Once the volume control is set, do not readjust.
Do not readjust.
As pivotal to the shaping of my taste for funk as The Sound of Funk Vol. 4 was, so the Volume series of compilations was to my taste for beats-driven electronic music.
Volume One CD + bound mini-magazine came out in 1991 on U.K.-based World's End Ltd. In-the-thick-of-it acts like Consolidated and The Orb were there, as were the well-established New Order and Nitzer Ebb, but the standout track on this outstanding comp was "Love Mad" by Meat Beat Manifesto.
If you leave, take me with you.
I want you, I need you.
I first heard MBM in SP's room in college. He was never afraid to play risky tracks late night in a co-ed situation (rarer than thou'd think), and I always loved it when he played "Drop" from the 1992 MBM album Satyricon. It would either clear the room, or send it into a state, and either way I was there agitating for more volume.
The same is true on a much larger scale with Subliminal Sandwich from 1996, the definitive intersection of all the best parts of MBM.
Listening to Subliminal Sandwich is like tuning into a pirate radio station for a fictional universe, or at least a fictional music scene- the album is so stylistically diverse and daring it's amazing that only one band is behind it all. This is also a rare example of a double album NOT being too much of a good thing. Dancefloor-oriented Side 1 is definitely the more traditional "album side" in terms of track sequencing, but the looser, spacier, more experimental Side 2 is just as essential as the "now, let's go thataway" counterbalance: deep left-field, aggressive ambient (until you get to track 4 "United Nations E. T. C." which rounds back to an even freakier dance-floor style... this is the song that would be playing at midnight on a Saturday if I had my own club.)
Very weird, very exciting stuff. FORBIDDEN PLANET-style space effects, echo chamber dub sensations and angry but mindful lyrics.
It’s a crime,
it’s so sublime.
For me the definitive track is "She’s Unreal":
Give me love,
so that I can kill.
The buzzing drums coming back in after the sound-collage interlude is an epic break, and the turntable solo in “What’s Your Name?” is one of the best ever. Hyperbole is warranted here, trust me. A helluvan achievement for an operation propelled for over two decades by one guy, Mr. Jack Dangers.
See I believe in the noble, aristocratic art of doing absolutely nothing
and I hope someday I’ll be in a position when I can do even less.
That sentiment, great sample though it is, has very little to do with the incredibly prolific Dangers. This is hard, circuit-driven industrial funk, there for you when yer ready and willing... if this kind of talk turns you on, that is.
**If you're new to the site, the goal of the Bend Me, Shape Me series can be found here.**