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Soviet, "We Are Eyes, We Are Builders"
Mogul Electro
'WeAre Eyes, We Are Builders' was released last year on Ronnie Martin ofJoy Electric's Plastiq Musiq label, but apparently Soviet have splitwith Plastiq and rereleased the album on Mogul Electro, which wasresponsible for the Electroclash comp (and NYC festival) of last fall.An interesting move; I wonder if it was Plastiq's poor distributionthat made them jump ship. I've been really digging Soviet since lastyear when I unexpectedly caught them live in New York, just as thewhole "electroclash" scene was picking up momentum, and I've beenlistening to the Plastiq version of this CD for months. What makes themstand out to me from most of the other electroclash stuff is the lackof pretention and posturing in their presence and the absence of angstand innuendo in the music. This probably has a lot to do with roots -unlike a lot of the electroclash bands, Soviet didn't come from thedowntown scene; instead, the downtown scene found Soviet and embracedthem. Soviet's songs are wholly influenced by the synth-driven 1980s,but instead of being specifically influenced by a particular group orgenre, Soviet takes the best of the early-to-mid '80s as a whole; thefact that nearly every song on the album sounds like a hit single is atestament to the group's pop songwriting abilities, particularly ofsinger Keith Ruggiero and synth player Chris Otchy. The music is almostearnest in melody and lyrics, and Ruggerio obviously knows his wayvocally around a song. Probably there is a bit of irony in the musicand lyrics, but if it is, it's buried somewhere hard to find, andsuprisingly, this lack of irony make the music even more likable. Therecording quality is great, too - though obviously fully digital, thesynth and drum machines are warm and full; this CD sounds excellentwhen played loud through a good stereo. This rerelease of the albumreplaces two tracks from the Plastiq version with two newerinstrumentals, and the track listing has been completely reordered(though not necessarily for the better Ð "China," the original opener,was a superb beginning for this album, and now it's been delegated tothe 10th spot out of 12). The songs have been also been remixed, andthe most notable change is the addition of Kenan Gunduz's guitar on anumber of tracks. In essence, this is probably a smart move, as itbetter reflects Soviet's live show, but to someone like me who's prettyfamiliar with the original release, some of the guitar seems tacked on.But perhaps I'm just not used to it, and a fresh listener might notdetect anything weird. Regardless, I think this album is leagues aheadof the rest of the electroclash pack. When compared with most of theirpeers, Soviet's songs are more skillfully written and recorded, andthey better reflect their influences without falling into territorythat's too derivative. If you like any of the more popular electroclashoutfits,ÊI highly recommend checking out this CD, though I might stillharbor a preference for the original Plastiq Musiq version.
'WeAre Eyes, We Are Builders' was released last year on Ronnie Martin ofJoy Electric's Plastiq Musiq label, but apparently Soviet have splitwith Plastiq and rereleased the album on Mogul Electro, which wasresponsible for the Electroclash comp (and NYC festival) of last fall.An interesting move; I wonder if it was Plastiq's poor distributionthat made them jump ship. I've been really digging Soviet since lastyear when I unexpectedly caught them live in New York, just as thewhole "electroclash" scene was picking up momentum, and I've beenlistening to the Plastiq version of this CD for months. What makes themstand out to me from most of the other electroclash stuff is the lackof pretention and posturing in their presence and the absence of angstand innuendo in the music. This probably has a lot to do with roots -unlike a lot of the electroclash bands, Soviet didn't come from thedowntown scene; instead, the downtown scene found Soviet and embracedthem. Soviet's songs are wholly influenced by the synth-driven 1980s,but instead of being specifically influenced by a particular group orgenre, Soviet takes the best of the early-to-mid '80s as a whole; thefact that nearly every song on the album sounds like a hit single is atestament to the group's pop songwriting abilities, particularly ofsinger Keith Ruggiero and synth player Chris Otchy. The music is almostearnest in melody and lyrics, and Ruggerio obviously knows his wayvocally around a song. Probably there is a bit of irony in the musicand lyrics, but if it is, it's buried somewhere hard to find, andsuprisingly, this lack of irony make the music even more likable. Therecording quality is great, too - though obviously fully digital, thesynth and drum machines are warm and full; this CD sounds excellentwhen played loud through a good stereo. This rerelease of the albumreplaces two tracks from the Plastiq version with two newerinstrumentals, and the track listing has been completely reordered(though not necessarily for the better Ð "China," the original opener,was a superb beginning for this album, and now it's been delegated tothe 10th spot out of 12). The songs have been also been remixed, andthe most notable change is the addition of Kenan Gunduz's guitar on anumber of tracks. In essence, this is probably a smart move, as itbetter reflects Soviet's live show, but to someone like me who's prettyfamiliar with the original release, some of the guitar seems tacked on.But perhaps I'm just not used to it, and a fresh listener might notdetect anything weird. Regardless, I think this album is leagues aheadof the rest of the electroclash pack. When compared with most of theirpeers, Soviet's songs are more skillfully written and recorded, andthey better reflect their influences without falling into territorythat's too derivative. If you like any of the more popular electroclashoutfits,ÊI highly recommend checking out this CD, though I might stillharbor a preference for the original Plastiq Musiq version.
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