Horribly late to the party, I know, but god damn I'm glad I got here at all.
The cover of this album is Bruce Lee. And right around 2:06 when the bass drops in is when I like to think Bruce Lee is up in heaven somewhere just laying a mother fucker on his back with a mighty kick to the sternum. 6 minutes of moody, angry Detroit techno from the mid 1990s. Disjointed synths that cut in and out like someone is almost afraid to touch them layered on top of a moaning organ rift that the whole thing is build off of. From top to bottom it is a thing of beauty. If this track was a machine it would be a giant Transformer with arms made out of Fords and Buicks and breathing fire. Detroit sounds like a pretty awesome place in 1993.
Speaking of Detroit in 1993....
One of the top five bass lines of the year? It just sort of slithers along and raps its self around you until you don't notice it and you got your head bouncing along to it. It's the hard liquor of bass lines, you don't know you are into it until its too late. Until its got you in its muggy little hands. You know those nights where you have been drinking and its getting late and you feel fine and then stand up and it hits you - you can feel your entire body just get drunk in the matter of two seconds. This is what this song is like.
Also, there is a flute section come around minute 6. Make of that what you will. It's still bitching.
Hands down the best vocal parts this year. No argument. I dare you to find a better female vocal part than the one in this track. You can't because it doesn't exist.
We all owe the fine folks over at Stones Throw Records a debt of gratitude for releasing this gem earlier this year. Not only are the vocals pristine but that funky boogie beat is nothing to sneeze at either. It might be a wholesome song about a couple celebrating their anniversary but that is one dirty, slimy beat. That bass that drops right from the start, artists would pay damn good money to get that on their album these days. Kind of the shit.
Yea, this song isn't going to be played out in the club anytime soon but that doesn't mean it isn't one of my five favorite songs of the year. Wolfgang Voigt, credited with this tune and multiple other gems, has devoted his life to making minimal electronic music that just pulls at you. Sometimes it is more epic sounding and grandiose like his work done under Gas. And then sometimes it is super fucking sexy like this tune. Seriously, if you were living in Germany in 1995 and you had this record you were probably banging all the time. All the time. Male or female. Doesn't matter. This track has one goal in mind - it is to get sweaty super sexy people out of their clothes and wrestling in bed with each other.
Blew my mind the first time I heard this. Seriously, where the hell has this been my entire life. I'm 29 years old and the first time I heard this was in October - something about society has failed for that to happen.
This song is all over the god damn place. It just sort of wonders back and forth without really giving a shit where it is going. It builds up like it is going to go for some huge grandiose thing and then it just collapses in on its self like a god damn black hole and starts off on a funky bass-line down another rabbits hole.
The record label says 1991 on the cover which means this was made when people still had the option of using rotary dial phones. How the fuck is that possible? I don't get it. I thought they only had trash cans to bang on and guitars made out of wood boxes to play then.
Or this is the sound of every computer in the world in 1991 loosing their collective minds over the nimrods programming them at the time. I like that idea better.
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