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I know what you're thinking, "Didn't EMI already release The Original Sound of Sheffield last year?" Yes, they did, and, in fact, their Cabaret Voltaire collections (including the 'Conform to Deform' box and 'Remixed' CD) contained a plethora of material previously unavailable on compact disc. This collection, despite the subject being dear and close to my heart, contains no music previously (or currently) unavailable. The timespan focuses in on the most essential songs from the pre-Some Bizzare/Virgin days when the Cabs were still a three-piece. To Mute's credit, this serves as a great documentary of how they evolved, chronologically, from their tape-noise punk days (with classic single tracks like "Nag Nag Nag" and popular album favorites like "No Escape" through the more structured beat material (with the timeless "Yashar" which still gives me chills) which led up to the Virgin trilogy.
 
I would even go as far to say that this would most certainly match a mix-tape of Cabs that I would make for a friend if I wanted them to hear the most important tracks in this period of their career. Completists and fans might appreciate the thick booklet, newly unearthed photos, and a brief interview with Richard H. Kirk contained herein, but the grey text on black-and-white print is exceptionally annoying. Sometimes I wonder if compilations like this are just a vehicle for record companies to employ Designers Republic. As much as I love the music, I can't recommend this in good conscience. Had this been a budget release, I might have a different take, but for people who are interested in good introductions to this period of Cabaret Voltaire music, 'The Living Legends' collects nearly all of the Rough Trade singles and odds-n-ends from this time and compliments the albums without overlap. Now that EMI owns both Virgin and Mute, it would be nice if there was a collection that gathered all their 7" single release versions from inception through the end, possibly even coupled with a DVD to include all their videos too. As it is now, however, the market is completely oversaturated with Cabaret Voltaire compilations and music snobs insisting it's all good for you.
 
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Just when I was about to abandon all hope of possessing a dub record to play while kids in Jar-Jar Binks outfits come knocking on my door this materializes!
In actuality, however, this is not an illogical step in the evolution of Tino, as, well, when you look through sound effects records of the 1960s, horror sounds seem to have been a big trend, forgotten faster than you can say 'Dear Dead Delilah.' In addition, must we remind you that "Tino is, like, Mr. Halloween," according to Rayanne from the TV series, 'My So Called Life' (episode 9). Obscure references aside, Tino has expectingly grabbed a number of obscure sound effects, music, film and TV samples, gently mixed with fiendish Rastafarian samples and served on a sturdy dub plate, and the result is as tasty as fine pumpkin pie. Guest appearances include Wolfman, the Loch Ness Monster, zombies, and numerous unnamed ghouls. Quick, cue the theremin for the ghost appearance as the lady screams and the rhythms roll on. It's just that fun. In the end, much like the other Tino records, a number of samples are provided for your own personal use. Of course, this time it's a little scarier,... Muhahahahahahahahaha.
 
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- Joshua David Mann
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Boehm (also known for her work as keyboardist for the band Couch) has a voice that is simple and honest, and does not compete, but compliments Acher's adept handling of a vast array of instruments. (It's worth noting Acher also plays piano, bass and various brass instruments in the Tied and Tickled Trio.) Ms John Soda are assisted on the release by an external drummer, flautist, and percussionist.
The most captivating of the album's tracks is without a doubt "Go Check," which is also among the most outstanding songs of the year (even if the lyrics are somewhat incomprehensible!). It's a psychedelic go-go pop masterpiece with tambourine and organ sounds that would make even Piero Umiliani [see trashy 1970s Italian film scores] proud. The retro indulgence on this track is an anomaly, however. "Solid Groud", which immediately follows, is a contagiously pretty ballad comprised of blips, piano and plucked violin sounds. Other songs such as "By Twos" are warm and dark with exotic touches of percussion while tunes like "Unsleeping" are jangly pop numbers.
The overall composition of the album is remarkable and, thanks to a group of agile and gifted musicians, results in an exceptionally listenable record. 'No P. or D.' ranks with the best of the Morr Music releases, and as the year draws to an end, I can now safely say this one will certainly make my top ten list.
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Wham, bam, THANK YOU SATAN! Five minutes into the first ear-bleeding track we know just where we are. We have come to Metal Valhalla. A million retarded Vikings are pulling their lungs out through their mouths. A thousand nubile virgins dance too close to the bonfire, flames licking at their slick, lubricated flesh. This is a heady brew, a randy guitar and synthesizer fest that merges Blue Cheer with The Stooges and Amon Duul, and then feverishly jacks off and falls down in paroxysms of insane laughter. This is probably not what the druids played at Stonehenge, but they REALLY SHOULD HAVE!
Well, enough of that. This album won't save the world, but the three tracks contained herein certainly represent the best single document of the Acid Mothers Temple's more bombastic side. Kawabata has never sounded better, easily making the transition from solo guitar drones to wicked stoner metal riffs, to Slayer-inspired bouts of bludgeoning melodies. Never has it been more clear that this man is a master of his chosen instrument. Cotton Casino's falsetto shrieks and swirling, kaleidoscopic synthesizer squeals perfectly frame the noise. Propulsive, rumbling drums push the action forward into the abyss, keeping the listener on the edge of his seat. The riffs are so violent and direct as to be almost idiotic, but Kawabata still manages to convince you of the intelligence of his prowess. This is idiot savant metal, dude, and it never ceases to amaze and transcend.
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