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TUSSLE, "KLING KLANG"
And then there was Tussle, the latest in a succession of bands honingin on the resurgence of interest in bands like Liquid Liquid, Pigbagand 23 Skidoo.Troubleman Unlimited
This San Francisco group released a pretty nifty EP lastyear called Don't Stop,which not only introduced their particular brand of dub-influencedpostpunk instrumentalism, but also featured an ace remix by The SoftPink Truth. "Don't Stop" became a minor underground sensation becauseof its rubbery, melodic basslines and dense layers of digitallyprocessed percussion. They came on sort of like a low-rent PiL withless noise and more dub. It was nothing earth shattering, to be sure,but it was eminently listenable, and seemed to suggest that the bandmight be capable of some grand things in the future. Their debutfull-length Kling Klang, shows that there was a lot more where"Don't Stop" came from. And that's the problem, really. They repeat theformula of "Don't Stop" with almost zero variation across 11 tracks.Though the album is only about 40 minutes long, it feels four hourslong. Kling Klang achieves a kind of bland uniformity of soundthat evidences a band unwilling to take risks or experiment with theformula that has garnered them critical praise. In the end, it comesdown to four white guys making passable instrumental dub with DFA-styledance rhythms and the odd echoplexed shout. Tussle obviously wantcritics to think they are influenced by krautrock, by creatinginterminably repetitive grooves and naming their album in tribute toKraftwerk. However, their connection to krautrock is all style and nosubstance, and other reviewers would be advised to steer clear of suchlazy associations. I have a feeling their live show might come off alittle better, as it reportedly features trippy video projections, butthis album is tedious. It's hard to even pick one song and talk aboutits relative merits, because all the tracks seem to meld into oneanother and form one giant, shapeless mass. Perhaps I'm being unfair,as Tussle are certainly a talented group of guys, and they are quitegood at doing what they do. The problem is that they aim a little toolow. If you turned this album on at a party, it would quickly fade intoa non-threatening white noise background, which could either be a goodthing or a bad thing, depending on your tastes. For myself, I prefermusic that engages me a bit more intensely.
This San Francisco group released a pretty nifty EP lastyear called Don't Stop,which not only introduced their particular brand of dub-influencedpostpunk instrumentalism, but also featured an ace remix by The SoftPink Truth. "Don't Stop" became a minor underground sensation becauseof its rubbery, melodic basslines and dense layers of digitallyprocessed percussion. They came on sort of like a low-rent PiL withless noise and more dub. It was nothing earth shattering, to be sure,but it was eminently listenable, and seemed to suggest that the bandmight be capable of some grand things in the future. Their debutfull-length Kling Klang, shows that there was a lot more where"Don't Stop" came from. And that's the problem, really. They repeat theformula of "Don't Stop" with almost zero variation across 11 tracks.Though the album is only about 40 minutes long, it feels four hourslong. Kling Klang achieves a kind of bland uniformity of soundthat evidences a band unwilling to take risks or experiment with theformula that has garnered them critical praise. In the end, it comesdown to four white guys making passable instrumental dub with DFA-styledance rhythms and the odd echoplexed shout. Tussle obviously wantcritics to think they are influenced by krautrock, by creatinginterminably repetitive grooves and naming their album in tribute toKraftwerk. However, their connection to krautrock is all style and nosubstance, and other reviewers would be advised to steer clear of suchlazy associations. I have a feeling their live show might come off alittle better, as it reportedly features trippy video projections, butthis album is tedious. It's hard to even pick one song and talk aboutits relative merits, because all the tracks seem to meld into oneanother and form one giant, shapeless mass. Perhaps I'm being unfair,as Tussle are certainly a talented group of guys, and they are quitegood at doing what they do. The problem is that they aim a little toolow. If you turned this album on at a party, it would quickly fade intoa non-threatening white noise background, which could either be a goodthing or a bad thing, depending on your tastes. For myself, I prefermusic that engages me a bit more intensely. samples:
