The Avalanches include: Antoinette Halloran, Sally Russell (vocals); Bobby C

(guitar, background vocals); Gordon McQuilten (piano, percussion); James De La Cruz (turntables).

Engineers include: The Avalanches, Bobby Dazzler, Tony Espie.

Principally recorded at Soflight, Wow Sound Studios, Melbourne, Australia.

This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files.

Endless summers for many youths don't consist of beaches and surfboards. Instead, they're spent on blacktops and jungle gyms. More gritty and halfway between the curb and the hoop than anything celestial, the Avalanches remind you of a point in your life when you could blissfully hang upside down from monkey bars and just dangle. Like recklessly riding your BMX or skipping rope after downing a sugar-laced pitcher of lemonade, the un-mawkish Since I Left You thrives on making you feel youthful and mighty. Its Utopian grove stand bric-a-brac of grooves, beats, flutters, whistles, oohs-and-yeahs, and sundry animal noises can alternately sound familiar and fresh. Some origins can be immediately placed, and those that can't trigger an impulse that you've heard it somewhere before. You're at least familiar with the tone as it relates to a long-lost feeling of childhood bliss -- whether it's staring at a clear blue sky from a fresh-cut lawn or the first time you heard "Rock the Bells." If you want stifling touchstones, they're there. Dunk the Beastie Boys of Paul's Boutique and Basement Jaxx into the fountain of youth; Sylvester meets Tweety; Mercury Rev links hands with the Bomb Squad for laps around the roller rink. It's no cloyed nostalgia trip, pieced together humbly by Aussies who are probably telling you the truth when they say they listen "to a little bit of everything." The unflinching mix offers plenty of tempo variety, knowing just when to change the pitch before hitting overkill. The second half features a subtle lull that builds up in time for "Live at Dominoes," possibly the strongest cut. There's little doubt to Since I Left You's status as one of the most intimate and emotional dance records that isn't vocal-based. Working on a mystical level, don't be too surprised if a future dig through the wallet unearths a membership card to the Summer Break Funk Association. ~ Andy Kellman

Taken from the band's critical beauty of the same name, "Since I Left You" leaves listeners spellbound and in a summer dreamscape of lushness and simplicity. The Avalanches mix carefree soul inside breezy electronic breaks for the savvy first single. The B-sides are equally charming. "Everyday" tinkers with Latin tinges molded over robotic vocals, but, again, the spiritual freedom of the music itself is what's so great. "Thank You Caroline" doesn't fall short of that either. Waltzing along with delicate music-box-like ambience, the Avalanches are chic and ahead of themselves by incorporating hip-hop synth beats. They're masterminds. Electronica is a bit garish, but classic cool thanks to their own wizardry. The Since I Left You single is a delectable piece of ear candy and is certainly shimmery and pretty enough to clue in on what's next from the band. ~ MacKenzie Wilson

The creation of dark and spectral soundscapes seems almost de rigueur for electronica artists. Not so for the Avalanches, a six-member DJ ensemble from Australia. In fact, the group's debut, SINCE I LEFT YOU, was the most feel-good slab of sample-centered electronica to come down the pike in ages. Though tied to house, trance, and other styles of the postmodern DJ tradition, this album presents a sense of openness, naivete, and promise. Familiar dance samples, childlike voices, choral refrains, funky breaks, and a gentle, oddly soothing avant-garde clutter are dominant here.

In no way is the record simple-minded, however. The Avalanches construct dense sonic tapestries; between the simultaneous beats, multiple samples, vocal clips, and flourishes of live instrumentation, it is difficult to discern where the band's meticulous architecture leaves off and the sparkling aural dream begins. In an age where "everything's been done," and the most interesting artistic forms stem from recombining pre-existing snippets of culture, the appearance of an album that makes something bright and hopeful from that same aesthetic is both startling and welcome.