263:, without sounding jarring or out of place." Richardson said it is "structured enough that you could almost see someone covering it." It is followed by the extended, multi-part fourth track "For Silence", an example of Pearce's unplugged folk side taking to the fore. The fifth song "Still Point" shows Brook getting "a lovely moment of vocal glory." Raggett noted that her voice sounds "even more soft and restrained than Pearce's, rising through a striking squall of sound and, once again, upfront acoustic guitar." Richardson said that on the song, Brook's "slightly warmer tone" of voice breaks "the illusion that Pearce is the last person in the world." "To the Shore" is a "gnarly" instrumental that "moves from a cymbal tap to churning sonic violence and back to delicate acoustic guitar over the course of 12 minutes."
231:, "the twosome achieved a new balance of delicacy and power, heightened in noticeable part by Pearce's increasingly assertive singing. His vocal approach of extended sigh as singing hadn't changed, but his words had a new clarity and crisper delivery, with fine results. Otherwise, FSA stayed the same general course musically, but again the arrangements provide the difference, with the unplugged folk side of Pearce's music now firmly taking the fore on songs, often with gentle reverb or extra studio effects that make the songs all that much more intriguing. It's not quite
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Opening track "Rainstorm Blues" features a roaring feedback squall that both ascends and descends in volume and gets further accompaniment from "hard-to-place crumbles and squeals, Brook's growling bass work setting the mood even stranger." The "majestic" second song "In the Light of Time" features
249:
contains "a little bit of everything—evocative instrumental miniatures, folky near-songs, extended spatial explorations—that made them good. There's plenty of fingerpicked acoustic guitar amid the white-noise din, and the bassy pulse of analog noisemakers floats in and out, evoking the spaciness of
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early '70s synth music. Pearce's voice, a husky tenor indeterminate pitch, is as buried as a voice can possibly be, but despite his extreme limitations as a vocalist, he manages to communicate melancholy, alienation, and loneliness."
259:"clear acoustic notes cutting through hum and drone." "Come and Close My Eyes" features buried waves of electric guitar in counterpoint to gentle picking and is accompanied at the end with "what sounds like a
239:
redux, but there's a definite sonic connection there that's well worth the hearing." Despite signing to Drag City, "no compromises were aimed at radio-friendly unit shifters." Mark
Richardson of
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at number 26 on its list of "The 50 Best
Shoegaze Albums of All Time".
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All tracks are written by Flying Saucer Attack, except where noted
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a rave review and called it "the best pure-guitar LP since
729:"Pink Floyd: Pulse / Flying Saucer Attack: Further"
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710:Male, Andrew (April 2016). "Country feedback".
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18:1995 studio album by Flying Saucer Attack
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792:"The 50 Best Shoegaze Albums of All Time"
684:"Flying Saucer Attack: Further / Chorus"
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682:Richardson, Mark (7 April 2016).
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727:O'Connor, Rob (24 August 1995).
649:"Further – Flying Saucer Attack"
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841:Domino Recording Company albums
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765:"Flying Saucer Attack: Further"
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800:. 24 October 2016. p. 3
716:. No. 269. p. 100.
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211:. It was released through
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514:"Come and Close My Eyes"
500:"In the Light of Time"
593:"She Is The Daylight"
534:Flying Saucer Attack
272:Professional ratings
209:Flying Saucer Attack
207:by the English band
168:Flying Saucer Attack
155:Flying Saucer Attack
149:Flying Saucer Attack
44:Flying Saucer Attack
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741:on 18 January 2008
415:Upon its release,
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267:Critical reception
215:on 17 April 1995.
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486:"Rainstorm Blues"
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579:"To the Shore"
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605:Total length:
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551:"Still Point"
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528:"For Silence"
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456:Track listing
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436:Cats and Dogs
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54:17 April 1995
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802:. Retrieved
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774:. Retrieved
770:Melody Maker
768:
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743:. Retrieved
739:the original
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693:. Retrieved
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656:. Retrieved
537:Acoustic Jon
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422:Melody Maker
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205:studio album
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39:Studio album
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831:1995 albums
565:"Here I Am"
233:Bert Jansch
219:Composition
820:Categories
617:References
431:Royal Trux
261:typewriter
237:John Fahey
157:chronology
81:space rock
76:Shoegazing
797:Pitchfork
689:Pitchfork
475:Writer(s)
445:Pitchfork
442:In 2016,
366:Pitchfork
242:Pitchfork
213:Drag City
130:Drag City
653:AllMusic
291:AllMusic
225:AllMusic
145:Producer
59:Recorded
51:Released
41: by
776:25 July
695:28 July
658:21 June
450:Further
448:ranked
427:Further
425:, gave
247:Further
229:Further
200:Further
188:(1996)
181:(1995)
177:Further
172:(1993)
24:Further
745:14 May
596:
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489:
478:Length
371:8.5/10
285:Rating
282:Source
135:Domino
105:Length
804:8 May
609:47:18
585:12:08
472:Title
254:Songs
245:said
122:Label
96:lo-fi
91:noise
86:drone
68:Genre
806:2018
778:2019
747:2018
713:Mojo
697:2016
660:2013
599:4:13
571:6:37
557:3:12
543:7:39
520:4:27
506:4:48
492:4:09
328:Mojo
62:1994
468:No.
439:."
433:'s
235:or
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112::
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