I'm listening to "nobody knows" right now (for the 10x in last 3 days) and i
can definitely call it genius!!! I remember someone complained on the first
geeez that it has only few gospel samples used (so do i), but the "nobody
knows" is full of gospel. Of course it's clicky and scrachy and whatever but
this project is awesome.
Even you people who didn't like "my life with jesus" please give the "nobody
knows" a chance - it's dry and soulful at ones. I wish I could be at MUTEK
on Sunday night to hear the "mutated GEEEZ" show.
best:::
enjoy, but safely =:
ma_hovina >
http://atom-heart.com
at 20.05.2002 15:13 Uhr, matt hotz wrote:
quoted 57 lines I haven't heard the new geeez n gosh either, I've heard it's more abstract
> I haven't heard the new geeez n gosh either, I've heard it's more abstract
> then the first one, that's all I know. the first one is deranged. I
> just don't know how to react to it. musically I like it for when I'm
> in a gut rumbling dance floor mood. the bass on it is as typical of
> atom(tm) sure to shake something loose in the room it's played in. I've
> played it for a friend who does music programming at a church, and he
> seemed to enjoy it. My brother works in church youth programs I'm going
> to play it for him when I see him next.
> I'm not a christian, so most of the album goes in one ear and out the
> other more or less. I like what happens, it's just not something I'm
> going to really listen to.
> mechanical jazz? I love robots playing jazz. that element of the rigid
> putting up a grid a space to bounce off of. miles and those bass lines
> that just went on forever ala bitches or any other album from that period.
> leading up to some examples from today. I know dance floor stuff, house
> and the like. Sometimes it's better than others. Carl Craig's innerzone
> orchestra project would be one example of when it works. that's all a
> matter of if they (the producer) knows when to shut up, or throw a spanner
> in the works.
>
> so when are we going to hear Laibach being replundered. such as the
> album Let It Be meets senor coconut. the basterdised, gets the reboot.
> horribly wrong is what I'd expect.
> two of us dig a pony
>
>
> m_
>
>
>
> ---- Mark Kolmar <mark@burningrome.com> wrote:
>> On Fri, 17 May 2002, Michael Upton wrote:
>>
>> I haven't heard it yet. Is it more groovy than the first one? I found 'My
>> Life With Jesus' a bit too machine-like or something in terms of
>> its rhythms. Uwe's obviously got an absolutely amazing sense of rhythm,
>> so I was hoping this one would be a bit more fun in that respect.
>> Just about all his music is "too machine-like". In many cases this
>> is an important part of what I love about it. In other cases it poses major
>> problems, when he is unable to inject warmth, charm, and sweat into
>> a record in (or that mimics, distorts, etc.) a certain style. This is
>> the problem I always had with his jazz-colored work. Jazz to me needs
>> to be very human, and from Uwe it is very mechanical in an undesirable way.
>> At the other end are records like _Schnitstelle_ or the ultra-mechanical
>> techno of _Repetetive Digital Noise_. Then you've got something like
>> _BASS_ that warps the block-rocking Jeep beat into something wonderfully
>> mechanical -- versus something like _XXX_ that to me requires a ton
>> of missing grit and grime for the parody to really work. The stiffness
>> of Se?or Coconut, on the other hand, is exactly what makes it exciting
>> -- the contrast between the soulful joy of the styles it celebrates, and the
>> obvious mechanical aspects of his interpretation.
>>
>> --Mark
>>
>> www.burningrome.com
>>
>>
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