jason.
1308:
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1300:
1298:
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1292:
1280:
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1234:
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1198:
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942:Chart (2000)
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910:Adapted from
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848:Track listing
847:
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815:
814:Fact Magazine
810:
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721:
691:
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677:
674:Review scores
672:
663:
661:
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653:
652:Grateful Dead
649:
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633:
629:
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621:
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498:
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487:
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484:
483:FACT Magazine
480:—Jon Dale of
476:
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458:
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422:
421:acoustic folk
418:
417:drum and bass
414:
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393:
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367:
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280:college radio
277:
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253:drum and bass
250:
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194:
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108:
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98:
97:drum and bass
95:
93:
90:
88:
85:
84:
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76:
72:(tracks 7–10)
70:StAR Studios
69:
65:
61:
57:
53:
49:
45:
40:
36:
32:
27:
22:
16:
1742:. Retrieved
1738:the original
1733:
1723:
1711:. Retrieved
1706:
1702:
1677:. Retrieved
1672:
1663:
1651:. Retrieved
1646:
1642:
1639:"Core Radio"
1633:
1621:. Retrieved
1616:
1612:
1603:
1591:. Retrieved
1587:
1584:"CMJ Charts"
1578:
1566:. Retrieved
1562:the original
1557:
1547:
1535:. Retrieved
1530:
1521:
1509:. Retrieved
1505:
1464:. Retrieved
1460:the original
1455:
1430:. Retrieved
1425:
1416:
1404:. Retrieved
1402:. p. 27
1399:
1352:
1321:. Retrieved
1317:
1282:. Retrieved
1278:
1224:
1204:
1200:
1188:. Retrieved
1184:
1125:. Retrieved
1120:
1111:
1085:. Retrieved
1080:
1071:
1048:
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1003:. Retrieved
999:
911:
909:
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833:
831:
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786:
784:
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758:
757:
735:
730:(favourable)
723:
656:
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635:
631:
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574:
568:
561:English folk
558:
532:
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291:
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272:
244:
213:experimental
207:
206:
205:
192:
184:
183:
176:
39:Studio album
15:
1765:2000 albums
1673:discogs.com
1558:Brainwashed
1081:archive.org
996:"Biography"
963:Core Radio
616:FSA Records
276:psychedelic
266:and gentle
224:FSA Records
153:Dave Pearce
131:FSA Records
87:Psychedelia
1759:Categories
1744:23 January
1713:23 January
1679:24 January
1653:23 January
1623:23 January
1593:23 January
1568:23 January
1537:23 January
1527:"Just Out"
1511:23 January
1466:23 January
1432:23 January
1406:23 January
1370:|url=
1353:PopMatters
1323:23 January
1284:23 January
1207:interview.
1190:23 January
1127:23 January
1087:24 January
1005:23 January
973:References
763:PopMatters
748:PopMatters
581:drone-rock
565:industrial
549:Portishead
499:summed up
257:industrial
249:electronic
233:depression
216:space rock
167:chronology
1709:(651): 22
1699:"Reviews"
1279:Pitchfork
1049:New Lands
947:position
906:Personnel
772:Pitchfork
737:Pitchfork
612:Drag City
597:drum loop
569:New Lands
509:New Lands
343:New Lands
308:New Lands
298:Movietone
264:noise pop
245:New Lands
228:Drag City
177:New Lands
136:Drag City
92:post-rock
1400:FACT Mag
1361:cite web
1318:AllMusic
1137:cite web
1121:Adequacy
1097:cite web
1000:AllMusic
955:Top 200
823:Allmusic
797:AllMusic
742:(7.5/10)
688:AllMusic
537:trip-hop
523:Finding
425:Allmusic
312:sampling
237:sampling
146:Producer
59:Recorded
51:Released
41: by
912:Mirror'
807:Today,
776:Further
624:college
603:Release
541:Bristol
497:Opus FM
433:ambient
388:sampler
320:Further
293:Further
196:(2015)
189:(2000)
180:(1997)
62:1997–99
1225:Mirror
1205:Magnet
1021:Chorus
935:Charts
838:Mirror
834:Mirror
819:Mirror
809:Mirror
793:techno
759:Mirror
752:(8/10)
682:Rating
679:Source
632:Mirror
608:Mirror
577:jungle
533:Mirror
529:Mirror
525:Mirror
513:Mirror
501:Mirror
493:Mirror
472:Mirror
457:techno
445:Mirror
441:Mirror
429:Mirror
409:Mirror
392:Mirror
380:Magnet
374:Mirror
362:Mirror
351:Yamaha
347:Mirror
339:Mirror
335:Mirror
331:Mirror
324:Mirror
303:Chorus
208:Mirror
185:Mirror
156:Rocker
106:Length
67:Studio
24:Mirror
555:Songs
453:psych
449:space
316:noise
261:lo-fi
241:noise
218:band
123:Label
79:Genre
1746:2017
1715:2017
1681:2017
1655:2017
1625:2017
1595:2017
1570:2017
1539:2017
1513:2017
1468:2017
1434:2017
1426:Opus
1408:2017
1374:help
1325:2017
1286:2017
1239:link
1192:2017
1143:link
1129:2017
1103:link
1089:2017
1063:link
1035:link
1007:2017
945:Peak
637:Core
626:and
547:and
322:and
255:and
239:and
226:and
1588:CMJ
966:13
958:26
953:CMJ
829:."
630:,"
620:CMJ
1761::
1732:.
1707:61
1705:.
1701:.
1689:^
1671:.
1647:61
1645:.
1641:.
1617:62
1615:.
1611:.
1586:.
1556:.
1529:.
1504:.
1476:^
1454:.
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1424:.
1398:.
1382:^
1365::
1363:}}
1359:{{
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1231:{{
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345:,
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1748:.
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1657:.
1627:.
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1541:.
1515:.
1470:.
1436:.
1410:.
1376:)
1372:(
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1327:.
1288:.
1241:)
1194:.
1145:)
1131:.
1105:)
1091:.
1065:)
1037:)
1009:.
639:'
579:/
470:"
451:-
368:.
113::
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
