Harold Budd - By The Dawn's Early Light

Opal Records/All Saints: 1991/2018

Harold Budd was responsible for some of ambient music's seminal albums of the '80s, but as that decade drew to a close, one could sense creative stagnation creeping in. The White Arcades was a lovely record of minimalist piano and synth tones, but territory well covered by that point. Budd felt it too, so when the '90s took form, he started embarking on roads distancing himself from the sounds folks were pigeon-holing him into.

The first of these 'experiments' was By The Dawn's Early Light, wherein he assembled four other musicians to Daniel Lanois' New Orleans studio-house. These included viola player Mabel Wong, harpist Susan Allen, guitarist Bill Nelson, and steel guitarist BJ Cole. Ah, sweet, the ol' slide guitar making a comeback into Harold's music, bringing back shades of Afar from The Serpent (In Quicksilver). Oh, more than you know.

The concept for this album was something of a challenge for Budd, in that he was inspired by the assorted half-finished poetry lines he'd written over the years. He wanted to build music around these, invoking feelings the imagery the words conjured, mostly of youthful Americana dreams in dusty California outbacks. Would he use these to create lyrical songs though? And would he have his assorted musicians clinically recreate music he'd write for them, or let the improvisational nature of his jazz background be a guiding force? Well, this is a Budd joint, so obviously the latter. Besides, he'd chosen these particular musicians for their ability to improvise. Simply give them an outline of what he wanted from each instrument with each piece, and let the creativity go from there, their simpatico vibes and chamber music ambience of Lanois' studio-house leading the way.

The poetry portions bookend the album, with an 'interlude' midway, which work wonders in selling the idea of this being more a narrative art piece than just simple music. Boy About 10 starts, with those distinct Budd piano strokes and soft acoustic guitar, then the viola solo starts and... and... oh. Oh my...

So... Harold Budd passed away from COVID complications this past winter, which I honestly didn't know until coming to this album for review. He was 84, so not that much of a surprise he might pass from any variety of ailments. Still, with that knowledge, then hearing this melancholy viola solo, meant to invoke remembrances of Harold as a boy dreaming about a wide world before him... I cannot deny my throat chokes up with such sadness, yet a love for a man's work I've only had a general fondness for.

I really don't know what else to say here. The rest of By Dawn's Early Light gives each musician a chance to perform in a subdued manner, pieces never lasting longer than they need to. There are nice moments about, others more like half-formed sonic sketches. Nothing quite hits me with the same emotional wallop Boy About 10 does though. I don't know if any of Budd's music ever will.

Boogie Down Productions - By All Means Necessary

Jive: 1988

It really is bonkers just how much of a game-changer the year 1988 was in the world of hip-hop. Even the lamest of laymen know the classics dropped: It Takes A Nation..., Straight Outta Compton, Strictly Business, Follow The Leader, Eazy-Duz-It, He's The DJ, I'm The Rapper... So many more I could name, such that it's not surprising that something like By All Means Necessary could so easily get overlooked. Yet the second album from Boogie Down Productions was a game changer all in its own right, one of the earliest examples of conscious rap. There were examples of street commentary and lyrical prowess before, but not to such an extent KRS-One brought here. The murder of your friend and producing partner would have that effect.

Not that BDP was glorifying violence on Criminal Minded, but right from the jump in My Philosophy, you can hear a change of tone in Mr. Parker's lyrics, presenting himself as The Teacha. Whereas before he'd show off his lyrical ability as street poetry, here he's using his verbal dexterity for higher thoughts, opening the minds of those who'd listen. These aren't the words of some street hood, but an individual who's studied why the streets are the way they are, and taking those to task who'd rather wallow in the bliss of ignorance. Small wonder he's posing as Malcom X on the cover art.

That's not to say he doesn't have things to say about the systemic issues in late '80s America that lead to such troubles. Stop The Violence rants on about the double-standards living in The World's Greatest Nation entails, while Illegal Business gets into complicity of police forces in the drug trade, taking bribes from peddlers to keep selling that crack to junkies. He even gets into some safe sex shenanigans with Jimmy, though in more a playful manner than the other tracks. Hehe, heh... “ding dong”...

It's not all soap-boxing though, KRS-One devoting just as much time to battle-rapping throughout the album. Whether still calling out wack MCs (Ya Slippin'), getting his braggadocios on (I'm Still #1), or railing against commercial sell-outs (Part Time Suckers), he's got plenty of shooting barbs. And while he's at it, may as well continue alternating between Bronx boom-bap and dancehall toasting, further proving one need not be limited in rapping delivery. Heck, the final track is basically a beatnik poetry outing.

Speaking of beats, in honour of the fallen La Rock, most of them retain the simple DJ cut-n-scratch or reggae bounce as he produced in Criminal Minded. While the extended BDP crew gets the credit, DJ Scott does get an 'Overseen' credit too. Aww, ain't that nice. Wish I could get as hype for the beats though, their dated attributes quite apparent when stacked against what The Bomb Squad was doing with Public Enemy at the same time. Not that it matters. By All Means Necessary is mostly about KRS-One's rhymes, and rhymes he delivers, yo'.

