These are my own ill-informed opinions only and are
presented as such. Agree or disagree at will. Feel free
to email me your own thoughts. coreygoldberg@earthlink.net
cEvin Key: The Dragon
Experience
Metropolis Records
cEvin Key's new
album is also one of his oldest. No, it's not a
reissue. 'The Dragon Experience' is a completely new
album of previously unheard material recorded in '84
and '85. The old tapes were compiled and revived by
longtime collaborator Ken 'Hiwatt' Marshall. These
tracks date from the early, formative days of Skinny
Puppy and offer us a deeper look at the musical era
of which we have previously seen glimpses on Back and
Forth series 2 and 3. Ken has done a great deal of
work to make the old tapes work as an album of 2003,
so much so that he gets double billing and dual
writing credit. As a result, this album is much more
sonically in tune with the times than some of the
previous releases of early 4-track material. Those
with an affectionate nostalgia for such primitive
equipment might be wary of revisionist history, but
that fear will dissipate as soon as they hear how
amazingly fresh these tracks sound.
This is one of
those vault releases that will leave you wondering
how tracks of such quality could have gone
unreleased. A number of forgotten classics await.
Here are a few highlights:
'Metamorphosis
(Theme from the Trial)' is a gorgeously flowing yet
tension filled soundscape, presaging later excursions
such as 'the Center Bullet'. Unlike many of his
contemporaries, whose moments of reflective
'ambience' are merely a few layered tracks of pads,
cEvin's atmospheric tracks have a melodic content the
provides them with a sense of direction and pathos.
With its swirling melodies, shuddering samples, and
insistently prodding synths, 'Metamorphosis'
exemplifies this quality. I think it is one of cEvin
Key's best tracks period.
'Running (Back and
Forth)' is a stunning track that seems to encapsulate
the early verve of SP. Large chunks of the mix turn
on and off providing brief bursts of vocals and
shuddering drum machines, creating an insistent and
almost threatening rhythm. Could this song contain
the origin of the title of Puppy's legendary first
homemade cassette...?
'Dr. Seymour'
utilizes violent, percussive bursts of music, evoking
the heavy drum production of early Skinny Puppy and
Key's later gate-based techniques, all while
retaining an infectious, ambling groove. 'Yo Yo
Scrape' fans will enjoy this one.
'Incandescent Glow'
sounds very much like a Puppy track that never
happened. The synths of this bastard cousin of 'Dead
Lines' and 'Last Call' may have shone too brightly
for it to ever utilize Ogre, but thankfully now we
get to hear it in all its glory.
'Ambient Fruit
chapter 2' continues in the vein of the previous
section (heard on BF6), offering a look into the
early Puppy technique of using a delayed synth as a
compositional tool that was refined on tracks like
'Film', 'Love', and 'Center Bullet'.
Another element
that has always set cEvin's music apart from the
crowd is that he almost always includes natural,
acoustical sounds in his mixes in addition to the
purely 'line-in' tracks. Be it a voice from an aged
horror film, live percussion or just found sounds,
these elements give his recordings an organic, live
sensibility that is largely absent from much
electronic music. Dragon Experience continues this
trend. 'The Chamber' is something of an
electronically accompanied sound collage, including
something that sounds like shifting broken glass a la
Download's 'Sidewinder'.
All of the
trademark elements of early Puppy are here. At the
core of a number of songs is a warm analogue- synth
bass line. The unmistakable sound of cEvin's
FX-processed 808 is present. Atmospheric dialogue
samples permeate almost every track. Yet many of the
tracks have a more overtly techno sound than we have
previously heard from these early days. The
instruments are somewhat cleaner and less heavily
treated than most early Puppy. It's a subtle
difference but it directly ties this album to the
past few releases, such as 'Effector', 'III Steps
Forward', or 'Ghost of Each Room'.
If there was any
doubt, this album makes it clear that the
techno-related elements of some of cEvin's recent
work have always been a part of his music. This is
music that pushes the edges of sonic creativity while
simultaneously retaining an irresistible groove, the
core formula for Skinny Puppy all along. Bridging
past and present, 'The Dragon Experience' is not only
an incredible archival album for those dedicated fans
of Skinny Puppy but a work that will delight fans of
his recent Download and solo albums as well.
-Corey Goldberg,
6/28/03
Hilt:
The Worst of the Flu
Well, I've been
enjoying the new Hilt: The Worst of the Flu
disc for past few days and I figured I'd give
everyone a preview of what to expect. This is the
last CD in the From the
Vault subscription and it finishes the series on a superb high
note. The core musicians present on this album are
cEvin Key, the singular Al Nelson, and Dwayne
Goettel. Also making appearances are a pre-Pink Dots
Ryan Moore, Dutch Harrison, Chris Sheppard and Betsy
Martin. The album features material from the Flu, the
project which evolved into Hilt but which was
previously only heard on some obscure cassette
releases, through unreleased tracks from both of the
Hilt LPs and to top it all off, three tracks recorded
by cEvin and Al in 1996 for a proposed new Hilt LP
that unfortunately will never be.
The Worst... is an
eclectic mix of all of the various styles that Hilt
delved into. The are bursts of punk fury like
Staminate that lay somewhere at the convergence of
John Zorn's Painkiller, Throbbing Gristle, and your
favorite local hardcore band. There's cEvin's
trademark assimilation of reggae and dub sounds on
tracks like Roll One Up. Their half-mocking take on
late 80s/early 90s alterna-rock previously heard on
tracks like Superhoney shows through here on songs
like Lyin on the Floor and Empty Day. Patsy and the
brief Interlude offer a rare snippet of cEvin's
lyrical electric guitar in what might've been what
Center Bullet or Film would've sounded like had
Skinny Puppy been a rock band. The 1986 Flu electro
-madness classic Ichabod Crane features cEvin's
vocals and lyrics written in 1976. Hilt always showed
the band’s humorous side and this album
continues that trend with tracks like Beefcake, which
is sort of akin to Skinny Puppy riding along on a
trip to the circus by a child who is afraid of
clowns, and their take on piano balladeering, My Shit
Behooves Me. Yet the honesty and poignancy of the
1996 demo No Lessons Learned, "dedicated to all
friends lost", cannot be denied. The smoky
barroom-bred Dig Me Colder, also a 96 demo, could
easily be one of the best tracks ever to come out of
this project.
Basically, this
album has something for everyone and yet somehow
feels like a coherent whole in the process. The Worst
of... is anything but. It gives us a look at the
heretofore unseen mass of private material that
Hilt's LPs have only hinted at. If one is heading
your way, be excited.
- Corey Goldberg
3/24/03
cEvin Key: The Ghost of Each
Room
Metropolis Records
Total Time: 51:07
cEvin Key's previous solo outing, "Music For
Cats", was an eclectic collection of orphaned
pieces of music spanning a number of years. The
tracks were those initially deemed too weird to fit
within the context of other projects. The disarming
result, though rewarding to dedicated listeners, was
not easily accessible for some. "The Ghost of
Each Room", however, is a different animal.
Instead of the 'mix-tape' feel of
"Cats…", the tracks on
"Ghost…" form a stylistic and
conceptual whole. The record is far from repetitive,
however. Aided by the wide range of collaborators,
each song offers a new flavor. Yet each is merely one
course of a large and satisfying meal. With a
prevailingly dark atmosphere, the album is aptly
titled. This record is not dark in a grim and gloomy
sense, but evokes a more playful spooky character.
