ADVENT SLEEP
Egos & Eros
[Pink Cathedral]
Advent Sleep is one of the new and upcoming acts in the gothic scene
today. On this collection of songs, Advent Sleep demonstrates a
knack for incorporating each instrument effectively in their songs. I like
how the guitars are mixed a bit more in the foreground in many of the songs.
It gives the feeling of layering and texturing that helps make music worthwhile.
The drums sound incredible on this album...I would almost have to compare
the drumsound to the Sisters of Mercy.
And then there are Michael Bann's vocals. With the songs being
fairly diverse, Michael's voice is what kind of gives everything
that Advent Sleep stamp. For the most part, I don't really like
low and deep vocals, but I think that's because a lot of people give up
singing just to reach that low a register, but I think Michael's
vocals work perfectly and are essential to the basic constructs of the
songs.
My favorite song would have to be "Zola." It reminds me a bit
of Bauhaus with SOM drums while not sounding at all cliche. I love
the chorus...this is the kind of song I could see becoming a gothic classic.
"In
the Name of God" is marked by a really cool chorus. "Look Away My
Love" might actually be my least favorite track. It feels like the
skeleton to the song is present...it just needs to be filled out. Other
songs have a little of this quality to them as well, but I think that this
can be anticipated from a fledgling band.
"Of War" is a bit of a break. It is one of only two instrumentals
and as close as Advent Sleep gets to sounding industrial. It's a
nice juxtaposition of the melodic with the element of noise. "Our Worlds
Collide" is a slow moody piece...definitely one of the ultra-cool tracks
on this album. "Vision In Black" has more of an old school goth
feel to it, but not quite the chorus of "Nola." Still a cool song.
"Death"
is the other instrumental and quite different from "Of War." It
has a classic horror feel to it...quite gothic. Very nicely written keyboard
line in this song. The track ends with "Hell," a nice song, but
not one of my favorites.
This is definitely worth checking out. I think this will appear to many
of the older goths as well as to the nouveau goths. If you want to check
these guys out, write to them at: 617 Mountain Street, Enola, PA 17025
or while you are still on-line drop them a note at adventsleep@hotmail.com.
(Victor Mejia)
BELINDA CARLISLE
A Woman & a Man
[Ark 21]
You probably were not expecting this review, but growing up the Go Go's
were essential to my musical development, so I thought this wouldn't be
a bad album to me to review. Her bio says that with the album Runaway
Horses Belinda perfected her pop identity. I can't say that
I agree. I loved the single "Mad About" you along with other tracks
on her debut solo album and I even liked the happy uplifting spirit of
some of the songs on Heaven On Earth, but this spirit seemed
to die on Runaway Horses. It felt like the spirit was gone
from her music...maybe this can be blamed on growing up, but I felt really
sad to have lost something that I cherished musically.
Overall, I would have to say that A Woman & a Man
reminds me quite a bit of Runaway Horses. This might be because
Rick
Nowels is still penning her music. I do feel there is more of a pop
sensibility with this album though. I'll admit that songs like
"In Too
Deep" and "Listen to Love" could be pop standards. I will even
give Carlisle and Nowels credit for the song "California"
for trying something a little bit differently. I believe the song writing
to be solid for a pop CD and the singing to be impeccable, I just have
to ask where the spirit is. Who knows, maybe this is just too 'adult' for
me.
(Victor Mejia)
ELEVEN SHADOWS
Tsechima
[Resist]
Victor once loaned me a demo cassette of Eleven Shadows and
I loved it. It had jangly guitars with cool effects, violins, upbeat rhythms
and great vocals. I've wanted a copy ever since: Tsechima
doesn't
come close to fulfilling this desire. Instead, I found a collection of
Eleven
Shadows songs "reassembled and reinterpreted" by some other person.
It's ambient techno world-groove, and I am quite disappointed.
I put this album down for a week so as to not let my expectations color
my review. I am still disappointed, though. It's not a poorly done album,
but world-techno is so... three years ago. Besides, Deep Forest
has done this genre ten times better. Tsechima is just kinda
there.
[Laird Sheldahl]
VARIOUS ARTISTS
In To the Mix
[Hypnotic]
There are a lot of names here. Thirteen well known electronic bands remixed
by thirteen well known electronic bands (OK, the Prodigy shows up
on both sides of the equation). Some of these tracks are old-- Meat
Beat Manifesto's "Mindstream" remixed by Orbital
I have
loved and owned for several years. Interestingly, this is the only songs
with vocals-- odd considering the Prodigy and Switchblade Symphony
both have vocalists.
