Alex Cortex – Invierano (2007)

Miga

Miga

• Tech-house 
• Club dance 
• Minimal techno 
• Deep techno 
• Tech-electro

Comment: Alexander Neumann is an artist from Germany who has been very prolific over the last three decades. I read at Discogs that he has been doing his music with old-school equipment by employing an Amiga computer system with tracker programs and in this way got established his own idiosyncratic timbre and sound. For sure, by listening to this 3-track outing (being released on Miga) you can perceive his charmingly dusty yet exuberant timbre. The result is invigorating and profound in terms of iterative, hypnotic rhythmic patterns, lofty and spaced-out synthesisers atop. Frequently one can hear different progressions running at the same time yet all of that results in coherent, enchanting tracks. All of that seems to be deeply analysed and much work to have been done you can guess an obsessive professor to be behind it by scraping scarce vibes from the beaker within his alchemic ward. That's not funny, it is a serious, mandatory stuff. You can find out many similarities with the Detroit techno and electro scene but not only in terms of sound and rhythms but also in that sense that this sort of sound is definitely directed toward the future. Although Invierano was issued 11 years ago but by listening to it at the moment I have to admit it hums like a space rocket within my ears.

K.D. Expression – For the Broken Heart from Collapsed Dreams (2007)

Nishi

No Type

• Ambient pop 
• Electronic music 
• Trance 
• Alternative dance
• Chilltronica 
• EDM
• Hi-NRG
• Electronic pop 
• Organic electronica 
• Electro pop

Comment: Sascha Müller aka Pharmacom`s discography and involvement in music is being impressive. As an artist and as a DJ and as the leader of imprints he has also taken part in the establishment of the weblabel/audio world. 9-track For the Broken Heart from Collapsed Dreams is a churning blend of electro beats, bombastic synthesised orchestrations, trance-y threads and atmospheric upper layers providing the asylum to an acid/ecstasy-intoxicated head (it results in a placebo effect though because this part is also thoroughly synthetic). As I have figured out one of his tenures was to play as a DJ at Love Parade. I guess he has played better music there as an average music choice used to be there (which has been quite horrendous in fact!). At least one can hear over there is certainly better stuff. In truth, the current issue is also more mainstream rather than underground influenced because all those bold electro rhythmic patterns and synthesised pads used to be in the contemporary EDM vein (but my intention is not to dilute the estimation of the album because of that). On the other side, given that the issue was released in 2007 on Canadian underground imprints like No Type, and Nishi its mainstream tendency was not so clear then. In a nutshell, it is a solid, coherent flow. It vamps up a mood that is tumultuous and soothing ceaselessly as if the reflection from a day of a person with bipolar syndrome and provides some interesting compositional solutions as well.

Jonassis O`Hara – A Sailor's Love (2007)

Redstarcommunity

• Lo-fi 
• DIY 
• Drone pop
• Psych-rock 
• Electronic 
• Organcore 
• Acid pop

Comment: this album was released 11 years ago and as much as possible I searched for additional information about the artist to find out other possible outings but it is the only one. It can be admitted the artist erected the sonorous monument for himself. And it is a fine issue being obviously concordant with some indie and underground tendencies of the 00s. One of the prototypes then was Ariel Pink with his amazing out of time issues. Jonassis O`Hara used to produce similarly in methodological sense though musically his sound is more hirsute and rough and one-dimensional and stylistically it trends toward droning acid rock with hints at noise pop, post-punk, and also electronic music in the sense as if it were produced on Commodore 64 (only My Molly EP 2006 by Ariel Pink can be compared with it as similarly rough and broken). At times the 12-notch outing reminds of the aesthetics of The Fall, and Clinic. The issue is a part of the Swedish imprint Redstarcommunity. Great listening for sure.

Ilya i Alisa – Winter Invocation (2007)

Bandcamp

• Micronoise 
• Avant-garde 
• Drone 
• Microsound 
• Experimentalism 
• Leftfield 
• Spoken word 
• Alternative 
• Acousmatic music 
• Electronic music 
• Field recording 
• Musique concrete 
• Art music

