- Michael Patrick Brady
- Albums and Singles
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- Administrator
- Albums and Singles
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- Albums and Singles
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- Albums and Singles
With the release of their second full-length album, 2001's Scary World Theory, Lali Puna have not only secured their place as not just another Notwist "side project," but have become one of my favorite groups. It's tough to arrange a schedule when your time is divided amongst a number of other bands, as Marcus Acher (1/2 of the core duo) knows very well. In the time between releases, the group has taken the opportunity to leak out an unsurfaced song and its apparent dub counterpart.
"Left Handed" might not have fit in with the languid sounds of Scary World Theory with its punchy rhythms and distorted tonally aggressive guitars, but it is strong enough to stand as a fantastic single track. For the "dub" version, the group took a route that I whole-heartedly support: making something that sounds almost completely different. It's entirely instrumental, a completely different speed, with dub-inspired rhythms, effects, and only a minute few elements carried over from the original. The three-tracker is rounded out with a song -not- originally by the Human League, but ended up on a Human League covers record back in 2000. "Together In Electric Dreams" was the theme to the forgettable '80s film Electric Dreams (originally by Phil Oakey and Giorgio Moroder) and Lali Puna's reinterpretation strays a healthy amount from the original, omitting a wealth of vocals and utilizing the band's almost signature sound of gliding synths, electronic beats, and clean guitar work. While it's always nice to get two new songs from a fave band, I'm actually rather disappointed in the fact that this would have been a great opportunity to include some old 7" tracks, namely the two remixes from the Nin-Com-Pop single and the two songs from the The Safe Side single which has eluded me for years. 
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This is one of the finer noise albums and one that challenges other noise performers to up the ante. While the method in which this record was created is interesting, the actual sounds and rhythms that compose the album are its most attractive elements by far. Yasunao Tone was created by taking various Chinese poems and converting the characters into wave forms via a character recognition program.Asphodel
At first, some of the sounds are extremely disorienting. On "Wounded Man'yo 2/2000," rhythmic howls of mechanical distortion rule but are suddenly replaced by shimmering, static snaps. Drills march foward aggressively and haphazardly until an army of ping-pong balls with heavy metal brains ricochet about and make room for the stuttering prophets and spaceships that follow; each moment of sound is interesting and a story in and of itself. "Wounded Man'yo #36-7," offers a experience similar to the first track, but with a slightly different emphasis. Sounds are given more time to breathe and play out their existence and certain passages have a decidedly more subdued feel to them. Although the first two tracks are not radically different from one another, both offer different experiences and do not feel dull or repetitive next to eachother. The massive and diverse thirty-plus minute closer, "Wounded Soutai Man'yo," is a combination of thick, wall-of-sound sludge attacks, the rhythmic skipping of its predecessors, and brief bouts of silence. Though it is perhaps a bit long, it would be difficult for me to say that anything on this album had me impatiently waiting for its end. By the time the sound draws its own curtain, I feel as if I've experienced something unique. All noise records should be as captivating as this.
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- Albums and Singles
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- Steve Smith
- Albums and Singles
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- Albums and Singles
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- The Album Leaf - Lamplight
- On Air Library - Ex's and Oh's
- On Air Library - Faux Fromm
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