Anyhow, I was at first annoyed that a good portion of this comp was
so dated. But, hey, this IS a Cleopatra subsidiary, and we aren't
talking Hawkwind-era. I think mixing Renegade Soundwave and
Psychic
TV with Juno Reactor and Plastikman works quite well
for a few reasons. One, it will expose the young'ns to what I think represents
more timeless electronic goodies. Two, it gives the compilation a balanced
and eclectic feel. OK, so all the tempos are sped up to 90's standards
(even Art of Noise's "Instruments of Darkness") which means
this compilation is definitely not a history of electronica by any means.
nevertheless, there is a melodic diversity here that makes this CD superior
to thirteen tracks by "the latest" hotshots.
I would like to express being totally let down by the remix of Switchbblade
Symphony. Astralasia succeeded in making this remix sound quite
generic-- quite a disservice to a good band. The female "oohs" could have
come from anywhere. This is the weak link in an otherwise consistently
well-done collection of dance tunes.
A second free CD comes with this compilation, filled with what I assume
are Hypnotica bands. Din's "Stab" I heard four years
ago. I liked it, but this CD sounds dated. Nothing here breaks beyond the
styles of the time, let alone the styles of today. But, hey, it's a free
disk, and bands like Din and Xylon are worth hearing and
owning... if only for history's sake.
[Laird Sheldahl]
SWITCHBLADE SYMPHONY
Drool (CDS)
[Cleopatra]
This three song single serves pretty much as a bridge from Serpentine
Gallery to the new Switchblade Symphony album Bread
and Jam for Francis. It features one song from their first album,
albeit remixed, and two songs from the new album.
The opening track, "Drool," is one of my favorite songs from
Switchblade
Symphony to date. The opening play of the drums in stereo alternating
from one speaker to another sets the stage for what's coming the next.
The music kicks then Tina's whispered voice is added and then a
Cure-like
bassline gets things going. The verse sets up what almost seems to be a
playfulness in the lyrics, something like a nursery rhyme, that leads into
the perfect flow of the chorus. The strong rhyme-play makes it an easy
song for the listener to sing along to.
"Clown (Transmutator vs. Razed in Black Mix)" is not that far
from the original. I think the remix does offer a darker atmosphere to
the song than the Serpentine Gallery version. I prefer
Claus
Larsen's mix of the song on Switchblade Symphony's first single
the best.
The beginning of "Soldiers" is something completely different.
It almost has a hip-hop feel to it. But when things mellow out and Tina's
voice comes in it is once again very much Switchblade Symphony.
I think this song is a nice showcase of Susan's programming skills
and Tina's vocal range, but I still think I would name "Drool"
my
favorite song of the three.
The only practical purpose for this single is to have yet another version
of "Clown." There is possibly the more important need of wanting
to own everything with the Switchblade Symphony name on it. If this
is your course in life, I can't say I really blame you.
(Victor Mejia)
MOLOKO
Do You Like My Tight Sweater?
[Warner Bros./Echo]
Look at their artwork. Read their album title. Got the feeling that something
just ain't right with Moloko? I originally had to hear this because
I kept reading comparisons to Portishead, which now that I've heard
Moloko,
I think are pretty undeserved. I like both bands, but Moloko
never
strives to attain that spy-music funkiness that Portishead
did so
well.
What Moloko does do well is weird, tripped-out female vocals
run through odd harmonizer effects (heard Silent Warhall? Demonix?).
These utterly bizarre vocals are overlaid on some rather understated electronic-techno
stylings. While I found the synthesized portion of this CD to be a bit
lacking, I do realize that this disc came out two years ago (only now reaching
us, hyuk, wholesome Americans). I also realize that Roisin Murphy's
voice needs a little extra room.
I'll be playing "Killa Bunnies" years from now, when no one cares
whether Do You Like My Tight Sweater? came out in 1995 or
1997. This and "Dirty Monkey" are wonderfully silly--without trying
to replace good music with humor. I swear, though, that "Lotus Eaters"
sounds like "For the Benefit of Mr. Kite," it has this circus-freak-like
atmosphere. This album isn't totally out-of-this-world, but I like it.
