Saturday, December 31, 2022

Atemporal Faves of "2022"

That time of year again, when people make lists and display lists. Musical and otherwise.

Someone of my acquaintance announced on social media that they had winnowed their list down to 118 releases. If this had been in a public place I would have had to stifle a snort. One hundred and eighteen newly released releases – and that is your shortlist? (This is someone in my approximate age range too).

Oh, I can remember making lists of similar size in the late ‘90s and continuing to do so through to the mid-to-late 2000s. I know it's possible to believe sincerely that there are that many likeable and notable releases in a single year. But I also know -  through casting my eye back at some of these lists and having to stifle an incredulous snort at my younger self – that these inventories contain quite a number of recordings about which I now remember virtually nothing. I recall also that a fair few were listened to just the once.  Now it's true that critics develop a freakish capacity for rapid-response assessment of whether a release is interesting or good. Still, a single listen doesn’t seem enough really, if you're going to put it in a list for public display.  There’s a competitive syndrome of ostentatiously liking more - and more varied - things, than the next person; an impulse to seek out things no one else seems to like, or even better, know about. In the 2010s, I tried to reverse these tendencies and cultivate restraint, restricting lists to things that really vividly stood out in the recent memory: records I’d got genuinely stuck on and that seemed (as much as you can predict, which you can't really) to be things that I'd likely be listening to for years to come. 

And then suddenly I didn’t need to make an effort – I simply didn’t like that many things in any given year. 

Nowadays I rarely review records. Uncoupled from release schedules, I don’t listen with a sense of  duty or job-related urgency. But nor is there that FOMO pressure from within: the kind of vocational-existential ravenousness that once drove me on foraging missions. I’ve become more like a regular person who listens to music for pleasure and curiosity. One side effect of that is that I’ve become an increasingly atemporal listener. In 2022, I was as likely to encounter and enjoy a record that came out in 2021 or 2020 as this year. But I was even more likely to hear something for the first time from much further back in time and be blown away by it. Playlists and “your collection” areas in streamers,  YouTube, etc provide traces of my year's listening, but they don’t include vinyl and CD, or files already in my computer. So I've had to rely on memory for the following tally. In no particular order of ranking, chronology, genre, or theme... sometimes accompanied by a short thought or impression, often not... here are my favorite listens of 2022 - only a few of which were made or released in 2022.  

 

Pharaoh Sanders, Jewels of Thought

I’d heard records by Sanders before, but I don’t think I’d ever heard this one – and it hit me as revelation. That warm wide tone.


Knut Wiggen, “Massa”

The entirety of the Electronic Works 1972-75 retrospective – issued a few years ago – is worth a listen, but this track is particularly wigged out.



Nia Archives

A contemporary artist! But one whose work puts into question the whole idea of "the contemporary". My kid Kieran put me onto this. I'm slightly suspicious of my own enjoyment, given that (like PinkPantheress) this is a young woman making jungle and drum & bass -  a genre-era I’ve investments in, you've probably noticed. Beyond my own nostalgia, there’s also a lingering doubt about whether it’s a healthy development for youth today to be makingmusic whose historical heyday was 27 years ago. Even the thing of having her own smoky vocals and songs weaving through it isn’t a totally fresh development (hello Nicolette). But it is absolutely gorgeous stuff – my favorite is probably “Forbidden Feelings” but it’s all very enjoyable. You can hear the whole lot of it here on this YouTube playlist  I made or with better sound and in chronological sequence (although she's only been at it for a little over a year as far as I can tell) in my Tidal playlist (I don’t think you need to be a subscriber)



(Incidentally if you want to get a sense of what's happening in current music - or a corner of current music: hyperpop, soundcloud rap, online micro-genres galore - you would do well to check out Kieran's rundown of the year's highlights, in which a different track by Nia Archives - what an odd name that is!  - features near the top. He's also helpfully made Spotify and YouTube playlists of his 2022 faves) 

Angel Rada – “Carillon”

My fave Creel Pone of this year was The Early Uraniun Recordings+  and in particular the 1983 album Upadesa and in particular particular, this track “Carillon” – a squoinky bubble-bath of  electrobliss.