Comment: Ilya Bogatyryov aka Ilya i Alisa as his one-man-project can be considered as one of the most enchanting and mystical groups to have ever been existed in Estonia. Previously I have commented about How I Entered The Dark Forest (2010) which was a true miscellany of post-punk, drone, dream folk, ambient, progressive rock, spoken word but the recent case is more austere but it does not mean it is somehow less profound and more superficial. The aforementioned releases are issued on tapes by Trash Can Dance, a Tallinn-based underground imprint. Winter Invocation is a short release of approximately 20 minutes. I guess the winter in 2007 was fragile with regard to the title. Unfortunately I cannot remember it anymore. The issue consists of electro-acoustic noises and drones creating the background mostly for female singing and chants in this way. Yet the words are not sufficient enough to bring forth the depth of the release. For instance, if you listen to the abovementioned microscopic noise soundscape I assume Snow Queen also appears in the background. It is ennobling and somehow frightening at the same time. It's beautiful in its uncompromising, anti-pop bearing. It is beautiful, beatific ugliness. So yeah, listen to it and get a copy of the tape if possible which ultimately will cost much money.

Sanchez Is Driven By Demons – And Friends (2007)

redstarcommunity

• Noise pop 
• Alternative pop 
• Indie pop 
• Electro-indie 
• Remixes 
• Art pop/rock 
• Experimental pop 
• Post-rock 
• Organcore 
• Drone pop 
• Glo-fi 
• Ambient pop

Comment: the first post at RMH at the beginning of 2009 was about an album by Leafes being released on a Swedish imprint, redstarcommunity. Because of that it is very understandable to feel delighted being at the discography of the record label again. And the 12-track issue is truly worth to spend time with it. Musically it is a strong miscellany of experimental pop/art pop/post-rock tendencies with hints at organcore/ambient pop/glo-fi styles where droning organs and noisy guitars resonate with one another thereof creating flickering shadowplays and velvety soundscapes. Indeed, the main tone is rather dark than light though at times some sunbeams come into the room being hidden behind thick curtains. The result is truly invigorative and consistent to conceal one's broken soul. The artist is assisted by other imprint mates who have created remixes for some of the compositions (more profoundly, Tyrone Miller, Jonassis O'hara, PHerd Deconstructivists and The Late Virginia Summers).

Roswell Conspiracy – Les Fragments Anodins (2007)

Abyssa

• Ambient pop 
• Space pop 
• Electro-acoustic 
• Electronic music 
• Alternative
• IDM
• Sampledelic 
• Drone
• Kraut-electro 
• Indietronica 
• Ambient drone 
• Post-rock

Comment: if to compare TT-ram and Lutz Thuns´ collaborative release Hypnosis (2017) to Roswell Conspiracy`s 8-notch outing Les Fragments Anodins I can assume both of them are suggestive enough ambient inflected releases though pushed in different directions and showcased with different accents. The recent one is clearly more pop oriented and do away with morbid dark ambient infections in overall. Yet the term “pop” within the last sentence does not suggest something decayed and inferior at all. More profoundly, it does mean melodic and harmonic and intriguing at the same time while moving on through its multi-layered path. Partly it can be compared to the artist`s compatriots The Air`s more experimental doings. However, Roswell Conspiracy goes certainly beyond the above described adjectives because of employing tight and sticky droning at Rien, for instance. At Non the artist goes into a spacey post-rock/indie electronic quest. Here and there the listener can partake in cool electro-acoustic embellishments, some shreds of samples, hypnotic muffled signals and arousing electronic effects which used to stir the rest of the structure of a composition in a dizzy way. Many compositions are wrapped up in enchanting hisses and microscopic noises. The pre-eminent outing is a part of the discography of Abyssa.

Norja – Vuonoja (2007)

WM Recordings

Archive.org

• Primitive music 
• DIY 
• Art music 
• Electro house 
• Electronic music 
• Dada music 
• Electro funk

Comment: this set of 21 tracks (or sketches) can be considered a grower. The grower in that sense you will discover many interesting nuances after a bunch of listening times. Undoubtedly it is a mischievous release because the Finnish artist is not interested in developing certain themes but is already ready to make frantic dodges as if zooming in and out incessantly. Because of that pattern it reminds of music being vamped up in the mind set of dada. The issue was outed by WM Recordings, and it reminds of another release from the imprint`s discography, Brunk`s Insert Coin To Continue (2009). In truth, with regard to the release years the proposition should be said vice versa. Of course, the whole is not without exceptions. For instance, at Vuono 18 one can hear enchanting electro house progressions with a midnight vibe. Vuono 17 is a beatific glimpse on the base of a dusty organ chords. Vuono 16 is a bewildering electro funk at its best. All music had been conjured up with Amiga 500 running OctaMED sound tracker program and was recorded to c-cassette in 1994-1995. In a word, you must listen to this eminent and fabulous release.

