there was a time when i rejected major labels, and thought i might like everything on non-majors, like matador (which ultimately went through a phase of being major-owned). oh, the absolute world of youth.
this album made me realise it probably wasn’t the best way to approach music. great labels don’t always release great music, just as (well…) shit labels don’t always release shit music. i have examples in the collection of both exceptions.
i’m not really saying it’s bad. i just worked out as soon as i’d bought it back in the late 1990s that not every piece of alternative music would appeal to me in the same degree as others. and i get as i listen to it further that it reminds me of where the flaming lips ended up, and why they annoyed me. it’s fair to say that cornelius is better in my mind.
some songs on this album are great, by way of internal exception. new music machine, for instance, is like a louder and faster version of tortoise and/or sea & cake. and perhaps the best known song that i recall is count five or six which is not unlike a programmed version of blues explosion, and exceedingly mind-bending and -inhabiting for something so simple. free fall uses its break-down phases to sound like sabotage by the beastie boys – very surprising to hear, yet unsurprising given his influences.
i think, however, that it’s the first album listened to in the past few months that has freaked the cats out – especially when the kitten started looking around for the fly that marks the start of god only knows; which oddly isn’t a cover of the beach boys. i understand why the felines spooked. vocal, noise, cartoon and musical samples run at mostly fast pace, and loud, is enough to make any organism’s brain twitch.
near me sits a cat who’s staring my way
deep inside that cat’s eyes, i see some stars
star fruits surf rider