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You won’t find a better one-shot demonstration of mid-’90s Detroit techno’s soul, vision and studio invention.Summery, silky-smooth but rave-savvy Bristol soul from the man who vocalled Massive Attack’s debut 12″, brought to life by perfectly rugged production from Smith & Mighty. There were tougher and tricksier rap records, but few had It’s hard to talk about Arab Strap without falling into cliche, or even sounding condescending: yes, on the surface it’s depressing music about depressing subjects played by depressed-sounding Scots, but to focus on that would be to do Aidan Moffat and Malcolm Middleton several disservices. 201 Pins • 80 Followers • Last updated 10 hours ago. Originally released in 1991, full-length debut A million miles from what would come to be known as “minimal” in the following decade, Robert Hood took the Detroit techno sound and stripped everything extraneous away, exposing the music’s gleaming, steely endoskeleton. To pay off his debt, Donald gave Hell the rights to put out this compilation of tracks by Dopplereffekt, the project he’d formed to explore a style of Kraftwerkian electro as mercilessly arid as Drexciya’s had been aquatic, all bound up with the imagery and language of eugenics, fascism and sexual objectification. Yes, the combination of Cube and the Bomb Squad provided an unmistakable rush on Members of the Tortoise/Chicago Undergound Orchestra diaspora free-associate at will; the results (folksy funk; Spaghetti Western trip-hop; Geiger counter jazz) out-funk the former and out-freak the latter.A member of the Roni Size-helmed Reprazent collective that would take drum ‘n bass to Mercury Prize-winning heights with 1997’s “Love in the middle of the afternoon; just me, my spike in my arm and my spoon…” Jason Pierce conjured a work of astonishing, redemptive beauty out of dope addiction and heartbreak, aided by a string section, horns, BJ Cole, Dr John, the London Community Gospel Choir – everything, indeed, but the kitchen sink. By the time their major label debut album, Scott Walker’s journey is a pretty unique one: from ’60s teen heartthrob to avant-garde visionary, via a decade or so of Valium-addled MOR decrepitude. A smart, tough, slick kid, soaked in hip hop. The album needs to be the type that would have/did get the band onto Recovery. For Hood, 1994’s We dare say that most indie fans worth their salt know ‘Web in Front’, Slow to shift units upon release, later years would see The sort of magmatic fondue of acid house, breakbeat and dancehall that could only have existed at the dawn of the 90s. Who are these guys, why did they make music they made, how did they make it and actualy who did make it? That’s something you cannot control. We listened to that shit for about four straight hours.
Many of the chosen LPs we discovered during the 90s, many we discovered more recently. The result is the ultimate posse album. Was there a greater, more affecting rock ‘n roll album than Carl Craig might not have been one of Detroit techno’s earliest originators, but he has done arguably more than any of the Belleville Three to develop the sound, and enjoyed a rangier, more prolific and frankly more consistent career.

And again. Bernard Fanning shared a different opinion, calling the singer/songwriter a “precocious little cunt.” The truth lies somewhere in between: By the time Spiderbait started recording their third album in the mid’90s, they were one of the best live bands in the country – a three-pronged attack of fuzz guitar, pounding drums, and driving punk bass – all sprinkled with twin boy/girl vocals. It’s a compilation of tracks released on Red Planet 12″ between 1992-98 – pay particular attention to ‘Sex In Zero Gravity’, which is every bit as mindblowing as the act its title describes (we imagine).Ten years before ‘Stay Fly’, and fifteen or so before Three 6 tribute act Spaceghostpurrp, this Memphis group were making the world’s most ominous lo-fi – Burzum’s prison diaries, fall back. The best way to hear this classic is under the needle. I don’t know how he got it. Everything is a part of a whole, not just because of the dust and blurring, but because every chord, every rhythm, every unwinding melody is locked into every other part with uncanny rightness.It’s a psychedelic record in the truest sense, alarmingly evocative of acid’s synaesthesic and glossolalic qualities, full of the ecstasies of floating free and the terrors of complete disconnect from reality. I’ve often found myself drifting off into a headspace that sits somewhere just in front of the dream state – and not really coming out of it until the needle hits the centre run-out groove! Not everyone mastered the blend (we see you, Silver Bullet), but, on In which our folk hero channels Beefheart, dismantles Public Enemy, grumbles like Bukowski and, despite making one of the most schizophrenic full-lengths of the decade, wins over the commonweal.For our money the culmination of the Underground Resistance family’s techno experiments, ergo one of of the all-time great techno albums, period. Their studio had burned down, destroying all traces of the nearly-completed new Shack album with it (the one back-up tape in existence was accidentally left in an American rental car by their manager, and never recovered). Oswald darts from Girl Talk tomfoolery to proto-gabba to genuinely terrifying sonic overload. Or #4 Record. So inspiring to Stephen O’Malley’s doom powerhouse that he named two bands after them (SunnO))), after their amplifier of choice, and Teeth of Lions Rule the Divine), Superlative amniotic techno from Wolfgang Voigt’s grandest, most enduring and most prophetic project.

See more ideas about Pet shop, Little pet shop and 90s toys. Again. It’s these moments when you realise this was made in a bedroom with jerry-rigged keyboards, solder and cable, and hands shoving faders up and down as the tracks are recorded live to tape, rather than gigabytes’ worth of processing power, that its singularity becomes even more boggling.