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Let's get off on the right foot: this album fucking rules. Bad Sectorhave existed since 1993 but only recently has he gotten the press hedeserves. Part of what makes him so good is the fact that his music ispretty much unlike any other: it's noisy, it's ambient, it's amazinglyemotional, and it's amazingly creepy. All at once. It's like Farmer'sManual meets Anenzephalia meets Autechre's "VLetrmx21."
"Polonoid" is a prime example of his work. Originally released as avery limited CD-R on Germany's Vuz Records, it is now more widelyavailable (yay!), and features all his trademarks: shifting walls offeedback, droning, melancholy synthesizers, and bizarre cut-up voicerecordings. Sometimes, as on "Open Universe," the music resembles powerelectronics in sheer intensity or volume, and yet it retains melody anda certain digital aspect that other music of this nature lacks thatreally sets it apart.
In summary: Bad Sector is amazing. To quote the artist himself, hismusic is "deeply emotional dark ambient noise," and he is really damngood at what he does. Don't miss out.
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Impressions from shady sideways of the datastream appear, titles like"Sentimental Elevator Bits" and "Monomental Intercourse" nearly say itall. Plankton provides a lost futurism a la early Kraftwerk and Numanwith today's tools. "Soleil" would even work in a Metropolis Score -but in a rougher style.
A promising debut which raises expectations.
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The first glimpse on this, sold on the recent UK tour and via mailorderfeatures the original track and 3 mixes by Dave Ball & Ingo Vauk.
Their versions develops the original "Wir brauchen Dich #6" into agroovy hallucinogenic mixture with added slices of psychedelicfeedback. The first version being the most consumer-friendly with abouncy guitar line, but all of them share an irresistible drift awayfeeling like Carlos Peron's Brainticket remixes or some Chrome (withless harshness). The two non-album mixes could have been titled "Dub"and "Club" but are actually called "Ellapropella," and "Processors OfElimination" mixes and are sadly shorter than stated on the cover.
Nonetheless, this serves as a good taster and if all participants willbe allowed so much input of their own, the album should turn out reallyinteresting.
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Iceland's Kitchen Motors label has been unifying and challengingdifferent artists with their commendable Motorlab series, this beingthe 3rd installment. They approached Adamson and Pan Sonic to compose avocal piece for Iceland's HljÑmeyki choir and that they did this pastApril in Reykjavik. For about 12 and 1/2 minutes, "The Hymn of the 7thIllusion" aimlessly treks through windy terrain, simple vocal 'ahhhs'and bass reverberations being somewhat of a guiding light. It's aminimal bore that never achieves any sort of tension or serves any sortof purpose. After a silent 24 second interlude, an even more dull 23minute glitchified remix by The Hafler Trio only adds insult to injury.A tremendous waste of potential all around that doesn't even begin totap the talents of those involved. Me, I semi-patiently continue towait for the new Adamson album, "Nothing Hill", due out early next year.
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- Terry McGaughey
- Albums and Singles
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'The Visitors' is a constantly evolving, shape-shifting work that moveselegantly (or uncomfortably) between a state of grace and the struggleto hold onto that grace. "Brightness falls from the air" makes thisnotion explicit from the outset, the unsettled rumbling giving way hereand there to gentle swathes of melody and hideously warped keyboards.It shudders and vibrates at the same time, and is a devastatingcombination: the celestial is both welcomed and feared. Similarly for"The body feels light and wants to fly"; the sounds are so subdued, thestructure so viscous and arrested, that once it breaks free andactually flies, the listener is tempted to gulp for air.
"If you want to see that nothing is left" wraps its pulsing, subduedelectronic textures around a spiralling string section, each strugglingto overpower the other. In the end though, its the organic, bodilyaspect — the strings — that win. "Replaced by his constellation"literally replaces itself over and over, in an endlessly buildingserenade that could be mounting orgasm or encroaching panic; and whenit suddenly breaks free into a shimmering set of harmonies you realiseit is the former.
The apprehension and threat of Luminous Darkness is replaced by abarely restrained infra-music that seems constantly at the brink ofmetamorphosising onto a new plane that Cyclobe themselves can't forsee.The Visitors vibrates and crackles.
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- Juan Croucier
- Albums and Singles
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The disc glides along with gorgeous vocal accompaniment from Mia DoiTodd, Benjamin Gibbard (Death Cab For Cutie), Chris Gunst, MeredithFigurine and Rachel Haden (That Dog). Thrown into the mix are alsoBrian McMahan of Slint/For Carnation fame (offering about two chordsworth of guitar on a track) and Paul Larson of Tamborello's formerband, Strictly Ballroom, on guitar. So what does all this do for thesound? A whole hell of a lot, apparently. Tamborello expertly chopsefficient phrases of vocals, guitars and keyboards into nearly flawlesspop songs that rival anything to come out this year. This is at themoment in my Top 10 for the year, just for the Mia Doi Todd andBenjamin Gibbard contributions alone.
It's fitting that most of the lyrics are in some way or another aboutlove. When Mia Doi Todd sings "How can you love me if you don't loveyourself / I love you," you just want to tear what's left of your heartout and hand it to Tamborello because you just know at this point thathe's going to make something better out of it. If you give a shit aboutRadiohead, Four Tet, Lali Puna or Boards of Canada, then you canrightly have your heart crushed and your mind blown for about $14 atyour local record store. Just look for the ambulance.
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