[Laird Sheldahl]
JANE JENSEN
Comic Book Whore
[Interscope]
The only reason I am reviewing this CD is because I believe it to be a
really good collection of songs. I requested information on Jane Jensen
from Interscope and they never got back to me. I had to buy this
CD, which I don't mind when it doesn't involve some major record company
that could easily send out a copy to benefit their bands, but apparently
Interscope
has
some other agenda. I will give them some credit...I did get a free 12"
single with the purchase of Comic Book Whore featuring remixes
of "More Than I Can," the best song on the album.
A lot of you may already know who Jane Jensen is. She has apparently
been in a lot of art films in New York and is probably most known for playing
Juliet
in
the spoof Tromeo and Juliet. Anyone who ever wondered who
was supplying the dreamy vocals on Oxygiene 23 for the Die Warzau
boys...well,
it was Jane Jensen. So, she's talented, beautiful, and a sweet siren...well,
how is her CD?
I'm going to come out and say this because I believe it needs to be
said. As much as I like this album, it is definitely not for everyone.
There is probably something there to appeal to a lot of people, but this
CD is fairly all over the place, so there's a good chance that you won't
like the whole thing. This is not industrial...this is not gothic...this
is not pop (some of it is actually really cool pop music)...taking into
consideration what alternative is, this isn't that either. I've heard comparisons
comparing Jane's music to Garbage. I can see this somewhat,
but Comic Book Whore is like a more creative and quirkier
Garbage.
I really don't know how else to describe her.
A word in support of Jane...she writes her own music. Well, she
and a guy named Craig Kafton. She also plays some of the guitars
and does some of the programming, so this is very much her album.
(Victor Mejia)
MADDER ROSE
tragicmagic
[Atlantic]
I found the last Madder Rose album to be kind of boring and lacking
life, but they have since revamped their sound and tragicmagic is evidence
of the band's growth as a band.
I believe Madder Rose's strength to also be their greatest weakness.
At least on the first half of this album, a lot of the songs sound alike,
but this is just Madder Rose defining their own sound. What distinguishes
the songs are the small nuances, especially in the guitar playing. The
stand-out tracks on the first half of the album are "My Star" and
"(She's
a) Satellite."
The second half of the album is not quite as dreamy as the first half
overall. The swirling guitars are exchanged for other elements which still
work, but I like the overall effect of the beginning of the CD. The song
that breaks the magic the most is "Peter and Victor" which is spoken
by Billy Cote. The song on its own, but surrounded by songs with
Mary
B. Lorson singing, it just does not work. Mary's vocals are
the highlight of the album followed closely by some of Cote's guitar
work.
This is a little more mainstream and produced than the Project bands
like Love Spirals Downward, but if I were to have to categorize
it as some type of music, it would get placed in that category.
(Victor Mejia)
SOCIETY.BURNING
T*ctic
[Re-Constriction]
Read rec.music.industrial any day and you'll undoubtedly come across various
definitions of what "industrial" music is exactly. Without a doubt, though,
Society.Burning
is industrial. Screaming distorted vocals + teutonic beats + aggro synth
basslines + some psychedelic upper-end melodics = industrial.
If you are familiar with the Synthcore sound of Re-Constriction
records, well, you get the idea here. Society.Burning does a good
job of maintaining that hard-edges attitude without tons of guitars...
if there are any guitars at all. I am not sure if those grinding noises
are guitars or distorted synths. Not that it matters in the end, this music
won't be mistaken for heavy metal.
Having said that, though, the last few local metal shows I've been to
have had more interesting electronic programming than Society.Burning
dishes out here. Not that this band is incapable; in fact, every songs
starts and ends with some very distinct and riveting programming. Ultimately,
though, nothing builds off of it, the interesting sounds are forgotten
as the invariably heavy beats and angry vocals kick in. These metal shows
I mentioned had better sequenced material than most industrial bands...
my argument is more with the entire genre than this one band in particular.
I may digress, but anymore you cannot define industrial bands as ones with
keyboards as a main instrument (yet not being synth-pop). Not that I want
to define industrial, I just want industrial to feel cutting edge again.
I have to compare and contrast this band to Diatribe-- my favorite
Re-Constriction
band of all (unless you count Numb). Society.Burning is much
faster and less reliant on melody. My favorite track off T*ctic
is "Waster," which doesn't rely on volume to attain that biting
angsty attitude. That's the bottom line here: attitude and angst. Nicely
done... and don't miss track 69!
