Album Review - Orbital: Wonky

Orbital
Wonky
Rating: Grrrr

I am always wary when bands/artists get back together after breaking up, especially when said reason for splitting was because the band felt uninspired. So the ultimate question becomes are you getting back together for financial reasons or because you truly have something relevant to say after so many years? Based on Wonky, I can definitively say it is for the latter reason. Once one of the major stars of UK techno, brothers Phil and Paul Hartnoll could seemingly do no wrong, until the disastrous one-two punch of The Altogether and The Blue Album finding Orbital in a massive creative rut. The band split thereafter, reforming in 2009 for a series of live dates, which apparently sparked their creative juices, culminating in their new album Wonky. To call this a return to form would do this album a disservice, because it doesn't sound like a band trying to re-create their old successes, but using that merely as a building block to explore other avenues while always focusing on the melodies, which is what made them such an important techno act from the beginning.

From opening track "One Big Moment," which hints at Orbital of the past with chiming synths and a cacophony of spoken word samples before buzz saw synths take over, Wonky announces itself as the new Orbital. The push and pull between the heavenly chimes and dirtier synths creates amazing tension in the track.



"New France (ft. Zola Jesus)" wanders into the epic terrain of M83, using Zola Jesus' warcry vocals to perfect effect over the waves of scattering synths and rushing beats.



"Never" brightens the record with some of the sunniest melodies they've ever put together, almost giving the song a Balearic feel.



"Straight Sun" combines playful piano melodies and synth squiggles, then slowly adding an almost dubstep wobble as the pace increases to a feverish techno thud.



Speaking of dubstep, it appears even Orbital is not immune to its spell. "Beelzedub," a reworking of their classic track "Satan," adds plenty of low end bass and harsh keyboards over clattering percussion, until the coda breaks down into a furious Drum n' Bass workout. Strangely, this excursion feels right at home among the other 8 tracks, and doesn't stink of crass pandering. But while Orbital find time to explore more current genres, their tried and true techno still shines brighter. "Stringy Acid" feels like a classic Orbital track, seamlessly working different strains of synths into one another over a classic rave groove.

The only track that really doesn't seem to work in context of the record as a whole is the title cut "Wonky." While musically it has an interesting electro-house buzz to it, the addition of rapper Lady Leshurr to the proceedings feels like a slightly misguided attempt to jump on the Nicki Minaj style of rap bandwagon. While the beginning of the track grates on one's nerves, the bridge finds the song take on a more traditional approach which ultimately saves the track from being an outright disappointment. The video is so good, I can even overlook the part of the song I dislike.



I did not expect to enjoy Wonky as much as I did. Even more surprising was how it got better and better with each listen. If this signals a creative rejuvenation for the Hartnoll brothers, by all means, they need to share their secret with countless other reformed acts to show them how it is done. Wonky is not just a return to form, it is stellar album that sits easily alongside their best work.

Rating Scale:

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and piques one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.

Video: Orbital - "Wonky"

Title track from their new album gets a crazy video.

Album Review - Mouse On Mars: Parastrophics

Mouse On Mars
Parastrophics
Rating: Yeah Daddy Make Me Want It

I will admit to not being a huge Mouse on Mars fan. Throughout their career, they have been one of those bands I have appreciated much more than I have loved. Something about their almost difficult for difficult sake's approach to post-techno has kept me at a distance; their only saving grace being a sense of humor that always tends to bob its head up and down every so often during their dense tracks. It has been about 6 years since their last release, and the electronic music landscape has changed dramatically. You can tell from the opening tracks of Parastrophics that they have obviously been listening to a lot of the Beat Music acts like Flying Lotus, adopting fractured beats, found sounds, and clipped vocal samples, and also 2-Step/wonky artists like Rustie, utilizing euphoric synths and beats. Mouse on Mars even attempt to mix everything together at some point, succeeding almost despite themselves. Has their slightly updated sound changed my opinion of them? Honestly, not really. They seem less obtuse on this record, but many times I am still held back by some of the more clinical aspects of their tracks. Again, my head wraps around it and I "get it," but my heart just sits there stoically removed from the experience.

Contrary to my usual preference, the tracks that work best on Parastrophics are the more streamlined tracks that one or two ideas to come to fruition, rather than allowing the mix to overwhelm. "They Know Your Name" trades off video game synths and wonky bass over a slapping beat.



