You'd expect a band who began life in the 1980s with a squiggly pictogram for a name to veer towards the diffident and cryptic, and so it is with the inscrutably Burroughsian streams of consciousness Karl Hyde unleashes over Barking, an album which oscillates between progressive house and downtempo dreaminess.
It's typical Underworld, albeit a more restrained and less hedonistic version than their Trainspotting-assisted commercial heyday: these days, they're more likely to be shouting latte, latte, latte.
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