[Laird Sheldahl]
µ-ZIQ
Lunatic Harness
[Astralwerks]
The last µ-Ziq CD (Umur Bile tracks vol 1 and
2) was a bit of a letdown for me. Mike Pardinas can create some
awesome sounds and textures, but Umur Bile sounded too unfinished
and underdeveloped to me. Now, the unstructured nature of µ-Ziq
and
similar projects is one thing I find exciting about electronica, something
missing from a lot of today's industrial music. I do, however, prefer crazy
jungle beats, cheesy loops and ultra-dynamic juxtapositions balanced with
some melody and/or some semblance of a groove. Lunatic Harness
has found this mixture.
Perhaps this album owes a lot to that Autechre single that contained
"no repetitious beats" (to protest London's anti-rave law that forbade
public playing of music consisting of repetitious beats)--there are no
looped drum machine patterns on the whole disc. Each song keeps a steady
groove that continually morphs into something new. Perhaps you have heard
Aphex
Twin if you aren't familiar with µ-Ziq. While similar,
Aphex
Twin doesn't create textures and melodies as beautiful and moving as
this. Songs like "Boom Alert" and "Approaching Menace" are
just gorgeous, yet have these insane rhythms going on-- like jazz drummers
played on fast-forward. Songs like these make me happy. Songs like "Lunatic
Harness" make me stare at my speakers in dumbfounded awe and amazement.
Some guy beat-boxing joins the jazz drummer on this track, both at Benny
Hill-like fast-forward speeds. The power of lunacy has definitely been
harnessed here! But wait! I've heard this track before, I think bits and
pieces from
Mike and Rich show up on this song. Another thing
I really like about µ-Ziq is that he distorts some of his
sounds, giving the melody an edge at times (so many jungle acts would sound
too light for even the mellowest Janni
fan if you stripped away
the absurdly fast drum machine programming). Wannabe is this album's Phiesophe,
a truly howling beauty. Highly highly highly recommended!
[Laird Sheldahl]
RASPUTINA
Transylvanian Regurgitations
[Columbia]
I was at a record store the other day and I was appalled to see that this
is being sold as an EP. I found that rather shameless as this is not much
more than a maxi-single. I guess they'll take you for every buck you have.
The only attraction to this CD is the two remixes of "Transylvanian
Concubine" by Marilyn Manson and they alone are nowhere near
the price of the CD. The main things added to the song are heavy guitars
which work better than might be expected and this awful distortion on Melora's
voice that makes it difficult to listen to the songs without getting queasy.
The two singles are almost identical except one is longer than the other.
The remainder of the disc is composed of four songs that already appear
on Thanks for the Ether. They are the exact same version
of those songs. If you haven't bought anything by Rasputina yet,
do yourself a favor and buy yourself the full-length CD first. You will
definitely get more bang for your buck.
(Victor Mejia)
DIVE
Snakedressed
[COP Intl./Daft]
Though I was bit late in hearing the Klinik (sometime in ‘92), from
the first notes of “Black Leather,” I was hooked. One-half of that
legendary outfit, Dirk Ivens, has since produced a number of excellent
releases on his own under the moniker Dive. As good as previous
Dive
material
was, Snakedressed is the killer and quite possibly the best
electro release this year.
Utilizing a very minimal electro approach, Dive took off from
what the Klinik had accomplished and made the music even more sterile
and claustrophobic. Dirk’s edgy, almost-whispered vocals gave the
music a really disturbing quality, backed up well by his uniquely atmospheric
programming.
With Snakedressed, Dirk has included everything
that is great about Dive and given it something of heart in the
process. Songs like “Bloodshot Eyes,” “Dark Room” and the title
track are totally encompassing, almost catchy in their own way. The additional
input from Ivan Iusco on most of the tracks probably has something
to do with it, but even the wholly-owned Dirk songs like “Growing
Deep Inside” exhibit more depth than usual. The man has a great talent
for utilizing synths that sound classic but not dated.
Fortunately, these modifications to the Dive sound only enhance
it, making Snakedressed his most engaging and thoroughly enjoyable album
to date. With good distribution Stateside finally, this is a perfect introduction
for folks in the US who may not even know what they’ve been missing out
on.