Saturn Rings Songs” is another lovely squiggle of synth-froth

More about this Cuban pioneer of “Ethnosonic” music here

It was a bumper Creel year with a huge output, lots of doubles and triples, and I haven't really got to grips with it properly. But there were some great things - have a peruse of the recent releases at the site and play the soundclips, starting with the most recent release CNUCE Computer Music which is really cool. The ANS Electronic Music "box" is also brand new and notable, and eerily timely given Eduard Artemyev's death this week

 

Dry Cleaning -  Stumpwork

I feel bad for Dry Cleaning as this excellent album has barely figured on the end of year lists – mystifying to me, as it’s clear that they’ve pulled off that tricky trick of keeping everything good about a beloved debut but twisting things and adding things just enough for it not to feel like reiteration. I suppose the sheer shock impact of a new lyrical voice and delivery that you got with New Long Leg was always going to be hard to pull off again. And the musical approach last time – cold, dry,  slightly claustrophobic – enhanced that impact. Here, the backing boys really come into their own, exploring lots of other textures and feels, and instead of staying within the debut's postpunk zone they are referencing other historical phases of guitar reinvention / uninvention like lo-fi and bliss-rock. “Anna Calls from the Arctic” is gorgeously ethereal, a whole new mood and flow for Dry Cleaning. The second half of “Conservative Hell” (the escape from hell?) is a glowspace of abstract dream-noise worthy of A**l P**k’s The Doldrums. The dirgescapes of “Liberty Log” and “Icebergs” are wonderfully expansive ways to bring the album to its close, pointing to a third album that I for one am excited to hear.



 James Blake, “If The Car Besides You Moves Ahead”

Surprised that this quavering and glimmering "ballad"doesn’t appear to be widely heralded as some kind of career peak and pinnacle of ecstatic vocal science. I suddenly hear it as a 21st Century inverted answer record to "Roadrunner" - fragile, anxious, out of love with the modern world. 




Pause for the Cause: London Rave Adverts 1991-1996, Vol. 1 + Vol. 2

Erroneously reported in at least one place as a compilation compiled by me – in actual fact, Luke Owen, the man behind Death Is Not The End, assembled these glorious collations of pirate  radio adverts for raves and club nights. But I did contribute a couple of  choice ads. And also donated a liner note, reproduced here

  

Brothers Johnson, “Strawberry Letter 23”

And so I find myself thrilling to some Lee Ritenour lickmanship



John Barry - The More Things Change (Film, TV & Studio Work 1968-1972)

Bob Stanley, a-sifting and a-sorting.

  

Sidney Sager and the Ambrosian Singers - Children of the Stones

Jonny Trunk, a-digging and a-exhuming and a-rights-procuring. 

 


 

 Duncan Browne, “Chloe in the Garden”



Metronomy – “The Look”

An odd thing about my favorite records of the year from the mid-2000s onwards is that – as I become more occupied with books than with regularly reviewing records - quite often I never actually get to write anything substantive about the record that turns out to be the one I listened to the most and out of which I derived the greatest delight. Black Moth Super Rainbow’s Dandelion Gum, I wrote a tiny review; there was an end-of-year appreciation of The Good, the Bad and the Queen, also brief . But then Micachu and the Shapes’s Jewellery, Rangers’s Suburban Tours, Metronomy’s The English Riviera – these are records I’ve emitted not a public peep about, beyond a few words on the blog and often not even that. And these are enduring records, returned to many times over the years. Perhaps that is precisely because I’ve never been obliged to think about why I like them so much, to tease out how they work or what is unique or new about them. (With reviewing a record, there is always a danger of using it up – playing it so much during the review process, extracting images and ideas from it… in more cases than you’d probably imagine, I’ve literally never played the album again, after reviewing it).  The non-reviewed record enters a protective enclosure of pure, unreflective enjoyment. (Well, being wired the way I am, there will inevitably be the odd thought or trope).   Metronomy’s wonderful English Riviera got some play this year, and “The Look” went into very heavy rotation.  I’m not even sure why I like it so much. I don’t really know what the song is about. “The look”  - is that when ravers’s eyes meet, the look of complicity and shared ooh-gosh bliss?  Just remember how we shook, shook / And all the things we took, took  does suggest drug adventures. Or perhaps it's the look of "let's go for it" - let the night ignite. But the rest of the lyric? Don’t know, don’t really care.  Whenever we play it, I always notice, as if for the first time, the drums and how perfect they are – a simple beat, really, but with a great, loose swing, and the individual parts of the kit are beautifully recorded (Joseph Mount used to make a sort of drum & bass type music before Metronomy became a band-band, right? I don't actually know much about the group or have ever felt the urge to find out). The beat dovetails sublimely with the other elements as they enter – the bobbing 'n' dipping carousel-like keyboard, the chiming curls of high-toned bass. It all adds up – almost literally adds up – to this immaculate construction. A career-defining creation. The lines “And to think they said / We'd never make anything better than this” must surely ring out strangely for Mount whenever he has to sing them at some festival or other.  Because they wouldn’t and they haven’t. But how could they? Besides, most bands, most artists, never attain this altitude even once.  

