Do It! | 
| Artist: Clinic
Label: Domino
List Price: $13.98
Buy New: $8.31
You Save: $5.67 (41%)
New (38) Used (12) from $5.25
Rating:  4 reviews
Sales Rank: 25083
Media: Audio CD
Discs: 1
Shipping Weight (lbs): 0.3
Dimensions (in): 5.6 x 4.9 x 0.4
MPN: 173
UPC: 801390017322
EAN: 0801390017322
ASIN: B0014DBZU6
Release Date: April 8, 2008
Availability: Usually ships in 1-2 business days
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Shipping: International shipping available
Condition: BRAND NEW, Factory Sealed items direct from the Studios. 30 Day Satisfaction Guarantee. Quick International Airmail!
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| Tracks:
| • | Memories | | • | Tomorrow | | • | The Witch (Made To Measure) | | • | Free Not Free | | • | Shopping Bag | | • | Corpus Christi | | • | Emotions | | • | High Coin | | • | Mary & Eddie | | • | Winged Wheel | | • | Coda |
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Product Description
Their fifth studio album is a summer album, a warped Technicolor celebration - pop music and severe cut-ups going from melody to acid psychosis to acoustic, usually in the same song. "Do It!" is a skewed pop amalgam of Motown, Exuma, deep lounge, and The Balloon Farm, amongst many. Songs about living for the day, love, escaping witchhunts, and more. Mixed by Jacquire King (Tom Waits, Kings Of Leon, Archie Bronson Outfit).
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| Customer Reviews:
 another excellent album from Clinic April 15, 2008
bOoKwOrM (usa)
2 out of 2 found this review helpful
I'm a relatively new fan of Clinic's music, but they're fast becoming one of my favorites. This most recent release is one of their best, with songs like "Emotions", "Coda", and the incredibly catchy "Tomorrow" being standouts. Ade Blackburn's vocals sound like no one else's out there. This UK band definitely deserves wider recognition.
 Dub music for the British anarchist art-punk inside us all May 9, 2008
John L Murphy (Los Angeles)
2 out of 3 found this review helpful
Four stars only by comparison with past records, for consistency in my opinion's a recommendation for this band. Ade Blackburn with his distinctive vocals, odd yet hauntingly catchy or menacing, continues to suggest more than their mournful, wistful words slur or sigh. He uses his voice as another instrument, and the depth of this band's deceptively austerd music becomes enriched. It sinks into the woodwork, and has long sustain, and appears to reverberate and linger. This must be their fifth studio CD (not counting the three EP's initially that made the band popular-- at least in Britain-- and the import B-sides "Funf"), and their hallmark sound remains taut.
It's a bit less overwhelming than "Visitations" if not as direct as "Winchester Cathedral" in its strangeness. A necessary step forward, however, as the band shows itself ready to alter its characteristically austere approach in the name of reaching perhaps a few more listeners. Without compromising their intelligence, the production here broadens slightly into more radio-friendly styles in a couple of the tracks.
Such a shift for me's reminiscent of Mark E. Smith and The Fall's forays into blending their own art-punk hermeticism with a broader, yet still experimental, dance or rock-oriented sound. This may appeal to fans of Radiohead (for whom Clinic opened). I predict if more of those millions who follow Radiohead found out about Clinic, they'd logically and deservedly be much higher on the charts and in critical acclaim.
Like Thom Yorke and crew, Ade Blackburn as frontman for this masked quartet cloaks himself in sounds, instead of stepping away or in front of them. The tension increases, and the music thickens, simple patterns that sidle and hiss. Why the band has not achieved a more prominent profile perplexes me, but then, I like The Fall!
So, for such ambitious yet willfully cryptic bands, perhaps a loyal cadre of fans who buy each CD legally and who spread the good word are enough to ensure that they continue. The last cut, by the way, hearkens directly to the Mekons; it celebrates the 600th anniversary of the Bristol Charter, and in a shambolic artsy-punk-folk-anarchist spirit suggests Clinic's stretching further back into their native heritage. This may speak, as it did for the Mekons, again promisingly for a long life for another heir to the venerable tradition of smart, yet quirky and unpredictable, art-punk studio wizards who like to keep you puzzled. An enjoyable record, both happy and howling, and recommended for those who like to keep themselves and their fellow listeners off guard a bit.