Lars Leonhard - Burning Clouds

Ultimae Records: 2014

A bit of unfinished business here, tackling the honest-to-God last item from Lars Leonhard in my music collection. Will it for really-reals be the last thing I ever review from the chap? I cannot deny feeling plenty sated on his discography at this point, but there's still more releases to his name that I haven't checked out. All those astronomy-themed albums of the past couple years, that one collaborative record from his BineMusic days, not to mention numerous EPs and single-track outliers. Reviewing Lars Leonhard music could forever be unfinished business, insomuch as reviewing all the music I own could forever be unfinished business. In my present state, however, with something of a natural conclusion drawing closer, Burning Clouds does indeed appear to be the final item I'll be covering from Mr. Leonhard for a while. It's only the twelfth one.

The second of two EPs Lars did for his brief stint with Ultimae, I was initially a little hesitant in getting this one. Stella Nova was the no-brainer, if only because of the wonderful cover-art. It was a perfect representation of the label's dub-chill direction as any, with Lars leading the way. Released the following year, Burning Clouds didn't quite capture the same sense of awe from yours truly, so kinda' passed me by, until I sprung for it out of Ultimae completionist sake. Finally listening to it though, I find this one better out of the two.

Warmth. There's no better word to describe it. Dub techno, but its very nature, tends to be a rather cold and sterile genre, an intriguing counter-point to the surrounding sonic depth dub production tends to create. There can be warm textures in dub techno, but you're then treading into ambient dub's waters. What I'm getting at here is while Stella Nova was fine as another collection of downtempo dub techno tracks from Lars, the clinical nature of the genre could still be felt. Like, sounds and effects perfectly placed, the waves of reverb carrying with it a polished-chrome sheen. And, if I'm being honest, the sort of style I instantly attribute to Lars' overall discography, despite plenty of examples to the contrary.

So I went into Burning Clouds expecting more of the same, but no, there's actual warmth to these three pieces, as though the techno attributes have been softened and given a soak in a steam room. Real dub, yo'. Songcraft wise, the titular opener does the usual minimalist downtempo tune I expect of most Leonhard tracks, just warmer. Halos has more techno sounds, including a very subtle bit of bleepiness that I couldn't help but think of ancient Artificial Intelligence. Still, that softening of the edges is present. And Northern Lights...

I never thought I'd say this about a downtempo dub techno track, but you know that feeling of pulling a light blanket over your body, completely enveloping your senses from a cool evening in its warmth? That's what it feels like listening to Northern Lights. Seems appropriate.

Red Fog - Buried On Vanth

Reverse Alignment: 2015

I've had this album for a couple years now, and it still vexes me. Because there is no trace of the title on the cover art, I keep thinking the album's called Red Fog. Which is weird for something that appears to be cosmic drone, but dark ambient's gone to plenty of strange spaces. After some coaxing though, I remember that the artist's name is Red Fog, and this is his album Buried In Fog. No, that's not right. I mean, it'd be the completely logical assumption, but doesn't make sense since this is clearly something with a cosmic lean. Ah, it's Vanth Red Fog is buried in. Uh, what does that mean? Like, is 'vanth' some sort of state of mind? Oops, my brain still hasn't figured it out yet. It's Buried On Vanth, as in a place. Gosh, is that some made up planet within a larger Red Fog lore, where Enceledus' southern pole is serving as a stand-in? Maybe I should Wiki this...

Ah, Vanth is an actual place, a moon to the trans-Neptunian object known as Orcus. Huh, I didn't even know such a Kuiper belt dwarf existed. My attention is always drawn to the famous ones (Pluto, Eris, Sedna) and the funny-named ones (Makemake, Gonggong, Quaoar, 2006 HJ). It does have a unique resonance with Neptune's orbit, and essentially sits opposite of Pluto in its solar orbit, giving it a nickname of 'anti-Pluto'. Fascinating stuff, and I can see why Red Fog would find inspiration in dark ambient drone set in such a remote, obscure plot of frozen wasteland.

Okay, enough of the astronomy course. A cursory search didn't reveal much about who Red Fog is, but he/she/they have been active this past decade with various digital items out on DNA Production, aReW recordings and, ooh, Arecibo Records. Most of Red Fog's material comes with cover art that's quite red indeed, save a couple wintery items and... a Neon Room? Well, can't say the project isn't diverse in its dark drone concepts.

But yes, this is very much a pure drone outing, with tracks at double-digits in length slowly evolving with open spaces and minute sounds. For something that claims to be 'buried', I didn't get a sense of claustrophobia with these pieces, but it sure was difficult making out details from the near-total lack of light. It does feel like you're being kept in cryo-stasis, patiently waiting for the great thaw to awaken you from your slumber, an almost calming effect upon your psyche.

