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After the super-brilliant album last year (easily in my top five fromlast year... I like it more with each listen) 'Electro Pop' AnthonyRother returns with a boatload of remixers to interpret the LittleComputer People song "Little Computer People." And that's the onlydownside to this album, really: only one track is remixed. I would haveloved to hear other versions of "Follow the Leader" or "I Am" or"Eyes"... but no. Alas, that really doesn't make this a poor album,because the remixers vary so much in sound and style that the wholething never gets repetitive. The first (and probably best) remix onthis disc is Anthony Rother's own - my God, what a remix it is. Takingthe rhythms and feel of the original song, switching, adding, andremoving a few beats here and there, and adding his *own voice* (that'sright! no vocoder!) he transforms the song from a C64 period piece intoan epic reconstruction. I had no idea he sounded so good without avocoder. Psylocity's "punk remix" is, well, just that: a dirty funkyreinterpretation of the original with slightly different vocals.Wonderful. Karl Bartos's (yes, THE Karl Bartos) remix is a wonderfulstring-drenched piece, while Heiko Laux's "Flow" remix is perfect for adancefloor. The "1979 Original" is a, uh, band-version of the track(guitars, drums, and all), and the disc ends with a fantastic new trackcalled "Little Computer Men." Tack on the brilliant Quicktime videosand PSI49NET discography and Commodore 64 emulator with PSI49NET demothat come packed on the disc, and this is a fantastic deal at a cheapprice. - Read More
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The second in a series of seven mail order only releases from Subconscious Communications, this presents an evolutionary missing link in Skinny Puppy history. The 40 minute improvisational jam, aka "brap", was recorded in Southern California in November of 1993, one of many sessions fashioning material for the final Puppy studio album The Process.That particular day Genesis P-Orridge and Larry Thrasher of Psychic TV were visiting and took part. The sound channeling involved cEvin Key on analog gear and Dwayne Rudolf Goettel on digital gear feeding their outputs to P-Orridge's "Gristle-izer" unit (courtesy of fellow Throbbing Gristle member Chris Carter) then on to engineer Ken "Hiwatt" Marshall. Later, Puppy front man Nivek Ogre added some vocals. Key states in the liner notes that this was a brap pinnacle and I believe it. It's the next logical step from the sonic wasteland showcased on the 1992 Puppy masterpiece 'Last Rights': thoroughly manipulated synth waves, shapeshifting noise, beats and percussion, random radio transmissions and samples (especially nice use of obscured symphony), Ogre and GPO's muttered vocalizations, etc. are impressively tangled and untangled in an ebb and flow fashion. With so many hands and minds in control of the collage on the fly, it's somewhat surprising how it comes across as both improvised and composed, chaotic yet controlled. And it sounds remarkably clear, powerful and inspired. Not to mention utterly terrifying and/or beautiful. Portions of the piece ended up on Download's 'Charlie's Family' soundtrack, but you really need to hear it all from start to finish as it is here for the full effect. Much more satisfying than volume one of the series, Download 'Inception', 'Puppy Gristle' stands on its own and has thankfully seen the light of day over eight years after its creation. Next up is Download 'III Steps Forward', studio ideas from 1996 to 2000. - 
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A few months ago I reviewed the Superdrag tour EP "Greetings FromTennessee", and I commented on how little I liked the release becauseit seemed like the songwriting had slipped. It seemed only die-hardfans could appreciate the EP, as the mixes were not great, and thesongs weren't the hard-hitting strength one would expect fromSuperdrag. Well, Superdrag released this split tour EP with TheAnniversary shortly after "Greetings", and two of their tracks werealso on that release, so I held off. Until I heard recently that theband had rerecorded those tracks and mixed them themselves specificallyfor this release. In fact, all tracks were recorded just for thisrelease, and although I'd never heard The Anniversary, I took a chance.I'm glad I did. Not only are the Superdrag tracks much better here, TheAnniversary are happily a band I am pleased to recommend. They are abit complex, The Anniversary. Shuffling styles and