The ghosts which populate these rooms are not so
malevolent as they are mischievous. The result is a
tone somewhere between Skinny Puppy's
"Remission" and Doubting Thomas's "The
Infidel".
"Bobs
Shadow" sets this tone with Frankie Pett's
theremin work, instantly recalling the soundtracks of
classic horror films. Couple that with an absolutely
classic cEvin bass-line and you have an exemplary
track brimming with feeling. This is not electronic
music for electronic music's sake.
"TAtayama"
(a track originally released as a remix by cEvin for
a Sonic video game) is another highlight that shows
what cEvin can do when manipulating horns. This song
makes me wish cEvin would work with them to a greater
extent on a future project.
"Horopter"
is a rhythmic tour de force with a warm bass-line
anchoring a paranoid drum track that continues to
collapse into effects and then re-coalesce.
Eventually, cEvin's spacious acoustic drumming
replaces the electronic track. This cleverly opens up
a new angle of the track simply through the drums.
"15th
Shade" features the vocal talents of cEvin's
Tear Garden collaborator, Edward Ka-Spel. Edward's
vocals are in the creepy, half-whispered vein of
"Empathy with the Devil". The real
highlight of "15th Shade" is hearing cEvin
playing guitar and acoustic drums in this format,
vaguely reminiscent of what the Tear Garden album
might have sounded like had it remained a duo
project. Of course, one cannot overlook the
groovy-beyond-belief bass of Bill Van Roy.
"Sklang"
comes from further to the left, with a downpour of
delay FX coating the beginning of the track. As it
progresses, however, a crunchy, nervous rhythm
appears. Distant sounds and atmospheric synths summon
forth the spectral imagery of the album title.
The most
oft-discussed and highly anticipated track is
doubtlessly "Frozen Sky", which reunites
Ogre and cEvin Key of Skinny Puppy in the studio for
the first time since the ill-fated "The
Process" album. The track also features Ken
Marshall, who worked on a number of Skinny Puppy
recordings. It may be pointless to review this song,
as almost anyone who would be reading this has
probably already listened to it a thousand times, but
I feel it worthwhile to discuss anyway. Some have
expressed disappointment in "Frozen Sky" in
that it is not innovative enough, that it doesn't
progress beyond ground that Skinny Puppy have already
covered. While there is certainly some Skinny Puppy
flavor here, I feel that "Frozen Sky" ups
the ante a bit. Ogre has come a long way vocally
since the original recordings of Skinny Puppy (as the
Doomsday CD attests) and it shows. The music seems to
have evolved as well, in particular the guitar is
integrated more successfully than on most Skinny
Puppy. While Dwayne is of course not present on this
song, his influence can heard throughout the track.
The result is a quality track which, while it may not
be a huge leap for them, shows them re-lighting those
old pathways and testing the waters of working
together again. I think "Frozen Sky" is not
only hugely successful in that respect, but bodes
very well for any future collaborations. It proves
that the combination of cEvin, Ogre, and Ken Marshall
can succeed in producing music that is still miles
ahead of the rest.
"Aphasia"
is without a doubt my favorite track on the album.
Somewhat reminiscent of Doubting Thomas, it is a
carefully constructed and well developed tapestry of
analogish sounds that recall some of the earliest
electronic bands. Constructed of hinting gestures
more than full melody, it has a breathtaking
emotional power and depth. The subtle application of
strings is enough to bring you to tears.. A stunning
example of the high potential of electronic music, I
think "Aphasia" is hands-down one of the
best tracks cEvin has ever done.
"Klora"
is laid back reggae influenced groove betraying the
Jamaican origin of the dialogue samples. cEvin is
heard on acoustic drums here, making this track a
real treat.
"cccc4"
is another superb track. Melodically strong, yet
brimming with insane percussion, this song
illustrates cEvin's potential when working with
structural formats beyond the cliched looped phrase
repeated ad nauseum.
"A Certain
Stuuckey" features Ka-Spel as well as most of
the other Legendary Pink Dots in an album-ending
extended experimental jam. Colored with ethnic/world
percussion, it sounds like one of the improv tracks
from "Sheila Liked the Rodeo" crossed paths
with "Effector".
Coherent yet
varied, eclectic yet unified, this CD is a must for
all listeners of Skinny Puppy, Download, Tear Garden,
et al. Even the casual SP fan who hasn't yet gotten
to the various satellite projects will want to pick
this one up immediately. "Frozen Sky" is a
Skinny Puppy track in all but name and will thrill
anyone who yearns to hear cEvin and Ogre collaborate
again. "The Ghost of Each Room" is a fine
album that is not to be missed.
Corey Goldberg
11/22/01
Phil Western / Tim Hill:
Dark Features
Total Time: 61:35
Phil Western
(a.k.a. Philth) has proven himself to be an integral
part of virtually all SubConscious Communications
releases since the label's inception. Phil was a good
friend and partner of Dwayne Goettel and together
they shared the debut SubConscious 12". Soon
after, Phil became a founding member of Download and
has appeared on all of the band's subsequent
releases. He has also participated in other SubCon
projects including platEAU and cEvin Key's
"Music For Cats" and has released one solo
album, "The Escapist". He has also worked
on projects, both solo and with other collaborators,
under such names as Off and Gone, Floatpoint, and
just plain Philth. This new record, "Dark
Features", is a collaborative effort with Tim
Hill, who co-produced "The Escapist" and
has also appeared on some SubCon releases including
platEAU's "Space Cake". Tim was also
responsible for the films which provided the visual
aspect of Download's now-legendary 1996 tour.
Much of Phil's
previous work can be (rightly or not) tagged with
that elusive yet loaded label known as 'techno'. His
contributions to the SubCon compilations illustrated
a taste for a programming-driven techno style not
unlike Dwayne's solo work. On "Dark
Features", however, Phil surprises with a vastly
wide palette of styles, weaving progressive rock,
ambient, dub, acoustic singer-songwriter,
ethnic/world, and 'experimental' sound collage styles
into a diverse, yet unified, tapestry.
Personally, I am
not a big fan of 'techno' music in general. I think
that the style has led to a proliferation of music
which is largely homogenous and unimaginative and
which owes more to the gear itself than the people
who play it. Of course, the work of Dwayne and Phil
is usually an exception, but overall the genre is
just not my cup of tea. "Dark Features",
however, challenges and surpasses those cliched
limitations to create something above and beyond the
techno norm. In this respect, it is a progressive
record in the truest sense of the word. This is not a
techno album. With authentic drum kits, guitars, and
basses forming the foundation, much of the record has
a thoroughly rock atmosphere that couldn't be
considered techno in even the broadest sense.
Furthermore, the techno-styled material on the album
is of a far superior grade than you're likely to hear
on your typical electronic compilation. The tracks on
"Dark Features" are actual songs, not
merely glorified loops extended to fill six minutes
of mindless dancing.
This is one of
those records that, just when you think it can't get
any better, the next track comes on and, gosh darnit,
it does. It journeys into a number of unexpected
areas and there are simply too many great moments for
a mere summary, so I've decided to give my
impressions of the whole thing (if you're wary of
spoilers skip to the end).
"Colourspeaks"
opens the record with one of the more techno-styled
tracks. This track is a gorgeous, densely programmed
yet bright work that is uniquely uplifting. It's
impossible to listen to "Colourspeaks" and
feel depressed. This song is an example of true
electronic artistry; not something that anyone who
has a shareware copy of Rebirth can squat out with a
mouse click.
"Fight No
More" immediately changes the pace with a
dub-like bass line joined by rock guitar chords and
an amalgam of electronic and acoustic drums. Phil's
vocals complement the groove nicely and various
processed sounds float in and out of the mix.
"He Never
Showed Up" integrates some rather funny samples
into the track. The music carefully punctuates the
dialogue (a la Doubting Thomas) giving the song a
defined structure and form.
The spoken lyrics
of "Dirty" chronicle the experience of an
obsessive-compulsive over the song's rock-style riff
(which actually has a chord change, something your
average techno artist wouldn't know if it bit him in
his ultra-hip arse). Capping it off is a lush
synthscape.
"The Imploded
Man" features a deliciously groovy bass-line and
both electronic and acoustic percussion. With some of
its almost cartoonish sounds, the track evokes the
sense of humor of some Download and aDuck material.
One of my personal
favorite tracks is "Chaos / What Are We Gonna
Do?", a sound collage not unlike early Skinny
Puppy tracks like "Unovis on a Stick" and
"Meat Flavor" or some of Jim 'Foetus'
Thirlwell's instrumental work. Various chunks and
loops of dialogue, music, and sound effects play off
of each other cinematically, building to a noisy, yet
textured, climax.
"Seeing But
Not Seen" offers a more improvised-sounding
techno track that would've felt quite at home on
Download's "Effector".
The excellent
"Bring That Home, Buffalo" is based upon
the unlikely instrumental choice of the banjo,
surrounded by dramatic, art-rockish guitars and
poignant synths. Sampled singing (again recalling
Doubting Thomas) adds another emotional dimension to
the track.
"Embryo"
begins with lush, eastern-flavored ambience that
shifts to a slow, ominous rock vamp cushioning some
wonderful guitar work by guest Ben Sherazi. The track
closes by bringing us to an even higher plane of
atmospheric synths. This song is one of the album's
highlights.
"Be the
Fool" holds the biggest surprises; the folk-rock
troubadour styled track is based entirely on acoustic
guitar and Phil's subdued vocal delivery. Yep, Phil
sings! In fact, vocal textures permeate the entire
record, lending even the more electronic tracks an
organically based sound. This feature is one of the
album's strengths and it's no surprise that "Be
the Fool" is a superb track.
"Duke"
begins with march-like percussion that gloriously
opens upon a glowing melody. It paints in sound the
image of dark clouds parting after a storm, letting
the sun warm the moist ground below.
Continuing the
bright vibe, "DMT" offers an addictive,
uppity alterna-rock groove. It's another infectiously
positive track that, in a mutant universe, would be
one of those summer hit songs.
Finally, "The
Machine Elves" closes the album with a nervous,
processed soundscape set amidst dissonance.
This eclectic
record is for anyone disappointed with the
narrow-mindedness of most new music. Anyone who
enjoyed the sonic wizardry of Download's
"Effector" or the tongue-in-cheek genre
straddling of ohGr's "Welt" should check
this album out immediately. With its fusion of
progressive-rock and electronic music, it will also
likely appeal to fans of The Tear Garden/Legendary
Pink Dots, Radiohead, and Twilight Circus. Whether
you're an established Download fan or have never
heard anything of Phil's before, "Dark
Features" has a great deal to offer, proving
that Phil and Tim are capable of a coherent,
satisfying, and original work. They have created a
subtle and varied album that is not to be missed.
---Corey 8/01
The Legendary Pink
Dots with Friends & Relations: Kollabaris
Total Time: 47:35
The Legendary Pink Dots have always released
exclusive, small edition tapes (and now CD-Rs)
independent from their ‘real’ albums. These
recordings were usually only available directly
through the Dots themselves, allowing them to build a
voluminous catalog and keep it continually
‘in-print’ despite record label whims. The
only problem was that the band’s location made
these releases difficult and/or costly for many fans
(particularly those not in Europe) to obtain. Enter
Beta-Lactam Ring Records. This small label now makes
these previously elusive recordings easily and
readily available to fans across the globe while
still giving the band their due. Newly released
through BLRR is the unlimited edition CD-R collection
entitled "Kollabaris". This disc is a
compilation of the Pink Dot’s various
collaborations with other artists and features a
great deal of exclusive material. In addition to the
totally new music, a few of the tracks are from
previous, but hard to come by, releases and some are
new mixes of tracks from the various artists
compilations of Subconscious Communications.
If
you’re a Skinny Puppy fan who has never heard of
the Pink Dots before, you might be wondering why you
are reading this. Simply put, this disc features a
great deal of material from the Tear Garden, which is
a collaborative project of members of Skinny Puppy
and the Legendary Pink Dots. Many Skinny Puppy
completists will likely get this disc just for the
Tear Garden tracks, but there is a lot of great music
to be heard here.
The
collection begins with a track by Jochen
Schoberth’s Artwork, which features Pink Dots
Edward Ka-Spel, Ryan Moore, and Niels Van Hoorn.
"Bring the Rain" is a plaintive, serene
ballad guided by Jochen’s acoustic guitar. His
style is somewhat different from that which we are
used to hearing from the Dots. His short solo, in
particular, makes for a unique combination with
Niels’ flute, which begins in the background but
takes an increasingly greater role as the track
progresses. Niels weaves his line in and out of the
guitar chords. "Bring the Rain" has more of
an obvious pop song structure than most of the
Dots’ material. Though not his usual arena,
Edward has no problem matching the almost catchy
chorus with his unassumingly honest vocal delivery.
Stylistically, this track reminds me most of their
album "From Here We’ll Watch the World Go
By" (if any). This track was previously released
but very difficult to find and its inclusion here is
welcome. "Bring the Rain" is a definite
highlight that I’d love to see LPD perform live.
"A
Small Swan Song" is a different animal. Credited
to Edward Ka-Spel with Karolina Rozycka, this track
is a layered, ambient soundscape. Though seemingly
based on the human voice, a mass of effects warps the
voice into a new texture that is quite unsettling and
downright creepy. The result is something reminiscent
of some of the Dots "Premonition" tracks or
the short instrumental pieces that often bridge the
gaps between songs. "…Swan Song" is
quite interesting, especially following the acoustic
guitar dominated "Bring the Day", but at 2
minutes it is all too short.
The Tear
Garden’s "Bump (version 2)" (a
shortened title of "Things That Go Bump in the
Night") previously appeared on cEvin Key and
co.’s "Wild Planet" compilation. This
version is a different mix, however. The main
difference (aside from being a slightly shorter edit)
is that Edward’s vocal track is coated in what
sounds like slabs of chorus and reverb effects. This
seems a little gratuitous and, in my opinion, does
not aid the song. The intimate feel of the
original’s vocal is disturbed by a virtual
chorus of Edwards. "Bump" remains an
incredible song and those new to it are in for a
treat, but unfortunately I think the "Wild
Planet" mix is superior.
The Tear
Garden’s "Georgie (version 2)" (a
shortened title of "George the Parasite")
is, similarly, a new mix of a track which previously
appeared on one of the Subconscious Compilation
albums, "Paradigm Shift". Unlike the
previous track, however, the new effects applied here
work well. Some of the whooshing, white noise-ish
sounds and synths have greater prominence and lend a
nerve-racking quality to the section featuring
Edward’s refrain. Some previously inaudible
vocals, with a few new lyrics, are brought out as
well. Still, the changes are relatively small;
don’t expect any revelations if you’ve
heard the original mix. In the case that you have
not, however, you will be regaled with yet another
great Tear Garden song.
Have you
ever wondered what it might be like to hear the
original, raw performances that gave birth to your
favorite album? Well, guess what? With "Extract
From The Empathy Session", I got my wish.
It’s an almost fifteen minute jam from the
sessions for the Tear Garden album "Last Man To
Fly". Similar outtakes appeared on the
"Sheila Liked the Rodeo" EP (in fact, a few
minutes of this cut were used in "Do It Yourself
From A- Z Part 1"), but I think this track
differs a bit in that it is pure and unadulterated
improvisation, with little to no edits or
postproduction. As the title suggests, it is the
source for part of the track "Empathy With the
Devil" (specifically the slow end portion). The
whole band shines here as they weave an ever-changing
tapestry through their delicate interplay. We hear
cEvin’s unmistakable early 90s drum sound, Ryan
Moore’s incomparable bass groove, and Martijn de
Kleer’s singular guitar tone amongst layers of
keys and ambient sounds. "Extract…" is
a piece of the intricate musical dialogue that
spawned the songs on LMTF. This glimpse at their
process is like a peak behind the curtains that
uncovers new gems and offers new perspectives, much
like the release of alternates and outtakes on jazz
box set reissues. Perhaps someday the world will be a
just enough place to allow the release of a
"Complete Last Man to Fly Sessions" box.
Until such a time, this track is a revelation and
dream come true for the ardent fan. To put it in
perspective, if this were to have gone unreleased and
been leaked out as a bootleg item, it would the crown
jewel of any collection. Having such a track
originate from one of the creative high points of the
musicians involved is no small sum either.
After 20
years in existence the band has performed only one
cover song, that being this next track from the
"Homage to Neu!" tribute.
"Super", by the Legendary Pink Dots, is
without a doubt a surprise. They’ve never done
anything quite in this style before, and, as always
with LPD, the style has never been done quite like
they do it. The only comparisons I can make to their
catalog are "Spike" and "Inside"
and even those similarities are tenuous at best. But
if this was an experiment for the Dots, it was
successful. Heavy, rock-style drums and distorted
guitar dominate the noisy texture punctuated by the
occasional vocal howl. While it may not be indicative
of most of LPD’s output, Skinny Puppy fans in
particular will definitely find this very aggressive
track intriguing. Hardcore fans will also appreciate
having this track available outside of the various
artists compilation it originates from.
The Dots
accompany Lydia Tomkiw’s spoken word on
"Pretty Something". The very dark, ambient
music they provide defines the tone of her reading
and, indeed, stands as a legitimate piece of music
unto itself. The music slowly rises like waves to
peaks of tension and then falls again, only to repeat
the process. This track, from Lydia’s album
"Incorporated", was previously very
difficult to find and is a great example of their
more atmospheric work.
From the
project entitled Mimir, the Dots’ collaboration
with HNAS, "Catchy Tune" is anything but
catchy. Containing no melodic elements, the track is
an atmospheric soundscape. Dense and lush, this is
another fine example of their ambient style. Mimir is
notoriously difficult to track down, making the
inclusion of this track simultaneously overdue and
teasing.
The Tear
Garden’s "Message 3" triumphantly
breaks through the ambience of the previous track. A
great song, but it (apparently) doesn’t differ
from the version previously available on
"Paradigm Shift". Thematically, this track
continues the concept of the Dots’ "Message
From Our Sponsor", making it of particular
interest to LPD fans. Though it is nothing new, Dot
or Tear Garden fans who haven’t heard this track
yet are certain to enjoy it here.
The
collection concludes with a previously unreleased
track by the Dots, "The Bomb Bomb Loopa Tribe Go
To Swansea (and Eat It)". Though short, this
instrumental represents some of the Dots’
approach to improvisation. This bit of synthetic
madness atop a tribal rhythm may have been without a
place for release until now, but it finds a welcome
home here. The track provides a fitting conclusion to
the disc.
If
"Kollabaris" had only included
"Extract from the Empathy Session" I would
still consider it an essential release. However, all
of these tracks are a worthwhile addition to the
Dots’ catalog. The alternate Tear Garden tracks
are a nice inclusion for the sake of
comprehensiveness but owners of "Paradigm
Shift" and "Wild Planet" should not
expect anything radically or drastically different.
LPD fans who have for years been searching for the
releases that some of these tracks have previously
appeared on can now rejoice. They are now easily and
readily available here, along with completely new
goodies. As a collection of oddities and difficult to
find material, this disc is a resounding success.
Skinny Puppy/Tear Garden fans otherwise uninitiated
to the Dots may find this release a welcome stepping
stone. The aforementioned "Extract…"
is a must-hear for any Tear Garden listener
(particularly fans of the "Sheila" EP) and
the non-SP related material is all top-notch. The
ambient and atmospheric material should be heard by
any fan of SP’s "Draining Faces". Such
readers should take note, however, that while
"Kollabaris" may succeed as a rarity
compilation for fans, it merely hints at the
Dots’ true ability when faced with the format of
the full-length album.
Kollabaris can be ordered from Beta-Lactum Ring Records at www.blrrecords.com
If you decide to order a copy based upon this review,
please let them know that Corey/Litany sent you so
we can see just how much of an impact we have.
ohGr: Welt
Out on Spitfire Records March 21, 2001
The long awaited collaboration between Ogre and Mark
Walk is finally being released under the name of
ohGr. The album, Welt, is full of surprises
that are sure to shock fans of Ogre and Skinny Puppy.
Some will delight in these astonishing turns. Others
will surely be turned off. I guarantee,
however, that Welt will defy all
preconceptions.
The listener may enter into Welt with the assumption
that it will remain in the vein of recent
industrial-rock cliches. Ogre and Walk have something
different in mind, however, offering up a brilliantly
clever set of well-developed songs that will surprise
all listeners. They not only revive the dying corpse
of industrial-rock by injecting it with a heart,
soul, and groove, but also create an entirely new and
superior style in the process. Welt is likely
to offend the sensibilities of those seeking
industrial purity by mixing industrial-rock idioms
with other less obvious musical influences. Ranging
from Glam to funk to early electronic pop, the
elements that they combine to create Welt are
both eclectic and unexpected. Constant surprise
sinisterly pervades every song, as each track offers
up a new brew of familiar yet somewhat distant
ingredients. The amalgamation of disparate elements
is at the heart of the album, but each track is
unique, well defined, and contributes to the album as
a whole. The wide range of influences gives Welt
a mature and adult sound beyond the aggro-angst
obsessions that have constrained the rest of the
genre. The song writing on this album is, quite
frankly, ingenious. Welt’s true success
lays in the fact that, somehow, Ogre and Walk have
found a way to make these contrasting stylistic
elements work together in these songs. The
collision of genre does not lead to a fractured
sound. Rather, through inventive composition, the
various styles coalesce into a new, stable fusion of
elements. In this respect, Welt is reminiscent
of the work of other great musical integrators (and
some of my favorite artists) such as David Bowie,
Miles Davis, and Frank Zappa.
It would have been easy for Ogre to fall into
self-parody with this record. However, those who have
referred to him as a one trick pony will eat their
words when they hear Welt. After over 15 years
of vocals, it would seem unlikely that Ogre could
develop new styles, but he has and here he uses them
to great effect. He has matured and evolved a
great deal since we’ve last heard him. Welt is
loaded with authentic on-key singing, with real
melody and real harmonies. With these new tools at
his disposal, Ogre’s voice, along with the
clever compositions, becomes the star of the album.
His evil sound on "Devil" is without a
doubt the most chilling that he has ever been. The
mocking satire of both the vocal and music of
"Cracker" is an entirely new element to his
work. Many, again, will find the track too humorous
to for their fix of ‘serious industrial
artistry’, but others will revel in the sneer
behind his words. "Lusid" illustrates
Ogre’s unique and imaginative phrasing as his
words worm themselves around the cracks in the almost
Puppy-like jumping rhythm. Ogre has dabbled in a
cut-up style vocal before, but he has perfected it
with "Pore". The rapid-fire lyrics
are disorienting, but edited in such a way as to be
intelligible and offer insight upon further
listening. His emotionally evocative singing on
"Solow" wraps itself through the chord
changes as the gorgeous melody is punctuated with
subtle vibrato and, again, extraordinary phrasing.
The pained refrain of "Minus" is
simultaneously anthemic and anguished. Throughout the
album he uses his new abilities as a ‘real’
singer to great purpose. However, longtime Ogre
fans need not fear that he has abandoned his older
style. He has merely evolved to the next level. Welt
retains all of the power and texture of his Skinny
Puppy work. The use of effects is carefully balanced,
never allowing them to dominate the vocal.
Ogre’s lyrics are also excellent on this album.
As opposed to his previous improvised direct
emissions onto tape, Welt demonstrates a more
careful sculpture and craft. The interplay
between the words and music is stronger here, as
well. Quite obviously I am a huge fan of Ogre’s
work with Skinny Puppy, yet I speak with no
hesitation when I say that Welt is some of
Ogre’s best work.
Mark Walk is unfortunately destined for the
inevitable comparison to Ogre’s musical foils
from Skinny Puppy. In the area of production, ohGr
may be the weaker of the two organizations.
While the composition of the songs is varied and
imaginative the production is somewhat homogenous.
Many tracks utilize a very loud, overdriven mix which
unfortunately doesn’t always offer Ogre’s
voice the subtle and lush backing it needs. The
programming and sound design is not groundbreaking
and relies too much on a preexisting sound palette.
However, the mix is sprinkled with odd, quirky
sounding synths. Too ‘cheesy’ sounding for
most current bands, they recall an earlier era of
electronic music and add to the album’s mature
and eclectic sound.
This new record is quite plainly one of the best new
albums I’ve heard in years. My enthusiasm cannot
be overstated. It comes with my highest
recommendation, not only to fans of Ogre’s work
in Skinny Puppy but to all who seek smart music. The
unusual combinations and pop elements will no doubt
outrage those seeking by-the-numbers industrial/EBM.
However, rather than producing something that appeals
to or entertains our expectations, Ogre and Walk
challenge them instead, which in my opinion is
something all good music must do. Welt is
anything but predictable and surpasses all
predictions. I simply cannot wait to hear this
material live, not to mention whatever Ogre does
next. But for now, I eagerly await the release date,
when this record will shock, amaze, and delight
listeners new and old alike.
Corey coreygoldberg@earthlink.net
Special thanks to
Carol Kaye and Kayos Productions
Download: Effector
Effector is an important record for Download.
Their last release, 1997’s III, was met
with a mixed reception by fans. After the triumph of
the dense and aggressive albums Furnace and the
Eyes of Stanley Pain, which were mostly recorded
with Dwayne and Mark Spybey as members of the band,
the more laid-back, Detroit style follow-up, recorded
primarily by cEvin and Philth, left some
disappointed. While I personally enjoyed the album, I
will admit that I, too, was somewhat skeptical about
the future of Download. Three years later, cEvin and
Philth unveiled Effector, an album which is
neither a return to the earlier period of Download
nor a direct continuation of the III sound.
With Effector, it is clear that Download has
begun to explore a new path. "Carrier Tone"
features a gorgeous melody and cushiony atmospheric
harmonies. Dense rhythms coalesce and disintegrate as
they underpin its rather song-like structure and, by
the end, the melody has etched itself into our brain.
"Muscaria" is somewhat freer structurally,
but retains interest through constant reinvention of
itself and the inventive use of guitar as a harmonic
anchor. "Vagator" is a spooky yet groovy
track reminiscent of "Nocruisin" from Spacecake.
I am hesitant to use the term aggressive to describe
its heavy, pounding rhythm lest I tease those
unfortunate few who are seeking their ‘music to
be pissed off to’ fix, but this is one of the
funkiest tracks cEvin has ever released. The music
here seems undeniably organic and composed rather
than a mere bunch of machines running their
presets. The structure also seems well
developed as motifs disappear and are then
recapitulated. "Ego Dissolve" utilizes
cEvin’s reggae influence to great effect and has
a really interesting sampled percussion
segment. An almost ambient portion contrasts
nicely with the persistent drums. "The
Guide" takes us on a chase with a fast paced
synth line similar to "Sheila Liked the
Rodeo". This is a very cinematic track
that, with its constant fast pace yet quickly
shifting sections, is quite reminiscent of some of
Dwayne’s solo work.
"Chrysanthemum" slows things down with an
addictive synth groove. "Ayahuasca"
is a flight through the clouds upon a soaring
spiritual melody aided by cascades of glowing
electronics. "Two Worlds Collide" uses some
vocal samples to spice up the mix and shows off more
of an abrasive sound than the rest of the album. The
rhythmic production is reminiscent of cEvin’s
earlier work. Closing the album beautifully,
"Affirmed" begins rather march-like but
sweeps us away with majestic harmonies and a haunting
electronic melody.
There are a few negative points that keep Effector
from being on the level of their best works, such as The
Eyes of Stanley Pain and Furnace. The
album lacks direction and continuity. The
delicate balance between cohesion and variety
achieved by EOSP is not quite reached. While
every single track is interesting, not all of them
are unique enough. Though not a complete knockout, Effector
is a wonderful and surprising album that shows the
return of many elements, like structure and melody,
which have in the past made cEvin and co.’s
previous work miles ahead of the rest of electronic
music. In doing so it adds a number of classics
to the Download canon. The record also proves that,
despite the tragic loss of Dwayne and the departure
of Mark Spybey, cEvin and Philth are a major creative
force on their own. Effector is a thoroughly
sculpted and composed work that will doubtlessly
reward this listener for years to come.
Special thanks to
Armand Sebris
The Tear Garden: Crystal Mass
The Tear Garden’s ‘Last Man to Fly’
quite simply changed my life. It was that single
album that set me on a course of music. I hold it, as
well as their other work, in the highest regard.
Obviously, then, I had been eagerly anticipating the
new release from the band that began as a Legendary
Pink Dots and Skinny Puppy collaborative effort ever
since it was announced that they planned to reconvene
for a new record. However, this also meant that I
would be quite difficult to impress. When ranked
against absolute classics, would the new work stand
on its own or would it remain a pale shadow of their
previous triumphs? The Tear Garden have thus far
carved themselves a unique niche in music with their
emotionally expressive and intimate records. This
sound would be too easy to repeat and it seemed
possible that the Tear Garden could find themselves
in a rut with no new ground to cover. With
‘Crystal Mass’, they have not only
eradicated those fears, but also contributed yet
another classic record to my collection.
The album makes a bold stylistic statement from the
very first note. "Lament" begins purely
electronically; a departure from the previous
record’s primarily acoustic sound. Though not
entirely a surprise (early reports indicated a move
back to electronics before the album was even
recorded), this is a definite departure and, to some,
a welcome return to the sounds of the first EP and
album. The track quickly settles into an arpeggiated
synth line reminiscent of "Ophelia" and the
propelling bass line lends it an upbeat vibe not
unlike "In Search of My Rose". Rounding out
the mix are some gorgeous and laid-back guitar work
from Martijn de Kleer and some atmospheric synths.
With this track, Edward’s voice appears to have
hit a new high point. The care he gives to intonation
and phrasing is unparalleled and his voice is
controlled and understated. A beautiful chord
progression, reminiscent of ‘Last Man to
Fly’, gives "Lament" a foundation and
cements the connection to the band’s earlier
work. However, the difference of approach to
production and mixing which lies between Dave Ogilvie
on the earlier records and cEvin on these last two
(with Frank Verschuuren on ‘Crystal Mass’)
is plain just from this single track.
‘Crystal Mass’ and
‘…Angel…’ have a much more
‘up front’ and ‘down to basics’
mix than the earlier records. Before the
song’s close "Lament" surprises us
with a triumphant bubbling figuration of the main
synth line, ending the song on an emotionally
positive note.
"The Double Spades Effect" invokes a rhythm
somewhere between folk-rock and tribal drumming.
Edward is again subdued as his voice floats amidst
background atmospherics, loops, and tapes, recalling
‘Tired Eyes Slowly Burning’ distinctly.
Martijn’s violin work is an asset to the band
and his guitar experience shows as he exploits the
timbre of his instrument. The band really grooves
here with the bass, live percussion, and violin
driving the track. Overall, this song falls well into
the Tear Garden’s proven approach of
‘modern day troubadours’, but does so using
new elements
The positive vibe of the first two tracks is broken
by "Desert Island Disc", which begins with
an ominous and mysterious atmosphere. I can best
describe the mood as driving alone down a deserted
highway at night. Ka-Spel addresses the listener with
images of forgotten faces from the past. An acoustic
guitar plays a riff similar to that of
‘Ascension Day’ but in a melancholy
context, harmonized by simultaneous electric guitar.
Martijn’s electric guitar on this track is
particularly lyric and expressive. The liquidy
percussion is detailed and intricately produced. The
more lively chorus interrupts the midnight drive like
the comfort of a familiar song on the car stereo, but
that hopeful quality gives way as Edward’s
ironic lyrics darkly indict the listener "this
is your life…and it’s over." The
spooky track teases us with salvation, but returns us
to its dark origins. However, this is but a mere
harbinger of what is yet to come.
"Hopeful" returns the album to more
familiar territory. With live acoustic drums and a
progressively folky sound, this song that could
easily fit on ‘To Be An Angel…"
Lyrically and musically the song has a palatable
sense of dismissive warning, as if Edward is
informing us of an oncoming doom, but half-heartedly
as he knows we will not head it. "Hopeful"
has infectious progression making for a successful
track within the context of the album but it is the
confrontational lyrics which make it a valuable
contribution to the band’s canon.
"Castaway*" follows with a tribal rhythm in
the style of "Tasteless", augmented by
non-western percussion instruments. The bass line
illustrates cEvin and Ryan’s mutual interest in
dub and reggae more than any other track. Swimming in
the mix is a synth sounding a bit like ‘Music
for Cats’. Edward’s filtered vocals are
disarming and disturbing so shortly after the
positive mood of much of the previous material.
As wonderful as this track is overall, the jewel in
its crown is Martijn’s guitar solo, which can
only be described as searing. The percussion pulls at
the solo’s rhythm and again a lot of attention
is paid to the rhythm production.
"Castaway" retains the disturbing mood of
the previous tracks.
"Her Majesty’s Trusted Food Taster*"
brings us out of the somber mood of the past few
tracks with an uplifting groove carried by live drums
and percussion carefully treated with a variety of
effects. The electric guitar introduces the chords
and when the synths respond in kind we take off. If
"Desert Island Disc" was driving alone at
night, "…Food Taster" is the grandeur
of a bird in flight beneath the warmth of the sun.
The glow of this track is carried as the guitar
gently wraps itself around the chords. This
track is simply magnificent, however its placement
between some other very dark songs robs it of its
potential effect.
"Feathered Friends" begins with a noisy and
hostile rhythm that builds itself out of
Dwayne’s "Burnout" and what sounds
like a gating effect. A gorgeous fracture of melody
responds and suddenly we are thrust into a grinding
rhythmic loop that establishes a very dark tone. The
bass, guitar, and drums pick this up as they develop
a threatening and nerve wracking groove. When
Edward’s staccato almost rap-like voice enters,
we know this will be unlike any other Tear Garden
track we’ve ever heard. Edward’s
vocal is angry and grimy, building to his dismissive
refrain "it’s for the birds".
Never before has he sounded so menacing.
Martijn’s electric guitar cuts into the mix,
frothing with evil portents. Niels guests with his
perverted and processed flute. This twist into a
threateningly dark, almost violent, tone is simply
one of the most shocking surprise turns I’ve
ever heard an album (or project) take. In my mind it
was completely unpredicted, however, looking back at
the previous tracks on the album, it seems that this
mood was always looming in the distance, waiting to
explode here. Thus far I had felt that ‘Crystal
Mass’ was quite a good Tear Garden album with
enough new elements sprinkled in to be more than a
mere rerun of past works. When I heard
"Feathered Friends", I realized that
‘Crystal Mass’ reached a whole new level
for the band.
"To Mourn the Death of Colour" brings the
bile of "Feathered Friends" to its
inevitable somber conclusion. Edward’s voice is
that of someone depleted from a long journey, a
journey not unlike that of the listener of this disc.
Edward seems to give in, saying "switch it off
now, let me sleep". Along with the slow,
dramatic backing this illustrates the depths of
depression. The emotional pair of this and the
previous track is, I believe, one of the highlights
of the Tear Garden’s overwhelmingly amazing
oeuvre. The track winds down and begins to decay into
an instrumental collage very reminiscent of
"Last Post".
The ending of "…Colour" would
seemingly be the perfect moment to end the album, but
perhaps it is best not to end the record on such an
emotionally low note. "Six of One" could
easily have begun as a Download track, with its
midtempo heavily electronic groove. The track is
somewhat akin to "Empathy with the Devil",
owing mostly to Edward’s edgy vocal attitude.
The danceable rhythm and layers of synths are
reminiscent of the first side of ‘Tired Eyes
Slowly Burning’ but the funky guitar work by
Martijn and bass groove by Ryan give it a much freer
feel. This is a great track which adds a biting tone
to the album, but perhaps belongs elsewhere on the
album. However, the main body of the track is
followed by a warm, ambient segment that ends the
album perfectly.
All of the band members are in top form for
‘Crystal Mass’, with highlights belonging
to all. Edward’s always enrapturing voice is at
a new level (as also evidenced by his recent solo
album, ‘Red Letters’). Martijn’s
return to an electric guitar style in the vein of
‘Last Man to Fly’ allows him to shine, as
does his violin. The detailed drum and percussion
production is indicative of cEvin’s best work.
The only major disappointment is the unfortunately
minor involvement of Niels Van Hoornblower, who was
responsible for so many wonderful moments on ‘To
Be an Angel…’ The sequencing of the tracks
seems a bit less than optimum, hampering some of the
delicate transfers of emotion. While it would have
been easy for the Tear Garden to record another album
in the style of their past works the reemphasis of
electronics and the surprise transition to a dark
mood of ‘Crystal Mass’ sees them exploring
a new path in their continuing musical journey. This
album is simply a must for all Pink Dots, Skinny
Puppy, and Tear Garden fans. Those who were more
intrigued by the collaboration’s earlier
electronic work than their last album will most
likely be pleasantly surprised. Fans of
cEvin’s work in Download may enjoy the
‘technoy’ approach to some of the more
electronic tracks. I believe this album is a
must-have not only for LPD and Skinny Puppy fans of
all tastes, but for all smart music fans.
*It seems quite
possible that in addition to the mastering error of
tracks 4 and 5, the song titles for
"Castaway" and "Her Majesty’s
Trusted Food Taster" were reversed in the track
listing. For the sake of clarity, I have used the
titles as they appear on the artwork here.
Corey Goldberg
11/10/00
SubConscious Compilation: Wild Planet
Normally
track-by-track reviews are not my review style.
However, since this is essentially a Various Artists
compilation, I will focus on each track individually
in addition to the disc as a whole.
Download –
Toooly Hooof (remix)
This is a
reworking of the track from ‘III’ by cEvin
himself. Utilizing many of the same elements he
has created a vastly different final product.
The original stood out on the album as one of the few
fast tracks, consisting primarily of various
effects-laden sounds interjected atop a funky, yet at
times insanely complex, rhythmic groove. Here,
the groove itself has been partially
dismantled. The beat never quite materializes
into something accessible. What sounds like a
gate opening on radio static acts as the bass and
conflicts with the pulse of the rhythm track in a
method similar to ‘Meteorite’.* This gives
the track an overall nerve wracking atmosphere.
In addition to the rhythm there is a persistent
dissonant and droning synth presence, again adding
tension. cEvin’s trademark Jamaican radio
samples reappear, along with slabs of other
sampled sounds. Chunks of melodic motifs show up
abruptly but just as quickly disappear and never
reoccur. This all adds up to a disorienting
soundscape (not unlike much of ‘Music
for Cats’)
which is a relatively dark track compared to the
lighthearted funkiness of the original. While far
from sparse, the remix has a colder, harder sound
than the ‘warm soup’ of the ‘III’
version. It’s quite impressive to see the same
elements arranged in a different manner to such
drastically different results. A very successful
remix. It’s also worthwhile to note that
this is the first remix not done by an outside party
in a very long time (the Sidewinder and Dutch Flowers
remixes being closer to re-edits/extended versions
than actual remixes).
*Actually, upon
further listen I don't believe this is the case. In
fact, I think the bass is just so heavy that it
distorted my headphones.
A Duck –
Quackerz (revision)
(This is a
different version of ‘Phenethylamine
Backwash’, a pretty rare compilation
track. The original is one of the only Puppy
related tracks which I haven’t heard, so I
can’t comment on how different it is.)
This track is pure
magic. It is worth the purchase of the CD alone. I
was absolutely floored upon hearing it; reminded
again, after so long, of Dwayne’s
brilliance. It builds upon the ideas of
‘Power’, and in fact utilizes a few of the
same sounds, but takes it to a different level. After
setting us up for an intense break-beat track Dwayne
shocks us with a gorgeous melody the likes of which
only he could write. This was recorded in 93 but
still sounds breathtakingly fresh and way ahead of
any techno being produced even 7 years later.
While I am, as always, biased by my love of
Dwayne’s music, this track is an absolute
must-hear. I cannot give this a higher
recommendation.
PlatEAU –
Three years
A lush ambient
soundscape lulls us out of Dwayne’s track.
Before long we are seduced into a slow, laid back
drum and bass groove which, through some thoughtful
mixing, always seems just a little off in the
distance. The use of the drum and bass tracks
situated in a large ambient field reminds me of
Dead Voices On Air’s ‘How Hollow
Heart’ album. As with most platEAU, the
true rewards come in the subtleties revealed through
focused listening. The ambience occasionally
treats us to a melodic flourish, but only briefly.
This track was handled delicately, and it shows. IMHO
one of the best platEAU tracks ever.
Doubting Thomas
– Steps
Original used as
music for the La La La Humansteps dance troupe, the
sounds are unmistakably that of Doubting Thomas/early
90s Puppy. The track works by extending our
anticipation of the resolution of the rhythm into an
accessible beat as long as possible. The delay
of our satisfaction is accompanied by a trademark
jack-in-the-box-like synth melody. The
intensity of the drums is maximized by this delay,
somewhat like in the ‘Toooly Hooof’ remix
or on the ‘Music for Cats’ album. Quite
interesting all around, with more than a passing
resemblance to ‘The Moodswing’ both
stylistically and conceptually. The only
complaint is that this track would have worked better
in the context of a an album than a compilation, but
if not for a compilation it would likely never have
been released. Tantalizing to wonder what other gems
from these sessions/this era might lay hidden in the
vault.
Skinny Puppy -
Rodent (remix)
The most obviously
accessible track on the album, this remix (another
version of that featured on Remix Dys Temper) updates
‘Rodent’ into a fully rounded 90s
electro-industrial style song in the vein of FLA,
KMFDM et al. Enjoyable and interesting if you
can tolerate that style. While I do appreciate
it, I think the sound of it is in general too obvious
and too cliché (but then again, that’s why I
don’t like much of this
‘genre’). In addition, I think that
‘Rodent’s power was in the rawness of the
original mix. Re-sculpting it into something that
could easily be on any industrial single compilation
demolishes this IMHO. On the other hand, there
are some very interesting things done on this track
(particularly with the new instrumentation which has
been added), and I think it is a vast improvement on
the RDT version. Removing the incessant and
simplistic drum beat would go a long way in improving
my opinion of this track. It is certainly worth
a listen, but stylistically out of place on the
compilation and a bit too typical-sounding for my
tastes.
The Tear Garden
– Things That Go Bump In the Night
Just like the two
Tear Garden tracks on the first SubCon compilation,
this was originally recorded during the sessions for
‘To Be An Angel Blind, The Crippled Soul
Divide’. However, this song features a lot
more post production, pointing the way to the
supposedly more electronic sound of the upcoming
‘Crystal Mass’. As always with this
collective, ‘Things…’ is an excellent
track all around, but cEvin’s effects wizardry
gives this song an entirely different feel than we
are accustomed to hearing from them. In
particular, Martijn’s guitar sounds unlike it
ever has before. The cheesy drum machine sound of
such songs as ‘Psycho 9’ returns, but this
time around its treated in a very caustic and
unsettling mix. My best description is that this is
what a William Burroughs novel sounds like. With the
number of great outtakes from these sessions now at
3, I am forced to wish that a companion EP of cutting
room floor bits was produced, as ‘Sheila Liked
the Rodeo’ was for ‘Last Man to Fly’.
Some would probably have rather heard a preview of
‘Crystal Mass’ on this disc than another
‘To Be An Angel…’ outtake, but that
may very well have meant leaving this wonderful track
in the vault. Suffice it to say that The Tear
Garden never disappoints.
Twilight Circus
– Ultra Binghi (brain melter mix)
The solo project of
Pink Dot Ryan Moore gives us this next track which
continues the mood of ‘Things…’.
