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I cannot make heads or tails of Stefan Betke anymore. Completely removed from the original color-coded trilogy that helped define the digi-dub sound, his latest indistinct album of moody experimental electronica lacks the spark of his past classics, landing the artist among a glut of current producers operating in the same post-IDM doldrums.
The latest untitled work from Francisco Lopez takes sound effects from Hollywood blockbusters as its source material. Generally, I prefer the live albums of Lopez over the studio recordings, and this one, despite the intriguing concept, doesn't go very far toward changing that opinion.
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This first album by John Twells, aka Xela, has never sounded better. Reissued and remastered with a couple of bonus tracks, his fusion of beats and atmospherics are like delicate landscapes observed through the windows of a passing train, pristine environments admirable for their untouched beauty.
The Hair Police side of this split c30 (apparently it's out on CD too) release sounds like it was recorded at the demolition of a shipyard. The clank of anchor chains barely heard over the almost identifiable charred runs up and down feedback scales. The thing is, the Hair Police Halloween show never happened.
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It's almost as if Trans Am are trying to sneak something by all of us with their latest release. Sex Change doesn't come pre-packaged with some elaborate theme wrapped in an unclear fantasy/reality plot, and that's actually a good thing. For probably the first time since Surrender to the Night, Trans Am are simply a rock band of three guys who like to have fun making fun music.