Reviews

28 April 2002

Administrator

Albums and Singles

In the dichotomy of silly versus serious that has emerged recently inelectronic music, a few artists have managed to strike a happy medium.DAT Politics is no doubt one of the most talented of these. Adding adose of subtle, cartoonish humor to their laptop-based antics issomething at which the French quartet has become particularly adept.Their goofy, but never sloppy approach is best heard in tracks like"Re-Folk", "Allo! Pepperberg", and "Nitpickers". So it strikes me asodd that on their new album (on Chicks on Speed's label, no less), theband feels the need to recruit the assistance of Blechtum fromBlechdom, Kid 606 and Matmos. The (mostly vocal) "guest appearances"these artists make on 'Plugs Plus' only makes what is otherwise ahighly entertaining and polished record, seem overcrowded. No doubttheir contributions will likely please fans of Matmos and theTigerbeat6 camp, but DAT Politics were perfectly good without whatseems a gratuitous and unnecessary push into the spotlight.

samples:

28 April 2002

Administrator

Albums and Singles

So, Paul Westerberg releases his first new album in 3 years‚Äîon indie Vagrant Records where he knows very few of his labelmates‚Äîand embarks on a small in-store tour to support it. Unfortunately, at the San Francisco show, a malicious heckler decided to spoil the fun by making loud comments throughout the set and throwing jibes at the stage whenever he could. Those who were in the audience grew increasingly impatient, and Westerberg eventually lost it, reportedly entering the crowd, grabbing the heckler, and smacking him across the mouth to teach him a lesson.He took it personally, but he still kept that punk spirit in check, not decking the man who tried to get the best of him. And that's exactly what Westerberg finally does on "Stereo": he redeems himself from the hell the music industry put him through in the most subdued way possible. Make no mistake: this is the best Paul Westerberg solo record yet. The songs are, for the most part, stripped down to Paul with his guitar, and the subject matter is perfect dark, though still with that Westerberg lyrical sneering sense of humor. It's a decidedly mellow affair for the man that fronted the Replacements (though Grandpaboy's rocking "Mono" CD is also included with "Stereo"), but what does anyone expect? He's by himself now. No big shot labels, no bandmates, just an older, wiser bar band leader who had a kid and wrote rock and roll in his basement for three years, then found a label who wanted to release it. Does he need more? Nope. Sure, it would be nice to have the Replacements reunite, or to have Paul tour with a full band, and either might happen. But the songs that have drums and bass on the record didn't need anyone but Paul, so I'd say he's doing just fine by himself, having the most fun he's ever had. Just as with the Grandpaboy record, he lets the tape run out, or guitars go flat, and the result is the same. After 'Don't Want Never' fades out, another song fades in, unlisted on the liner notes: "I say my words, I play my notes/I swear to God he learned to stand/Pray to God strike down the band." It never becomes a song, simply fading out after a repeat of the line, but it's the moment you realize Westerberg is playing for keeps. And that's all he can ask of himself, or that his fans can ask of him now.

samples:

¬†

28 April 2002

Albums and Singles

When a band loses a member or two, and the band decides to soldier onwithout them, sometimes the results can be catastrophic. There alwaysseems to be something missing, even in the smallest way, that affectsthe soundscape. In the case of Kilowatthours, who craft pop songwonders of the expansive variety, paring down the members hasn't costthem anything in the sound department. In fact, it's improved it. "TheBright Side" is Kilowatthours' second full-length, after 2000's "Strainof Positive Thinking," which the band recorded at Trevor Kampmann's(hollAnd) studio in Washington, DC. And compared to their earlier work,"Side" is just as sure, sparser than before, but wholly a step in theright direction. Vocals are more of a center piece, not blended asmuch, and there isn't an overwhelming urge for the band to loudenthings up like there seemed to be in the past. Kilowatthours still showthe propensity for "rocking out," though, as they do on several placeson the album, most notably "Last Thursday" and "Almost Airtight." Therealso seemed to be more effects on this record, which is a worthwhileaddition, and makes for some interesting backing noise. And, as always,the use of varying types of electric piano is a fantastic base forthese songs. This is just straightforward, catchy, hooky, with the headslightly cocked to the side pop. The addition of a few guests (formerband member Ryan Compton and Sonna's Jeremy deVine) creates some trulypretty moments ("The Only Good Thing About Pollution," "A How-toBook"), and the longer numbers don't disappoint, as they often can withthis genre. A great release, and a great continuation of their sound.Try it on.

samples:

28 April 2002

Administrator

Albums and Singles

A long awaited reissue attempt of Frieder Butzmann's first album from1981 is now due for release in May. Sadly, however, it's taking theform of a vinyl edition, limited to 333 copies only, whichmathematically would make it rarer than the original issue. Butzmann, aself proclaimed "spokesman of the people," more specifically of theBerlin underground, published his debut album after the famous"Waschsalon" 7" (not included here) at a time when electronic music wastaking over punk, dada and new wave replacing teenage angst. While DerPlan made fun of Düsseldorf and DAF cultivated their homoerotic machomilitary style from their London exile, Butzmann's work threw longerand more disturbing shades out of the Berlin behind the wall—not unlikeDie tödliche Doris or Minus Delta T.
Caring less for technical finesse, a raw and sometimes disturbing quality emerges here. Whilea dadaistic influence shines through in the semi-naive use ofelectronics, piano, vocals and undefined sound sources, the basic ideais always more important then the perfect realization. This approachmight explain the then-surprising guest appeareance by ex-TG memberGenesis P. Orridge in the closing track "Just Drifting / Tales OfDeath". At least this one made it recently to CD on the self-titled'90% Wasser' label compilation issued late autumn last year—a good buyon it's own actually with a wide selection of current electronica,spoken words etc.
The diversity on 'Vertrauensmann des Volkes,' is comprised mostly ofshort songs until the album reaches its dominating 9 minute piece,"Zivilisation." It's an uncomfortable amount of pressure built-up whileButzmann stands up against moral weakness and mental decay due tocomfort and ignorance. Butzmann's lyrics are well crafted and used inunconventional ways to reach intense results. "Competition and sadism /that is the German mechanism" ("Sadismus und Konkurrenz") sung withAngelika Maisch sounds like an old French tune of the golden twentiesamidts odd sounds, while the opening track "Gefluester" deals withcommunication and the passing of digital signs and numbers.The whole album should be treasured as a cornerstone of the Germanexperimental and electronic scene. I hope it will get a CD reissue(along with the preceeding single) to be enjoyed not only bycollectors.

samples:

28 April 2002

Administrator

Albums and Singles

Travelogue is Jon Sonnenberg, yet another young man who uses only analogue synths and equipment in making his simple melodic songs (and lists the specific instruments on the liner notes, of course). Travelogue's minimal tracks are amazingly well-crafted, though, and deeply rooted in Gary Numan, Fad Gadget and Kraftwerk without succumbing to the syrupy pop trap of other new synth-artists whose music shares more in common with OMD, New Order and the like.Sonnenberg doesn't have the strongest singing voice, but he does well with what he can, and sings each song very softly and intently on pitch. The eight songs are pretty varied, from the upbeat retro-tech-step of "Rust and Reason" to the dark and experimental (for synth-pop at least) seven-minute epic "Conversation" to the crystalline waltz "Overcome." "Your Car" is the obvious hit, but almost all the songs are catchy enough to get stuck in your head, without being too annoying. The drumbeats that Sonnenberg creates are subdued and tasteful and he never lets them get the better of the melody. The only real problem song is the closer, "Cactus," an ersatz cowboy number that doesn't fit in with the feel of the rest of the album. The album is on Plastiq Musiq, the label run by Joy Electric's Ronnie Martin, and yes, the lyrics do have Christian undertones. But the lyrics never border on being preachy, and in fact are fairly cryptic; in some cases it's hard to tell if Sonnenberg is singing a love song to a girl or to God. You probably wouldn't even notice the religious themes unless you read the lyric sheet (but maybe that's the intent). If the Christian aspect of Travelogue scares you away from the album, you're a fool, because musically it's one of the most enjoyable and original albums in the retro-synth vein that's come out in recent months.

samples:

¬†

28 April 2002

Administrator

Albums and Singles

The longer it goes on, the weirder it gets, and then it tames itself.You see, this is not the Cerberus Shoal you're used to. It has some ofthe same elements, that's true, such as the horns and jazz structureswith moments of ambient drone and beauty. But this is a bit different.Scratch that. A lotdifferent. This time around, Cerberus Shoal have gone the moreimprovisational route, abandoning structure as it is commonly known fora bit wilder, more chaotic, jumbled noise of a sound. Yes, it does spantwo CDs. Yes, it is genuine. Yes, it is meant to be this way. And yes,it is good. But I miss the more tame Cerberus Shoal. Don't mistake: therecord does have structure in places—'Nataraja,' though a bitmonotonous around the middle, is a highlight—and the two separate discsare different thematically; which is why, though the release could fiton one CD, they are separated. It just sounds like Cerberus Shoalstarted with basic layers, and then let their minds and instruments gowild, and pulling out the stops between their influences. The resultsare mixed. It's certainly more experimental than anything they'vereleased before, and it's good for the band to escape their usualconfines and stretch. But most moments on the first disc do more topush away than invite. The annoying repition that opens 'Stumblin'Block' is not forgiven by that tracks middle or end; the chimingbeginning and vocalized middle of 'Camel Bell' are blown away by theinstrumentation of the track; and the struggling Middle Eastern vocalstylings of 'Tongue Drongue' go on far two long before its climaxredeems it. The first disc feels like Cerberus Shoal meets Fantomas.That's why the second disc is here to save the first's bacon. That'sright, the second disc of "Mr. Boy Dog" is fantastic. From the firstminute of 'Unmarked Boxes,' you recognize the sound. This is moretraditional Cerberus Shoal with gentle experimentation and interestingsamples. And that's where it comes together nicely. Rhythmically,melodically, and vocally superior, these tracks are truly moving intheir beauty. There is a nice separation between the two discs.Ultimately, I prefer the second, but I'm glad the band tries as they doon the first. I'm sure that's part of what makes the second soappealing.

