Track Listing

1. Stack Up
2. Faux
3. Formica Fuego
4. The Lurch
5. Sex Beat
6. Damp
7. Punches And Knives
8. The Valve
9. Kamanda's Response
10. Sick When We Kiss
11. Taste Of Our Flames
12. Driving With My Gears In Reverse (Only Makes You Move Further Away)

Product Details

• Amazon Sales Rank: #76355 in Music
• Released on: 2004-05-17
• Number of discs: 1
• Dimensions: .21 pounds

Amazon.co.uk Review
From the Double Gone Chapel is the creation of Two Lone Swordsmen Andrew Weatherall and Keith Tenniswood--collaborators since the mid 90s. Beginning with Sabres of Paradise they have developed a healthy back catalogue including their last studio album Tiny Reminders, which reinforced their style of electro-minimalism. Two Lone Swordsmen seem to form a patchwork of comparisons, with hints of the darker side of Depeche Mode, Cabaret Voltaire and some touches of B-Movie but still keeping an identity of their own.

The Double Gone Chapel is the sophisticated side of all these, with its post-punk electro-Goth touches that feel fresh but somewhat familiar and with a mix of instrumentals and vocal tracks. The latter include the dulcet tones of Weatherall himself working to great effect on "Sex Beat" and the crooner-styled "Kamanda's Response". This aside, the stronger elements of the album are the instrumentals, with the highlights being "Formica Fuego" and the hypnotic bass on "The Lurch", with its touches of nostalgia as it mixes old styles with new techniques. From the Double Gone Chapel is a stew that mixes its ingredients from a wide selection of musical styles and produces a great tasting dish. --Rob Holliday

Customer Reviews

Two Lone Swordsmen Evolved
Having had the pleasure of listening to most of the tracks on this album I can highly recommend it's purchase. If you are an existing TLS fan then you may be taken aback by Weatherall's vocal contribution but this is not necessarily a bad thing. The high quality machine-funk we have come to know and love is still there in heavy doses, 'Faux' in particular has a definite element of radioactive man material to it and the Bob Marley influenced riff used in 'Stack Up' is nothing if not catchy. Other high points are too numerous to mention.
TLS represent everything that is great and good in bass driven electro, every single release is worthy of your hard earned cash. This album benefits from the experience tenniswood has gained from his solo work as Radioactive Man and, as usual, Weatherall's inimitable taste for stoned future-dub pervades throughout.
If you enjoy this album I would also recommend looking into Weatherall's work with 'Sabres Of Paradise' and the work of 'Decal' who were one of the fledgling signings to TLS's record label, 'Rotters Golf Club'.

This should scare the glitch crowd
What a genius idea -and a dangerous one, granted. When you're one of the UK's premier dance-electronica acts jostling for elbow room alongside Hawtin, Squarepusher and Plaid (and the rest of Warp bleep army) it is incredibly difficult to do something that stands tall and provokes discussion. Autechre have the extreme glitch/noise thing down to an irrefutable art, Plaid have made wobbly, wistful electro-acoustic ditties their own and chill out is threatening to commit electronic music to the grave. So...where next? well, gawd darn it lets pick up these guitars and drums and throw them at our samplers, keyboards and laptops and see what happens, eh? The result is sparse, brooding machine-dub that swaggers and swings like a stoned Nick Cave. Maybe. Many people are complaining about Weatherall stepping up to the mike but the reaction only shows how badly change was needed in the Warp-led IDM tradition. Supposedly open-minded, forward-thinking and unshockable, electronica/IDM fans have proved their stuffy institutionalism by balking at this record. I can imagine TLS's cheeky, sickly grins as they cackle over the mixer knowing too well how many people this record will p*ss off. Hurrah! It reminds me of when Cabaret Voltaire flipped and began releasing dancefloor-funk instead of their usual slabs of impenetrable distorted lo-fi grime industrial. The long mac wearing fans howled 'sell out!' and then ate their words as the Cabs delivered record after record of precision electro-art right into the 90s. TLS, in my opinion, are on a similar trajectory and should be celebrated. NO! WAIT! Don't celebrate, send them hate mail, boo at their shows and boycott their records as it'll only encourage them to stick to it and keep producing squirts of musical genius for us in the know. I can't help feeling this record marks something very special that in years to come I can brag about 'being there first'. Oh, yeah, should talk about the songs, instrumentals: great. vocal tracks: better. Stand-out: Sick When We Kiss (bwam bwam bwamp!)

From The Double Gone Chapel
Two Lone Swordsmen work very well as a faceless, intangible source of music. This is the first album of theirs I have listened to with lyrics. The tracks without vocals are interesting and more down to earth compared to say "Stay Down" which I would say is a masterpiece. The tracks with vocals are poor and slightly embarrassing on this one, sorry fellas. Buy it, rip it, untick the vocal tracks and you've got an alright bit of music.