 

The Good, the Bad, and the Queen - “Three Changes”

Talking of which…. The drums, the drums, the drums. 


Huerco S.  – “Plonk I”

There’s a pained beauty to the plucked-sounding irregular patterns of “Plonk I”, like a player tentatively grappling with a harp that's been fitted with serrated strings, as somebody said. (Rest of the album is also excellent).


A.C. Marias, “One Of Our Girls Has Gone Missing” (the single and the album)

A real snowblinder of a single, as somebody said. Whole album is lost treasure. 


Robert Haigh, Human Remains


 People Like Us, “World of Wonder (Why We’re Here)”


Inducing a hyper-ventilating high through saturating the ear with treble frequencies (falsetto, female vocal harmonies, strings, etc), this is a swoony samplescape on a par with The Avalanches's Since I Left You. A celebration of the consoling power of pop's prettiness.  


Moon Wiring Club – Medieval Ice Cream 

At once dependable and a departure. What you want in one of your favorite artists. 


Nick Edwards - Landfill Elektronikz Vol. 1 


Santana, Lotus

Really not far from the Miles Davis live albums of this era. Yes, I was surprised too. 


Burial, Antidawn

The mark of achieved style for an artist is when you can be parodied – by yourself as much as by others.  Rather than formulaic or deja, though, this impacts with feels-like-the-first-time freshness. And it doesn’t hurt that the hurt in this music - Burial's music’s signature mood of orphaned desolation - fits the raw-feeling fragility of life in these times.


Wet Leg – “Oh No,” "Chaise Longue" etc

Perhaps it’s the image, the droll dry vocals,  the amusing / annoying lyrics  (annoying in the case of “Oh No” – or so I’m told, anyway, by members of the same generation, who know what is cringe and what is not ), perhaps these things get in the way.  But I feel that it is rarely remarked how beautiful - as rock music – the best Wet Leg tunes are – a sense of glistening tensile structure that puts me in mind of Buzzcocks’s “stainless steel love songs”, Chairs Missing Wire, even Neu! in moments... 


Solange, When I Get Home


Brian Eno, FOREVERANDEVERNOMORE 


Doja Cat, "Juicy" 

Simply the loveliest pop song of the last five years. The horchata-like savory-sweetness of Doja's voice, the silky-slinky curls 'n' folds of the rhythmelody, the spangle-stuff entwined around that pert groove - "Juicy" is possibly the most gorgeous thing of its approximate sort since Tinashe's "2 On". And yet... the lyrics are profane ("body-positive" my ass, or rather her ass)... the video is gross... DC seems to be a fairly objectionable figure. Still, whenever it's comes on the radio, I manage to push all that out of my mind. 





Nil├╝fer Yanya - "trouble" 



 

Nervous / gorgeous. The whole album is good stuff but this is the pearl. 


Ernest Hood, Back to the Woodlands 

A lovely extension to the Neighbourhoods sound 


Bobby Brown, The Enlightening Beam



 

Curtis Mayfield, “Pusherman”



Herbie Hancock, “Bubbles”

Mahavishnu  Orchestra, “You Know, You Know”

Weather Report, “Non-Stop Home”, “125th Street Congress”, “Cucumber Slumber”

Kool and the Gang, “Summer Madness”

Idris Muhammad, “Piece of Mind”

The Crusaders featuring Randy Crawford, “Street Life”

(the above and a heap of that kind of 70s smoov groov collated here)  


Al Green, “Love Ritual”


Bill Frisell, In Line



Devo - Q: Are We Not Men? A: We Are Devo! 

As radical a reinvention / revitalization of rock form as any mounted at that time. 

And also the second album’s  “Clockout” - mostly for the drum roll.



Wire, Chairs Missing

As radical a reinvention / revitalization of rock form as any mounted at that time. 

