Few records have the severity of depth that this one carries with it:developing and fluid in its every contour, ever-present, but alwayshiding behind the shape of a shadow. There is no resting point, nosound or simple feeling that these four pieces lean on in order tocarry out their miles-deep melancholy.
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While the cover of this album is headache-inducing (a dizzying designusing the usual black, white and red motif), the musical contentmassages the brain's pleasure centers. The deviant pleasure centers.
Massimo and Pierce are best known around these parts as the Ghost Boyswho formed part of Coil's live shows. They set up Black Sun Productionsas a multimedia enterprise and Operett Amorale is their latest audio venture.
It's been an exhausting voyage for the emotionally disconnectedastronaut of Odawas' debut release The Aether Eater. Just a glance atthe lyrics, with references to constellations, outer rings, Dante, andVirgil, proves that the Indiana trio has self-revelatory traveling ontheir minds.
This Argentinean trio breaks very little ground on their latest outingon Darla, and for the most part, this is fine by me. Lacking thecoke-fueled swagger of groups like Fischerspooner, Entre Rios come ofas kids who bought the textbook and read very closely.
"Great," I thought as I opened this CD, "a movie soundtrack about a guywho runs around tagging in abandoned train yards and warehouses andstuff. HAS to be hip-hop, lots of down and dirty backpacker hip hop.Hopefully it'll be as relevant but less whiny than Sage Francis, aselemental but not as blunted as Madlib...wait, what the fuck? It's byKid Loco, Paris discothèque DJ, who spins trip hop and house to hordesof sweaty lycra and polyester wearing Eurotrash."
There's a certain magic quality to window gazing from a moving train.The din and rattle of the train as it thrusts towards its destination,coupled with the quiet serenity seen through the window, can make for acalming and restorative experience.
Style and substance are constantly being removed from each other asmore and more releases like this one find their way to CD players. Asense of urgency can do a lot for a record or song, especially when thelyrics suggest something urgent; it's hard to believe Wolf Parade aredoing anything other than acting, however.
1981,they left behind a legacy of one single with renowned Factory Records,17 live shows, and the embarrassment of being labeled "spineless heavymetal" by the New Musical Express. Apparently, this was good enough toconvince LTM to release Tunnelvision's complete works to an indifferentpublic.
Nothing could possibly convince me that these songs were all conceived to be part of one record. Joke Lanz and Annie Stubbs (of Lustmord and SPK) are either comediansor seriously devout industrial fans gone simultaneously slapstick andblood hungry. 
