Genesungswerk
This EP is one of my favorite releases of 2002 so far. "Shanghai" is amonster shanty with a hypnotic desert groove. Heavy bass-lines arepaired with dead-pan vocals in a timeless electronic frame. The lyricsare about sailors without pity, capturing the innocent, lonely and lostwhile the harbor theme is omnipresent the whole duration of thisrelease. The title track is featured twice - over 9 minutes long on theA Side and in a shorter version which differs only slightly. The track"Valse Brute" is actually an instrumental waltz, pushing the seaman'satmosphere with an massive accordion melody even further while"Pasteuse Elegiaque" is more a chill-out ambient piece for the veryearly morning hours after a night out when all else are asleep.Kallabris have musical craftsmanship, artistic vision and a sense offinding the balance between humor, entertainment and melancholy thatmakes them rather unique.As the first release I heard by them I think they're definitively oneof the most outstanding acts of current German music and not to miss.
This EP is one of my favorite releases of 2002 so far. "Shanghai" is amonster shanty with a hypnotic desert groove. Heavy bass-lines arepaired with dead-pan vocals in a timeless electronic frame. The lyricsare about sailors without pity, capturing the innocent, lonely and lostwhile the harbor theme is omnipresent the whole duration of thisrelease. The title track is featured twice - over 9 minutes long on theA Side and in a shorter version which differs only slightly. The track"Valse Brute" is actually an instrumental waltz, pushing the seaman'satmosphere with an massive accordion melody even further while"Pasteuse Elegiaque" is more a chill-out ambient piece for the veryearly morning hours after a night out when all else are asleep.Kallabris have musical craftsmanship, artistic vision and a sense offinding the balance between humor, entertainment and melancholy thatmakes them rather unique.As the first release I heard by them I think they're definitively oneof the most outstanding acts of current German music and not to miss.
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The Melodic label started in 1998 after hearing a demo tape from JamesRutledge, and releasing his Pedro EP in June of 1999. Over the pastthree years, they have released a dozen vinyl EPs and singles, and afew full-lengths on vinyl and CD. This is their first compilationrelease, and it's a collection of songs from artists with releases onthe label, and artists that they have received tracks from these pastthree years. Designed to be a cohesive listening experience - verysimilar sounding and feeling tracks from all artists - you're supposedto just put this on at a party or in your house and experience it. Andmost of it is pretty even and worth listening to. All tracks haveelements of electronics, and move along at a medium pace. And eventhough they're very similar, there is a diversity here underneath itall when you consider that these bands are from different backgrounds.Pedro is the only artist featured twice, and since he was the label'sfirst signing, it makes sense. But he is not the most enchanting artistthis CD features. Minotaur Shock, whose track 'Lady Came From BalticWharf' is gorgeous and moving, is a consistently worthwhile listen, andthere is great anticipation for the Lucky Pierre full-length later thisyear. But I was most impressed by the Empire State track, who are onWarm in the US. Having never heard them before, I liked the grooves andbeats from three guys in Athens, GA. The sampled strings and xylophonesmake it sound like one of those Dolby test discs at one point, withnoise coming from places that almost scare the shit out of you. Then,at the end, it just breaks into a fast-paced sound collage. Good stuffhere from Melodic, worth listening to if you're not familiar with anyof the artists, as it's a low-priced introduction to them all.
Reviewing something like this is almost completely pointless, as thefans will have jumped at the opportunity to buy this while the peopleon the fence probably couldn't care less. I, personally was a bigPixies fan during their heyday and am completely thankful to them forhelping end the reign of hair bands with makeup. This CD is the muchpassed around untitled 'purple tape' which includes nine songs fromtheir demo cassette not appearing on the eight-song album 'Come onPilgrim,' first released by 4AD back in 1987. The recordings match upperfectly together and the songs present a fine archive, released herein stunning demo tape glory without the wear of a cassette passedaround for over a decade. Much of the tunes are in an embryonic stage,just as raw as 'Come on Pilgrim' and more ballsy than anything FrankBlack Francis has ever recorded since their split. This may be thedownfall, however, as all of these songs (with the exception of oneexclusive: "Rock My Soul") were recorded and improved upon and releasedmuch later. In addition, the 18 minutes of music contained hereinalmost doesn't justify the $12 sticker price, so I say give it a whilebefore it pops up in the used bins. It's not going anywhere fast.
'Technoir', the first Hymen Records compilation was one of the best experimental compilations ever. Showcasing then-nobodies along with exclusive cuts from the popular Ant-Zen post-industrial roster, critics everywhere began to pay attention to the growing Hymen sub-label. 'Masonic' has a hard act to follow, but Hymen's evolution into "IDM for Rivetheads" and its ability to distance itself from the parent label paid off. With even the best of compilations, there are going to be at least some misses among the hits, so rather than humiliate those who do not shine as brightly (or are as dim as eclipses), I'll only focus on some of the very best of the bunch. If I had to choose the best track of the entire CD, then Beefcake would take the proverbial cake... errrr yeah.
The vast worldwide sea of laptop and desktop musicians has simply become far too predictable with atonal noise-bursts and rhythmic clicking. While the revisit of Klang Krieg's 'American Breakbeat' album has some wonderful highlights, it's almost way too excessive at a staggering 34 tracks. Presented here are remixes and reinterpretations of the original release—29 contributions from North American electronic artists—by electronic artists from (almost*) elsewhere in the world. [*Note to Klang Krieg: Mexico is still part of North America.]