Also the third album's "The 15th" and "Map Ref 41 Degrees N 93 Degrees W" 



Nineties Nuum

This year, like every year, I listened to a huge amount of hardcore, darkcore, jungle, etc and amazingly still managed to hear for the very first time a number of minor delights and the occasional astonishing tune that somehow I'd never come across in the previous 30 years of listening to, collecting, thinking about, and returning to again and again.  So much music was made then it is still possible to have discoveries. Even the second-division and third-division specimens are charged with the electricity of the Zeitgeist. Extracting this year's discoveries and rediscoveries from memory is challenging, so habitual and engrained is my listening to this area. Things come and go, get remembered and then forgotten again.


But I did reimmerse deeply with the genius of Gurley and in particular his Rogue Unit remixes, collated here


I rediscovered Cold Mission's compact, immaculate body of work right at the start of the year - artcore without any rufige removed or smoothed away


That then propelled me into a daft personal project of listening to the entire Reinforced discography (well, up to a certain date). Only some of that first half-90s surgeburst of scenius is gathered here. Not forgetting the often glorious Tom and Jerry stuff - a second front of dancefloor-aimed material opened up by 4 Hero under an alias. 


                                          

(The second half of the RIVET '90s is partially collated here , and then again as a crowd-sourced highlight reel here, while my struggles with it are explored here).   

Out of all the Reinforced-related wonderwork, this tune struck me again most forcefully as a miracle: the 4 Hero remix of Scarface's "Seen A Man Die."  It even made me listen finally to the original Scarface tune and its album. 





Thursday, December 29, 2022

No Sight No Sound

Although I've contributed several times to Sight and Sound, I wasn't favored with a ballot for their recent much-discussed poll of the Greatest Films of All Time. Undeterred by this oversight, I proffer here my own Top Ten, along with - it being that doldrum time of year of post-festivity, and what with me being a habitual and compulsive ranker - a bunch of other cinematic lists. 

 

SIMON REYNOLDS
U.K. / U.S.A., Rip It Up and Start Again, Energy Flash, Retromania 
_________________________________________________

. Performance (Roeg)

Walkabout (Roeg)

The Servant (Losey)

Blow-Up (Antonioni)

McCabe & Mrs. Miller (Altman)

Point Blank (Boorman

The Dream Life of Angels (Zonca

Beyond the Valley of the Dolls (Meyer)

Taxi Driver (Scorsese)

Bedazzled (Donen


There’s a huge number of nearly-made-the Top Ten films, that list is  at the bottom, but first, here's some slightly more unusual lists

 

ODD LITTLE MOVIES THAT AREN’T GREAT - THEY'RE SERIOUSLY FLAWED OR JUST DETERMINEDLY MINOR -  BUT THEY STAY WITH YOU, FOR WHATEVER REASON (COULD JUST BE ONE OR TWO SCENES, A CHARACTER, A CONCEPT OR CONCEIT, OR EVEN A SHOT)

Charlie Bubbles

Le Grand Meaulnes

Diary of a Lonely Girl a.k.a. T.R. Baskin

Accident

Reflections in a Golden Eye

The President’s Analyst

Fahrenheit 451

Duel

Radio On

Dark Star

Hud

California Split

Getting Straight

The Homecoming

I Heart Huckabees

Career Girls

Mikey and Nicky

The Bed Sitting Room

Picnic

Taxi Zum Klo

La Grand Bouffe

Equus 

Diary of a Mad Housewife

Natural Born Killers

Silent Running

Once Upon A Time in America

The Swimmer

Deep End

Oleanna

+ several films that I simply cannot place or find out what they are but distinctly remember from watching them on BBC2 late at night as a boy

 

GREAT / FAVORITE / SUPER-ENTERTAINING MOVIES THAT FEEL A BIT WORN OUT AND USED UP THROUGH OVERWATCHING (BUT OF COURSE YOU’LL ALWAYS WATCH THEM  AGAIN WHEN YOU CHANCE ON THEM ON THE TV)


The Godfather 

The Godfather II

Chinatown

Blue Velvet

Goodfellas

The Conversation

Casino

Heathers

Who’s Afraid of Virginia Woolf

Being John Malkovich

Sex Lies and Videotape

Blade Runner

Laurel and Hardy pushing the piano up the hill

Bonnie and Clyde

if….

