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Pleasurehorse populates the songs on "Bareskinrug" with pummelingpolyrhythms which erupt arbitrarily all over the place. The sound isdense, heavy, and percussive. The pounding throughout "Bareskinrug" iscreated primarily by the bass beat, which provides the bed from whichthe other minor beats spring, sometimes blossoming, sometimeswithering. Amidst the percussion, you can pick out the synthesizedcomputer noises which fizzle, fizz and fiddle. Whereas I was astoundedby the violence of the sound, I also felt like I was being attacked bythe songs, which is just to say that at no point was "Bareskinrug"removed to the background of my mind. The music draws an adamant linein the mind's foreground, refusing to cross over into some lost ambientland. "Laitbait" felt like being cudgeled with a tomahawk repeatedlyand then the subsequent dizzied and blood-speckled daze whichaccompanies such a bludgeoning. The full range of this experience wascaptured within just the three minutes of this song. Most of the othersongs can be likened to some other violent or intense sensation. Theonly time at which the album threatened to be boring was "Re: Vip,"which maintains the same dull beat for three minutes, with nothinghovering around it to give it much life. When it finally promises tochange the beat, the song merely morphs into a duller beat perpetuatinguntil the end. The range of sound on the album as a whole is not thatwide, but the recombination of sounds is innovative. "Bareskinrug" isinteresting to listen to at first, but has a hard time sustainingmultiple exposures, unless, of course, you find a song on it whichchanges your life for a few weeks. Otherwise, the aural assaults becomeall too similar, like the daily beatings from a schoolyard bully. Isthe day you got your nose bloodied much different than the day you gotyour arm pinned behind your back? Nonetheless, Pleasurehorse does a lotwith a little, and heavy-handedly suggests he might have some promisingwork yet to perfect.
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