Sounding somewhere between PiL, Fugazi, Can, Einstürzende Neubauten and dEUS, this is abstract craziness at it’s finest, for once an experimental record that really is like one long sonic laboratory. It begins with the jagged obliqueness of ’Traffix’ and ’All I have In My Pocket’, takes us on a ride through batty Dead Kennedys Stooges territory with ’A Racetrack’ then the occasionally anthemic chaos of ’Nothing At All’, the abstraction never dropping for a moment. ’Interlüde’ is less dissonant, by turns pretty, by turns thoughtful, and the title track sounds like a looped and twisted album outtro, music to have a bad trip to. I love the way Andreas H's linear beats built up at the beginning of ’Get On Land’, and love the chorus of ethereal 60’s girl voices that magically appears in the middle eight, before Boris Z added his own voice and builds it up into a mesmerising mantra. ’Up Tide’ veers wildly via The Residents ,the B52s (on helium!) and a touch of Melt Banana, before launching off on a huge beautifully textured instrumental jam that crossfades and mutates all over the place. ’Kitchen Device’ touches on hardcore punk, metal dirge, echoing voices and spooky soundtracks, then a little bit of disembodied helium filled narration…. On ’Rundetaarn, Kbh.’ * the track begins like Sonic Youth trying to jam out 'Zeppelin, then empties out to eerie soundtrack, repetitive guitar and chimes, building up suspense by getting quieter and emptier until… it kicks back in with shrieking guitar and that blasting heavy groove. It’s a journey, perhaps what you could call a progressive rock band, but a billion times more out-there than such a title might suggest. The album ends with *’Bethnal Green’, which starts like an ambient track that manages to make birdsong spooky, goes off into even more spooky vocals and a long meandering Can-style groove and manages to make my cd player countdown from minus four and a half minutes before reaching zero and counting forward for the next ten and a half … smart arses!
It’s difficult to describe a record such as this, because there’s such a lot going on. It is sometimes curious, sometimes funny, sometimes powerful, sometimes beautiful, always abstract and always mutating and I’d recommend it to anyone who sits on the left field, but in terms of mainstream tastes it is about as accessible as ‘War and Peace’ written backwards in Esperanto!
..and that’s just the way it should be.
8Chris Nettleton's Score