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This disc is almost like a renaissance for .. er .. "rhythmic noise" (Iloathe that term, but I'm at a lack for better words). It was ratherunexpected on my part, but it pulls no punches and places Ant-Zen backon the roadmap it was beginning to explore with the early rhythmicnoise releases... it reminds me of one album in particular, ImminentStarvation's "Nord," a classic album. But it goes beyond that.
Sprinkled throughout the album are achingly beautiful structure andmelodies (no doubt written by the Sanctum member[s]), which add untoldamounts of character and replay value to a genre like this. The harsh,drilling beats in "Crater" are offset by a warm, calming melody ...which is literally a breath of fresh air. "Bring Nothing Back" isobviously influenced by Jan Carkelev's (Sanctum) sideproject ParcaPace, which was a 18-minute masterpiece of beats, chants, and violins -they're all here, but the beats are made even better by the Durlingbrothers. Brilliant.
Though, the album does get a tad bit repetitious at points... but doesit ever go so far as to be boring? Nah. You also should stay away fromthis release if you're expecting dance music - it has beats, but thisis mood music. The album is beautifully packaged in a jewel case withwarm, cool tones throughout and a picture of - what else? - beautifulazure skies gracing the cover. For anyone who felt betrayed withAnt-Zen's recent releases (PAL's "Release".. *cough*), this album is areturn to form and a must-have.
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If you own any records from The Faint, Ladytron, Fisherspooner, I am Spoonbender, Adult, or G.D. Luxxe, owning no Fad Gadget albums is completely unacceptable. Mute began releasing Fad Gadget (their first signing in fact) back in 1979, and over the course of four full-length albums, Frank Tovey managed to firmly establish electronic music as a new form of punk, combining abrasive synths, punchy drum machines, the occasional vibrophone or other organic instruments, and clever lyrics.
Over the years, I have played Fad Gadget to many friends and have always recommended 'Frank Tovey: The Fad Gadget Singles' as a starting point, but that album was only ever available through mail-order in the UK as far as I can remember. There hasn't been a real interest in Fad Gadget in years. It's a shame, however, as analogue-synth punk has become all the rage with the hipster indie kids. Regardless, Tovey is clearly an original. This collection gathers everything from that collection (all the A-sides and a few more classics), adds a couple more b-sides and an entire second CD of remixes. Forceful power-synth gems like "For Whom the Bells Toll" and "Collapsing New People" (satirizing Einsturzende Neubauten or club-going industro-goths) will be recognizable to anybody who has visited goth/industrial clubs while "I Discover Love" is an easy pleaser for the swinging Foetus fans. My favorites include the much-overlooked single "Life On the Line" and incredibly haunting "Lady Shave". My only complaints about this collection are about the poor mastering job: the levels on disc one are so loud that there's an unavoidable clipping going on, while much of the material on disc two has been mastered from the records themselves. But hey, clicks and cuts are "in" as well, so many people won't mind as much as me. 'The Best of' is available now in Europe and will be released next week in North America. Add it to the Christmas list of your favorite analogue-synth lovin' punker.
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That's right, I like the album quite a bit. The atmosphere and samplesreally work well (not to mention the *awesome* Trevor Brown artwork) -"we be friends with a child killer..." but of course the mainattraction is the percussion. Which is the best part of the album aswell as the worst part of the album. Like on the last track, "All theChildren Are Dead"... that is insane percussion. And I mean *insane*.
But then, as on the first track, "Pygmalion," the percussion can holdso much potential and then fall completely utterly flat. Crazy awesomebuildup, as if everything were going to explode right in your bigstupid face, and then - it stops - and doesn't start again. What aGODDAMNED let-down. And these same kind of moments occur throughout thealbum... points where you THINK you should hear a break, or a drum, orsomething - but no! Aaron Funk is experimental! He is not drum'n'bass -this is not dance music! Yeah, whatever. Go have sex with Kid 606.
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