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- Louise Rhodes - Escape (afraid of no one)
- Franka Potente - Fly with Me
- Alison Goldfrapp - Bodo
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- Albums and Singles
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- Louise Rhodes - Escape (afraid of no one)
- Franka Potente - Fly with Me
- Alison Goldfrapp - Bodo
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Mysteriously enough, a 12" single surfaced on the same day as the Orchestral Terrestrial release, bearing no explicit indication that it's also a Richard H. Kirk project aside from the amazingly similar name and fonts used. There's no illusion in the music here, however, as 'Deconstructed Trance Anthem' parts 1 and 2 graces each side with none other than repetitious butchered remains of a generic trance anthem.
I question the usage of the term 'deconstructed' however, as to me, the record's really a series of looped and threaded excerpts, or as they claim, "a locked groove record without the locked grooves." In theory it's a great concept, but in actuality this would work best around the five minute mark on each side. Unfortunately, each side stretches over 19 minutes. Future plans are to revisit these themes using an orchestra in a Steve Reich sort of minimalism, which might be exponentially more interesting than this. Fans of looped-and-spliced repetition of techno sounds would probably eat this all up but at best I find the 12" rather mediocre.
 
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Four deviant love songs make up the latest EP by COH (Ivan Pavlov) with collaborators Peter Christopherson and John Balance of Coil, Steve Thrower of Cyclobe, Frankie Gothard, and Louise Weasel. The disc comes lovingly packaged in a clear slip case with amusing cardstock inserts, color illustrated and Spanish captioned, for each song. As with some of the previous EP "Vox Tinnitus", "Uncut" pairs the guests' vocals with Pavlov's precisely programmed, laptop generated chaos. "My Angel [Director's Cut]" and "Fffetish" are reinterpretations of mid '80s pop tunes, Soft Cell's "Meet Murder My Angel" and Vicious Pink's "Fetish", respectively.
On "Angel" Christopherson's (and possibly Gothard's) vocalized hums, sighs, moans, movements, watery slaps and thumps could be construed as sexual overtures more overt than anything suggested in the few lines of softly spoken/sung lyrics. "Fffetish" is as danceable as the original with driving electronic pops and hi-hat as Gothard vehemently insists "when you're near me my whole body aches" and "you are my fetish!" Thrower's "Prayer For Russell" (Moore, a gay porn actor) is more restrained and tone/drone based. His effected voice recites a barely decipherable, possibly double entendre series of lines such as "come into the waves of time" and "come beneath the waves of time". But it's Balance, unsurprisingly, who delivers the most vibrant and vigorous vocal of all. In "Health & Deficiency: Love's Septic Domain" he passionately decries the humiliation and horrors of "dirty hospitals" and daily medical methodologies: "I take 27 pills before 9 a.m. in the morning / another 35 by 9 in the evening / I have 3 intravenous injections a day / one in the thigh, two in the eye". Meanwhile, Weasel deadpans spoken lines here and there, perhaps summing it all up best with "I'm confused between sexual, murder, magick and medical ... is the difference metric or imperial? septic? fertile? furtive? or sterile?" The song reminds me of the themes explored in Coil's rendition of "Tainted Love" and the soundtrack to Derek Jarman's "Blue" and proves to be the most powerful of these cuatro canciones. Out next for COH will be a collaboration with visual artist D42 entitled "Netm√πrk" for Source Research Recordings.
 
 
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The most recent full-lengther from the English duo ISAN was released earlier this year on Morr Music in Germany. You might be familiar with their name from various remixes like the two on the Morr compilation, 'Putting the Morr Back in Morrissey' and their Seefeel remix on the Warp 10th anniversary remix disc or various other compilation appearances.
The sound is simple, blissful and serene, consisting almost entirely of analogue synth sounds and the occasional punchy Kraftwerkian percussive sounds. Many of these tunes actually remind me of those occasional songs which crept up on side B of an OMD or Depeche Mode 7" single from the 1980s. Perhaps it's an intentional tribute to those particular 3-6 minute gems that weren't the popular hits on the radio, but that personal gift those of us who were collectors got to enjoy over and over again. ISAN's not one of them deep-listening experiences that commands attention at all times, nor will you remember most of the song titles by the end of the day, however it's very effective for working on homework, reading or relaxing at the end of a hectic work day or orbiting the earth in a space station. I want a bowl of soup.
 
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