"Baku Hipster"'s robotic vocals mesh well with the thundering proto-industrial beats and pinging electronics, beat into submission by some low end bass.



"Seaqz" slams some banging electro down, spurting buzzing synth chords over pounding drum programming.



Somehow "Metrotopy" avoids being overwhelming, even though it mixes some wonky synths with a more beat heavy backing track. There is focus on this track that is missing from the other attempts at stretching their sound. Too often, that reach gets a bit too cumbersome for their own good. "Chordblocker, Cinnamon Toasted," is buried under its own ambition. Psychedelic synths pulse over glitch-hop drums, old 70s organ drones, and some uninspired samples.



"Cricket" sounds like a Speak and Spell burning up and disintegrating in a fire. "Gearknot Cherry" allows the promising beat to get trapped with a messy mix of too many competing elements. Single "Polaroyced" walks the line closely, but ends up succeeding based on force of will alone, its funky undertones coming right to the forefront.



Technically, the album is almost perfect; the doe really know their way around the studio. But for all that technical proficiency, there still lacks that emotional element that would tie everything together. There are seeds here for a quite brilliant album, and more often than not, the songs do in fact work. However, I found myself skipping over too many tracks to get to the ones I wanted to listen to again. I would rather have them try for too much then coast by on the tried and true though, so for that I will give them accolades. I will say, I was never once bored listening to this album, and it has got me interested in hearing where they go from here.

Rating Scale:

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and piques one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.

Video - Orbital ft. Zola Jesus - "New France"

Electronica legends Orbital return this year with Wonky, their first album in over 8 years. First single "New France" with go-to chanteuse Zola Jesus now gets its video, featuring a cute stuffed lion having a hedonistic night out on the town.

Rustie: Glass Swords - Album Review

Rustie
Glass Swords
Rating: Woof Daddy

Glasgow based producer Rustie's debut album Glass Swords doesn't care if you think it is the most cerebral album of the year. The motive is not the brain but the feet, and it succeeds wildly in creating its own universe of euphoric party music. Whether you want to call it rave, grime, two-step, garage, wonky, dubstep, aqua-crunk, etc., it doesn't really matter, as Rustie barely takes a breath through 13 tracks, whiplashing through every genre possible. What strikes one the most with this album is simply the exuberance of the music, the sheer joy that emanates from every pore. Every track is packed to the gills with ideas and sounds, and each time it threatens to get too cluttered, Rustie seems to instinctively know when to pull back. There is not a dull moment or weak track on this album, and is perhaps the most exciting electronic album of the year.

There are almost too many high-points of the album to comment on. Tracks like "Ultra Thizz," which throw whiplash snares and percussion at you along with giddily building synth squiggles and vocodered vocal samples, are tailored made late night party anthems.



"City Star" mines booming bass and an onslaught of video game inspired keyboard blasts.



Rustie is not afraid to be completely goofy, stealing the Seinfeld slap bass line for the tracks "Flash Back" and "Hover Traps," but having the sense to adapt it to the songs, which stutter along with rave siren keyboards and squeaky vocal blurts.





"Surph" is all funky blurts of bass and staccato keyboards, making for an endlessly head bopping track.



Truthfully, there really are no overtly weak moments on the album. The only track that doesn't do much for me is "Globes" which is more of a transitional track between the two halves of the record. The second half the record is as good if not stronger than the first half. The double salvo of the wonky "Death Mountain" and funky "Cry Flames" bring back the forceful propulsion of the record's first half.





"After Light" takes a step into dubstep territory bringing a wubby bass into the mix, tempering things with sparkling synths and what could even be a saxophone.



The album ends on the 80s funk pairing of "Crystal Echo" and "All Nite" with plenty of keytared melodies, sunny rave vocals, and stuttered percussion.



Glass Swords is so full of energy and amazing ideas, you have to immediately replay it once it's done in order to hear something you've missed or to play your favorite track over again. It's been a long time since I have heard a record that made me want to do that. While it may not be the most original sounding album of the year, he takes familiar, tried and true sounds and finds ways to make them feel fresh and new. This album is definitely on my list for albums of the year.

Rating Guide:

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and peaks one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.