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Released just a few months after the rigid 10th, Nobukazu Takemura's newest is an adventure in minimalism that is as restorative as a long vacation taken after going too long without a break. Too often have I heard sound collages that seem to go nowhere; they simply run about in circles covering the same old ground for the duration of fifteen or twenty minutes or more. Thankfully, Assembler/Assembler 2 is about as predictable as a piano falling out of a building.
Tenney was the first composer to give a real workout to the computer composition techniques that would dominate the computer music scene from the 60s through to the 90s and that are still widely used today. He did this during two and a half years at Bell Telephone Labs beginning 1961 working closely with Max Mathews, the inventor of the MUSIC series of programming environments.
The fittingly but awkwardly titled Pre-2000 Singles and Comp Tracks Part Onebrings the listener back to Flowchart's earliest days, starting withthe first 7" recorded by the trio of O'Neal, Brodie Budd and CraigBottel and released in 1994 under the name Heroine. "High Phidelity"features the single-note guitar riffing and droning organ that led tothe Stereolab comparisons that dogged them for the next couple ofyears, while "Pronoun-U" is a noise-pop gem with an unmistakable MyBloody Valentine vibe. A name change to Flowchart quickly followed, asdid a slew of singles and compilation appearances, with the majority ofthose from 1994 to 1996 featured on this volume. Most of these werewritten and recorded by the original trio, with the work of thatline-up fitting pretty comfortably into the mid-90s space-rock andshoegazer cubbyholes, and generally comparing favorably to most othersimilarly minded artists from that time frame such as Stereolab, Fuxaand Windy & Carl. Around the two-thirds mark of the disc, we hitthe point where the group became a solo project for O'Neal, and thesound starts to vary considerably, ranging from twee guitar pop tonaïve stabs at atmospheric electronica. The set is wrapped up nicelywith an echo-laden cover version of The Sundays' "Here's Where TheStory Ends."
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An ideal appendix/companion to the first Pre-2000 volume is Evergreen Noise Is Flexible/The Spirit of Kenny G,a disc that brings together two EPs that were originally released in1996 on either side of the membership shake-up. Evergreen features fourdrone-rock tracks from the O'Neal/Budd/Bottel trio (joined on twotracks by Bill Nace), and the 12-minute title track holds an especiallystrong whiff of mid-90s Stereolab with its hypnotic guitar line,motorik drum rhythms, waves of moody organ and synth, and breathyvocals that are barely discernable beneath the swirling instrumentaldin. The point on this disc where Evergreen ends and the Kenny Gmaterial begins is an easy one to spot, as the second EP kicks of witha funky, "Theme From Shaft"-style guitar riff and clear baritone vocalsintoning the strange statement "And I write my diary / In the spirit ofKenny G." Like the later tracks on the Part One anthology, this wesbasically a Sean O'Neal solo record, and the five tracks veer in toneand style from the punchy "E-Flare Pop" (a pretty humorous ode to goingto a rave and tripping on a combination of Ecstasy and Vapo-Rub) to theatmospheric ambient-drone of "Glorious and Prosperous" and "DrunkenMini-Musik."
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The third CD in this retrospective trilogy is Pre-2000 Singles and CompTracks Part Two,a disc that gathers widely scattered tracks from 1997 to 1999. Thefirst two tracks provide a solid link to the previous volume. "RainbowHotel" is a quirky pop number recorded with a full band and "BasementNoise is Flexible" is a somewhat fractured sounding outtake from thegroup's original line-up. Things change considerably from track threeonwards, as O'Neal is joined by new partner Erin Anderson and theguitars are pretty much abandoned in exchange for electronics andsamples. At first, the naïve melodies and repetitive vocal samples thatappear on the bulk of these tracks are cute and fun, but the formulasoon wears thin, and "cute and fun" quickly becomes "trite andannoying". They were probably fine when they were taken in small dosesas 7" singles and compilation appearances, but 45 minutes of tracksthat are so simple and saccharine is just too much to take at once.Thankfully, the "cute-tronica" mold is broken towards the end of thedisc with a couple of pieces that are very ambient and atmospheric intone, setting the stage for the more satisfying sounds that Flowcharthas been responsible for from the year 2000 forward.
As an introduction to the music of Dirk Dresselhaus, this EP doesn't work so well. The music is whimsical and entertaining, but out of the six songs that make up 6 Peace, three are remixes and one is the original version of "Reality Check" from the Zoomer album. The two videos that are included on this CD ("Frogtoise" and "Reality Check") can be found online at Schneider TM's website along with two free songs. If it's an introduction that is needed, Schneider TM's website is the place to go.