Citzen Kane

Apocalypse Now

Close Encounters of the Third Kind

Terminator

American Graffiti

Fargo

La Strada

The Birds

Amadeus

Psycho

Boogie Nights

Groundhog Day

Saturday Night Fever

Hard Day’s Night

Life Is Sweet

The King of Comedy

Alien

The Long Good Friday

Rear Window

2001 A Space Odyssey

Midnight Cowboy

The Graduate

Some Like It Hot

Network

Sense and Sensibility

After Hours

Sexy Beast

Cool Hand Luke

Sunset Boulevard

Annie Hall

One Flew Over the Cuckoo’s Nest

The Bridge Over the River Kwai

Easy Rider

Get Carter

Pulp Fiction

Raging Bull

The Deer Hunter

Lawrence of Arabia

Kind Hearts and Coronets

A Taste of Honey

Broadway Danny Rose

Barbarella

The Producers

A Room with a View

Billy Liar

Tron

Wall Street

Days of Heaven

Escape from New York

The Silence of the Lambs

Lost in Translation

North by Northwest

Stalag 17

Alfie

Reality Bites

The Parallax View

Videodrome

The Long Goodbye

Dr Strangelove

Sideways

Morvern Callar

Glengarry Glen Ross

Dead Ringers

Slacker

Dazed and Confused

 

A BIT BORING IF WE'RE HONEST

A Clockwork Orange

The Shining

Vertigo

Mean Streets

 

LIFE’S TOO SHORT

Godard

Fassbinder

Pasolini

Cassavetes

Fritz Lang

Bergman (well, the ones I've not seen, which is most of them)

Kurosawa

auteur manga 

Nashville

 

GARBAGE (not a complete list)

M.A.S.H.

Short Cuts

Peterloo

A Quiet Passion

most Tarantino but especially Once Upon A Time in Hollywood

The Wolf of Wall Street (casts a frightful shadow backwards through his uuuurv, don't it)

Bond movies


TIME OUT MOVIES

(movies of the 1980s and 1990s, when I lived in London and would have looked at listings magazines, if not necessarily followed their guidance – Time Out here is shorthand for a kind of well-reviewed quality or ‘art’ – rather often French – movie that “goes down well” at the time but leaves not a trace in your heart or indeed memory. The problem here is not exactly being tasteful or “upper middlebrow”  - the Time Out film can be garish, camp / kitsch, “visionary” as with some of the directors listed here for their complete or near-complete urrrv and who really cake it on the screen)

Betty Blue

Jesus of Montreal

Peter Greenaway (apart from The Draughtsman Contract)

Brazil (in fact the complete Gilliam uuurv apart from Jabberwocky)

Gas Food Lodging

Diva

Withnail & I

How to Get A Head in Advertising

Wings of Desire (most Wenders really)

Thelma & Louise

Angel Heart

Santa Sangre

John Waters

The Piano

Danny Boyle

Bram Stoker's Dracula

Terence Davies

Almodovar, for the most part

Guy Ritchie

Derek Jarman apart from the early shorts

Nearly all Woody Allen after Annie Hall (apart from Radio Days and Broadway Danny Rose)

most Coen Bros

Spike Lee apart from Do the Right Thing

every other Mike Leigh

Jim Jarmusch for the most part

Lars Von Trier for the most part

Everything Nicolas Roeg did after the first 25 minutes of Eureka onwards


so so so many other films I trooped out to see in the 1980s and first half of 1990s and have simply forgotten...  I like to blame Time Out although I don't think I ever read the film section  - it's just an association, not unlike a Peter Travers endorsement for the USA, but slightly more highbrow than that....  the kind of films they'd make a cover story maybe...


RECENTLY SEEN (relatively recently) AND WELL LIKED, BUT A BIT EARLY FOR ADMISSION TO ANY CANON 

(an incomplete list)

Minari

Kajillionaire

Portrait of a Lady on Fire

Parasite

Under the Skin

There Will Be Blood

Souvenir

American Honey

Get Out

The Phantom Thread

Moonlight

Emily the Criminal

The Master

Force Majeure

We Are the Best

Let the Right One In

The Eternal Daughter

 

