I would just like to say that as far as my insulsts to Plaid go, this is
my most important evidince: Plaid has never really evolved, they've
only upped thier production vaulde, in a very limited sense. Compare
them to Autechre, who have not only upped the production value but who
have upped the entire idea of what electronic music can be, with every
single release. Plaid are INDEED A ONE TRICK PONY.
EVOLUTION IS WHERE ITS AT.
We have yet to reach levels of Beethoven/Mozart/and dare I mention the
MASTER's NAME:
JOHANN SEBASTIAN BACH.
heres hoping
kingmob
On Wed, 27 Jun 2001, Thomas Millar wrote:
quoted 111 lines Fennesz: Endless Summer> Fennesz: Endless Summer
>
> Brilliant, like a beautiful, beatless ambient
>
> Electric Company: Slow Food
>
> which, BTW, is also great, laner's best yet in my opinion, not just
> because it's the most accessible but also because it's the most
> consistent of all his work I've been exposed to so far.
> Then there's
>
> Plaid: Double Figure
>
> Which is sad, because while it's not a bad record, it certainly seems to
> show Plaid becoming sort of a one-trick pony band, and I hate when that
> happens. Rest Proof Clockwork is more inspired and enjoyable for my
> money by a long shot...
>
> Kid606: PS you love me
>
> is a good one, album sounds and even looks, colorschemewise, similar to
> Jake Mandell's recent Love Songs for Computers, which was also a good
> score. Smooth, almost Kompakt-brand 4/4 in lots of places. I can dig it.
> I can also dig
>
> V/A: All Access
>
> fantastic fantastic detroit sampler compiled by Carl Craig, fantastic,
> oh boy, takin' this one on the road first chance I get, smooth with bite
> like a fine cocktail, yes indeed, and a Theorem vs. Swayzak track for
> the rare-collab collector fiends...
>
> Bisk: Moonstruck Parade
>
> Had this for a while, and just like most every other Bisk album I have,
> still not the least bit tired of it. Chop chop chop chop, bleep daboop,
> skittery too-fast OK slowdown WTF billie holiday in one ear and waltzing
> R2 D2s in the other, gorgeous, full of surprises, and classical piano +
> guitar samples to make you want to own a house on the beach for some
> reason. The title track is going down in history, and I'm not kidding,
> not in the least, nor am I kidding about
>
> V/A: RKK 13
>
> Which is more hit-and-miss than any comp I've bought in a while, some
> good tracks, but everything's about 2 min. long tops so you get to
> relish JayRope, Electric Birds, Blitter and Fennesz's contributions
> about the same amount of time that you unexpectedly have to suffer
> through the sound of Thurston Moore chopping through the Ramone's "I
> wanna be sedated" and bad radio reception noise, which sounds a lot more
> interesting than it sounds. Sorry Vat, just not open-minded enough I
> guess, or then again, I am the sort of person who enjoys
>
> Fantastic Plastic Machine: Beautiful
>
> Lounge disco over-the-top silliness and beats to back the best of blue
> movies, FPM hits the spot again with another fantastic sunny day driving
> album, unstoppable and not the least bit self-conscious, even in dense traffic.
>
> Herbert: Bodily Functions
>
> Around The House was a fine enough record, but if you'd rather more
> brain-tickling bebop or just regular smoky old jazz inflected stuff, to
> include the use of more than a few live-sounding musicians etc. Plus
> even more Dani Siciliano, love that voice, and lyrics that make ten
> times as much sense as Underworld, not that anybody on this list cares.
> File under "girl-friendly" but only if she's really smart y'know huh huh.
>
> Ken Ishii: Iceblink
>
> Boom Boom Boom whatever, not bad but not nearly as good as Metal Blue
> America, the Grip + Re-grip material, sounds more like an EP with some
> filler thrown in than an album. A few tight thumping tracks and then
> some overproduced silliness, you know how it goes, these guys make a
> bunch of money and it all goes poo before you can sneeze, kind of like
>
> V/VM: Help Aphex Twin 1.0 & 2.0
>
> Not V/VM, they can't even afford their own source material, I'm talking
> about Aphex Twin, yeah, the guy that England's favorite meat sculptors
> have rearranged, smashed, inappropriately appropriated and generally
> improved upon in favor of lower S/N ratios and sheer aggressive
> twistedness, which come to think of it nobody might've imagined years
> ago but now is perfectly acceptable. Or not. Lots of Aphex material
> reworked into more cacaphonic and unpredictable arrangements, pitchbent
> all out of wack and cut up so as to make the trainwreckingest DJs
> worldwide look smooth. I likes it, as I do, finally,
>
> Mouse On Mars: Idiology
>
> Which when swinging, rocking, thumping, shouting and bumping like a
> squadron of nymphomaniacal (and/or satyriatic) imps and faeries breaking
> into a high-dollar studio and ruining it during an all-night orgy, is a
> great record and again one that definitely fits the bill for
> incarlistening, at least in my car on the way to see Lex + Devine in LA
> this weekend, ha ha all you people who'll miss it (I've never gotten to
> say that, you realize, or even feel it really)... but when they stop and
> do that thing where dude talks on and on about some post-a-modern
> con-a-ceptssss, mm hmm, it drives me-a nuts, same as it did on the
> Gerhard Potuznik album some years ago. At least the Potuznik voiceover
> bits were a sort of narrative. Anyway. Good record, really like it,
> except for the Annoyinggg MAnnn.
>
> Is that it? I think that's it.
>
> Tom
>
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