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It wasultimately a straightforward techno mix made with more than just amixer and two Technics 1200's. Big deal. Please forward all complaintsto the Customer Disservice Dept. Following a similar model, Algorithm,ironically another veteran Canadian techno DJ, presents his first mixCD almost as a response to the process-focused approach spearheaded byHawtin. The result, however, is infinite more interesting than 'CloserTo The Edit,' mainly in part due to better track selection. Whilelimited to a small backcatalog of Force Lab 12" releases, as well assome previously unreleased tracks from new signings, the quality ofthis material shines through. Force Lab's signature deep bass-heavyclicktechno & clickhouse evokes the futurism that Detroit technohas always promoted, but arguably lost hold of as it became more andmore dated. Algorithm takes advantage of his right to excessivefiltering as he submerges these dubby sounds even further withoutoffering the full release given by French house classics like "MusicSounds Better With You." However, with effected loops from mainstaysKid606, Kit Clayton, and Farben as well as up-and-comers like Yagya,OZY, and Posterboys Of The Apocalypse, who cares? This is ideallistening for late-night coding sessions, late-night afterpartying andlate-nite pornography downloading. -
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samples:
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The alpha section of the first side opens with a cute little twang thatfires slight recall of J Mascis' contribution to the 'Guitarrorists'compilation, but is somewhat more meandering and freeform. This soontakes a darker turn as it duets with ominous digital rumble and rapidclick. For a fleeting partial clue, imagine Merzbow doing Hawaiianmusic for a few seconds. The guitar playing speeds up and cuts looseand the hard drive effects get denser and dronier as the trackprogresses through crisp vistas of happy noise. At the end of the firstsuite (vinyl side one) Suchy spews xylophone patters over churninggroans. There is always some kind of abstracted melodic pull no matterhow many distorted effects Suchy layers on. Some new idea springs forthevery few inches and there always seem to be new sounds lurking in eachlisten. The second suite (side 2 of the record) builds up densecrescendos until dropping back to multi tracked clean guitar pickingout a coda, as if to show the bare bones that "Entskidoo" hung it'sdissonant diginoise flesh on. The last couple of tracks are selfcontained and appear on a 7" single in the limited vinyl edition."Gump" sets a simple chiming riff that recalls Colin Newman's 'SingingFish' amidst a sea of swirling off kilter digi-flotsam, and seems to bea more compact and eloquent statement of the same intent that fired thebulk of the preceding long player. "Tijovo" takes a very different tackwith some unadorned sparse (presumably) improvised guitar pluckingaccompanied by (double?) bass and soft singing from Yvonne Cornelius.Overall I give this record an X and a Q although I'm not sure if therecord can make good use of such rare letters. In case you'rewondering, that's a good thing. If his three previous albums onTonschacht, Grob and Whatness are even half this inventive then they'llbe well worth investigating. -
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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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- 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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