In the current international climate, the arrival of
The Fire This Time could look suspiciously
propagandist. And in some ways, it is. But considering
the amount of evidences on display here, it is obvious
that this album was not put together to serve any anti-war
protest. The situation in Iraq has hijacked once again
our TV screens and newspapers, and is at the heart of
the most serious rift between members of the United
Nations, threatening the integrity of the very organisation
that was created to guarantee peace in the first place.
In times of tensed international relations, disinformation
is everywhere, feeding information that serves the purpose
of a country or side. Counter-information is equally
rife, and, in the aftermath of the attacks on the World
Trade Center and the Pentagon, and the implacable build
up to a new Iraq conflict, both forms of communication,
as manipulated as they may be, are truly active. So,
the role of a project such as The Fire This Time
is all the more important. If the timing of its release
causes the listener to question the possible manipulation
of information presented on this record, the man behind
the project, Grant Wakefield, has actually been working
on The Fire This Time for the last three years,
patiently collecting audio elements (excerpts of news
reports, conversations, speeches and documentaries),
revealing the general propaganda inflicted on us prior
and during the first Gulf conflict, and the cruelty
and inadequacy of the economic sanctions taken against
Iraq, which have hit the poor far more than the rich
and reinforced Saddam Hussein’s hand of steel
on his country. Making good use of a diverse and interesting
soundtrack, incorporating exclusive tracks from Higher
Intelligence Agency, Soma, Pan
Sonic, Bola, Speedy
J, Orbital and Aphex
Twin, Wakefield strategically builds up the sonic
background to fit the commentary, starting with ambient
sequences before setting up the pace as the gulf war
became unavoidable, climaxing in a mayhem of sound and
information, before reverting to more discreet musical
elements for the post-war area. If the music doesn’t
hold the important role on this album, the addition
of a second instrumental CD offers a chance to experience
the tracks in a more neutral context. The Fire This
Time is ultimately an impressive record both for
its content and message, and deserves to be listened
to with a lot of attention.
Two years after the first Bip-Hop Generation, the Marseille-based
record label has grown up at an impressive pace. With
releases from a good selection of already established
artists, including Twine,
Spaceheads,
Scanner,
Si-cut.db
or Tennis,
plus albums from Bovine
Life, Cray, Angel,
Andrew Duke and Wang Inc, the label set up by Philippe
Petit has demonstrated a great constituency in term
of quality. On top of these artists albums, Bip-Hop
has collected exclusive tracks from a wide range of
electronic musicians, going from Phonem, Arovane, Neotropic
and Mira Calix
to Datach’i, Tonne
and D’Iberville to name but a few, with each artist
contributing between one and three tracks. Bip-Hop
Generation 6 is announced as the last in the series
in its present form, and its release coincides with
the label’s second birthday. Including tracks
from Alejandra & Aeron, Scanner,
Bittonic, Ilpo
Väisänen, Battery Operated and Angel,
this new compilation continues the label’s exploration
of unusual soundscapes. All tracks presented here are
rather moody and experimental, focussing on vast, often
beat-less, sonic landscapes which all seem to develop
from common sonic sources. The eleven tracks on offer
here are nevertheless incredibly varied, presenting
a credible view of the current electronic scene. Highlights
include Scanner’s
luscious Thulium Hymn, typical of Robin Rimbaud’s
work, Bittonic’s beautiful A Theory OF Disorderly
Behaviour and one half of Pan
Sonic Ilpo Väisänen’s progressive
Vaara.
Fruit of the work of Ohio-based 409 collective of graphic
designers, photographers and artists, Forcefeed
present an interesting selection of laidback electronica.
Characteristically melodic, yet complex, the thirteen
tracks on offer are of very high standard. Using a variety
of sound and voice samples, with elements of field recordings,
analogue and digital processing, electro and hip-hop,
this collection is classic electronica at its best.
If the sound structures are often minimalist, the tracks
are however rich in atmospheres, creating a very cohesive
piece of work. Each artist involved in this project
has contributed two tracks, with Merk presenting three.
From the simple constructions of Systm to the dark post-industrial
landscapes of Merk or Ade Lun Sec and the hip-hop influences
of Mmodule (who’s It’s Beige is
reminiscent of Boards
Of Canada in many ways), and Masaru there is a wide
variety of sounds and influences on this album. If none
of the artists are very well known on the scene, it
doesn’t mean that this album is not worth more
than a quick listen. Forcefeed is the first
release from 409, but we can only hope for more of the
same very soon.
V/A: The Fire This Time 4.7/5
V/A: Bip-Hop Generation Vol. 6 4.3/5
V/A: Forcefeed 3.8/5
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