identities on thefly, the only constant being the powerful vocal harmonies, TheAnniversary have the sound of a band that's never happy with onedirection, and that's just fine. Hastily written and recorded, as theliner notes announce, these tracks are psychedelic power pop, speakingof redemption and strength in numbers. There's even a humorous momenton the second track, 'Anais', where an aborted start is ridiculed byall involved. Funny stuff. As for the Superdrag tracks, they definitelyredeem themselves and reclaim the tracks, as they are much morepowerful and, for lack of a better term, crunchy here. You can tellthat they wanted to get the power of these songs across better, andthat John Davis wail is back, I'm pleased to announce. And you can hearall of the instruments well, which is always a plus. The double-trackedvocals on 'Take Your Spectre Away', originally a track the band wasworking on for their sophomore album, are a nice touch, as they justdrive the band to a complete frenzy towards the end of the track.There's one new one here, 'I Guess It's American,' and it's classicSuperdrag: poppy, angry guitar, and Davis singing about what's wrongwith this system. "If you ever pull that shit again/Never see you thesame way again," says Davis, right before proclaiming "I guess it'sAmerican/it's embarrassin'." Indeed. Here, though, The Anniversary andSuperdrag prove that real American rock is still anything but, and it'sworth it to give these tracks a listen. - - The Anniversary - O' Lady Butterfly
- The Anniversary - Up In The Sky
- Superdrag - I Guess It's American
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This seven-track, sophomore disc from the politically minded NYC purveyors of Afrobeat finds their sound being a lot fuller than last years remarkable Ninja Tune debut. This would be due to the crisper studio production, a few more horns this time around, and the plain fact that these guys can write and perform some heavy lead arrangements that gel nicely with a tightly-knit rhythm section.The disc's opener, "Gabe's New Joint" is a slow and slinky funk number with some great back and forth dialogue within the horn section. The title track shows to be some damn fine Afrobeat. Staccato horn motifs and group vamps, groovy organ solos, lush percussion sounds, and solo breaks which go right off the hook and build tension within the arrangement. This is all topped off with some vocal stylings from percussionist Duke Amayo, with a shout chorus from the band. "War is a Crime" is a bass/drums/percussion Soca-styled groove with some nice call and response melodies in the horn section which give way to separate solos from the baritone sax and trombone. "NYASH" is the track which had me out of my seat and dancing around the living room. The tense building of the busy horns right off the top, widely syncopated bass line and drum groove, lush organ and shekeres keeping it nailed down make this one of the highlights of the disc. Antibalas have always encouraged dancing at their live shows, which is very probable with the amount of energy these guys exude. It's great to know that this disc manages to capture it all. - 
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Another group hell bent on proving that the best electronic music is acombination of programmed beats and sampled live instruments, FilaBrazillia first gained notice as remixers of popular acts. Remixes ofRadiohead tracks by the two, David McSherry and Steve Cobby, were themost notable, but their most recent project was the CD by The TwilightSingers, Greg Dulli's darker side project away from the Afghan Whigs.Brazillia were brought in after the first mix of the album to add somespice, which they did, but Dulli was so impressed with their writing,as well, that he composed a few tracks with them specifically for therelease. The duo show off that skill more here, but the results are alittle uneven, though an entertaining listen. It must be said that theuse of live instrumentation is impressive, especially the Stevie WOnderharmonica on a few tracks, and that the album is a much more upbeataffair. It's all pretty well produced, and the fact that McSherry andCobby played most of the instruments with only a few guests is alsoworthy of praise. There are a few too many missteps, however, for it tobe a truly great release. Sampled vocals on 'Spill the Beans' byWashington Phillips come off sounding like Moby Lite, and most tracksuse up their fresh tones and originality in the first minute, thenrepeat the same elements until they're almost monotonous. Standouttracks feature the duo sampling organ and guitar with funky andstuttering breakbeats behind them, and just funking out to rock yourbooty. There's even an ingenious use of sampling on 'DNA': Dead CanDance (bet you never thought they'd be used to shake your rump)! All ina greater effort to bring the funk, which they do well. Overall,though, I give the record a C, as it seems Fila Brazillia are nothingmore than England's answer to Daft Punk on most of these tracks. - Read More
