"Here I am, no fame, no fortune, only palm in hand," moans Lee Bozeman in the opening bars of "Conquer & Destroy." After two records that met with moderate success, Luxury's third outing finds Bozeman taking stock of gains and losses, both personal and universal. Though not as moribund as the death-shrouded the latest & the greatest, Luxury still finds time to revel in the uncertainties of mortality.
Though touted as a comeback record, much of Luxury feels like a band going through the motions. Where Bozeman and company formerly strutted their stuff with true Britpop cocky panache, the uptempo numbers on the eponymous release seem a bit murky. "When Those That Are Not Become Those That Are," which boasts such wry contrapositions as Calendar for the fat girl/ Nobel for retard, is mired in swampy guitar chops, as is the unusually direct "Sweet God." Often sounding like an amped-up Smiths, Luxury needs to learn how to manage the former's melodic gracefulness in their stimulated excursions.
The strongest numbers on Luxury are the most sedate. "Mincemeat," one of the record's many moments that finds Bozeman licking his wounds, builds to a euphoric orchestral swell, raising goosebumps as it raises volume. "Lackluster" ponders both a spirit and universe out of joint. Over delicate guitar and plinking xylophone, Bozeman muses, "The stars are out of line tonight/ Orion seems confused/ What's a boy like me supposed to do?"
It is this very tension created by a world disjointed that colors the band's more successful numbers. While Luxury finds rest during the eulogistic "Robed in Light" (When I am finally alive/ Perfect immortal divinized), the record ends in uncertainty. "To You Who Gave Me Hope & Were My Light" concludes with the mournful refrain I would that I were made new. It is a sobering acknowledgement that resurrection comes daily, and that often those who give hope are the same ones that steal it away. It is this sort of irony in which Luxury finds inspiration.
Other coverage for this album
Decapolis 2000Reviewed by ConradDroney alternative pop. Usually this style is not my bag - but for some reason Luxury always seems to keep me listening. The reason for this is the really thick melodies, their creativity, the fact that it doesn't drone too much on the slow songs and there are plenty of upbeat tracks that appear on the record to keep it out of the 'bore me to death' category. Luxury keeps that sad feel without…Decapolis 2000Reviewed by Tom BastianThis is one heck of a great album. This band totally surprised me with this one. By far this is the best record Bulletproof has ever put out. I have heard their two previous releases on Tooth and Nail, and they didn't quite seem to stand out like this one did. They kind of have that drony, wall of guitar sound going on, yet they still manage to keep a very strong pop feel. Sure they aren't all…Decapolis 2000Reviewed by Jim ShadyWhat a pleasant surprise! I really had no idea of the past of this former Tooth and Nail Band, but I liked what I heard. Luxury mixes an English pop sound with American themes. Much like Radiohead and Blur, Luxury utilizes walls of guitars with whiny, emotional vocals with what are seemingly UK accents. But note, this is not, I repeat, not emo. This is Luxury. They have their own sound that is…The Phantom Tollbooth 1999Reviewed by Alex KlagesSometimes taking a break for a while is a very good thing. Shortly after The Latest and The Greatest was released, Luxury announced that it had broken up. The breakup didn't last long, as less than 2 years later, Luxury had signed a new deal with Bulletproof and set about making this record. There's a definite musical growth and maturity on this new project. Instead of trying to find a voice, as…Similar sounding releases
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