Critics have been fond of labeling XTC as the Beatles of the 80's and 90's, and depending upon the particular critic, this more-or-less accurate estimation has been the measure of XTC's praise or lack thereof. Nevertheless, carrying the torch of Beatleness for the past two decades is a cross XTC has chosen to bear. In this critics opinion, they've not only pushed the fab four envelope, but stamped it and sent it on ahead for the enjoyment of those with birthdates beyond 1970.

Their first several albums, while uneven, showed us a glimpse of the genius possessed by XTC's Andy Partridge and Colin Moulding. Then in 1986, they broke from the pack of artsy post-punkers with their masterpiece, Skylarking. If it can be said that XTC are the chief stewards tending to the Beatles torch, then Skylarking is the Seargent PepperÕs of the 80Õs. An album with the song to song organic flow of a concept album, with nods to John and Paul as well as Brian Wilson, that are open, gorgeous, and unabashed. It's probably my most listened to album of the decade. Yet XTC never really waltzed into the household like The Cure, The Smiths, Echo, and Depeche Mode. Even so, Skylarking's signature single "Dear God" has achieved the same flashback status that has put it up among the alternative-song hierarchy with such classics as the Violent Femmes "Blister in the Sun."

Following a sabbatical in a side project called the Dukes of the Stratosphere, XTC stumbled through their next big release, 1989's Oranges and Lemons. It's hit single, Mayor of Simpleton, is right up there among the best songs Partridge has ever written, but the album itself was a hit-and-miss affair that fell well short of Skylarking. We were nicely reassured, however, 3 years later when they released Nonesuch. This '92 effort didnÕ't bowl anybody's socks off at first, but it's a rich work that improves with each successive spin. You may remember it's hit single, the heavenly power pop allegory "Peter Pumpkinhead." It did much to restore the faith in the respective genius of Andy Partridge and Colin Moulding (who share XTC's writing and vocal duties on about a 75/25 basis). But it's been seven years since Nonesuch, and fans of the band had pretty much resigned themselves to life with out XTC. But as it turns out, patience pays off because the wait is officially over.

Apple Venus is truly gorgeous. It's on the same plane as Skylarking and well worth the wait. ItÕs a return to form so graceful and brilliant that it almost seems like Partridge and Moulding have layed before us their final offering. And I'm happy to proclaim that Apple Venus isn't so much Beatlesque as it is XTCesque. ItÕs a bit more orchestrated and calm than any of their past recordings, but every song is right on the money. The album has a consistent tone throughout--which makes it possible to put it on at bedtime and drift off to sleep without the wife complaining about the noise. XTC have always known how to rock, but on Apple Venus they let their musical genius do the talking while the hard rocking takes a backseat. It's a peaceful and generous work that is the only album that's come along in the past few years that can rightfully be compared to Radiohead's O.K. Computer. There's no higher form of praise. Truly ecstatic.