[Daniel Hinds]
LEATHER STRIP
Self-Inflicted
[Cleopatra/Zoth Ommog]
I must preface this review by saying I haven’t heard much of Claus Larsen’s
main project since the “Japanese Bodies” days, so that’s my main
source for comparison. I was quite impressed with this disc, actually,
and wonder why so many people write Leather Strip off these days.
The programming is admittedly pretty straight-forward, but it is done very
effectively and the quality of the songs is much more consistent than in
the old days.
Lyrically, this album is very typical, angst-driven industrial stuff,
but there is a subtle sense of humor running through some of this and Claus
delivers
the lines with such conviction, you don’t really care how meaningful they
are (much like FLA in that respect...)
Highlights for me were the near-gothic “Coming Up For Air,” the
hard-hitting “Tell Me What To Do!” and the two cover tunes (“Showroom
Dummies” and “The X-Files Theme”). Actually, there are no bad
tracks at all, and most are quite good, though I would give the nod to
the second half of the disc over the first.
Solid production and cool DigiPack packaging make this one of the better
industrial dance releases of late and definitely proves that Mr. Larsen
still has something to offer.
[Daniel Hinds]
NOXIOUS EMOTION
Count Zero
[ADSR022]
Noxious Emotion has found that recipe for good industrial music:
dancy throbbing drumbeats, aggressive basslines in the forefront, trancy
electronic riffs and growly vocals in the back. Count Zero
never veers far from this makeup. The few tracks that do never develop
into songs, and serve as short breaks from an otherwise strong, driving
album. One definite plus is Noxious Emotion avoids the overly angsty
noise in favor of a colder, Project-Pitchfork-like tonality.
This album is well recorded for an underground industrial CD. Look for
these guys on the RasDva quad CD (and the next quad-CD), or write
ADSR
musicwerks, 1106 E. Republica, Seattle WA 98102, visit their web-page::
http://www.noxious.com
or email noxious@noxious.com for
info.
[Laird Sheldahl]
FAITH AND THE MUSE
Annwyn, Beneath the Waves
[Tess]
I know that most of you that are going to own this album probably already
own it by now, but I feel that I must try and say something for those of
you who are just on the edge and even for the few of you that do not have
a clue. It has taken me this long to review this CD because, for starters,
we have not made a connection with anyone at Tess Records and secondly
for the shoddy distribution that Tess seems to have, especially
to the Eugene, Oregon, area of the world.
I know that there were probably a few people who may have been discouraged
by the folkiness of the Faith and the Muse's first LP. Well, this
one is anything but that. This album really rocks. At the same time it
creates atmosphere. It also seems to manage to maintain the same vibe as
the first album, but I think the rock element just pushes it a little further
and a bit more strongly.
1997 seems to be the year of really strong goth releases, but Anywynn,
Beneath The Waves shows that 1996 had something really spectacular
to offer. It's music like this and Gitane Demone's solo work that
really makes me question why Christian Death was never a really
fantastic band in the first place.
[Victor Mejia]
SOMA
The Inner Cinema
[Extreme XCD038]
Aaaah, the new Soma. One more side project for David Thrussel
(Snog, Black Lung). This one, though, is much more laid back and spatious.
Low-end basslines, slow hip-hoppy beats and small, squelchy electronics
lay the background for Pieter Bourke's spaghetti-westernlike acoustic
instrumentation.
Imagine Clint Eastwood, having just shot the six bad dudes, strut
into the open desert, carrying himself like HE KNOWS HE'S BAD. The
Inner Cinema should be the theme music. Like their earlier Hollow
Earth, this album conjures up strong images of desolate, open landscapes.
The
Inner Cinema drops a lot of the driving technoey rhythms, making
it a more stylistic album (Hollow Earth appeals heavily to
my friends into techno).
If you dont own any of Extreme's releases (like, oh, maybe Shinjuku
Thief, for example) then start out by purchasing Soma. You'll
be all the more cultured and avant-garde for it without having to own anything
too pretentious. More info: http://www.xtr.com/extreme/soma.html
[Laird Sheldahl]
SISTER MACHINE GUN
Metropolis
[Wax Trax!/TVT]
Well, this album has finally seen the light of day and the question is:
Was it worth it? If you are an SMG fan I think the answer has got
to be "yes."
