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The last few years have seen a number of bands most commonly associated with the late '80s and early '90s either reforming, replaying the hits or completely reinventing themselves. Pavement, Pixies, Sebadoh and Dinosaur Jr. have successfully and - especially in the case of the latter - convincingly positioned themselves not only at the heart of the nostalgia market, but also as genuine critical contenders again. Eleventh Dream Day are slightly different. Following their twin masterpieces Beet (1989) and Lived to Tell (1991), the band's trajectory has been similar to outfits such as like Meat Puppets and Superchunk: they've never had a huge crossover hit (No 'Gold Soundz' or 'Gigantic' for them), but they are well thought of, and crucially have never taken an 'extended hiatus'; instead they have solidly and consistently released material for decades to warm acclaim.

EDD are 30 years old now, so the chances are you've already made your mind up about them. For the record, though, this is their twelfth album, following the limited release of New Moodio in 2013. That record in itself was an interesting act of internal nostalgia, resurrecting songs from their El Moodio period (c. 1992) to pleasing effect. Works For Tomorrow is the first album of all-new material since 2011's Riot Now!, and is the result of an extended residency at Chicago's Hideout, during which they tested out and tweaked the songs in front of an audience. The evident relish with which they approached this stint shines through on Works; it often has the spontaneous feel of a live show, and Mark Greenberg's unfussy production serves to amplify that rawness.

Opener 'Vanishing Point' is particularly effective, teasing out a sonorous groove before unceremoniously smashing it to bits with the twin attack of rumbling guitars and drummer Janet Beveridge Bean's considerable vocals. In fact, Bean puts in a remarkable shift over the course of the record, thrillingly declaiming all over 'Snowblind' and 'Go Tell It'. After the the opening two tracks, both of which play it fairly straight in terms of structure, 'Cheap Gasoline' arrives to slow things down, with a wig-out reminiscent of another of the band's key contemporaries, Sonic Youth.

That track sets a precedent for some serious guitar heroics; indeed many of the subsequent tracks contain these raggedly glorious intervals, justifying the addition of a second guitarist (James Elkington of Tweedy and Brokeback) for the album sessions. There are sections of this record which sound like the howlings of a much younger band - EDD still possess an unusual and admirable ferocity which many of their peers have traded in long ago.

There are mellower moments to be found on Works, too: penultimate song 'Deep Lakes' is a lovely bruised ballad; indeed Rick Rizzo's line "I'm alive... we survive" could serve as a useful mantra for the band as they look towards a fourth decade of making music. These musicians have other things going on - side projects, other bands, other lives - but on the evidence of this album, there's still something to be said for keeping the old band together. Long may they rage.

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