November 2002Journalists of any sort, traditionally, reflect on the past year at this time. It's usually something to look forward to (reflecting not this last year!), unfortunately, there wasn't much positive affecting music or our lives generally. Everyone had to deal with a bunch of crap: the economy, our livelihoods (i.e. the music industry), and general security at home & abroad. The list could go on and on, but these items would head anything your raised hands would mention. In an attempt to have a peak at something close to a silver lining we can conclude that our priorities have a clearer definition and that most of us have learned to be happy with less, much less. There are serious concerns within the music industry from the smallest independent label to the biggest conglomerate major labels. There was a naive slogan from the 70s, after the onset of home cassette decks: "home taping is killing music." This was a response from big business not wanting to relinquish any of the pennies they were pinching. The "suits" that coined that phrase would roll over in their graves if they had today's issues to cope with. Without a doubt, uncontrolled on-line music file sharing is seriously damaging all aspects of music, period! This problem doesn't just concern the music companies big or small but the artists and their music and all of us between. There are no "rights" in this premeditated larceny and there must be an international union of governments to put a swift halt to it now. We should boycott countries that refuse to recognize the danger of allowing the file sharing software to exist. It is extremely shortsighted to not see the ultimate outcome of this disturbing situation. What is perpetuating this damaging activity is that the vast majority involved with on-line file "stealing" simply do not comprehend that what they are doing is illegal and immoral. There is certainly no apparent quick fix to this unprecedented situation, but education would be a logical start. It never seemed that the slogans "don't be a litter-bug" and "give a hoot, don't pollute" would be effective against rampant litter and pollution, but, surprisingly the common consciousness was moved and our world was vastly improved. It is odd that something as primitive as our precious vinyl may be what saves dance music of all kinds. There is something reassuring about extremely minimal, experimental music to me. I'm uncertain if it is the obvious sheer creative expression or the fact that it most likely will never appeal to the masses. With the later I do not mean to sound elitist, rather that the focus found within the genre could never be truly commercialized keeping the intent and outcome pure. There certainly could be no musical community more obscure than Slovenian electronica. Since the early 80s Slovenian pioneers Laibach and Videosex represented not only Yugoslavia but the sound of the earliest experimental/industrial on the planet. Laibach managed to get themselves banned by the then communist country but continued on to have a great impact on the blossoming international electronic scene. Through the early 90s the country's economic and political unrest resulted in Slovenia leaving the federation and most musical groups and projects disintergrated. However, the impact of the rave scene wasn't lost on the Slovenes and the growth of interest in computers (Slovenia has the highest per capita in Europe) and the internet created increasing interest in electronic music. "Slovene DJ's (above all Umek and Valentino Kanzyani, but also Bizzy, Dojaja, Shark and others...) also began to become well known in clubs outside Slovenia." At the end of 2000 NSK Recordings, Laibach's label founded in the early 90s, initiated Tehnika, a sub-imprint to promote the fine minimalist techno being produced in the creatively fertile Slovenia. Beside releasing many singles and an album from UMEK, Tehnika has released the debut album from OCTEX, "Ldei Lahesna." Octex is an acronym for Organic Crackle & Tone Experiments. This might give an inkling of what Jerne J Marusic (aka Octex), a 24-year-old resident of Ljubljana, intends with his eleven compositions. Those words "experiments" and especially "crackle" may put many off but they connote an attitude and a direct ingenious application to his structure of song. "Artificial life forms oscillating through the streets. Their reflections echoing in the windows and decaying fog. Trying to escape the rigid structure of the city only disturbed by the subliminal funky crackles of erosion." Marusic draws deep equally from the sounds of Detroit and Berlin while adding his distinctive touch. Like many of the best albums from techno artists the theme is urban with beautiful layers, subtle changes, and other-worldly effects. Many techno "purists" may be put off by many of his touches. Marusic is very fond of disturbing his lush programming with truly dimensional analog noise, as in "Emergon," "Anifon," "Intezo," and "Liagon." This is not just dirty distortions but straight up "needles on scratchy vinyl" sounds. We have heard this effect used on soul or blues wannabes releases, but techno? Initially, the impression is one of "what the f...!" When the time is given to digest the creativity behind such structure, you realize a tremendously artful impact. Marusic's noises are as finely constructed as his music programming. The conjoining of pure tones with the distorted keeps the compositions from being dismissed as monotonous or too mechanical. A most worthy debut breaking the techno mold. Taking a full 180 from Octex is the new album from JEPHTE GUILLAUME and the TET KALE ORKESTRA "Voyage of Dreams" on Spiritual Life Music. Guillaume has garnered devotion from the deep "body & soul" crowd and music industry types proven by his fine bass work with the likes of Mary J Blige, A Tribe Called Quest, and Groove Theory. This industrious project is two full CDs of original material that includes the hit singles "Lakou," "The Prayer," Ibo Lele," and "Kanpe." The new single featuring "keyboard legend" Billy Preston, "Al Di Yo," is included and is already getting worldwide attention. Guillaume presents "modern rhythms and expressions with the traditional elements of (his) Afro-Haitian-Latin heritage." The spirit of his messages is felt throughout all his songs, all sung in his native Haitian Kreyol with themes including unity and spiritual fulfillment which include renewing the ancient beliefs of Vodou. This sixteen track extravaganza is an essential, soulfully groovy journey. Send review material to: |