samples:

28 April 2002

Administrator

Albums and Singles

The three post-goth Bowie-obsessed acid-dropping ex-Bauhaus hippies known as Love and Rockets released a couple of my favorite albums of the 1980s. Now that the back catalogue has fallen out of RCA's clutches and back into the hands of Beggars Banquet, the first few albums have been remastered and reissued in expanded forms with bonus tracks and more complete booklets. Unlike the original CD releases, the original running order of the LPs have been restored with bonus tracks tagged on at the end as opposed to interspersed among the album tracks.

Beggars Banquet

'Seventh Dream of Teenage Heaven' came out only two years after the release of the final Bauhaus record, following side projects like Sinister Ducks (with David J) and Tones on Tail (with Daniel Ash and Kevin Haskins) and showcased a trio of seasoned musicians, with two strong singer/songwriters, heavily influenced by psychedelia, with a stunningly professional execution and original approaches to production. In its original form, the album consisted of seven tracks, opening with the hypnotic drum machine-enhanced single "If There's a Heaven Above", followed by a dark, acoustic, psychedelic world with classics like the heavily distorted "Dog End of a Day Gone By," "Haunted when the Minutes Drag," which was used in that 'She's Having a Baby' film with Kevin Bacon, and ending on the glorious instrumental acoustic gem, "Saudade," which could easily be one of my favorite Love and Rockets tracks ever. While this Bonus tracks on this edition is impeccably complete, with the inclusion of "Ball of Confusion" and "Insde the Outside," and an alternate version of "Haunted," it includes way too many versions of "If There's A Heaven Above."

'Express' saw the group move into more vigorous territories, opening with the two multi-part tracks "It Could be Sunshine," and "Khundalini Express." This LP was their first US breakthrough, with the rock radio-friendly minor hit "All in My Mind" and the barrelling "Yin and Yang (the flowerpot man)," which probably was the biggest crowd-pleaser for years at Love and Rockets concerts. Bonus tracks include songs that were originally on singles and the original CD release like "Angels and Devils," "Holiday on the Moon," and a version of "Ball of Confusion" which was on the original US LP edition along with a couple pointless 1+ minute tunes titled "B Side #1 & #2." The trio may have experienced bigger international hits on later albums but they never experienced such a flood of saucy, creative, original ideas as they did on 'Express.'

samples:

28 April 2002

Administrator

Albums and Singles

When a band loses a member or two, and the band decides to soldier onwithout them, sometimes the results can be catastrophic. There alwaysseems to be something missing, even in the smallest way, that affectsthe soundscape. In the case of Kilowatthours, who craft pop songwonders of the expansive variety, paring down the members hasn't costthem anything in the sound department. In fact, it's improved it. "TheBright Side" is Kilowatthours' second full-length, after 2000's "Strainof Positive Thinking," which the band recorded at Trevor Kampmann's(hollAnd) studio in Washington, DC. And compared to their earlier work,"Side" is just as sure, sparser than before, but wholly a step in theright direction. Vocals are more of a center piece, not blended asmuch, and there isn't an overwhelming urge for the band to loudenthings up like there seemed to be in the past. Kilowatthours still showthe propensity for "rocking out," though, as they do on several placeson the album, most notably "Last Thursday" and "Almost Airtight." Therealso seemed to be more effects on this record, which is a worthwhileaddition, and makes for some interesting backing noise. And, as always,the use of varying types of electric piano is a fantastic base forthese songs. This is just straightforward, catchy, hooky, with the headslightly cocked to the side pop. The addition of a few guests (formerband member Ryan Compton and Sonna's Jeremy deVine) creates some trulypretty moments ("The Only Good Thing About Pollution," "A How-toBook"), and the longer numbers don't disappoint, as they often can withthis genre. A great release, and a great continuation of their sound.Try it on.

samples:

27 April 2002

Administrator

Albums and Singles

Fromthe box of freebies often comes the most interesting and challengingsurprises. This one is particularly enigmatic: no artist info, no titleand no track titles (some e-sleuthing revealed three: 'Juunigatsu','Koutetsukan', 'Makugine'). Just a four track, 16 minute CD-R with b/winsert photo of a rocky stream. Ah, but the music is far from tranquil.It's more befitting of an industrial wasteland. Molten masses ofoverdriven sound are forged to cantankerous rhythmic clangor andglitches. It's blistering and menacing alright but also near melodicand even ambient at times. Hitohana has meticulously placed and shapedthe debris into noisy songs. The third track offers the first and lastrespite by abruptly flipping the on/off switch on the din, deceivingthough as discharges continue to erupt and the noise ultimately returnsfor its revenge. Powerful stuff.

samples:

21 April 2002

Administrator

Albums and Singles

Following the "12 Times You" 7", on which Colin Newman remixed liverecordings of Wire playing that little old number "12XU" infast'n'furious cut'n'paste fashion, our swimmers found the stroke fortheir third length. This six song EP marks the first fruits of a newkind of R'n'B, but joking aside Wire sound like they're splitting theirsides over the "Everybody Loves a History" idea, smashing their historyto bits and glueing it back together in new shapes. Or maybe theyreally had to hark right back to the simplest forms because they'dalmost forgotten how to play guitars and so here and there it soundslike they're reincarnating their debut album 'Pink Flag' in a precisecomputer studio cut up frenzy. Imagine various cuts from 'Pink Flag'given the manic makeover the way they gave "Our Swimmer" a "SecondLength" and you'll begin to make out the shapes emerging here.Lyrically a lot of this could be read as Wire commenting on their musicand existation, especially the superbly titled opening salvo "In theArt of Stopping" which could be seen as a manifesto of sorts, after allWire have stopped a couple of times before. After a snare tap Colinslurs the verse, "Trust me, believe me" (which could hail from any oldpiece of pappy pop - but hang on, maybe he's actually singing "Tryspeed") and then rises to a stop as he hollers, "It's all in the art ofstopping" (you'd be hard pushed to find any other band with a lyriclike that). His delivery is vaguely reminiscent of "Once is Enough" butseems sillier, especially when he starts braying like a disgruntledmule, and the track also appropriatelt recalls the jabbering "CheekingTongues." Meanwhile spindley Gilbert guitars spit harsh circles andsome comical morphed backing vocals really lift the track off thetracks. The whole thing gets crunched down into an infinitessimalshrunken hard chip blurt before the whole caboodle rushes back, poweredalong by the relentless mono rhythmic crack of Robert's reawakenedsnare that went to bed. Rock bluster is dissolved into techno tricks,and even tiny shards of glitch have been worked so subtley into the mixyou hardly notice at first. The incredibly uplifting rush of energyfrom "Germ Ship" is even more exciting. It sounds like a bastardisationof "Pink Flag" and "The Commercial" but given a high octane refueling,and the guitars ignite. This tune was debuted at their Edinburgh gigthat saw off the twentieth century, with Newman and Lewis bothobstreperously hollering their fatal attractions, but here Lewis hasgone quiet and Colin is hushed to a whisper until the end when heshouts out the title to end it in 21st century digipunk style. Thesetwo tracks have ensured constant rotation. Whilst the rest of the EP isgood fun musically, I'm not so convinced that it's going to add up tomuch more than good fun, but its early days and Wire recordings veryoften reveal hidden depths with later plays. The "Surgeon's Girl"ending for "1st Fast," the "Comet" chorus about the chorus going "Ba baba bang," and that track's very retro 'Pink Flag' album feel seemedalmost smugly self referential at first, but the detail and humour havewon out in the end. Maybe the most mashed future-past meltdown is "IDon't Understand" which reinvents "Ally In Exile" with "An Advantage inHeight" via two chord "Lowdown" funk with the great opening couplet"Over the edge / Under an illusion." Lewis steps up to the mic for thelast track "Agfers of Kodack" and sounds as if he's just swum all theway from Sweden to sing it, or maybe he's been torching the sand in hisjoints. It sounds oddly as if it could be a drastic reworking orforerunner of "In The Art of Stopping," and is probably as close toheavy metal as Wire have ever stepped. With this EP Wire have in asense cast aside progression in favour of temporal corruption. Like theFall and Sonic Youth, they seem to be moving outside of linear time andzapping back and forth throughout their own universe. Perhaps whenprogressive rock bands amass a certain musical critical mass theycollapse like suns into black holes that turn time into space. If soWire are creating intense gravitational pull and inspiring their mostpretentious reviews yet. -

samples: