December 2000deep \ adj 1: extending far down, back, within, or outward 2: having a specified extension downward or backward 3: difficult to understand; also: MYSTERIOUS, OBSCURE (a ~ dark secret) 4: wise 5: ENGROSSED, INVOLVED (~ in thought) 6: INTENSE, PROFOUND (~ sleep) 7: dark and rich in color (a ~ red) 8: having a low musical pitch or range (a ~ voice) 9: situated well within 10: covered, enclosed, or filled often to a specified degree. 2 deep \ n 1: an extremely deep place or part 2: the middle or most intense part (the ~ of winter) The word "deep" is often employed in the description of underground, contemporary club music. This column has used the word so often that I began to wonder if it is the versatile, other "four letter" word intended. After consulting with Merriam Webster the conclusion is yes, it is. If for no other definition than "3: difficult to understand." Music or any art is largely disposable if it is not challenging. The year 2000 was a special year in many "deep" ways. The world grew smaller as the speed of communication grew ever faster. Simultaneously there seemed to be too much information and not enough. Lofty ideals are constantly being established for humanity as the "depths" of abasement are never reached. We should all hope to dwell somewhere in the middle. The integrated elements of pop culture are produced by the activities of our society and conversely, established pop culture affect changes in society. This is the snake devouring its tail. The quality of what the masses perceive as entertainment in film, television and music has become a battleground of stupidity fueled by the banal. Thank god for the artists that will not let go of their basic creative principles and confirmed aesthetics. It is truly gratifying to present what is still worthy from the recesses of the music end of things. As this year ends, I am left with an enormous amount of optimism for contemporary music. Initially, the impression one gets concerning success in the wonderful world of music is that $$$=sell out. The contrary is possible. TRENT REZNOR and NIN might have not been the first to introduce electronic music to the masses, but their tremendous impact on a "comatose rock scene" needing some "electro-shock therapy" is undeniable. The release of "Nineinchnails: Things Fall Apart," a remix project culled from the critically acclaimed "The Fragile" album on Nothing Records, proves Reznor's motto of "not being afraid" has paid off again. This release is a prime example of finely honed music that will not only be "challenging" but "difficult" for its audience to "understand." "There is a general theme to the album ("The Fragile") of systems failing and things sort of falling apart," Reznor explains, "in keeping with the concept of making everything sound a little broken ... we were able to get some really interesting sounds by making the studio the main instrument." All the selections are beautiful illustrations of skillfully arranged and structured organized noise. All the originally produced pieces were exquisitely manipulated, filtered, and processed. Never one to discount there being no light without the dark, Reznor manipulates his own compositions giving relief via delicate melodic passages just as a storm of cacophony is about to overcome all in its path. "Slipping Away" and "The Great Collapse" begin with what sounds like beat driven out-takes from the album versions, both powerfully plodding pieces. Included is a non-album track, Gary Numan's "Metal"; it is a respectful cover and homage with new attitude towards the acidic lyrics. Danny Lohner featuring Telefon Tel Aviv remix "Where is Everybody?" with a decidedly metallic drum & bass slant. This version exudes the emotionally charged energy of NIN, with a tech-y punch. The featured song on this project is "Starfuckers Inc."; with three diverse remixes there is something for everyone. Adrian Sherwood teams up with his "bud" Mark Stewart on the first version. This mix begins by taking a classic, dubby "On-U Sound" approach, then it breaks up and takes a left turn to acknowledge the NIN angst in this piece. This dynamic duo does not shy away from the beautiful noise found at the heart of this song. Reznor cohort Charlie Clouser offers a stripped-down version, easily interpreted as a hard trance affair. The highlight of this entire project is Dave (Skinny Puppy) Ogilvie's remix of "Starfuckers Inc." Ogilvie is well acquainted with the NIN attitude and tone in music. Skinny Puppy laid much of the groundwork in the techno rock arena. Ogilvie's approach accentuates and enhances the original version beautifully. He begins by adding some rapid firing piano house chords that lead into enhanced four on the floor drums. Once the aggressive guitar and vocals come into play, the rhythm breaks down into fierce drum & bass. The d&b touch is perfectly applied and is probably the only element that could make this song more powerful. Work this into your next peak hour techno set and watch your crowd gleefully jump out of their skin. "Shango" on Metropolis is the fifth album for Ben Watkins JUNO REACTOR. The group was originally a full-on trance act producing several quality releases. The album kicks off with "Pistolero" which is also the first single and features Steve (Billy Idol) Stevens on guitar. By the name you may gather the theme is Latin inspired; it is and features beautiful "flamenco-ish" guitar work by Stevens. "Hulelam" is a rousing tribal affair with an ample amount of African chanting. "Insects" is a bass-driven trance-y track with numerous sound effects and unique computer noodlings highlighting this spaghetti-western soundtrack of a song. "Aroma" begins with a hyper Depth Charge feel that quickly melds into a tech-trance stormer. "Master of the Universe" takes up some trappings from south of the border with mysterious wailing and snappy percussion all interlaced through a base of pumping uptempo techno. "Nitrogen" is presented in "part 1" and "part 2" which add up to over fifteen minutes of dramatically diverse soundscapes. There seems to be sounds sourced from many different angles giving this two part piece an eerie otherworld feeling. "Solaris" has an eastern flavor with tablas and Buddhist monk chanting, most of this song is ambient with little percussion outside a variety of acoustic sounds, beautifully executed. "Song for Ancestor" completes this journey with more third world vocals and a vast assortment of effects making for a very textured and moving piece. JEFF MILLS has released an expressionistic reinterpretation for the soundtrack to Fritz Lang's 1926 film masterpiece "Metropolis" on his own Axis Records. Over the years there have been several attempts at such an endeavor, and the results were applied to theatrical presentations of the film. Mostly the music would be to updated to current popular standards which always seemed so contradictory to the intent of the film. Mills worked differently -- he brought his impressions from the film into the technology of today and projected it into the future "re-introducing and educating the theories and ideology of Fritz Lang's 1926 masterpiece Metropolis to the cyber youth of today." Mills has a firm grip on a unique approach to the sound track. This is Mills as has rarely been heard, artful, abstract and lush. His minimal techno history serves him well here, many simple tones are prolonged and stretched without ever losing the listener's attention because of the many emotions he can evoke. Mills does manage to include a few passages that harken to what he is normally known and loved for, minimal techno. Skillfully placed these inclusions make as much sense as the ambient passages. Jeff Mills is an acknowledge leader in the techno community and rarely is appreciated outside that realm. "Metropolis" elevates him to an unrivaled, classical electronic artist. This is an essential release for anyone with an interest in contemporary music. I hope you all have the very best of holidays, see you in the 21st century! Send review material to: |