Untitled Document

THE MELODY MAKER - December 2000: As difficult follow-ups go, this is on a par with being next on the bill to "Cilla Blackus and Her Amazing Christian-Devouring Lions" at the Circus Maximus. It's entertain ment suicide: Lincoln have to play to an audience who have just witnessed a surprise Frank Black support slot. Brave lads. Yet, as soon as the heavy, cloying keyboards signal the start of "Never See London Again" , heads turn and ears pick up. All it takes is the appearance of a trombone and the former Pixies legend becomes an instant, distant memory, as Lincoln's initial tender and delicate strains build into a cacophony of moody, funereal brilliance. From Lambchop to Mogwai-on-holiday-in-Mexico within a few minutes; their unique layering of sound is utterly captivating."Barcelona" is a portentous, beautiful death waltz haunted with a cry of trumpets that makes you ache for feelings you didn't even know exist. The vocals of Tracey Van Daal add a fragile but threatening dimension, overwhelming yet understanding. When they conclude with "Snakeheads", my notes simply read: "incredible !"And it is. Menacingly edgy but ultimately uplifting - the individual, expertly played instruments coming together in breathtaking unison.Singer Alex Gordon doesn't say much, but mumbles "the sound of Lincoln" before leaving the stage. And that more than speaks for itself. ANDREW SHERIN