'Technoir', the first Hymen Records compilation was one of the best experimental compilations ever. Showcasing then-nobodies along with exclusive cuts from the popular Ant-Zen post-industrial roster, critics everywhere began to pay attention to the growing Hymen sub-label. 'Masonic' has a hard act to follow, but Hymen's evolution into "IDM for Rivetheads" and its ability to distance itself from the parent label paid off. With even the best of compilations, there are going to be at least some misses among the hits, so rather than humiliate those who do not shine as brightly (or are as dim as eclipses), I'll only focus on some of the very best of the bunch. If I had to choose the best track of the entire CD, then Beefcake would take the proverbial cake... errrr yeah.Hymen
Being completely fascinated by the consistently incredible output of these sleek plunderphonic masters, it was hard not to fall in love with their eclectic contribution to Disc One. Imagine an ADD-afflicted music prodigy composing a 4 minute track, and you'll get a sense of "ct2": DSP-effected drill n' bass, cinematic strings, and some jazzy horns. The king of sub-bass, Scorn (a.k.a. Mick Harris of Napalm Death and Painkiller), graces the same disc with more of his highly original dark dub on "The Distance Between". Picking up where his last Hymen gem ('Greetings From Birmingham') left off, this should hold over his fans temporarily until the 'Governor' EP and 'Plan B' CD, both due out shortly. Funkstorung's "Beinh" (from one of their Musik.Aus.Strom 12" releases) mixes machine clangs with overdriven bass pulses and clever lowpass filtering. Schizophrenic breakbeat wunderkind Aaron Funk drops another bizarre cut entitled "Parasitus" under his Venetian Snares moniker that is very much in line with his Planet Mu material. The disc ends with Sonic Draglogo's dirty 80's-esque pop song "Sister". Infested with distortion, banging drum loops, and quirky guitar hooks, this is quite possibly the weirdest thing Hymen has ever attached its name to... and I can't stop playing it. Gridlock open the second disc with the ambient "36:6:115." For the uninitiated, this track might almost be seen as uncharacteristic of the Hymen sound, but then the duo's rhythmic barrage bursts out of the speakers sometime around the 3 minute mark, and it all becomes clear. Somatic Responses offer "Whatever," a shattered breakbeat track with otherworldly strings and relentless noisy squelches. I never really got into their 'Augmented Lines' album, but now I understand what the fuss is all about. While the electroclash movement has embraced some of the crappiest retro new wave garbage possible, acts like Lilienthal, Red Sparrow, and Bochum Welt entertain with their respective oldschool sounds that are far more deserving of the attention wasted on the likes of Fischerspooner. In the midst of all this 8 bit glory, Xanopticon plops out a heaping pile of Squarepusher diarrhea on "Phase", exploding stuttering beat fragments and undigested corn kernals all over the place. This guy could be the next Venetian Snares. And you can fucking quote me on that. In that same vein, Fanny (formerly of punk heroes The Exploited) closes out this beefy compilation with an incoherant slab of cut-up, mashed-up electronic junk noise rhythms. So in conclusion: Hymen makes Warp seem gay as a cricket, and Alicia Keys is really hot. I mean, she's really really hot.
 
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