 |
|
pole, "90/90"
Mute
A few weeks backs, I reviewed Pole's 45/45EP, the first in Stefan Betke's new trinity of releases, and myskepticism was thinly veiled. The addition of percussion andtraditional instrumentation to the once purist minimal dub style thathe helped pioneer left a question on my tongue: Would Pole still berelevant if he sounded like everyone else? Like many influentialmusicians before him, Pole may have released his best work already, andis progressing into the next phase of his career: where grumpy musicgeeks criticize every new release using as many hackneyed clichephrases as possible. More often than not, those music geeks make validpoints and the introduction of spoken word / rap has sealed Betke'sfate in the music press. The hip hop flavored "Slow Motion" featuresFat Jon over a head-nodding groove that will please backpackers andokayplayers, but will undoubtedly alienate those hoping for more of hisglitchy dub. Fortunately, the instrumental version offers some reliefand bears more of a resemblance to his earlier work, despite theprominent drum loop. In an act of self-indulgent excess, the disccloses with an acapella version that you can alternatively play overthe older Pole songs that you'd rather hear. In the midst of all thisis "I Can't Hear," a woefully bad hybrid of Pole's new fuller soundwith John Zorn styled saxophone flatulence. Ultimately, all of thesequasi-intelligent vocals and paint-by-numbers beats presented here setsthe mood for what promises to be a letdown of a new full-length album.I haven't had the heart to disappoint myself fully by listening to theadvance copy of the CD that I've had now for weeks.
A few weeks backs, I reviewed Pole's 45/45EP, the first in Stefan Betke's new trinity of releases, and myskepticism was thinly veiled. The addition of percussion andtraditional instrumentation to the once purist minimal dub style thathe helped pioneer left a question on my tongue: Would Pole still berelevant if he sounded like everyone else? Like many influentialmusicians before him, Pole may have released his best work already, andis progressing into the next phase of his career: where grumpy musicgeeks criticize every new release using as many hackneyed clichephrases as possible. More often than not, those music geeks make validpoints and the introduction of spoken word / rap has sealed Betke'sfate in the music press. The hip hop flavored "Slow Motion" featuresFat Jon over a head-nodding groove that will please backpackers andokayplayers, but will undoubtedly alienate those hoping for more of hisglitchy dub. Fortunately, the instrumental version offers some reliefand bears more of a resemblance to his earlier work, despite theprominent drum loop. In an act of self-indulgent excess, the disccloses with an acapella version that you can alternatively play overthe older Pole songs that you'd rather hear. In the midst of all thisis "I Can't Hear," a woefully bad hybrid of Pole's new fuller soundwith John Zorn styled saxophone flatulence. Ultimately, all of thesequasi-intelligent vocals and paint-by-numbers beats presented here setsthe mood for what promises to be a letdown of a new full-length album.I haven't had the heart to disappoint myself fully by listening to theadvance copy of the CD that I've had now for weeks.
