Trash @ The End, London 11 February 2002
The End is a fairly bad venue for a live gig. The room where Bobby Conn is playing tonight is wide but not deep enough to hold the capacity crowd who have sweated their way into the bar area to witness Chicago’s favourite Judeo-Christian Edutainer develop his own particlar brand of FM Radio cabaret Art-Rock. Add in the lack of monitors for the group, and it’s quite a pleasant surprise when the sound is actually acceptable after all, even if the crush is a little close for comfort. When Conn and his band eventually sweep onstage, it’s to the stunned laughter of a crowd who’ve just witnessed the sartorial elegance of a group decked out specially for the night in charity shop shell suits and Scandinavian Black
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Label: Rocketgirl/Mind Expansion Format: CD
Füxa‘s sixth album finds Randall Nieman‘s particular take on guitary synth music (or perhaps, synthy guitar music) developed yet further into a sound of drones and melodies which insinuate their way into the background and back again. Aided by the steadfast drumming of Drew Peters and occasional low-key vocal contributions from Stephen Lawrie and Jo Doran, Supercharged will more than likely have started and proceeded through a few tracks before the quiet beauty of Füxa’s music insinuates its way thoroughly into the subconscious, coasting on oscillators set to gentle waves of subsurface ambience.
There is an air of placid outer space drift to the record, as washed voices trip lightly out of the sub-aether, whispering sweet nothings; tinkling melodies are hinted at but
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Label: A-Musik Format: 3″ CD
Combining Disco with toys seems like a fun idea, and Felix Kubin‘s Jet-Lag Disco likes its treble really reedy on top of some thumpingly mid bass kicks. Two thoughts spring immediately to mind – Alec Empire‘s hyper-bleepy Nintendo Teenage Robots project, but with more beats and structure, and the fact that this EP was intended for Kubin’s Japanese tour in early 2001.
So things chunder on at an accelerated pace, like computer game music but even more ridiculous – and from before the days when the latest in fashionable electonic music was used to sell the game. The tracks here are somehow more Sega Megadrive than Commodore 64 though, and demand aspirin and a nice lie down afterwards. There’s a spooky-bleepy synthalong whistle and rush through a faux spy movie end-title tune, and a nice
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