Neil Scrivin – Twenty Years On Ben Nevis (2008)

Rack And Ruin

Fonolith

• Ambient 
• Drone 
• DIY 
• Electronic music 
• Lo-fi 
• Dreamwave 
• Drone pop 
• Organcore 
• Mood music

Comment: just discovered that Blackpool musician Neil Scrivin`s both albums Twenty Years On Ben Nevis, and Tomorrow`s World are uploaded at Bandcamp, both of them are remastered and are available in tape format being now closely related to such Blackpudlian imprint as Fonolith. However, my intention is to review it as a bit in the discography of Rack &Ruin Records, a record label reflecting upon an interesting microscopic sonic space at the end of the 00s, and the beginning of the 10s. Rack & Ruin Records had been heading by the Englishman Dean Birkett from 2008 to 2011 whose taste was DIY friendly while experiment orienting. There was up enough noisy indie, peculiar folk-based issues, clumsy lo-fi and bedroom masterminds, warped electronic and deranged ambient-alike stuff. If to name only some artists I would like to denote such artists as Gnomefoam, starstarstar, Tropical Australian Stinger Research Unit, Zgress, Chad Golda, Patrick Hussey, If The People Were Paper, Tyson Brinacombe, Hipster Youth, Dog Bite, Cody England, Gnouli Monsters, Vincent Lillis, The Macadamia Brothers, Lean Horse Marathon, Frost Faire, dessktop, Andy`s Airport Of Love, Chimney Fish. This album of 14 compositions which will clock in at a 35 minute is a sublime drift within droning ambient coated electronic music where the listener can perceive dreamwave-tinged seeds to appear. It is almost (indie) pop music but I have to emphasise the word almost. It is being always admirable if electronic music is produced in dreamy mode (to do it one hs to surpass the mechanical, machine-drenched nature of it). In fact, such sort of sound would mostly get popularized some years ago after the recent release thanks to such artists as Oneothrix Point Never, M Gedded Gengras, Steven Hauschildt. All of that is the contemporary counterpart of Kosmische Musik where adorable vibrations and otherworldly beatific drones are followed by one another or superimposed on eath other. While listening to it you do not need nothing else for your fortune. It sounds like going backwards the past you could find the future from it waiting for you. Originally it was released in 2007 yet at Rack & Ruin it was released one year later.  

Christian Alati – Pietra (2007)

Grey Sparkle

• Drone 
• Avant-garde 
• Experimentalism 
• Electro-acoustic 
• Minimalism 
• Microtonal 
• Sound Art 
• Leftfield 
• Avant-electronica 
• Post-classical 
• Modern classical

Comment: this couple of very extended compositions clocking in at a 38 minute is not a nascent one. Vice versa, it was released on an imprint called Chew-Z which does not exist anymore. Fortunately another domestic imprint called Grey Sparkle is still with its discography up there. Yet it was supported by another defunct label as Canebagnato Records either. More profoundly, it was issued 10 years ago but the music is in spite of it thoroughly evergreen. Why should it be otherwise, isn't? Although it does not involve catchy hooks in the terms of pop songs it can be considered a poppy instance within the experimental electronic music scene. Pietra 1 is not the kind of it because the artist is inclined to have experiments with electro-acoustic sounds yet at the end of the composition it is going to lose its austere and rigid facade remarkably. At the ending part those subtle droning waves are flowing over the crackling bits and incisive sounds conjured up with contact microphones. It is going to remind me of something being produced by Penguin Cafe Orchestra many decades ago. However, Pietra 2 introduces even the more acquainted associations due to slowed down drones, lengthy piano chords and poignant electronic effects and then as if coming from nowhere putting on a swarm of fantastically chirping cinematic droning which would without any obstacles be the epic finishing backbone to the maudlin motion pictures. In a nutshell, I applaud the effort of Christian Alati.

Buben - Glimmer (2007)

Clinical Archives

• Post-industrial 
• Avant-garde 
• Experimentalism 
• Illbient 
• Electronic music 
• Ambient drone 
• Noise music 
• Leftfield 
• Drone 
• Abstract 
• Experimental electronica

Comment: a Belarusian, Vladislav Buben, is a person whose main goal has been - at least it seems so - to promote (underground) music to the backbone. He has been a prolific artist of having released more than 100 issues so far, also has run a radio show with intent to shed light upon avant-garde and experimental music. His tenures have been under a bunch of imprints, involving a cult Moscow-based experimental music imprint, Clinical Archives among others. Glimmer was issued approximately 10 years ago and for me, the characteristic of this 4-track issue represents one of the facets of the record label (especially with regard to experimental/electronic/non-rock music). It is a decent outing because those slightly oppressive sonic details are set up in the way to provide air and space between them. Buben likes to play different distances by sampling the chugging of a train at the distance, by sampling and then producing barely distorted conversations of politicians (Mr. Lukashenka?, Mr. Putin?). He employs intriguing drumming and greyish shades and monochromatic delays going on and on. It could be very interesting to convert all these sonic effects and relations between the sounds into a visual kaleidoscope. If I had it this would be a favourite plaything of mine. Great success by any means.  

Limbo Deluxe – Super Disco Pop Beat Punk (2007)

Jamendo

• Alternative dance
• Psychedelic
• Baggy
• Indie dance 
• Rockabilly 
• Dance rock 
• Acid rock 
• Indie pop/rock 
• Alternative pop/rock 
• Surf rock 
• Boogie 
• Brass pop

Comment: this set of 10 compositions may seem quite similar to something or one can feel he/she has heard it before sometime. It might he/she has listened to such project as Juanitos which is headed by the Frenchman Juan Naveira. It is not coincidence at all – Limbo Deluxe is also one of his projects. Similarly to Juanitos Limbo Deluxe's music is a bold carnival of thousands of sounds. OK, I exaggerated a little bit but it involves such elements as rockabilly, surf, indie, boogie, world music, brass pop, psychedelic and acid pop. Certainly I forgot something to add. Guitars, vocals, drums and dusty organs are set up to introduce a groovy party. Especially those rolling acidic organ cascades placed side by side to sonic threads of the other instruments are truly catchy and enchanting reminding me of such baggy juggernauts as The Charlatans, The Wordsmiths, The Mock Turtles, and Inspiral Carpets. All is fairly coherent, all is consistent, all is very convincing. The lyrics are in English and in Spanish. Business as usual by him. One should abandon antidepressants to replace them with the downright optimistic, serotonin-supplying one. It is not funny, it makes up much more fun.

Mabik & Xamax – Treibholzeffekt EP (2007)

Pentagonik

• Techno 
• Electronic music 
• Alternative dance 
• Club dance 
• Electro 
• Tech-electro

Comment: this set of 4 pieces is a collaborative act by Mabik & Xamax at a half extent. The rest of a couple of compositions is accomplished by Mabik alone. In general, I guess there is no need to make difference between the two aforementioned compartments because the tracks will make up an organic, consistent whole. It is a tonic drift between jagged rhythms of techno and spasmodic vibrations of electro music (the latter element is obviously represented at Im Holze). The opening track D-Meter is a collaborative act and one of the interesting issues as if conjured up by a coiled spring mechanism and then these sonic shards seem to be inserted into the sampling unit. It used to wobble and sway in a peculiar yet amusing manner. The same tendencies seem to come out from the next composition Der Maulwurf either though in a lesser extent. This is an example of low-end techno with stumbling bits and deliberately awkward sonic effects. Der Flossenmann is the most "proper" bird within it due to stepwise progressing and acquiring new (watery) frontiers and dimensions. The issue is a proper one being a part in the catalogue of Pentagonik. On the February 19^th the issue will celebrate its 10 year birthday.

Roswell Conspiracy – Les Fragments Anodins (2007)

Abyssa

• Electronic music 
• Kosmische Musik 
• Synthwave 
• Alternative 
• Space music 
• Ambient 
• Post-rock 
• Indietronica 
• Krautrock

Comment: this 8-track issue was released 9 years ago but its actuality could be even a bit more brought forth today than many years ago. Recently artists within the indie/alternative music exploit electronic devices as a main instrument to express their aesthetic and artistic ambitions. I am quite sure that soon such a sort of ambient music as represented here will be tagged as indie. However, it should not be surprising at all because history used to repeat itself. Its spiral curve was presented many decades ago with the appearance of krautrock with regard to its inner logic of development, from guitars to be left for synthesizers and for poignant electronic manipulation until it would have changed for a new beginning with other accents. It is partly movement, it is partly the consolidation of an old tradition, and the rejection of it. And sometime this pattern gets forgotten while the repetition is again thinkable. Throughout these 8 pieces one can follow these air and elemental part laden layers full of ennobling emotions and lofty sensations. In fact, its sophisticated technical side does not burn out emotions within it because it is artistically finely balanced. This awesome outing is a bit of the discography of Abyssa.

Bluebridge Quartet – Adjusted For Low Noise Tape EP (2007)

Aerotone

• Post-rock 
• Downbeat 
• Experimental rock 
• Jazz 
• Alternative rock 
• Indie rock

Comment: these 19 minutes are truly sympathetic because this 4-track issue is a vivid drift between indie, jazz, and post-rock. With regard to the title I was already prepared to hear something remarkably more obscure, electronic and even abstract but the first chords of the opening track Spektrum dissipated my doubts. Mellow vibraphone chords and epic brass chords and saxophone solos used to seamlessly get into meticulous drum patterns and gentle guitar chords full of organic magic and wondrous mid-points and end-points. Although Bluebridge Quartet was formed in Jönköping, Sweden approximately 12 years ago their handwriting come close to the Chicago-based post-rock school of which more well-known figureheads have been Tortoise, and Sea And The Cake and in fact having most similarities with Bluebridge Quartet either. In a word, it is a fabulous issue being issued on the German imprint Aerotone of which fare had been to issue artists who were immersed in indie electronica and post-rock. 

My First Trumpet – Frerk (2007)

Aerotone

Bandcamp

• Indietronica 
• Alternative pop 
• Post-rock 
• Indie 
• Glitch pop 
• Electronic

Comment: Kevin Hamann aka My First Trumpet released a brand new album, Oke on Anette Records in 2016. However, he has been in the field for approximately 10 years representing the tendencies of indie and post-rock music through sublime electronic possibilities. With regard to the netlabel world there were many netlabels of which purpose was to promote artists with the aforementioned intent (Aerotone, 12rec, error! Lo-Fi Recordings, Poni Republic, 23 Seconds). Kevin Hamann`s 11-notch issue could best be understood in terms of balancing between minimal and rough, between simplistic and profound, between incisive and dulcet, between pastel tones and corroded ones. These characteristics could not be without each other to create something to be (nearly) perfect. By the first listening it might sound a bit simplistic but listening to it for more times an extraordinary indie world used to open up in front of your ears. Indeed, Hamann`s chemistry is profound and obsessive because without that there could not be mad professors of teaching us that pop music must be witty, organic, multi-faceted and being made with great dedication. It is well-groomed and lunatic at the same time. Recently I listened to a crosscut vinyl issue by Donovan (Golden Hour Of Donovan) and in comparison to this it could be said it is a reversed version of the legendary British singer-songwriter because Hamann`s approach is instrumental only though being laconic in a similar way. More profoundly, it might sound laconically yet all these elements are craftily fleshed out. The only shortage is it is devoid of trumpets, though. It is an unsuccessful joke of mine, isn’t. The favourite of mine is Muerz because of being sombre by its nature and intention while the rest of the album is rather neutral by its mood. Great classic to be recalled for(ever). 

Gemini Lounge Orchestra – Two Years on the Rock (2007)

Proc-Records

• Sampledelic 
• Avant-garde 
• Alternative 
• Film noir 
• Electronic music 
• Sound collage 
• Leftfield 
• Exploitation music

Comment: I am back again to another 17-minute track (day before yesterday I reviewed Pollux`s Naked Lights) though the recent issue under a resident artist within the Proc-Records` discography (proc003) is more based on spoken word samples accompanied by slowly slinging rhythms. The former element is based around the snippets from gangster motion pictures. //”Where is my fucking money?/I don`t know!/Where is my money?/It is in the box/I am talking here not you/Fuck you! If you could open up your mouth then you could shut up/Fuck it yourself!”/Your fucking phony/You get me out of here//. Indeed, it is a dialogue between a young layer and an experienced mob who is arrested and insists to get out of jail. And there is up shooting in the ending part as well though those sordid speech moments and ill-omened sonic themes and nervous broken beat and retro-futurist haunting electronica and orchestration blended appearances are at times jettisoned for more flamboyant, just very lite orchestrated moments which chime thereby in a fake, excessively emotional way. In a final part one can hear affectionate shouting and imploring mercy which is followed by shooting and ultimately by execution. In a word, it is all about very inferior aspects of human kind. However, as a sonic statement and formal sound collage it must be astounding because it compels the listener to think of these adverse situations and choices in life. Get it as a preventive act against the criminal career.

Wapstan - Prétendre Être Le Vent (2007)

Panospria

• Drone noise 
• Microtonal 
• Ambient drone 
• Experimental electronica 
• Post-industrial 
• Minimalism 
• Avant-garde 
• Minimalism 
• Abstract 
• Micronoise

Comment: it comes out from nowhere to evolve slowly, providing many minimalist and microtonal pictures to be seamlessly followed up by each other throughout 27 minutes. It is a sort of slide show. Indeed, the Canadian Martin Sasseville from the province of Quebec maps out darker and barely audible areas, which are enriched by hazy imaginations in droning and resonating mode. His management of the issue is predominantly based on phase shift and phase difference and operating with pitch bending. At times the listener can be a witness to rhythms coming out of this manipulation. With regard to the set of 27 minutes the review of mine should be as minimal as Sasseville`s music but I am not sure is it in this way accomplished or not. Maybe it is, and thereof you have to listen to this by yourself and pinpoint all the essential points of this magnificent issue. The issue is a part of the discography of the Canadian imprint Panospria.             

Spacecraft – The Mission Continues (2007)

Proc-records

• Abstract 
• Techno 
• Lo-fi 
• DIY 
• Electronic music 
• Experimental techno
• Avant-techno

Comment: this issue is from a decade being released approximately 10 years ago is a mind-provoking one due to those obtuse rhythmic patterns and dull synthesizer-based progressions. As I said already this issue was released roughly 10 years ago thereby foreseeing all those gentle tape label-based issues residing proudly at Bandcamp today. On the other side, it is also about the past and surfaces as a tribute issue to those industrial music combos that emerged four decades ago and later started to focus more on dance-appealed rhythms and less sonic experiments (for instance, Cabaret Voltaire, and Throbbing Gristle). The issue is a part of the immense discography of Proc-records (proc005). Thematically the laconic issue is related to space objects, and space invasions. More profoundly, it is all about asteroids, black holes, laser radiation, and conquests. In a word, it is a solid techno ghost from the past.          

 

Micron – Architecture (2007)

Proc-records

• Minimal techno 
• DIY 
• Lo-fi

Comment: the US-based Micron's 5-track issue chimes like it had been produced on the Android-based Walk Band application being elegantly primitive and appealingly rough. However, timely it was not possible because the issue was disclosed in 2007 before the era of smartphones started off. Furthermore, the artist exploits a quite linear way to produce rhythms. Otherwise it could be said it is a case of minimal techno music. It is saturated with slight changes regarding the beat rate and the relation and combination between thumping bass kicks and hi-hat and other drums with higher timbres. A distinctive thread of the issue is a DIY feel throughout the course. Last but not least - the issue was recorded mono. What else could I add to the item – indeed, the lo-fi men began produce techno music. The issue is the 15th in the discography of Proc-records.  

Santosh – The Book Of Moron (2007)

Peppermill

Free Music Archive

Archive.org

• Art pop 
• Comedy 
• Indie pop 
• Alternative 
• Lo-fi 
• Psychedelic 
• Electronic music 
• Funk 
• No Wave 
• Funk 
• Hip-hop 
• Crossover 
• Avant-garde 
• Leftfield

Comment: Santosh is a Canadian Santosh Lalonde whose 18-notch outing reveals many facets with his own idiosyncratic touch. First of all, it is subjugated to playful, frenzy aesthetic algorithms where the definition of a genre is dismissed. Indeed, all one could hear from there is somehow transgressive and keen to destroy and extend beyond the stylistic boundaries. Although the issue is excessive it is not redundant. Maybe the title of the release loans you an additional hint. Let’s take some tracks to be analysed. Don’t Send Me To Hell chimes like a macabre, desperate country song as if one being totally drawn out of the context to a degree you cannot take it seriously anymore. Fantastic is a downbeat punk funk composition, which is exaggeratedly cheerful as if mocking about a contemporary human type, who is enslaved by political correctness, loans and idiotic TV shows. On the other side, these monkeys are enslaved by other monkeys having no different quality in fact. Morally they are even more inferior. That’s the moral of the case. By listening to the next song Funny People and all of that ultimately reminds of Lalonde`s compatriot Bruce Haack whose electronic pioneering many decades ago was similarly frantic and staggering and frequently transcended stylistic borders. At times it seems to sound like funk or hip-hop or indie rock or music hall or comedy yet blurring remarkably the borders of the aforementioned compartments that one startles to say something definitive about it. In a word, the result is overwhelming and needs to be listened many times before to get spotted on the artist`s precise core. Highly recommended. The issue is a part of the catalogue of Vancouver-based Peppermill Records.