Iron Lung Corporation / Big Shiny Spears / Cargo (CD)
ILC's breakthrough track is "Join in the Murderous Chant", a
medley-slash-cover of two Nitzer Ebb club classics beefed up with
industrial-strength buzzsaw guitars and brutal drums. It's an inspired
remake that succeeds primarily because it ups the intensity-ante of the
original while leaving the songs recognizable. Unfortunately, although
tracks like "Pretty (Like A Porn Star)" and "Frozen Shallow" are
palatable pieces of post-Ministry speed metal, only a couple of songs --
"The Great Nothing" and "Crobar America" -- shine beyond a few listens. -- gz
Poem Rocket / Desire Illuminated / Magic Eye (7")
These two tracks from this underrated New York City band divulge its
trademark atmospheric guitar sound, suggesting mid-80's Sonic Youth.
Straddling the line between space rock and noisy pop is what Poem Rocket
does best, and these two tracks squawk irritably for attention, as a
seemingly claustrophobic sound seeks to burst out at any moment.
"Electronimo" also glimpses the less-common, hazy and sultry female
vocals. Anguished, affecting and chic. -- am
China Drum / Self Made Maniac / Beggars Banquet (CD)
China Drum pack a punch worthy of Husker Du -- a blisteringly loud,
intense wall of guitar pop sound that holds up well over twelve tracks.
Among the best cuts here are "Guilty Deafness", "Down By The River" and
"Another Toy"; "60 Seconds", on the other hand, shows that China Drum
can bring a song to a slow boil when they want to. The only downside
here is production that's just a little too clean -- these songs would
be even better with a bit less polish, while still remaining eminently
radio-ready. -- gz
Why? Things Burn/Vasoline Turner / "Glistening"/"Mr. Ugly" / T.O.N. (split 7")
Why? Things Burn's "Glistening" is mellow, sentimental indie-rock. Take
bittersweet lyrics, add a medium-tempo pulse, a delicate, slightly reverbed
lead guitar, some sustained Hammond Organ chords and a smattering of bongos
in the background and you've got the basic picture. Vasoline Turner's "Mr.
Ugly" is less formulaic. Take a "get-down-n-dirty" funk-rock groove, add a
sprinkling of honky tonk piano and then throw in some sinister vocals and
fascinating rhythmic stops and starts and you'll have a good replica of
this track. Both tracks are competent but nothing I'd sell my firstborn
for. -- nw
DJ? Acucrack / Nation State / Slipdisc (CD)
Five songs here: "Nation State" has what might be termed a
"retro-industrial" sound, blending dark keyboards with a simple,
conservative 136-bpm rhythm. "It's More Fun To Compute" and "Neophyte"
are slower, shorter and more minimal, while "Bitch Universal" brings in
familiar drum 'n' bass beats, but pairs them with a brooding, hostile
melody that makes the whole thing sound more like a recently-unearthed
example of "before its time" d&b than a current song. The best track,
"Time For You To Leave", embeds proto-breakbeats in a drifting, ethereal
keyboard harmony, building to the sort of percolating, joyous climax
that inspires people to take E. Based on what's here, the forthcoming
full-length looks like a winner. -- gz
Aesthetik / "Take It Back" b/w "Babydoll" / Aesthetik (Cassette
Single)
"Take It Back" is a straight-ahead rock ballad (cowbell thunking and 2
fancy guitar solos included). "Babydoll" is more slinky -- a seductive
little ditty with Spanish guitar flavor. Both tracks are reminiscent of a
time when rock was more about showmanship and technical viruosity than it
is now. I find the stuff on this single somewhat outdated; music
purely for entertainment's sake doesn't go down as well today as it once
did. I commend Aesthetik for having heart, but it's levels of
subtle nuance that win my vote. -- nw
Gearwhore / Passion EP / Astralwerks (12")
Passion -- presented here in four different forms -- is the sort of
techno track that re-energizes club floors at 3:00 a.m. It offers a
fairly linear melody, combined with comparatively "retro" beats (no drum
'n' bass mix here!) and an early-nineties sound that's appealingly warm.
The Bassland Mix offers very straightforward, old-style percussion,
while the Harley Mix works a hard-driving breakbeat into the equation.
The Dub factors in elements of acid house and at times sounds distinctly
Cabaret Voltaire-ish, while the Via Ouija mix is smoky and minimal. All
told, a great piece of club wax that's a surprisingly good listen, too.
-- gz
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