μ-ZIQ
Duntisbourne Abbots Soulmate Devastation Technique
ZIQ190
Planet-μ 2007
17 Tracks. 59mins58secs

It’s no secret that Mike Paradinas’ alias μ-Ziq has reached legend status in the world of experimental electronic dance music. Even Paradinas himself labels his μ-Ziq work “classic” on the Planet-μ website, and rightfully so. Along with Richard D. James, Luke Vibert, and other luminaries, μ-Ziq’s prodigiously playful releases have guided electronic music through a plethora of different styles, from the ambient techno of 1993’s Tango N’ Vectif to the rapid-fire drill n’ bass of 1997’s Lunatic Harness.

In 2002, Paradinas released Bilious Paths, his first μ-Ziq album on his own label. An exhilarating victory lap, it showed that μ-Ziq could continue to be a relentlessly cutting edge force, while still building upon a classic structure. Unfortunately, the mouthful-titled Duntisbourne Abbots Soulmate Devastation Technique is the first true misstep in his vast output.

It starts out promisingly enough, as Prough Seemness launches with tweaked-out percussion, soon joined by a sticky bass line and a detuned minor melody. Paradinas is focusing on his earlier, more ambient sound – gone are the drill n’ bass workouts of his late nineties albums. Duntisbourne Abbots follows the same formula; while neither track is very complicated, their simple-yet-satisfying structures do not disappoint. With Dexedrine Girl, however, it becomes clear that the modus operandi this time around is to produce short, unfinished-sounding tracks, relying on the same narrow pool of detuned synth patches and menacing bass sounds.

The main issue here is, it just doesn’t sound like Paradinas is trying as hard as listeners are used to. Much of the album feels like hastily assembled demos; the melodies rarely flesh out to something truly satisfying. Additionally, the phoned-in percussion does little to enhance most of the tracks. At its best, Duntisbourne simply does away with percussion, and focuses more on ambient techno melodies. At its worst, however, the same staid, unwavering drum loops are placed almost as an afterthought – it’s sad to realize that this is the same musicians who was once known particularly for his abrasive, inventive drum programming.

Duntisbourne isn’t a complete failure, however; no matter how little attention to detail Paradinas lent to this set, he’s still a brilliant musician at heart. Strawberry Fields Hotel and Rise Of The Salmon both build to satisfying climaxes, avoiding the pitfall of aimlessness that infects much of the album. There’s an excellent EP’s worth of material buried in this mess. It appears, though, that Paradinas is either in a rut, or over composing for the time being (one track is tellingly titled Old & Tired). Ultimately, it’s disappointing to hear such a standard-bearer sound so disinterested, but, as the brighter moments of Duntisbourne illustrate, it would be foolish to give up on μ-Ziq.

2.5/5

Planet Mu
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