On a surface level, this track is a slow groove on
drums, bass, and percussion with effects- processed
sounds layered over it. However, to reduce it
to a cursory description like that does not do it
justice. The timing and texture of the
interjected noises and samples is perfect, the
percussion is both propelling and, due to filtering,
interesting unto itself, and the bass is just plain
smooth. The attention to timbre on this track
shines, but so does Ryan’s groove on the drum
kit. What at first seem like sloppy fills turn
out to be really interesting diversions. This is a
great cut, fits in seamlessly with the laid back feel
of the other material, and will doubtlessly make
Twilight Circus fans out of a number of Puppy
listeners.
Philth –
Sanity Shovel
The sound of
Philth’s solo track is a departure from his more
aggressive entry on ‘Paradigm Shift’.
Similar in mood and texture to platEAU, ‘Sanity
Shovel’ returns us to a purely electronic
landscape. Starting off fairly reserved it
slowly builds to something more intense, breaking
past the restrictions of traditional techno
forms. Gorgeous atmospheric synths arrive and
soothe while the jerky drum and bass tracks
persist. While perhaps not the best example of
Philth’s solo work, it is definitely a
worthwhile inclusion on this disc.
Floatpoint –
Foundflap
This collaboration
between Philth and Dan Handrabur makes its first
appearance in the SubCon universe on this
compilation, and in doing so brings a new mood.
More menacing than the previous material,
‘Foundflap’ features heavily reverbed,
pounding drums layered with squealing electronically
processed noises. Spooky and animalistic sounding,
yet always calm, this offers a nice change from the
lighthearted groove established by the previous
tracks. Impressive.
cEvin Key – I
Still Ate Her
A rare track
previously released on a bonus CD that came with a
magazine (accredited to Download at that point) it is
nice to see this included here so that all fans can
hear it. Based in part on some samples from
‘Download’ off ‘Last
Rights’,
this track is a definite thematic link between latter
day Skinny Puppy, Download, and ‘Music
For Cats’.
The relentless use of high-pitched electronic
feedback-type noises is similar in basic style with
‘Foundflap’, but with a drastically
different mood. A welcome inclusion.
Lustmord –
Infinite Domain (version)
The first track by
an artist previously unassociated with SubCon,
Lustmord’s entry is stirringly impressive and is
likely to make him quite a few new fans. Based
in a dark ambient environment a tribal rhythm slowly
takes shape and builds as various processed sounds
coalesce to fill out the mix. The fantastic use of
space is creepy and intense. Possibly one of
the best tracks on the disc.
Off and Gone –
Decaying Orbit
A major switch in
tone is handled well by this track, another
collaboration between Philth and Dan Handrabur. An
eerily radio-sample-like loop forms the basis of what
grows into a fast techno track in the style of
Dwayne’s ‘Power’ or Philth’s
‘Touched’. Very well done and interesting,
its pace adds a necessary element to the
compilation. The only thing which makes this a
notch below Dwayne’s work is its reliance on
constant loops rather than something with more
structural variation.
The Legendary Pink
Dots – Fate’s Faithful Punchline (version)
In lieu of another
Tear Garden track we are welcomed to an alternate
version of a track from the Pink Dot’s own most
recent album. A mellow mood featuring some
really spectacular moments by Niels Van
Hoornblower. This mix is subtly different from
the original version throughout, most notably
featuring some great new horn work in the
intro. As always, their work is serene and it
is nice to see their work outside of Tear Garden
included here. Hopefully this will inspire more
Skinny Puppy fans to check out the LPD, that is if
the Tear Garden has not yet converted them. The
only downside is that this track is not a completely
new piece.
Dead Voices On Air
meets Dropstar – Dijn
Our mellow mood
turns darker with this final, disturbing piece.
Reminiscent of some of DVOA’s ‘Mourning
Songs’ or LPD’s more ambient side,
’Dijn’ is a soundscape of carefully
controlled synths and processed spoken word.
More dense and expansive sounding than some of
DVOA’s other work, yet simultaneously more
controlled and reserved. Along with the Lustmord
track this makes sure that dark ambient is as well
represented on ‘Wild Planet’ as is
break-beat or trance.
One of the common
criticisms of the recent output from Subconscious has
been that it has been too relaxed, mellow,
lighthearted, and lacking in aggressiveness or
intensity. While I do not agree with the previous
assertion, this release thwarts that criticism by
being simultaneously intense, dark, and conflicted
and laid back and groovy. In addition it gives
a much more diverse range of musical styles,
techniques, and moods than ‘Paradigm
Shift’. Featuring a wide range of progressive,
interesting, and engaging material this disc is
highly recommended for any electronic music
fan. For those fans of Skinny Puppy who have
not yet checked out the post-Puppy material of cEvin
Key or are wary of a ‘cliched techno
sound’, this is great introduction and is likely
to surprise. Overall I think it is the best SubCon
release since ‘The Eyes of Stanley
Pain’ or the previous compilation, hampered, if
only slightly, by the fact that a few of the tracks
are not completely new.
-Corey 5/20/00
Special thanks to
Armand at Nettwerk
End of Days Score
As you probably already know, the Jon Debney score
for the film End of Days features contributions by
cEvin Key. Varese Sarabande have released this score
on CD, augmented with a few additional tracks by
cEvin. The score itself consists largely of
dissonant, tense pieces. There is little
repeated melodic content, save for a reoccurring
short motif sung by a boy soprano. This is a
fairly interesting move for a film score, its
presence is merely atmospheric rather than to provide
an affective context to the film. More often than not
its there to build tension and does this fairly well,
utilizing tuvan throat singing and washes of
percussion. The major fault is the presence of
the choir and the aforementioned boy
soprano. The use of church style chants in
order to create a sense of ‘mysterious and holy
awe’ is, in my opinion, trite and something we
have heard way too often.
Given these general criticisms of Debney’s
score, the tracks featuring cEvin are by far the most
interesting. Sprinkled throughout the score are
pieces which feature cEvin’s unmistakable
production techniques and electronic tweaking.
Based upon a few of Debney’s ideas, cEvin adds
bits of static and short backwards masked
samples. These small touches end up being more
chilling than any of the ‘hellish choir’
present elsewhere in the score.
After the
main program of the score we are treated to two bonus
tracks. The first is an alternate main title by
cEvin. It begins similar to Debney’s
original, but with the aforementioned effects by
cEvin which elevate it to a higher plane. The
similarity to Skinny Puppy tracks such as Draining
Faces and The Mourn is uncanny. With the sudden
horror of an electronically manipulated scream we are
plunged into an unprecedented tribal rhythm track.
Again, cEvin’s mastery of mixing and effects
creates something creepier than any of the rest of
the score. The second bonus track is a ‘dance
mix’, the title of which should be taken very
loosely. Again we are treated to cEvin in full
splendor. The attention to detail given to the
mix, particularly to the rhythm track, is something
unique to his work. The dance mix is only two
minutes long but quite densely packed with stray bits
of audio spewage. His genius as a producer really
shines on these last two tracks, which are perhaps
the most Skinny Puppy-esque pieces he has done since
the end of the band. They have a dark tone much like
the instrumental CFM tracks or Fritter
(Stella’s home). There are also a number of
similarities to the Charlie’s Family score
present. These tracks alone are worth the purchase of
the disc.
This is an
absolute MUST for the avid Puppy fan. Casual fans may
find the moments of cEvin to be too few and too
short, but I still highly recommend it to anyone who
appreciates their dark instrumental material.
This release has excited this particular fan more
than anything since Paradigm Shift. Now all we
need is for someone to give cEvin the chance to man
the score alone.
-Corey
Special thanks to
Brian Giorgi at Varese Sarabande
