Cinema, avant-garde music, reading, philosophy, science and arts are my life. I work from home, and ...
Cinema, avant-garde music, reading, philosophy, science and arts are my life. I work from home, and I enjoy life in general. I was educated in Southern France but then moved back to England. I'm 1/2 French 1/2 British. Check out my Ebay auctions.
Member since:10.08.2006
Reviews:54
Members who trust:26
This album was released in 2004, after the amazing Wearealwayswellthankyou and marked Datach'i third Lp. Wearealwayswellthankyou was, in many ways, similar to 10110101=(rec+play), only darker.
It is really hard to say if Mmale and Ffemale is any darker in tone. It is also hard to say if this is any harsher than what was on display back in 1999, when 10110101 came out. In fact, Joseph Fraioli's abrasive side is revealed as more composite, opting for hyper-pitched sounds.
However, this just goes to say that Joseph Fraioli is not one of those pathetic electronica posers who never expand their sound. This was very much the case back in 1999. If anything, Datach'i has become aware of his own sound and has managed to maintain total control over it, while at the same time bringing some new material into the mix.
Here, he seems to favour meticulous operatic choir backdrops and whirling breakbeat movements that give an epic feeling to the album. In fact, this album is probably the best experimental release of 2004, alongside Venetian Snares's Huge Chrome Cylinder Box Unfolding.
The first track demonstrates Joseph's use of outlandish choir voices and technical beat sequences, also introducing the high-pitched sounds I was referring to above. Several beats are distorted until they actually splash into rhythm, like some kind of melting liquid bullets.
Penvag does very much the same thing, with more of a hysterical feel to it. Dust and Scratch can be seen as a combination of both tracks, only slightly malicious.
Personally, I love those contemplative tracks (Richard Devine-esque) that use sound as a method of exploration. This always reminds me how evolved the experimental scene actually is (thanks to people like John Cage). Anyway - that's track 4.
Dollars for Bones is one of those unique and masterful pieces of music you dream about at night. Dark, fast, seductive. Here, Datach'i proves than a simple melody can be graceful to the point of becoming almost trancelike. This is backed-up with an organic rhythm that defies description. The sixth track can mislead people into thinking that Joseph has remixed the previous track into a nightmarish version - not so. Upon close inspection, the rhythm functions differently.
The other tracks are superb too - Intercoursing being the best in my opinion. Two other tracks are noteworthy: Suspended Animation and Fulton Bobbaface; one being a frantic take on I.D.M - the other an unforgiving head-banging finale.
All in all, this album is nearly as good as 10110101 was and that, in itself, can only mean that it is a masterpiece. If you like artists such as Venetian Snares, Autechre and Richard Devine... Then this is the album for you.
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(Written by myself - no violation, no lifting, no breach of copyright)
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