u-Ziq - Salsa with Mesquite CD EP (Astralwerks)
Salsa with Mesquite has a lot in common with the rest of Mike's
records: a fair share of limp tracks, an incredible range of styles, and
plenty of brilliant cuts that reveal themselves slowly on repeated
listenings. From the kung-fu cacophony of the title track to the gentle
u-Zaq of "Happi", there's plenty here to satiate the denizens of planet u.
"Leonard" provides a welcome dose of Mike's crunchy mechanics and
"Loam" takes off on a galloping new-romantic groove. Unhappily,
"Reflectiv" douses its exquisite theme in waves of wanky guitar and
neither version of "Balsa Lightning" can overcome the bilious
introduction. Overall, Salsa is a spicy appetizer for the much
anticipated pine effect.
Move D - Kunstoff CD (Source)
"In/Out" is a breathtaking demi-electro remix of the best track
from Moufang's Solitaire. The rest of Kunstoff is a bland fake-funk that
suffers from predictable percussion and tinny production.
Yoni - My Little Yoni CD (Source)
Although nothing here matches Vulva's superb "Haunted House," My
Little Yoni is a shining example of Thomas Melchor and Tim Hutton's
idiosyncratic electronica. Yoni craft music of character and
sophistication, evolving a distinctive style that accommodates both the
gothic menace of "Creepy Bitch" and the lush serenity of "Spirit of
Adventure."
Tracks like "Aquasonics" and "P-Yonic" demonstrate Yoni's strong
sense of direction and spark a wiggy acid-funk that peaks on the exuberant
"Beach Bum." A more judicious editor would have pruned "Beans Means Jazz"
and "Black Forest" from the tracklist, but this overall this disk
represents the duo's calculating minimalism well.
Mouse on Mars - Iaora Tahiti CD (Too Pure/American)
Iaora Tahiti is certainly a more consistent and competent
long-player than its predecessor, but it also lacks the exhilarating
energy of Vulvaland's best tracks. Andi Toma and Jan St. Werner have
refined their art into an appealing lightweight electronic dub that
consistently fails to provoke the mind. There is very little evidence
here for their much-touted aesthetic kinship with rock pioneers like Can
or Neu.
Teep - Full Moon tape (4/95)
Cut in the midst of a bout of early spring lunacy, Teep's Full
Moon tape showcases high-wire mixing and the birth of a deadly minimalist
electro groove. Side A sports several good tracks and daring transitions
but doesnUt really come together until a dark-electro funk suddenly grabs
the reins near the end. The B side becomes the proving grounds for this
new weapon, relaxing its grip just in time for Alberto Balsam to read the
credits. Beautiful.
Teep - Emergency Broadcast tape (7/95)
No punches are pulled this time. Teep warms up the heads with a
shot of bouncy funk and then drops into a staggering electro-jam that
defies playback at anything less than maximum volume. Things cool down
(as they must) just in time. Some pretty rockets are launched on the
back, but it's clear that most of the heavy artillery has already been
fired. Secret Agent Parillo's special brand of homebrew
ambient-industrial noise is also well represented, squeezing the souls of
BostonUs chilliest ghosts. This is not a test.