And who can forget the brilliant "Born Slippy" from the Trainspotting soundtrack?

I'll admit: I'm not a huge fan of the electronic/industrial music. But I was an Underworld fan from way back in the mid-'80s, back when Karl Hyde was just a unique voice over standard modern rock music. And, of course, who can forget the brilliant "Born Slippy" from the Trainspotting soundtrack? In short, they hold a special place in my heart. Still, I can't listen for too long without lyrics or my head feels it will explode.

Underworld's latest, Oblivion With Bells, is what you'd expect from the duo (also including Rick Smith), a smooth digital release that adheres religiously to a set number of beats per minute. "Crocodile" features Hyde's muted vocals and some nice keys work. "Beautiful Burnout" is one of four instrumental tracks, exercises in sounds without words. And on "Holding the Moth" and "Ring Road," the words are spoken rather than sung.

"Boy, Boy, Boy" is one of the more accessible tracks on the album, itself soundtrack-ready and inviting. "I like to hurt myself like this sometimes," sings Hyde, also claiming, "All your Sundays come back to haunt you." Nice work. If more of the duo's songs were like this one, they'd surely enjoy more mainstream success (and a pole position in my iPod party shuffle).

Also gently inviting is "Good Morning Cockerel," as Hyde's vocals are backed by a simple and stark piano. Disc closer "Best Mamgu Ever" is a grooving cocktail lounge number, largely instrumental with a few muted spoken lines.

In short, Oblivion With Bells is standard Underworld fare. If it's your thing, then you're bound to dive in to this one with abandon in your heart and a beat in your step. B | Laura Hamlett