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Simply Saucer, "Cyborgs Revisited"
Sonic Unyon
"This is some heavy metalloid music," declared Edgar Breau as he lookedout from the roof of the Lloyd D. Jackson Shopping Center one day in1975. "It's a song about the future, where unless you have a metalbody, they aren't gonna let you walk the streets. No kidding." To thepassing, most likely confused consumers that milled about below them,Simply Saucer must have seemed as if they had truly come from someparanoid, metallic future. In reality, they were a bunch of guys fromHamilton, Ontario who had Funhouse and White Light / White Heatscorched into their brains, plus a prescient affinity for dirty guitarsand electronic manipulations. Over the course of their brief existence,Simply Saucer put out only one release, 1978's "She's a Dog" b/w "I CanChange My Mind" 45. That is, until 1989 saw the first issue of the Cyborgs RevisitedLP, a compilation that combined the songs from their mall performancewith six never before heard studio tracks (engineered by fellowCanadians Daniel and Robert Lanois, who went on to produce PeterGabriel, Bob Dylan, and U2.) Cyborgs only saw the Simply Saucercult grow, and for good reason. Now, Sonic Unyon rescues this lostclassic from out of print oblivion, as well as adding seven unreleaseddemos plus the "She's a Dog" single. The result is a comprehensivetestament to the brilliance of Simply Saucer's blend of vicious guitarslop and experimentation with analog electronics. Songs like "InstantPleasure" and "Electro Rock" begin as simple odes of teenage crushesand idle imagination before disintegrating into maelstroms of freneticguitar. The noisy, angular indulgence becomes draws even closer toabstraction when sine waves and synthesizers float in, creating a murkyatmosphere that's equal parts temper tantrum and icy stare. The garagestandard of the sexually frustrated teen, a la the Stooges "No Fun"takes on a less than innocent tone with Simply Saucer. "I'm cyanideover you," moans Breau on "Nazi Apocalypse," and later on the new demo"Little Sally," he menacingly bursts open on a rival, "I wanna killthat other guy / I'll punch him right between the eyes." "Mole Machine"is an instrumental assault whose bleats of sharp, metallic noise wouldnot sound out of place on a Sonic Youth record. The climax of Cyborgs Revisitedcomes with "Illegal Bodies," the song Breau described as heavymetalloid music. It is a live ten-minute epic that careens aboutBreau's ranting and raving about the future of cyborgs before eruptinginto a free form solo section that is positively mind bending. Theseven songs that make up the newly released demos were recorded afterthe departure of Ping Romany's electronics, and are far less maddenedthan the previous tracks. They do, however, retain the attitude andcharm, and make for an excellent addendum to Cyborgs. The"She's a Dog" single, while good for completeness, falls far short ofthe bulk of Simply Saucers material, serving as the last gasp of a bandthat had already begun to call it a night. It's a minor stumble on anotherwise solid career-spanning document. Cyborgs Revisited is the aural equivalent of a paranoid delusion, a psychotic episode that clutches tightly until it shakes itself apart.
"This is some heavy metalloid music," declared Edgar Breau as he lookedout from the roof of the Lloyd D. Jackson Shopping Center one day in1975. "It's a song about the future, where unless you have a metalbody, they aren't gonna let you walk the streets. No kidding." To thepassing, most likely confused consumers that milled about below them,Simply Saucer must have seemed as if they had truly come from someparanoid, metallic future. In reality, they were a bunch of guys fromHamilton, Ontario who had Funhouse and White Light / White Heatscorched into their brains, plus a prescient affinity for dirty guitarsand electronic manipulations. Over the course of their brief existence,Simply Saucer put out only one release, 1978's "She's a Dog" b/w "I CanChange My Mind" 45. That is, until 1989 saw the first issue of the Cyborgs RevisitedLP, a compilation that combined the songs from their mall performancewith six never before heard studio tracks (engineered by fellowCanadians Daniel and Robert Lanois, who went on to produce PeterGabriel, Bob Dylan, and U2.) Cyborgs only saw the Simply Saucercult grow, and for good reason. Now, Sonic Unyon rescues this lostclassic from out of print oblivion, as well as adding seven unreleaseddemos plus the "She's a Dog" single. The result is a comprehensivetestament to the brilliance of Simply Saucer's blend of vicious guitarslop and experimentation with analog electronics. Songs like "InstantPleasure" and "Electro Rock" begin as simple odes of teenage crushesand idle imagination before disintegrating into maelstroms of freneticguitar. The noisy, angular indulgence becomes draws even closer toabstraction when sine waves and synthesizers float in, creating a murkyatmosphere that's equal parts temper tantrum and icy stare. The garagestandard of the sexually frustrated teen, a la the Stooges "No Fun"takes on a less than innocent tone with Simply Saucer. "I'm cyanideover you," moans Breau on "Nazi Apocalypse," and later on the new demo"Little Sally," he menacingly bursts open on a rival, "I wanna killthat other guy / I'll punch him right between the eyes." "Mole Machine"is an instrumental assault whose bleats of sharp, metallic noise wouldnot sound out of place on a Sonic Youth record. The climax of Cyborgs Revisitedcomes with "Illegal Bodies," the song Breau described as heavymetalloid music. It is a live ten-minute epic that careens aboutBreau's ranting and raving about the future of cyborgs before eruptinginto a free form solo section that is positively mind bending. Theseven songs that make up the newly released demos were recorded afterthe departure of Ping Romany's electronics, and are far less maddenedthan the previous tracks. They do, however, retain the attitude andcharm, and make for an excellent addendum to Cyborgs. The"She's a Dog" single, while good for completeness, falls far short ofthe bulk of Simply Saucers material, serving as the last gasp of a bandthat had already begun to call it a night. It's a minor stumble on anotherwise solid career-spanning document. Cyborgs Revisited is the aural equivalent of a paranoid delusion, a psychotic episode that clutches tightly until it shakes itself apart.
