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![](http://www.brainwashed.com/brain/images/chickskreidler.jpg)
The opener is probably my fave track on the disc, noted as "Polar Love," I think it's actually, "Sliding Down Your Rib Cage" as the girls graphically describe close, intimate experiences up against a distincly Kreidler low-cool moving tune. The third track, "Frequent Flyer Lounge Song" is perhaps the most irritating original song on here with the overrepetition of "dance music, dance music, dance music" completely ruining the track. The last song will surely make a number of people severely hate them, as both Kreidler and the Chicks horribly sing on a cover of Nick Cave's "Where the Wild Roses Grow." Their singing voices are so incredibly unbearable at this point, the 17+ minute disc can't end soon enough. While I'm a fan of both Kreidler and Chicks, their styles seem somewhat mismatched, almost like the Freddie Mercury/Monsterrat Caballie catastrophe. For me, the Chicks seem to sound most natural with thumpy bass, tacky keyboards and dancefloor parody, not necessarily introspective popcorn beats and timid sounds. Fear the video component as the included software "PROJEKTOR" will most certainly crash any non-German PC.
samples:
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- Rob Devlin
- Albums and Singles
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samples:
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- Graeme Rowland
- Albums and Singles
![](http://www.brainwashed.com/brain/images/colemanzuihitsu.jpg)
Although the album is made up of fifteen tracks with variouscombinations of improvisers, with only the theremin constantthroughout, the album merges seamlessly into a whole which could easilyhave been one long session. The final track "Released to the Stars"brings a low key resolution with Rawlings droning cello underpinningTonne's choking ululations which seem to suggest death and rebirth asthe sounds dissolve to silence.
The sleeve is a an imaginitively elegant affair which allows thelistener to choose one of three covers featuring different abstractoriental style art under tracing paper and quotes from William Blake,Kimo no Chomei or Elizabeth Millard. The quotes are spirituallysuggestive and compliment the intent of the music neatly. -
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- Mark Weddle
- Albums and Singles
- Mark Weddle
- Albums and Singles
![](http://www.brainwashed.com/brain/images/white.gif)
samples:
- Alva Noto - Prototypes
- Byetone - 1 SQRT 2
- Komet - Mond
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- Rob Devlin
- Albums and Singles
![](http://www.brainwashed.com/brain/images/certaingeneralintroduction.jpg)
samples from Dead Rabbit Gang:
samples from Savage Young Generals:
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- Graeme Rowland
- Albums and Singles
![](http://www.brainwashed.com/brain/images/faustfreispiel.jpg)
Surgeon builds a slow guttural whirlpool vortex of sound that cuts deadfor vocal sample snippets and is one of the few tracks that soundsunmistakably Faustian, being perhaps the only track that looks the darkapocalyptic heart of 'Ravvivando' right in the eye. Now that heart hasmany eyes all peering at different angles. Other remixers which spy themost sympathetic views of Faust's drum driven behemoth are the lastthree: the Residents, Dax and Pieper and Dead Voices On Air. It'stelling that there are three very different tracks assembled from thesolo organ spot "Carousel II." Adriano Lanzi and Omar Sodano seem tomix in chunks of noise from other parts of 'Ravvivando' and leave alarge part of the organ motif untouched, icing the cake as opposed tothe full scale retooling of most mixes. Trillian approaches the sametrack by homing in on one fragment of its fairground feel, whilstSunroof take it on a low key stuttering cut up ambient loop trip. HowieB also opens out the hidden ambient side of Faust, making "Four PlusSeven Means Eleven" sound like an out take from Immersion's 'LowImpact,' pinging harmonising close ups of electron drones off of atoms.This is perhaps the album's most beautiful mix, although Dead Voices OnAir give Howie some competition on that score. Dax and Pieper's take on"Four Plus Seven Means Eleven" is almost the opposite, stompinghyper-beats into focused spiralling mania. The Residents countdown toignition with a rocket lift off that brings the circus to town in awarped vaudeville machine chrome showtune that made me grab the sleeveto find out who it was the first time I played the disc. That rocketblast is really the closest anyone comes to the sheer power of Faust infull flight, but whether this arose from Residents knowing cheekycleverness or is just coincidence is moot. Dax and Pieper sound almostlike they've remixed the Residents, even though they take on anothertrack, as they follow the mood so perfectly. This is another strengthof "Freispiel" - these mixes haven't just been slung together but itsounds like Faust keyboard player Hans Joachim Irmler, who is creditedwith production, spent a while making sure the sequencing flowedperfectly as an album. Dead Voices On Air summon the perfect mood toclose 'Freispiel' accenting the intact hopefulness of "Du Weisst Schon"with slowed mammoth clomp drums. Don't let memories of all thedeadweight on the Can 'Sacrilege' remixes put you off - this isactually that rare thing, a remix project without duff tracks. Thenagain perhaps that isn't so surprising as the only album I can think ofto have a remix album made from it which is on a par with the colossalmajesty of 'Ravvivando' is Ground Zero's 'Consume Red.' -
- There are downloads of the Residents, Howie B, Kreidler and Mathias Schaffhäuser remixes at freispiel.com.
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- Mark Weddle
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samples:
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- Jessica Tibbits
- Albums and Singles
I must admit that although I consider myself a big fan of Laub, I was a bit put off by the title of their latest release, which initially seemed like just another electronic artist's gratuitous nod to trendy internet jargon. Upon further investigation, however, I learned that Antye Greie-Fuchs and Jotka, who comprise Laub, actually created most of the album in separate locations, infrequently together. Taking this into consideration, 'Filesharing' makes more sense as a title.
Musically, it is as impressive as Laub's two previous albums: Antye's smooth vocals at first seem a vivid contrast to the jagged, stripped-down beats. Interestingly, a clean starkness, almost to the point of sterility, pervades this release, which has heretofore not been present in their work. This quality is even reflected in the album artwork, which pictures severe, sanitized portraits of the duo dressed in white on a white background. It is without doubt that the vocal stylings of Antye are the centerpiece of 'Filesharing', and thanks to this antiseptic approach, their subtlety can be fully appreciated. She runs the gamut from balladry (on the lovely "Wortspur") to exhibiting a heavy rap influence (on "Getriebe" and "Morgen"). Something for which I have always greatly respected Laub is their insistence on using their native German tongue in their music; whether or not it is comprehensible to the listener becomes irrelevant on account of the way the rhythms inherent in the language compliment the band musically. As a bonus, 'Filesharing' contains a CD-rom track which includes photos, discography and English translations of the lyrics (for those who can't bear not knowing what they mean). The really exciting addition, however, is the inclusion of audio file samples of several individual loops from each of the songs. Laub notes that their intent in providing these is so each listener may engage in some filesharing of her own. -
samples:
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samples:
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