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Hopefully this clears upany confusion that may have arisen and the good people in the North ofEngland can carry on happily waltzing inspired by ominous spires,belching smokestacks and crumbling blocks of flats.Matt Wand has clambered from the smouldering wreckage of Stock, Hausenand Walkman with most of his organs intact and a goldmine of shinypebbles to send dancers into convulsions as they try to shake theircoprolites to clodhopping broken breakbeat celebrations of the Martianhousing crisis and minerals with no cleavage. More compact and harderedged than later Walkman works, Small Rocks only reproduce with theprior permission of Dicky, who likes to keep his loungecore moves alittle tricky. If there's comparisons to Stock, Hausen and Walkman tobe made then they ought to be to the 'Venetian Deer,' although thisseems less plunderphonic and all the fiddling about with Gameboys hascertainly made an impact as there's fictional hotwired video gameanthems lurking round every corner. The Small Rocks were rubbedtogether to spark up zany hellfire in Dicky's Skull and offer up thanksto such entities as the Pyramidiots and the Inarticulate Brachiopod.Like some old Carry On Computer film, there seems to be lots of sillydouble entendre intended in the name Small Rocks. It's a joke thatwould've worn a bit thin if it had spurted all over the music, butsince a track from this was included on a Wire Tapper CD and the Wiredeals with only serious music it must mean that this is a seriousshuffle. There is plenty of scope for 'rocking on' here and the optionof getting one's 'rocks off' is not precluded. A Japanese lady pops inover halfway through to sing a warped showtune about a Japanese littledevil, and the final ode to Martian cities has some vocoder irritantrobovox, but mostly the Small Rocks go for a compact instrumental ride.As if the manic cut up comedy sci-fi beat action wasn't enough, thedaft sleeve featuring a bemused convict clutching a small rock is worthhaving this for! Be well advised that if you just download the soundsamples and don't buy this you will be missing out on the free handyruler for measuring your small rocks! -
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It's surprisingly quite noticably more energetic, lesspredictably repetitious and electronically more adventurous thananything I've ever heard out of them. Luckily that energy carriesthroughout the remainder, with a musical variety accented (yet neveroverpowered) by breathy voices, more involved horns and tactfulelectronic noodling than before. All the basic elements like themelodic multiple guitar melodies and pulsating bass guitar are present,plus an impressive improvement on both drum playing and sounds effects.The songs range from the jamming upbeat openers, through the moresubtle and haunting "Chinatown," with sparse guitars and thicklyplucked bass to the angelic almost Christmas-like "Reitschule" (RidingSchool in German). While there were certainly some moments on previousalbums which went on way too long, the songs here are feverent, yetreserved and captivating enough to be thoroughly enjoyed without beingtempted to reach for the skip button. At seven songs/49 minutes, it'sperfectly enjoyable in one sitting, whether you're at work, at homemaking dinner, or driving around the town. - Read More
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There's nothing to do with this album - orwith any of Slepcy's work - that's "orchestral." Instead, 'And Again'wastes 35 minutes of your time with meager gabber beats and jabs ofdistortion and noise. I'm desperately trying to say more about thisalbum... but all I can think about is how bad it was. It really had noredeeming qualities whatsoever. Repetitive, dull, done before, donebetter... this album runs the gamut of musical crimes. Maybe it'd beworthwhile if you've heard Slepcy on vinyl and wanted a collection onCD - but otherwise, stay far, far away from this abortion. - samples:
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Questionis, is it worth hearing? The answer is a more-or-less-definite "yes."Abfahrt Hinwil produce mostly-three-minute-long swirly melancholy-happyIDM tracks, much like a certain Darrell Fitton, a.k.a. Bola. This isnot a bad thing (they do what they do quite well), but they're notinnovative and some of you may be tiring of it. With that said, this isa damn good CD - lots of lush, beautiful moments ("Radiowellen") andanalog synthy goodness. Since they're all pretty short, none of thetracks really get overlong, and your attention should be held quitenicely throughout the disc. However, I have to say I'm quitedisappointed this album has only two new tracks on it. It leaves me alittle unsatisfied, since I was familiar with Abfahrt Hinwil's recordsprior to this. Regardless, this is a cheap, easy way to get it all inone package. Worth a buy if you're a fan - but don't expect anythinggroundbreaking or too mindblowing.(P.S. - track ten on the album ("Tech 7") is, in my mind, the best songon the album (and a track that blows nearly all Bola tracks away) ...but on the CD, it appears in its 45RPM format (which is the "right" wayto play it on the original 7"). If you own the record, PLEASE play itat 33RPM. If you just have the CD, rip the track to an MP3, then use apitchshift plugin for Winamp or something and slow it down -27% - theresulting track is one of the most beautiful and wonderful things ever.Its sped-up version is blasphemy to my ears. Thought you'd like toknow...) - Read More
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Presumably the album title came from the snippet of dialogue that opensthe first track "Trip North." This soon gives way to subtle fluctuatingelectric drones, which sound like processed string bowing, accented byirregular pinging chimes. "After Fire" cuts abruptly in with thequenching flow of running water. It doesn't stick around long as theriver flows ever onward, and "Departure (Cellar)" is a much longermelancholic meditation on solo bowed contrabass. Although this startsoff sparse and forlorn it picks up atonal clattering creaking momentumwhich dissipates then builds up scattershot intensity as if mice arerunning all over the bass strings until a finale of long low boweddrones builds an altogether heavier intensity which finally peters outto a fine point. "Plums" rest on a loop both percussive and droning,over which arch higher string rattlings. Cut to high to mid rangeelectronic squeal and slowly emerging cocoon like eerie insectambience. Finally the insects taste fermenting sugar and roll drunk infiddling ecstacy. "Lo Speed Chase" ups the anthill with some overtlyrhythmic whimsical wiggling that constantly threatens to up end itselfand although it seems to dance as if its laces are tied it managesnever to trip. "Everything Can Be Good Sometimes" brings back therunning water tapes for another spin as a backdrop for stuttering offcentre piano chops, weaving in and out like Steve Reich losing theplot, before they converge and a gorgeous bowed melody like a lo-fiTortoise caught snoozing erupts quite unexpectedly. Latterly the pianoruns haywire again and this feeling of chaos just about to break outbut held in check recurrs. "Attic" seems to be a companion to "Cellar"and is aptly titled as it builds more soaring, towering structures fromsimilarly thick squeaky bowings, rising to plink plunk crescendo. Thefinal short track "Crossing Kingston Bridge" seems to be a fieldrecording of tuneful whistling over echoing footsteps. This is a greatdisc to have on low as dawn breaks, and seems to paint an idiosyncraticengaging picture of a journey. Sound samples can be downloaded from theLucky Kitchen. -
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It kicks off with "North School Drive", aconsummate Clientele track in every way: warm, shimmering guitar anddelicate, lilting and nearly incomprehinsible vocals. "BoringPostcard", a minute-long piece which sounds like an urban fieldrecording, follows. The third track, "Emptily Through Holloway", is thefocal point of the EP; an atypical Clientele track only with regard toits relatively epic length of just over five minutes. Finally, "LastOrders" is a notable departure from their signature sound: a soloinstrumental piece on piano. As much as I anticipate the forthcomingdebut album that the band has hinted at releasing some time in thefuture, I think perhaps I would be just as content if The Clientelewere to continue to put out their material in a suitably quaint, steadystream of 7" singles. - samples:
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