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Mars, "The Complete Studio Recordings NYC 1977-1978"
G3G/Spooky Sound
Mars has always been my favorite of the four No New Yorkbands because their music sounds consistently on the verge of collapse.While fellow scenesters DNA share a similar spastic approach, there canbe no denying that Mars helped take the noisier, amateurish tendenciesof the genre to their logical extremes, becoming one of the first andmost important groups to create noise music under rockist pretence.Whereas the particular "style" or modus operandi of cohorts like TheJerks and The Contortions are now somewhat easy to pinpoint, Marsremains as pleasantly enigmatic as they ever were, no doubt becausethere was never much of a guiding force behind their work in the firstplace. The catchy, almost generically post-punk grooves laid down onthe band's first single ("3-E" b/w "11,000 Volts") mask the fact thatmost of the members started learning their instruments at the firstpractice, if that early. Even so, the Martian melting pot,though widely mimicked, is a unique and matchless brew, thanks to theband's method for combining disparate melodic or rhythmic lines,creating within each song a struggle for dominance that, instead ofbringing the music to a standstill, creates a kind of perpetualroll-over and an indirect, multi-layered, even schizophrenic sound. Theresults range from distorted, Beefheart-ian call-and-response freakoutsto near-impenetrable tapestries of noise that writhe with the burden oftheir incompatible elements but maintain a thrilling, if precariousbalance. It was no doubt this chaotic, storm-like quality of the Marssound that prompted Jim "Feotus" Thirwell to lend his production skillsto the band's first archival release, 78+. Thirwell's mixemphasizes the music's quasi-industrial elements and its low-end,making the swirling atmospherics and more abrasive undercurrents ofmany tracks more prominent. Though his approach was admirable, andespecially effective on the several live tracks included, the band wasunsatisfied, and decided to put out a remixed, re-sequenced CD,including only their 11-song studio output and modeled to appear as aMars LP would have, had they released it over 20 years ago. The new mixsounds great and gives the songs a punch quietly lacking on 78+and even a bit on Eno's original mixes. The frenetic tumble of thesongs keeps its form, and a new crispness makes the music sound as wildas ever. The limited track list leaves out only three tracks from 78+'snear-complete collection, and this disc honestly feels like thefull-length that should have been. It's nice to see music this goodgetting the treatment and presentation it deserves.
Mars has always been my favorite of the four No New Yorkbands because their music sounds consistently on the verge of collapse.While fellow scenesters DNA share a similar spastic approach, there canbe no denying that Mars helped take the noisier, amateurish tendenciesof the genre to their logical extremes, becoming one of the first andmost important groups to create noise music under rockist pretence.Whereas the particular "style" or modus operandi of cohorts like TheJerks and The Contortions are now somewhat easy to pinpoint, Marsremains as pleasantly enigmatic as they ever were, no doubt becausethere was never much of a guiding force behind their work in the firstplace. The catchy, almost generically post-punk grooves laid down onthe band's first single ("3-E" b/w "11,000 Volts") mask the fact thatmost of the members started learning their instruments at the firstpractice, if that early. Even so, the Martian melting pot,though widely mimicked, is a unique and matchless brew, thanks to theband's method for combining disparate melodic or rhythmic lines,creating within each song a struggle for dominance that, instead ofbringing the music to a standstill, creates a kind of perpetualroll-over and an indirect, multi-layered, even schizophrenic sound. Theresults range from distorted, Beefheart-ian call-and-response freakoutsto near-impenetrable tapestries of noise that writhe with the burden oftheir incompatible elements but maintain a thrilling, if precariousbalance. It was no doubt this chaotic, storm-like quality of the Marssound that prompted Jim "Feotus" Thirwell to lend his production skillsto the band's first archival release, 78+. Thirwell's mixemphasizes the music's quasi-industrial elements and its low-end,making the swirling atmospherics and more abrasive undercurrents ofmany tracks more prominent. Though his approach was admirable, andespecially effective on the several live tracks included, the band wasunsatisfied, and decided to put out a remixed, re-sequenced CD,including only their 11-song studio output and modeled to appear as aMars LP would have, had they released it over 20 years ago. The new mixsounds great and gives the songs a punch quietly lacking on 78+and even a bit on Eno's original mixes. The frenetic tumble of thesongs keeps its form, and a new crispness makes the music sound as wildas ever. The limited track list leaves out only three tracks from 78+'snear-complete collection, and this disc honestly feels like thefull-length that should have been. It's nice to see music this goodgetting the treatment and presentation it deserves.