After the cool "This Metal Sky" intro the album starts off in
typical SMG fashion, albeit a bit on the noisier side. The funkier
rhythms are all there with Chris's flowing vocals on it. The only
band I can think of comparing him to is early Machines of Loving Grace
(before they began to suck) on songs like "Think." "Living Without You"
displays Chris's slower side and the patented Randall rap
is featured on "Torque." The least industrial song on the CD would
probably make the best single. I don't know how to describe "Admit"
except that it is a bit of a departure.
There is a definite groove to this album and it's downright sexy. I
think someone should arrange a Foetus/SMG tour...two great tastes
that taste great together.
[Victor Mejia]
HAUJOBB
The Matrix
[Metropolis] 2CD
I read many complaints that Haujobb had changes styles with The
Matrix, sounding like Lassigue Bendthaus or Black Lung.
As a result, I searched for this album and have found one of the best CDs
of the 90's. Had I, in fact, been told this was Lassigue's latest,
I'd of thought it their best to date. Like Render (Lassigue
Bendthaus), The Matrix is full of geiger-counterish electronic
grooves, dynamic transitions, throbbing basslines and bleepy hooks. The
Matrix remains consistently rhythmic, with whispered vocals appearing
in the background of a minority of the songs.
The sad thing, though, is The Matrix is double CD price
when the second disc contains only samples and loops. Lassigue Bendthaus'
Cloned
didn't
require fans to pay extra for its individual samples (nor did it, I suppose,
contain over 75 minutes of music. Yipes!). Nevertheless, even at a price
I find inflated, this album is more than worth the cost. More info: http://www.nexon.com/haujobb
[Laird Sheldahl]
SPAHN RANCH
Architechture
[Cleopatra]
I have read some comments made on this album where people really slagged
on it and I was troubled because I liked the album the first couple of
times that I heard. I still like it, but not as much as I used to. The
fact that the CD is titled Architechture I feel is kind of
ironic, because it is the programming, the basic architechture of the songs
that I find flawed. I give Spahn Ranch credit for trying something
new, but I don't like the spacey and watery sound of a lot of the programming.
It has a trance-like feel at times and I guess that is where the problem
is for me. There are no distinct edges to any of the music.
Actually, it goes a step further. A lot of the programming doesn't sound
that involved. It's the sort of thing I would expect to hear on a demo
tape from someone with potential. When it is kept minimal it has a tendency
to work for me. Basically on the songs that seem to be written around Athan's
vocals and lyrics. The way his vocals are mixed sometimes just don't feel
quite right. Maybe it has something to do with the reverb.
There are some tracks that definitely stand out on this CD. "Embodied"
sounds
somewhat dated, but in a very cool sort of way. This dated sound just has
a tendency not to work on the rest of the CD. "Futurist Unlimited"
is cool both times it appears on the CD, but the second incarnation feels
like it has quite a bit of power behind it. I actually liked the programming
on the instrumental outro "Solace."
If anything Architecture sounds like it is a transition
album. Some of the stuff works really well, while the rest of it just needs
some development. I hope they don't push things too much more in this direction
or I could see them creating much the same atmosphere as Vampire Rodents
do with theirs.
[Victor Mejia]
KILL SWITCH KLICK
deGENERATE
[Cleopatra]
I must admit that I went into listening to this album with the idea that
it was really going to suck, but instead I ended up enjoying it quite a
bit. This is definitely dA Sebasstian's project as all creative
input seems to come fromm him. I have to give Cleopatra some credit,
KsK
is
a bit on the aggressive side from bands that they have a tendency to sign
and that is somewhat refreshing.
Kill Switch Klick is just one in the many Northwest industrial
bands that seem to be surfacing all of a sudden. Their music is fairly
uncomplicated, straight forward, and right in your face. If I had to pick
a weak spot in their armor it would have to be the vocals. As much as I
think they are not particularly strong, I think that they work well within
the framework of the music. I have a tough time imagining anybody else
singing these songs.
For those of you who are not looking for anything extraordinary or groundbreaking,
deGENERATE
is
a really solid album to get your hands on. I would have to say
Kill
Switch Klick is at their weakest in their short experimental pieces
that are littered throughout the CD. Cheers for trying something creative,
but my praise stops there. Hopefully bands like this along with others
will help put the Northwest on the industrial map.