CLASSICS RECENTLY SEEN BUT WITH SUCH A HEAD OF ADVANCE OVERHYPE THEY COULD ONLY UNDERWHELM JUST A BIT

Celine and Julie Go Boating


LOOK BUT NOT TOUCHED / SURFACE DEEP

Wes Anderson 


LOST TO TIME

Westerns (nearly all)

screwball comedy (for the most part)

silent film


STAPLES OF YOUTH THAT STIR FONDNESS BEYOND ANY CONSIDERED ASSESSMENT OF WORTH

The Railway Children

Singin' in the Rain

West Side Story

High Society

Jaws

North West Frontier

It’s a Mad Mad Mad Mad Mad Mad World

Gigi

The King and I

Monty Python and the Holy Grail

Jabberwocky

Bugsy Malone

The Great Rock’n’Roll Swindle

Willy Wonka and the Chocolate Factory 

the Inspector Clouseau films

movieifications of Britcoms - Porridge, Whatever Happened to the Likely Lads

spaghetti westerns 


SECRET WEAKNESSES

romcoms

Ken Russell's composers films


RUNNERS UP FOR THE TOP 10

Gregory's Girl

Summer Hours

Old Joy

Synecdoche, New York

Deliverance

The Hustler

Playtime

Safe

Topsy-Turvy

The Third Man

Sweetie

An Angel at My Table

The Night of the Hunter

The Wild Bunch

The Wicker Man

Two Lane Blacktop

The Enigma of Kaspar Hauser

Pat Garrett and Billy the Kid

Five Easy Pieces

La Jetee

London

The Manchurian Candidate

Seconds

Rosemary’s Baby

The Tin Drum

Picnic at Hanging Rock

Fat City

Les Enfants Terribles

Modern Times

Suspiria

Witchfinder General

Peeping Tom

The Knack (and how to Get It)

Last Year at Marienbad

The Apartment

Daisies

The Color of Pomegranetes

Valerie and Her World of Wonders

Don’t Look Back

The Man Who Fell to Earth

Bad Timing

Kes

Day for Night

Stalker

Solaris

M. Hulot’s Holiday

The 400 Blows

Beau Travail

Black Narcissus

The Tenant

Moulin Rouge (well, the first half hour or so)

The Sweet Hereafter 

Eternal Sunshine of the Spotless Mind

Knife in the Water

Paper Moon

L’Atalante

Les Diaboliques

Fanny and Alexander

Adaptation

The Heartbreak Kid

Riff-Raff

Exotica

Satyricon 



NO, I HAVE NOT SEEN

Jeanne Dielman


ON MY LIST

way too many


FACES + VOICES (a work in progress)

Piper Laurie

James Coburn

Denholm Elliott (voice especially)

Winona Ryder

Billie Whitelaw

William Daniels

Vanessa Redgrave (to large extent for Blow Up)

Peter Cook

Ann Prentiss

Paula Prentiss

Richard Burton (voice especially)

Eleanor Bron

Dirk Bogarde

Jenny Agutter

Tilda Swinton

Penelope Wilton and her flickering eyelash thing

Kate Winslet

Greta Gerwig (mostly in 20th Century Women)

Sunday, December 4, 2022

Melody Maker's 1991 Year End Review / Best Album + Single Blurbs


 



















(Published in the Xmas issue, December 21/28 1991. Via Nothingelseon.)

As the below were not bylined and tended to be written in a slightly "official" Melody Maker house style, I am not 100 % certain that every single one of these was actually penned by me. Well, nearly all give themselves away by some tell-tale troping or favorite (a.k.a. over-used) adjective. But there's a couple of "is this me?" moments, which are flagged up. 

^^^^^^^^^^^^^^^^^^^

The Year In... Commentaries


Seems like I'm on the cusp of saying "post-rock" towards the end of this mini-survey of the rock leftfield, in fact it would take me almost another two years to get there. Notice also yet another precocious use of "poptimism" here. 






































(inexplicable remark there about Main being like Faust in being "absolutely drained of humour"!)























Albums of  1991




This next one totally reads like me - up until the last half-sentence about spunk and songwriting. Maybe an editor added that. 


Not 100% on this being one of mine - that said, did do a rave review of Foxbase Alpha, "neo" is one of my standby prefixes, "acid mantra" and "sampladelic" are boilerplate SR.  




Singles of 1991 


Now this blurb is the one where I'm doubtful - that said, I was Consolidated's most fervent champion at MM (and there weren't many others), reviewing both their LPs and doing the interview.  So it would make sense that I would also be tasked with doing this blurb.