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Iceland's Kitchen Motors label has been unifying and challengingdifferent artists with their commendable Motorlab series, this beingthe 3rd installment. They approached Adamson and Pan Sonic to compose avocal piece for Iceland's HljÑmeyki choir and that they did this pastApril in Reykjavik. For about 12 and 1/2 minutes, "The Hymn of the 7thIllusion" aimlessly treks through windy terrain, simple vocal 'ahhhs'and bass reverberations being somewhat of a guiding light. It's aminimal bore that never achieves any sort of tension or serves any sortof purpose. After a silent 24 second interlude, an even more dull 23minute glitchified remix by The Hafler Trio only adds insult to injury.A tremendous waste of potential all around that doesn't even begin totap the talents of those involved. Me, I semi-patiently continue towait for the new Adamson album, "Nothing Hill", due out early next year.
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- A Grape Dope - Kyoshi's Pop
- Samadha Trio - Amidha
- John Hughes - Street Song (Savath + Savalas remix)
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Cheap sounding drum boxes, syn-drum effects, synthetics that don'tpretend to be anything else but a synthesizer, minimal sequencer linesand the deadpan vocals of Caroline Herve make up a charming differenceto all the 'greatest hits' stuff everyone gets confronted with toooften from that period.
The irony in the lyrics and song titles like "1982", "Frank Sinatra" or"DJ Song" makes it more believable this French duo took a sidestep fromcurrent music to follow their obsessions. The result is a sleazy newwave disco tech noir album, danceable, enjoyable and if you get thedrift - nearly pnotizing.
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Most of this has the aura of Mego-like laptop feuds, and Pita of Megois present and incorrect. Sometimes Jazzkammer gets cranked up to fullon aural assault, at others it crackles away to itself in thebackground. Perhaps the most curious of the Norwegian tracks is thesilly 'I Hate Cars (Super Chicken Floppy Willy in a PPP Swimsuit)' fromMaja S.K. Ratkje during which she splices up maniacal laughter withgrinding soundcard flotsam and rapid peak and trough tough noise edits.It rises to a succinctly effective crescendo that puts the more wellknown noiseniks in the shade.
Latterly TV Pow slowly builds up subtle eerie drones under a canopy ofgrasshopper leg crackle, until suddenly the hum shifts to theforeground. JÀrgen Traeen changes the mood with a rapid cut up'Dupermix' which stutters and splurts like clipped mute firecrackers.
Two tracks stand out a mile from the rest. The closing epic of slowseeping high tones and stretched glitch pitches from Francisco LÑpez isthe most involving, evolving and enjoyable thing I've heard from him,and if there aren't recordings of icey winds howling on this then itreally is even more uncanny in its glacial eeriness. The similarlyreflective deep droner from Argentinian trio Reynols is beautifullyassured enough to have me keeping an ear out for them in future.Towards the end of it some indecipherable vocal noises are prettyunsettling, sounding like some struggling lost soul trapped in themachine.
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- I Don't Want it to Go That Far (Jazzkammer)
- Freemix Norwave (Thurston Moore)
- I Hate Cars (Maja Sk Ratkje)
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The groups' names might not be instantly familiar to you, but severalof the players should be. The percussive noise trio Gray is actuallypainter Jean-Michel Basquiat and early hip-hop promoter Michael Holman.The electro-funk blast of the Del/Byzanteens was led by future director(and member of John Lurie's Lounge Lizards) Jim Jarmusch. Industrialnoises and proto-hip-hop collide on a track by graffitti artistRammellzee and Death Comet Crew, aka filmmaker and future creator ofclub hit "The Dominatrix Sleeps Tonight" Stuart Argabright. A song bythe writer Vivien Goldman includes contributions from improvisingpianist Steve Beresford and PiL guitarist Keith Levene. Of particularnote is the sexy-as-hell "If I Gave You A Party" by the approriatelynamed Sexual Harassment, which calls to mind the Manchester industrialstreet-party sound of A Certain Ratio. Every track on the CD's firsthalf is remarkable, a fantastic portrait of the dancier facet of NoWave NY. At the time that these bands existed, reactionaries decriedthe invasion of an "art school" element into DIY punk rock, but historymore than bears these folks out as fearless and creative musicians. NewYork must have been an exiting place then!
However (here it comes): the disc includes only one song by each of theseven bands, and then (note the last few words of the albumconspicuously lengthy title) five remixes by contemporary producers.The remixes seem to imply a connection between the early 80s scene thatthe CD documents and current house music and techno. Whether or notthis is a valid point being made by the compilers (it may well be), theeffect as a complete album is jarring, unnecessary, and notparticularly illuminating. First of all, the mixes (by Funkstorung,Paul Mogg, and others) are dull compared to the originals. Second, thegeneological line that I assume is being drawn would have been far moreeffective by an essay or two. Instead, I'm left wishing that anadditional tune by each group was present, rather than the superfuous(and by now clich³) remixes. It seems as if "Anti NY" wants to be twothings at once, both a document and a tribute. By presenting not enoughdocument and a half-assed tribute, it fall short of both. www.gomma.de
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- I Want Some Fun (with Jay Jay Johanson)
- Salt (with Beans)
- Humanity (A Guy Called Gerald feat. Louise Rhodes)
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