"Hey you! Come on ever here! You've just been chosen!" Dance punkwaving away from retro futurist flourescent arcades of dayglo nothingbrought into the radioactive bubblegum world by the TV eye trio Enon -bright corners of 'High Society' seem rerouted from obvious drug pun.Initially "Old Dominion" rocket-rushes from speakers in chunky rockin'populous frenzy, twisting and spitting tuneful as if atomic men hadshaved the cartoon kitten, and brought on irreal visions of facelessladies walking poodles. These are the finest rockpops tune vibrationsto wobble my eardrums since that Wire EP you should all have heard bynow. You know John Schmersal used to be guitarist in that greatBrainiac band from Dayton, Ohio that stopped just as they peaked whensinger Tim Taylor's car crashed and killed him? John's been busy sincethen, relocating to do the Enon thing in New York, with a clutch ofseven inches and between two and five albums depending on which way youcut it. To find out which way you'd cut the cake, visit the band'shyper TV hellnation website (
"Our Noise"? Anything but. From the opening notes of this release, Iwas sold. This is the debut full length from Hermann and Kleine,recorded in their bedrooms in Berlin. This is really un-German soundingelectronic music, created with laptops and samples, and named"plinkerpop" as a genre, I'm told. True, it does have its moments ofpop splendor, but I don't remember enjoying an electronic record thismuch since Four Tet's "Pause". It's not as boring as Kleine's work onhis own tends to be these days, that's for sure. The beats are meaty inareas, simple in others, and the keyboards and samples laid on top ofthem are unobtrusive, often engrossing, and totally fresh. Each trackstands on its own, and has a life of its own, even though they may havesimilar structures or sound effects. The album opener, 'Drop', is aperfect indicator of what the record is going to be about. A simplebeat starts the track, then the bassline joins, and then distortedguitar. Before you know it, you're completely lost in a trance, movingalong to the music like you don't know what's hit you. And it neverstops or disappoints. The full beat eventually drops in on 'Drop',paving the way for the harder beats you'll hear on later tracks, butfirmly engrained in the groove of the moment. 'Her Tune' starts outsimilarly deceptive, with simple keyboards, until the big beat joinsin. It's all very impressive and easy to listen to for a variety ofactivities. Elsewhere, shuffling beats and big loud rock guitars areused to get the point across, or, as on 'Shuttle', a voice is heard onoccasion, although extremely processed and edited. When it was allover, I started it up to listen to it a second time. A great firstfull-length release from this unlikely duo.
This four-track EP, the third release from Scott Herren on the Warp label under his Prefuse 73 alias, makes for a broad yet fleeting assortment of instrumental HipHop inspired music. The absence of vocalists and/or MCs has the listener focused on the behind the scenes make-up of some great compositions. Not to say that the right vocalists and/or MCs wouldn't enhance things, as evident on 2001's "Vocal Studies + Uprock Narratives."
To Rococo Rot's Stefan Schneider is Mapstation, the solo project inwhich the bassist focuses more on the layering of electro sounds andtextures. At times minimalist in approach, this third disc continues inthe direction of an interesting compositional style. The introductionof what at first appears as simple sounding ideas are subtly built uponusing various rhythms, synth patches and digital found sounds untilthey have formed a beautiful soundscape. Each of the disc's eleventracks has a unique development and outcome. "Two Landscapes" openswith deep and lilting synth tones which act as a percussive elementwhile various patches drift in and out stating a general melody andmotif. "More People Than Two" is comprised of a lullaby-soundingrepetitive keyboard with a bassline that weaves nicely into the mix ofethereal chords and distant pulses. Reggae singer Ras Donovan guests onthe tracks "New Direction" (released as a 12") and "Wake Up," whichcould be seen as minimalist dub, maintaining the rhythmic keyboard ofthe style. This is definitely one for the headphones.
Theelectro of Ersatz Audio's 'Misery Loves Company' comp is pretty damnthin. I don't really understand why, because all these artists (Adult.,G.D.Luxxe, Solvent, Gold Chains, etc) should be interested in qualityof sound, since they are, essentially, electronic musicians. But thebeats on this CD are SCRAWNY, and I don't know if it's the minimalaspect of these tracks (most songs are just a drum machine and one ortwo synth lines, with vox), or if Ersatz needs to start getting theirCDs mastered somewhere else (the Adult. full-length has a similar lackof punch). Or perhaps my ear is getting a little too picky. In anycase, sound quality aside, this compilation is fairly enjoyable butsomewhat forgettable. There's nothing groundbreaking going on here, but'Misery Loves Company' has done a pretty good job of compiling artistsfrom America and Europe whose approach to their drum machines andsequencers are roughly on the same wavelength: simpleretro-dance-electro, with a big nod to the Detroit sound (and a smallnod to Miami) and a slightly ironic presense. The obvious names standout with some of the best tracks (DMX Krew's "Touch Me" and Lowfish'sIDM-electro instrumental "Dead House"), but there are some intriguingnew names here, including Detroit's Tamion 12 Inch, whose "Thin BoysMurdered" straddles the line between being really irritating andstrangely charming. Other bigger names fail to deliver quality tracks,most notably Solvent & Skanfrom's collaboration "Expect Delays" andGold Chains "Could Care Less," which is the purported inspiration forthis disc. At its worst, this comp is a kind of redundant after awhile, as every song sounds pretty much the same. But most of thismusic doesn't take itself too seriously, thankfully, and overall it'spretty non-intrusive. I'd probably put it on at a party. Or maybe playit really loud while taking a nap.