[Victor Mejia]
FISHTANK [no. 9]
Itself
[COP International]
Well, this one is really growing on me. Fishtank [no. 9]'s webpage
is full of eastern imagery, but these elements aren't particularly prominent
in the first 2/3 of the album. As I got beyond this unfulfilled expectation,
though, I began to hear some really well crafted industrial music.
Fishtank [no. 9] is the better project of ...Of Skin and Saliva's
War'n
Harrison. F#9 succeeds where OSAS fails by delivering
some stylistically unique industrial music. The beats are still industrial-dance,
albeit very clean and sometimes funky. The synthlines aren't Puppyish.
The vocals are sometimes distorted (Itself sounds like yelworC),
but more often are clear, melodic and emotional. What really stands out,
though, are the juxtapositions. F#9 moves from mellow grooves to
upbeat, driving chorus sections-- transitions similar to what I think makes
Gracious
Shades so great. I don't think F#9 ever reaches the intensity
of Gracious Shades. Nevertheless, the moody parts seem tenser and
the choruses more driving next to each other, and this keeps each song
sounding fresh and interesting. Itself is not made of those
all-too-typical industrial songs that build up a beat, then a bassline,
then vocals, then go on for 5 minutes, repeating as necessary. Recommended!
[Laird Sheldahl]
PARADISE LOST
One Second
[Zomba/Music For Nations]
I remember the hype surrounding this British outfit when their first album,
Lost
Paradise, came out and was very disappointed when it turned out
be underproduced, slowed-down death metal of the most pedestrian variety.
As time went on, the band developed a more straight-forward metal sound
with some gothic overtones that was pretty good, but I still felt their
songwriting to be somewhat lacking.
Within a few seconds of the first song on One Second,
all my preconceptions were blown away. The subdued keyboard intro leads
directly into the first verse, which Nick Holmes delivers with eloquent
conviction. His voice reminds me a bit of James Hetfield and Pepper
Keenan (COC) at times, but clearer and with much more range. The vocal
melodies really make this album, especially on songs like “One Second,”
the
Cemetary-ish “Say Just Words” and my pick for first single,
“Mercy.”
The rest of the band are no slouches, either, with some great drumming
and riffing throughout. And the production, courtesy of
Sank, is
top-notch: clean yet very powerful. He adds some subtle but effective electronics
throughout the album, but keeps it very much a Rock record.
Despite some nods to Sisters of Mercy and Metallica, Paradise
Lost have really hit on a great sound with their sixth album. It is
at once poppier and more interesting than most others in this genre. It’s
great to hear a band make a modern metal album that is in no way dated,
yet simultaneously avoids the current trends. Highly recommended.
[Daniel Hinds]
GUSGUS
Polydistortion
[4AD]
Maybe its a bit elitist of me, but I've always taken pride in knowing none
of the bands I'm interested in are in the listening stations at Tower
records. After all, the particular Tower near me was SURE I was
mistaken and really wanted the new SoundGarden, not Tear Garden.
But, there on the shelf was GusGus, and I ended up buying it.
Polydistortion sounds like...well, a techno version of
This
Mortal Coil. What did I expect from a 4AD band who uses TR909s
and Roland Junos? Similar to This Mortal Coil (but unlike techno
"bands") there are 9 members in GusGus who appear throughout the
disc, giving Polydistortion a very eclectic feel. Also, unlike
many techno bands, the focus is never on drum patterns and synth sounds.
Instead, there are breathy, suave vocals, interesting melodic progressions
you can never quite put your finger on, almost loungey acoustic guitar
work, and I think the perfecting details are in the attention paid to space
within songs. Perhaps it's the feeling of soft landscapes I get listening
to GusGus that reminds me of This Mortal Coil.
I didn't get the version of Polydistortion that comes
with a bonus remix disc. I hear from a reliable source the bonus CD is
pretty good, comprised of extended instrumental versions of the same tunes.
I've really been enjoying the appearance of more vocals and acoustic instruments
in techno acts, though, so I'm not too sad at being remix-discless (say
that 5 times fast). Stupid analogy: Polydistortion is like
frosted miniwheats, the adult in you will love the retro-lounge stylings
and sophisticated production, but the kid in you lives for those funky
beats and trancy grooves. Hmmmm...... maybe I should just say its a damn
fine album.
