Therapy? – Semi-Detached (LP, Yellow & Black Marbled`)
This 180-gram audiophile LP reissue integrates the tracklist into a seamless, high-fidelity experience for the very first time. It breathes fresh life into a turbulent but creatively rich chapter for the Northern Irish alternative rock outfit—marking their first full-length effort without founding drummer Fyfe Ewing, and their expansion into a four-piece with cellist/guitarist Martin McCarrick.
Sonically, the album walks a tightrope between radio-friendly hooks and abrasive noise-rock. The record opens with the absolute sonic sledgehammer of the album, "Church of Noise". Driven by Michael McKeegan’s fiercely distorted, pulsing bassline and Andy Cairns’ megaphone-like delivery ("If you're not part of the solution, then you're part of the problem"), the track proves that the band had lost none of their venom. On this specific vinyl pressing, the wider stereo separation prevents the track’s massive wall of guitars from collapsing into mud, keeping the aggression terrifyingly tight.
This raw anger is balanced beautifully by a newfound melodic melancholy, best exemplified by the stellar "Lonely, Cryin', Only". This track stands as one of the most infectious yet deeply layered alternative rock anthems Cairns ever wrote. McCarrick’s subtle string arrangements and the song's acoustic undercurrents—which easily drowned in the heavy mix of the original 1998 CD release—are given plenty of breathing room by this 180-gram mastering.
McCarrick's cello was far from a gimmick, as highlighted on the thunderous "Born Too Soon". Flirting with a dark, gothic-metal atmosphere, the track features an ominously deep bassline and cinematic strings that create an uncomfortable, gripping tension. It showcases a band refusing to safely clone their commercial peak Troublegum, opting instead for experimental weight. The album ultimately reaches a serene, emotional comedown with the slow-burning closer, "Safe". Here, the vinyl’s dynamic range shines; the silence between the notes feels heavy, allowing the track’s lingering, melancholic outro to resonate beautifully in the room.
Visually and physically, this Music On Vinyl release is a collector's dream. The yellow and black marbling perfectly mirrors the stark, absurdist cover art—a nod to Samuel Beckett’s play Happy Days. While audiophiles might notice that the master is cut quite 'hot' (very loud with slight modern compression), it provides the drums and bass with a warm, physical punch you can feel in your chest.
Label: Music On Vinyl – MOVLP3567
Country: Netherlands
Media Condition: Near Mint (NM or M-)
Sleeve Condition: Near Mint (NM or M-)