VISITATIONS WAS BETTER April 28, 2008
Dennis Collins (tampa fl)
HELLO I see a rare opportunity to review a record that hasn't been overreviewed!CLINIC'S last album VISITATIONS is one of my favorites and I like it more than DO IT,not to say this isn't a really good record also,just a little more laid back.As far as I'm concerned CLINIC is one of the best bands around and anything they do will be great thanks DENNIS
Clinic is sensitive to atmospheric conditions. July 2, 2008
AllOverWith (L.A.)
I was of the party that lost track of Clinic after Internal Wrangler, I'm not sure why, I recall being frustrated with the train whistle motif that runs through all their songs and decided that they were out of ideas. They made a slight comeback with Visitations, and I was brought back into the fold by a chance nostalgic purchase of Do It, which I instantly dubbed their "best" in my mental review, especially since the last track makes thematic sense of that insistent train and the chugga-chugga of Clinic's music, giving me confidence they knew what they were doing all along.
Having the Clinic tick now firmly installed in my brain, like a pleasant form of OCD, I then went back and got Walking With Thee and Winchester Cathedral, and what was I/were we smoking? I'm not even sure how I was able to sustain life functions before without my daily fix of "Circle of Fifths" or "Thank You For Living." Getting into Clinic is the same as understanding the Bible, a shift of perception must first open the door for the leap of faith. You can't just expect out-of-the-gate melodies, or sit around licking your chops for another "Distortions." It's all about the instrumentation, the detail, the filigree, the clockwork construction of the songs within their obvious limitations. No one would compain that Van Gogh painted the same canvas again and again -- though he did -- because it's the little details that make each one stand out.
One of the impediments to appreciating Clinic is that, unlike almost anyone else in indie rock, they are actual musicians -- they harmonize together like a baroque chamber orchestra, and their songs are full of moments of deliciously tart atonality, or of surprising beauty, that fly by. Going back to the train metaphor, you could say that the rhythm of Clinic represents the repetitive motion of the wheels of the train, but it is the scenery outside that is ever-changing. This is why all their albums have a different character; Walking with Thee is vampiric late-night chillout music, Winchester Cathedral is their "Middle Eastern" album like the kind George Harrison would make if he had more consciousness of being a raving madman, Visitations has a CBGB's punk feeling, and Do It! is Blackburn's long-promised "rural" album. Yet each album contains seeds of all the others, so that Visitations also has rural moments that make you feel like someone is drawing a crop circle around you as you lay in the grass; Winchester Cathedral ( my favorite ) comes off as unhinged music-hall exotica despite some of the slowest songs Clinic have recorded, like "Home" and "Falstaff," and Do It! is just the opposite, somehow achieving its predominantly relaxed feeling with fast songs. There is just a more spacious, restrained feeling to them than before.
I don't know how they do it, because the albums really do all sound the same at first, there is no contrived attempt at a totally new sound from album to album. But the more you listen, the more each one flashes different pictures, varying moods and states of mind at you. Do It -- which should be listened to in the late afternoon, when the sun is still high in the sky but muted and calm -- has a nostalgic feeling to it. It brings me idyllic collages of days gone by that never existed. I begin to picture myself as a wealthy aristocrat in pre-Revolutionary France, rowing down the Seine with a parasol-twirling Leslie Caron. Everything is perfect. But then my attention is drawn to a water-spider on the surface of the river -- I look up at Leslie who is smiling -- she smooths out her beautiful floral dress, brushing some crumbs off her lap... If you are a fan of Stereolab's Emperor Tomato Ketchup and its sun-drenched yet ominous mood, you'll know what I mean.
There is some confusion about lyrics, about what Ade Blackburn is going on about. Well, that is no longer a secret to me, but since he seems to want to be enigmatic, I'll leave him to his funny game. If you can't figure out who "Evil Bill" or "The Magician" or "The Equalizer" is, among many other aliases that he has in these songs ( but mostly "you" or "thee" ) I'm not going to enlighten you. It's just that people refuse to see the horrible reality that's staring them in the face, so they live in a kind of dream where nothing means anything. Blackburn is taking advantage of that dream. My only question is -- which side is this guy on?
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