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Name: DTMH Member Since: Aug 12, 2006 Rank: 1621 Average Vote Received: Correct (3.50, 6 votes) Rated 262 releases, average: 3.86 Location: In Transit Profile: "If music be the food of love, play on; Give me excess of it.." Well, quite frankly, I'm in danger of overdosing on the stuff, as my tympanic membranes are subjected to a veritable onslaught of sounds on a day-to-day basis. Chiefly, early 80s AOR, late 70s / early 80s Funk... and lashings of early-mid 90s ambient electronica. Former National Music Editor, National & International Music Columnist, and contributor to a very tidy glut of music publications, music is, and always has been an integral part of my life. After all these years my passion for music is at an all-time high, as I continue to work on music-based projects that snare my interest. 
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100.0% positive
(28 ratings)
Buyer Rating:
100.0% positive
(6 ratings)
Police In Cars With Headphones - Wegwerfgesellschaft - 17-Aug-07 01:55 AM
Harking back to Ulrich's fledgling recording days, this trim (in number rather than duration) collection of tunes, under the most intriguing of monikers, failed in its bid to secure record store shelve space when the distribution deal went awry.
How tragic is this? Well, quite frankly, nothing short of calamitous I would proffer.
At such a time, Ulrich was already working on material under the guise of View To The Future, but it would be his recordings as Police In Cars With Headphones that would emerge as finished album product. Though not wholly seminal, Wegwerfgesellschaft (just rolls of the tongue, doesn’t it?) is an utterly absorbing, strangely hypnotic and guilefully crafted opus that belies the composer’s (very) tender years - just nineteen at the time! Whereas Ulrich would go on to release full-length ambient / drum n bass releases, as the previously mentioned View To The Future (1997), as well as Ethereal 77 (1999), and garner commercial success with recordings under his own name, I feel that Wegwerfgesellschaft is worthy of the title of Landmark within his repertoire. At least for the time being.
Album opener, "Weihnachtsgeschenke Für Die Familie" (what is it with the titles?) begins as an edgy piece that in time smooths out to great melodic effect - for me the album's showpiece. By far and away the most commercially accessible track on offer here is "Tetra Pek" - industrial, metallic beats (a la Kraftwerk) swathed in a warm, velvety lushness. In stark contrast, "Death Of A Junk Colibri" might well send shivers down your spine with its overt sinisterness.
I wonder, what do police in cars with headphones really listen to...? Well, they'd probably listen to this music if they could, but the crime is that it's not available... However, as the Ulrich Schnauss fanbase continues to swell, it's only a matter of time, I feel!
Christ. - Blue Shift Emissions - 18-Jan-07 11:50 PM
I've always considered Christ's work to be enigmatically unquantifiable, as if his musical message (if, of course, there is one) is not to be found within his quirky melodies, but instead deeply embedded in the very fabric of his composition. Such unfathomableness within one's music might well ostracise some, but for others it serves up an enticing challenge. Lifting the lid on Blue Shift Emissions is an intriguing affair, to say the very least "Stained Century", "Breathe Between Sleep" and "Vernor Vinge" hark back to Christ's halcyon "Pylonesque" days, where as the veil of mystery is lifted, albeit temporarily, on the album's most accessible track, Cordate - a rather simple, but nonetheless memorable, synth-drenched opus. However, the fabulously obscure "Happyfour Twenty" steals the show, at least for me. Now this is a song that's guaranteed to pleasantly befuddle the most ardent of listeners.
When it comes to recording the next album, I would not suggest more of the same, but instead MUCH more!
For now, however, and at the risk of sounding blasphemous, not to mention a smidge corny.... Thank God for Christ!
Drift Pioneer - Metal Elf Boy - 03-Jan-07 03:02 PM
Ok, here's something of a musical conundrum: Did Greg Scanavino change his name to one William Cheshire, and record this quite ruthlessly percussive album under the guise of Drift Pioneer, some two years after his fabled Young American Primitive debut?
I suspect not, but this YAP-happy affair frequently begs comparison, and that with all due respect, to the aforementioned, William Cheshire.
As the album opener “Fan” pulls you in with its heady mix of tribal stomp, swathed in typical mid-90s synth gusto, the proceeding cut, “Haberdasher”, will have you cavorting around in an unbridled show of euphoria. Damn, this is a good tune! The title track follows, and holds its own, as indeed does “Ultra-Micro”, but alas we head into a musical cul-de-sac with the penultimate, and overly-long, “Swimmer”.
The enjoyable, but somehow out of place “Silver” concludes Drift Pioneer's one and only release.
Overall, I'm quite a fan of this unheralded release, which by the way is about as easy to find as a good time at an insurance seminar... Hell, it's rarer than that even!
Wonder what happened to William Cheshire? Please don't tell me he's selling insurance policies!
Doubting Thomas - Father Don't Cry - 05-Nov-06 07:42 AM
As Skinny Puppy side-projects go, the Doubting Thomas debut is nothing short of a classic in its own right. With some of the industrial leanings of their SP recordings, though definitely less raucous, this, their first non-canine release, has more than enough bite to keep you hooked.
The opening title track, awash with snatches of dialogue from vintage horror movies (& Chaz Sheen's infamous one-liner lifted from Platoon) sits up and begs to be listened to... again and again... As indeed does the rest of the content on offer here.
But for the untimely demise of cEvin Key's partner in crime on this project, Dwayne R. Goettel, there's NO DOUBT that
they would've continued to spellbind with further releases.
Synaesthesia - Embody - 03-Nov-06 01:20 AM
If ever there was an album that sounded like the score to a sci-fi movie, that in fact had never been made, then this is it. Replete with sci-fi sound effects, not to mention song titles you'd expect to see on a sci-fi soundtrack, Embody is a dark and brooding experience that draws you in from the very outset.
I don't think I'm going out on a limb by saying the themes here were more than likely inspired by a certain blockbuster sc-fi movie from the early 80s. Oh yes, and employing the use of the name R.Deckard as song composer more than suggests Bill Leeb's & Rhys Fulber's admiration for unsaid film... Which movie? You do the math!
