Locust: Truth Is Born Of Arguments
Apollo AMB5490CD
Total Excursion=57:56
(A multimedia version of this review w/ sound snippets can be found at
http://hyperreal.com/music/reviews/davis/locust.truth/locust.html.)
From the onset, Mark Van Hoen's latest outing is a disturbing,
enchanting journey. The style is a marked departure from the cool
ambient trance of Weathered Well and Natural Composite. Don't be fooled
by the slick polished Sarah Pritchard super model cover (which hopefully
will help some copies sneak into cutout bins at bargain prices) and the
"wallow in your Morrisey-like despair" song titles. This is for the
most part crunchy, scary stuff, street music and chill music for the
war-torn Karachi, circa 2003. There are few clues here as to the
personal trauma behind the self indulgent titles, but the music says it
all: it was nasty and it left a scar on Herr Locust.
140 5:32 Truth Is Born Of Arguments
You feel the rush in your gut as you get sucked down the tube into this
one. "Oh, shit... what did I get myself into by buying this disc...."
You hear the machines sputter and choke, and you feel the cool doom
which is sucking you down into the cybergrinder. Definitely a lights on
piece, scary SAWII style, with beats. The hum of fear and the pounding
of your heart pulsing in your throat combine to let you know you're in
for something difficult. A start and stop number which builds in
intensity through each interruptus, setting the opening tone well for
this collection.
091 4:58 Penetration
Bumpin', grindin' bass and a propensity for scratch and loopy siren make
this one remind me of the Beasties on a rampage through Kabul. Hard
hitting middle eastern prayer mantra rap, driven by a looped, insistent
processed Seefeel Sarah sample which for all the world sounds like a
Muslim bow to the east chant. I'd love to see the floor wig out as this
one was mixed in in the middle of humpin' house groove set.
085 6:05 I Feel Cold Inside Because Of The Things You Say
Locust opens this one by trying to tune in his home-made VCO to your
alpha half-frequency through the brain electrodes disguised as headphone
plugs. Once he finds your resonant frequency, your cerebral reverbs are
quickly slid into the background as a galloping breakbeat supporting an
analog noise fest. Every once in a while, he stops for a minute to
ping your cortex, to make sure your alpha wave server is still
responding, then kicks back into it with full force. At around six
minutes, this one probably lasts a little longer than needed. I feel
numb inside because of the things he plays.
091 5:49 Saturated Love
A funky, punchy drum line, a dove cooing metronome, and a silky Wendy
Roberts vocal sample drizzled over bouncing, off center bass pad frame
the fabric for this one. It's an eerie and unsettling groove, but one
that you could almost swing to. The breaks are provided when the sonic
blender is cranked up to frappe and the various sounds making this one
up are recycled to a warbling chutney.
121 5:22 When We Coincide
Tribal flavor brain manipulation, driven along by conga bongo tour
guides and a simple circular hurdy gurdy line. Lights off, fog up and
chill out to this one. It's the anthem for the digital cobra charmer of
the 90's.
5:23 I Believe In A Love I May Never Know
Extra crunchy bass with occasional brief outbursts of junglism drumline,
fronted by an inquisitive, searching choral synth flute progression.
Probing and beautiful in its simplicity, it encourages you to keep
looking for the real one, even though you may never find it.
130 7:17 The Optimist
The album makes a definite turn for the enlightened positive with this
aptly named enchanter, one of the standouts from the collection. A
solemn, hypnotic 2 count bass and uplifting slow string pattern open it
up, luring you in so that you can practically smell the sickenly sweet
incense of hope. A wacked out, sexy, skanky flute jazz riff climbs up
and over itself, weaving in and out of the bass line and wafting through
your brain like a Hindu tapestry. Again, the start and stop technique
is used to good effect to build tension, and you leave this number
knowing that all is not lost.
112 5:20 I Become Overwhelmed
Another uplifter, with a pulsing electro-bass and some snazzy snare work
setting the riddim layer for Del Crabtree's jazzy horn work. This one
moves along steadily, and you feel like the bass line is expanding very
gradually in determination and intensity throughout the piece. String
flourishes and bongo encouragement enrich the mix, until it ends
abruptly in mid-figure of a trumpet flare.
063 4:17 I Am Afraid Of Who I Am
We're back into disturbing mode here, with deeply processed vocal
samples and heavily anesthetized cartoon theme song synths. Turn the
lights on and warn the neighbors. I'd be afraid of myself too, if I
made sounds like this.
093 5:24 Inside I Am Crying
Beautiful and melancholy piano intro, implying a lover crying over his
sweetheart, whom he has just murdered. But before we get too
sob-drenched, it's into a swingy galloping 5/4 piece with a faint
aftertaste of Dave Brubeck's "Take Five". Piano, brushed high hats and
muted trumpets give this one a very loungey feel. Even some upright
string bass to seal the point. Altogether, an upbeat number, again
ending abruptly.
044 2:18 The Love You Cruelly Gave Me Would Not Last
Poignant piano solo work, played with feeling and emotion. Leaves you
feeling that Van Hoen still harbors a great deal of sorrow, although the
closing crystalline chord is uplifting.
As a collection, this is a nice package, because there is good
development of theme, and the feel of the music evolves from violent,
mental despair to uplifting outlooks to sorrow and sadness. It's tough
music to pigeonhole, but I guess that in itself is an accomplishment
these days. The album continually evokes a middle eastern flavor
without sounding like Van Hoen's trying to jump the world music
bandwagon. There's a lot of variety, and as a whole it is a very
creative collection. Disturbingly difficult and refreshing.
Recommended.
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