Everything’s Exactly The Same. Could
be talking about television or the local high street,
popular culture in general even. Teeming, ever different,
ever the same. Maybe. In Chevron’s world, everything’s
bright and shiny. And noisy. And everything’s
(mal)functioning, but gloriously so. Like an infinite
number of monkeys making music that makes some kind
of sense.
Running Out Of Time sounds like Vangelis mixed
with a bit of Omni Trio's Rob Haigh’s beat-less
outings for two minutes or so. Then a fine old phaser
blast scorches its preening surface and releases an
extremely angry djinn surfing on the crest of hyperkinetic
breaks. The whole thing feels as unpredictable
as tectonic plates shifting beneath your feet. The tempo
motors up and down, back and forth, mostly refusing
to settle at any point while synth chords zoom overhead
like restless jets. The reverbed plastic harpsichord
on the fade signs out with a nice taint of the psycho.
Cyberia is all operatically arranged depth
charges plunging down high-rise caverns to explode before
impact with the street. London maxes the synthetic
bass, maxes the stuttering rhythm attack weaving like
a suicidal guerrilla in the face of small arms fire.
Optic Realisation returns to Vangelis land,
specifically the Bladerunner soundtrack. It’s
a lovely place to be. Bathyscape is spectral,
haunted. Again the beats kick in just when it seems
that the track’ll be ambient through and through.
Rudi The Techno Pioneer roughnecks We Wish
You A Merry Christmas, complete with ragga vox
and accelerating breakbeats. Later, Polyphonic Ringtone
maxes the cheekiness with a cheeky quote of Kraftwerk’s
Tour De France.
Keywords: naaasty, noisy, shiny, in-yer-face, virtual,
brittle, cathartic, mischievous, fun.
Colin Buttimer
3.5/5 |
