With two bass players and a drummer (end of story), Lorelei don't have enough instruments to mess around. So it is that their debut, late-2002s fine looking Our Minds Have Been Electrified, kicks off serious and tight and doesn't relent. On the one hand, it's a good thing: tense, sleek songs like "Joan Jett," and the similar "As Long as It's Pink," and the not-altogether-different (and oddly named, given the instrumentation) "Guitar Eternal," hit hard and sexy, with a keen sense of rhythm and dynamics; one bass always climbing through the high end of its threshold, the other always patrolling the bowels of the low end, matching the drums step for step. Problem is, even those songs, cool and successful as they are, aren't entirely distinguishable from one another. So the six or seven lesser songs here, all mid-tempo, all sung in a loud, proud Kill All Rock Stars-vein by co-singer and bass player Susannah Bailis, are significantly less distinct, and verge on plodding. It isn't really the unconventional instrumentation that short circuits the whole thing (though it certainly doesn't help), but the songs. While Lorelei clearly has a death grip on its intended sound, it pretty much doesn't present enough variations on that sound to be interesting or compelling over the course of a full-length album. More disturbingly: the group doesn't seem to be having any fun. In the end, Our Minds Have Been Electrified sounds as cool as the cover art, but isn't as interesting.
AllMusic Review by Steve May