[Laird Sheldahl]
(Various Artists)
An Ear to An Atmosphere
[Rack and Ruin Records]
An Ear to an Atmosphere represents a collective of underground
industrial bands from the Washington DC area. Overall, I'd describe most
of the bands as "experimental" rather than "industrial", but hey, whatever.
The tracks range from minimalistic to simplistic, and each band sounds
pretty new, undeveloped and unproduced. With this in mind, though, there
are some interesting bands here to discover.
Black Chamber sounds like a smaller, kinder Sweat Engine;
industrial-dance rhythms mix with two-note synth lines and distorted vocals.
She Silenced Seraphim could be a muddy Dead Can Dance
with distorted vocals.
With a name like FleshPulseFlesh, I'd expect some fast, gnarly
synthcore or somesuch. Instead, FleshPulseFlesh produces some enigmatic
rhythms and samples. The bio describes this track as "lulling"; I definitely
lulled.
Electronic Control Organization offer some nice late-80's industrial/synthpop.
Remember Sinister Attraction? Same drum machines and all. ECO
breaks
the "thou shalt not sample Puppy" commandment, however.
Dead Letter Office violates another one of my pet peeves, the
"thou shalt not use the Roland D50 patch 'Intruder FX'". If you don't know
the synth sound by name, you can hear it in any and every movie made after
1980. Every one. Blending found sounds over a slow, churning bass/snare
beat, DLO produces soundscapes reminiscent of old Nocturnal Emissions,
with a Chris 'n Cosey-ish voice meandering through it all.
Rhinovirus is goofy.
Communion uses a slow bass/snare beat, found-sounds and a female
narrator...Hey, this could be a Dead Letter Office track!! Not really,
Communion
is
a little more structured and interesting.
Bacchus simply delivers the best track of the compilation. Clean
industrial-dance beats, pretty female vocals and fairly standard synth
sounds are mixed well to create a bouncy, trancy track.
Rupert could have been on a Doctor Death compilation.
Snares, stringpads, moody, reverbed, deep male vocals.
Chapel Blaque ends the introspective tone of the previous songs
with a dose of metal.
Biofeedback is full of interesting sounds, something the rest
of the compilation is surprisingly devoid of. Weird bleeps blend with boppy
beats (did I just write THAT?) and unrecognizable vocals. Sounds something
like Vampire Rodents, but could use some guest-vocalists.
Pulse gives us some well produced metal. File under Machines
of Loving Grace for funky-metal-with-some-synthesizers.
BigMouse's song is cute, like their bandname.
Finally, Memory Without Pain delivers a noisescape which is,
well, pretty painless. Sounds like Toto's soundtrack to "the Keep"
played backwards.
Interested parties can purchase this CD for $10 from Jennifer Barnes.
Email Earsphere@aol.com or write
722
Dennis Ave, Silver Springs MD, 20901
[Laird Sheldahl]
SQUAREPUSHER
Hard Normal Daddy
[Warp records]
Mmmmmmmm, new Squarepusher CD. Some of the tracks here are enough
to make me drool like a mesmerized Homer Simpson. Can't talk, listening
to Squarepusher... (glarghh glarggh)
OK, so some of the tracks venture into fusion-jazz land, a place I think
is totally devoid of Funk. But, except for these two snoozy tracks ("Papalon"
and "E8 Boogie"), Hard Normal Daddy is SUCH a treat.
Jungle beats don't seem to repeat, snares keep getting faster and faster,
way beyond 128th notes-- bzzzzzzzzz!!!! and the rest of the percussion
goes where no drum machine has gone before. OK, other jungle-techno folk
have been here, but Squarepusher does the super-manic beat thing
the best. Works best with squelchy basslines (as in "Rustic raver"
and "Fat Controller").
Familiar with Feed me Weird Things (Squarepusher's
previous CD on Warp)? Hard Normal Daddy offers more intricate
melodics, fewer loops and more live(?) instrumentation. For the unfamiliar--
time to get with it! I wrote off everything techno for years until I heard
material like this. Techno was obscenely repetitious, had no interesting
production, no emotional drive, no intensity and no guts. Squarepusher
is
utterly manic, nutty, at times grating and others pleasantly melodic, sometimes
downright funky. "Fat Controller" in particular could have the crossover-potential
into the industrial scene that Aphex Twin's "Ventolin" did
a few years back. It makes most industrial music seem flaccid in comparison.
[Laird Sheldahl] |
