- Michael Patrick Brady
- Albums and Singles
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- Preemptive Dub (Nassasu Mix)
- Streets of Dub (2004 remix)
- Terrarists and Inhalers (Keith le Blanc remix)
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The message on Turn is loud (ear bleedingly loud) and clear. From the first minute, main vocalist GW Sok shouts about how the need for artists, scientists, and humanitarians is much more important than weapons of mass destruction and wars. (And I'm pretty sure that "The shrub who took himself for a park" is most likely mister "Bush" who mistakenly thinks he represents the world.) Each song is executed with a relentless pounding of guitars and drums and the messages are stories and reflections about greed and consumption, unrest, and even the Pie-in-the-face gang. It's a clear example that music which calls for social awareness and/or change is much more effective when made with such an unavoidable vigor and not by some timid hippie with acoustic guitar. The angular guitars, in-your-face drums, rock cello, and punk vocals are flawless, like a well-slicked machine, perfected through numerous live performances. After a surprising 25 years of existence, The Ex have no signs of becoming stale, tame, or rusty; challenging themselves to bring completely new ideas into the mix. One of my favorite songs is an aural souvenir from their travels to Ethiopia. "Huriyet," a powerful song about the liberation of the Erythreans, features drummer Katherina on the main vocals as most of the rest of the band clap and respond. Although I don't have a cheat-sheet to decode the lyrics, it is quite a moving experience, as the feeling is seemingly not about despair, but about the ability for people to overcome (from a remarkable place known for its Christian and Muslim populations living side by side in peace for centuries). The accompanying booklet includes lyrics and a bunch of great photos including pictures from Africa, animals, and, of course, a pie in the face. The Ex needs to be experienced and nobody has ever told me they were let down by their intense live show. For those who can't and missed the Eye special, it's highly recommended to go back and check it out agian.
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- MarkOne - Raindance
- Plasticman - Pump Up the Jam
- Slaughter Mob - Creeky Door
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This collection proves that Best Of is truly a relative term. In the case of Anna Domino (nee' Anne Taylor), the term is relative to the generally poor quality of her tired, continental pop. So, Best Of need not necessarily indicate quality in and of itself. And if the songs on Dreamback are indeed the cream of Anna Domino's extensive back catalog, I think I can safely steer clear of her albums.
 
A metropolitan globetrotter and interior designer, Anna Domino settled in New York City in 1977, where she formed the group Madder Lake, contemporaries of legendary underground acts like Bush Tetras and Polyrock. She was also briefly a member of the band Mania D, who eventually became Malaria, one of the greatest of the female post-punk groups. Coming out of such a distinguished cultural milieu, I expected Anna Domino's solo work to be at least listenable. She released a handful of albums and singles on Belgium's Les Disques du Crepuscule, which explains its appearance on the LTM imprint, usually an indicator of quality. However, it seems Anna Domino had her eyes fixed on mainstream success, striving to make her pop music blend seamlessly with the ranks of other 80s pop songstresses like Madonna and Sheen Easton. Certainly influenced by her sometime collaborator Arthur Baker (also an early influence on the aforementioned Ms. Ciccone), Anna Domino deals in a brand of breathy pseudo-sophistication that seems entirely irrelevant to my ears. The bland studio sheen of the production and the prototypical assemblage of synthesized horns, drum machines and keyboards sound so much like every other forgettable 80s pop record, it's very nearly comical. If any of these songs were even slightly recognizable or catchy, the disc might at least be effective as an exercise in nostalgia. Unfortunately, Anna Domino can't even satisfy on that most pedestrian of levels. I find it absolutely incredible that her career has lasted this long; who was buying these albums? If I were to hazard a guess, I'd say that her audience might be the same Europop crowd that goes in for David Hasselhoff records, but I can't be sure. 
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