Algebra Suicide ‎– Feminine Squared

Dark Entries ‎– DE-042
Vinyl, LP, Remastered, Compilation
DVD, DVD-Video


A1 True Romance At The World's Fair
A2 Recalling The Last Encounter
A3 Praxis
A4 In Bed With Boys
A5 An Explanation For That Flock Of Crows
A6 Somewhat Bleecker Street
A7 Tonight
A8 Agitation
A9 Father's By The Door
A10 Walking Through Sleep
B1 Little Dead Bodies
B2 Sub Rosa
B3 Please Respect Our Decadence
B4 (A Proverbial Explanation For) Why No Action Is Taken
B5 Tuesday Tastes Good
B6 Let's Transact
B7 Lethargy
B8 Waiting For Delmore
666 Show (Live At The Noise Factory, August 30, 1984)
DVD-1 True Romance At The World's Fair
DVD-2 Father's By The Door
DVD-3 Recalling The Last Encounter
DVD-4 Waiting For Delmore
DVD-5 In Bed With Boys
DVD-6 Agitation
DVD-7 Walking Through Sleep
DVD-8 Seven Song
DVD-9 Somewhat Bleecker Street
DVD-10 An Explanation For That Flock Of Crows
DVD-11 Lethargy
DVD-12 Mantic Sway

Companies, etc.



Includes lyric sheet, booklet with articles and reviews and the DVD in a cardboard slipcase.
(C) + (P) 2013 Dark Entries Records

A1 to A4 recorded October 11, 1982.
A5, A6, A8, B7 recorded March 1984.
A7, A9, A10, B8 recorded November 1984.
B1 to B6 recorded Spring 1986.

All songs recorded at Soto Sound, Evanston IL.

A1 to A4 originally released on 'True Romance At The Worlds Fair' EP, Buzzerama Records 1982.
A5 to A8 originally released on 'An Explanation For That Flock Of Crows' EP, Buzzerama Records 1984.
B1 to B4 originally released on 'Big Skin' C-40, Cause & Effect 1986.
A9, B5 to B7 originally released on 'The Secret Like Crazy' LP, RRRecords/Dom Elchklang 1988.
B8 originally released on 'Pas De Deux' Compilation LP, Auxillio de Cientos 1985.
A10 'Walking Through Sleep' previously unreleased.

Live performance recorded August 30, 1984 at the Noise Factory, Chicago, IL.
Previously unreleased.

Casiotone MT-40, Multivox FR-4, Rhythm Ace, Vox Guitar Organ, Casio CZ-101, Les Paul junior, Bass.

Thank you:
Don Hedeker, Mark Giangrande, Gregory Jacobsen, Bart Plantenga, Alberto Hernandez, Molly Baker, George Horn and Eloise Leigh.



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June 15, 2017

I was totally unsure of what to make of Feminine Squared when it first ebbed from my stereo, with the work of the band Sparks floating through my head, though in all honesty I feel that it was Lauri Anderson who should have struck a chord with me, though did not, causing me to consider why I’m not making that connection here. That being said, considering the nature of the material laid down by Algebra Suicide, what’s delivered here is a compilation of sorts, made up of songs, though I hesitate to call them songs, because they are more pieces of audio artwork, compiled from their first two EPs, four tracks from their album [cassette] Big Skin, material from The Secret Like Crazy, and one previously unreleased track from the Pas De Deux compilation.

With lyrics delivered in a hauntingly stark deadpan malaise of what they refer to as ‘Avant Garage’, the duo are not shy about crediting, referencing, and emancipating their heroes Leonard Cohen, Patti Smith and Lou Reed, while also embellishing and holding dear the stylings of Tom Verlaine and even Vini Reilly. All of this leads to a moody atmosphere that is not instantly recognized, it’s more that this atmosphere is continually changing from one song to the next, where real life observations and a series of confused emotions make up their oddly visual subconscious psychological reality of inner realized twists of fate, as if they are both in the moment and observing it at the same instant.

Their sound is composed of rather thinly layered instrumentations, with instruments that include rather cheap sounding keyboards, rhythms from a programmed beatbox, along with tiny drumming, over which are laid the vocals that are certainly mundane, yet nevertheless compelling, because we’ve all experienced what’s laid down here, though most of us have not taken the time to have deeply been impressed by these matter of fact events, in much the same way Andy Warhol was so impressed with the commercial aspects of soup cans, raising their common place supermarket status to high art. There are moments of enlightenment, where sonic slow burning guitars with Velvet Underground riffs completely fill the space, yet even there, these sonic washes vaporize as quickly as they appeared, becoming part of their art, as much as these riffs move and define the songs, all of which are stridently blunt, and to the fact, coming across as sound installations that are difficult to take seriously, yet like a car accident, impossible to ignore.

*** The Fun Facts: While considering the band’s name Algebra Suicide, and the title of this collection Feminine Square, one should reference the study of Semiotic Square … The semiotic square, also known as the Greimas Square, is a tool used in structural analysis of the relationships between semiotic signs through the opposition of concepts, such as feminine-masculine or beautiful-ugly, and of extending the relevant ontology. The Semiotic Square, derived from Aristotle's logical square of opposition, was developed by Algirdas J. Greimas, a Lithuanian linguist and semiotician who considered the Semiotic Square to be the elementary structure of meaning. Greimas first presented the square in 1966 “Semantique Structurale”, a book which was later published as “Structural Semantics: An Attempt at a Method” in 1983. He further developed the Semiotic Square with Francois Rastier in "The Interaction of Semiotic Constraints”.

Review by Jenell Kesler