Recently there has been, as is commonplace with many ‘experimental’ artists, endless attempts at categorising Holy Fuck. For what it’s worth, they’re not a million miles off Amon Düül II at their most electronic, albeit not being anywhere near as ground-breaking or ambitious -which kind of makes them not very experimental…alas.
Opening track, Super Inuit sounds like a fat kid on speed frothing at the mouth deliriously in public. Whiling and buzzing, it’s hard to recognise how natural the high is, with drums equally arhymic and sparse as Broadcast.
Jumping from the fluid to the choppy the album’s track-listing could be geared to unsettle the listener. This will never be that effective in a day and age, where the kids ain’t got time for such low fidelity Tom foolery. Anyway, how often does anyone actively listen to a whole album start to finish?
The beat is so heavily indulged in the production that it resembles more of a sweltering pop record than one of outer-limits Krautrock. The overbearing rhythm section grows repetitive and aurally straining resulting in the record being unnecessarily inaccessible. Lovely Allen is the only track that seems to have benefited from the production, but still leaves little to admire; whilst The Pulse provides a fresh alternative for avant-garde dancefloors.
Beneath the rattle and hum the record is worth your while.
Shocking Pinks – End of the World
There’s a lot to love and hate about this 7” by Shocking Pinks. Without going into too much detail:
Good points:
Lyrics, “I’ve got to find a way to make it all make sense again” sound like the band have come out of a shoegazing induced coma from the 80’s met James Murphy and are currently struggling to grasp reality. B-side is equally as strong, if not better, than the a-side.
Bad Points:
Sonically it is a flat line ambient scuzz. Like typical shoegazer it is self-absorbed and easy to dismiss as flaccid drivel. Depressingly simple.
Conclusion:
Occams Razor doesn’t apply to music. Would sound better if on Valium.
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