Then, in the final track Wired Through Spectral Tranquility, a jolt of electricity knocks you out of your slumber. It's not quite enough to stir you to full consciousness again, as the piece ebbs back into subdued, minimalist dronescape, but you can't help but notice a slowly escalating tension to the sounds you hear. Suddenly, a whining sound like a starship reactor pierces the murk, then silence once more. Aww, I forgot to wave as it passed by.

Various - Buckle Up Vol. 2 - The Trancelucent Garage (2021 Update)

Trancelucent Productions: 2005

(Click here to read my original TranceCritic review)

You'd think with such hilariously tacky cover art, Trancelucent Productions wouldn't have been long for this psy trance world. I certainly wrote them off early on, believing they couldn't possibly survive the great Israeli full-on glut of the '00s, especially as more notable, credible labels ermeged on the scene. Yet their Discoggian data shows they lasted as far as 2016, going the digital route like so many others before. The only name from this compilation that remained with the label until the end was Cosmic Tone, though he spent more time on Trancelucent's sister label, Comp.Pact Records. Amazing that the one producer I felt had the weakest cut on here (the Danny Tenaglia aping Elements) would be the longest tenured. He even released an album a couple years ago, with music that sounds... exactly like what's on this fifteen year old compilation. Huh.

That's not to say other acts didn't have fruitful careers in the wake of this release. I've mentioned before Electro Sun carried on for a while, as did System Nipel, but most of the artists featured on Trancelucent's second label showcase didn't amount to much after this. Many a psy-trancer lament the brilliant but brief outing from The Misted Muppet, but names like Aquatica, Systemic, and Noga barely have anything beyond here. That Noga is kind of funny, in that there appears a bunch of Discoggian data mentioning him being part of Cosmic Tone for their first album, then splitting after. Seems such a shame, as Noga's offerings are some of the purest, tranciest cuts among a bunch of tracks with that squawking synth. Not a single album listed though, just a single EP to his credit. Lots of compilation support though.

Another name that always intrigued me off here is Etic, and it appears he's had a very strong career since his Trancelucent debut, five albums to his name, plus a pile of EPs. Then why can't I find any of his stuff on Spotify or Bandcamp? Seems like a heck of an oversight, especially since much of his latter output is strictly digital. Maybe he didn't retain the rights for it, and Trancelucent's been in internet limbo since?

Ah, wait a second, Lord Discogs says Etay Harari, the man behind Etic, established his own label in Digital Nature. Still no Bandcamp option there, but it does lead me to a homepage. Ah, nice, it even has links to all the places you can find their music. Still neither of the two streaming services I prefer, but all the other usual suspects are here: Soundcloud, Beatport, iTunes, YouTube, JunoDownload, PsyShop, Amazo-

Wait a second! PsyShop is still around!? Holy cow, so they are! Man, what fond memories of scrounging for psy from that place back in the day. Wouldn't it be funny if they still had some of Etic's old albu- Oh. My. God!

Erm, anyhow, Buckle Up, Vol. 2. Somehow, it still has that vintage Israeli full-on charm, or it could just be the nostalgia talking.

Bone Thugs-N-Harmony - BTNHResurrection

Sony Music Entertainment: 2000

Feels like I've come full circle with- Ah, nope, not doing that bit again! Still, strange bit of circumstance that as we near this project's inevitable endpoint, I'm reviewing another act that kicked things off so long ago. Pretty sure it's the last of these – I don't have Yes' Captured Live lurking in the wings.

Anyhow, this was the CD that got me hooked on Bone Thugs, almost entirely due to one track. I'd heard their stuff before, thought it interesting for being so different with the double-time raps and harmonized choruses. BTNHResurrection convinced me these Cleveland chaps were operating on a totally different wavelength from contemporary gangstas though. All them others be rapping about getting drunk or stoned or crunk off PCP, but were any of them rapping about getting high off ecstasy? Not as heard on the track Ecstasy, and to a young raver such as I, it blew my mind. I don't know if these Thugs actually indulged in the ol' MDMA, but they sure captured the floaty, loved-up feeling of a good gurn in it, even if some of the lyrics turn weirdly violent at times. Ah, good ol' paranoia from a different kind of trip.

Still, one dope track isn't enough to make a fan of me (most of the time), but BTNHResurrection had plenty more going for it that convinced me these Bone brothers were worth scoping out further. Right from the drop in Show 'Em, they go into the swinging thug-hop, dropping verses as only Bone Thugs can. And hey, Flesh-N-Bone is here! Due to label nonsense, the fifth member of the group only sporadically appeared on prior albums. He gets plenty of space to show his verbal skills here, spitting on nearly every track. Remarkably, he kinda' sounds like Eazy-E, which is only fitting where Bone Thugs are concerned. Shame he'd be incarcerated shortly after this album's release, once again becoming just a mythical fifth member.

So you have your crime-riddin', gun toting street raps (2 Glocks, Murder One, Battlezone), the gettin' money raps (Resurrection (Paper, Paper), Can't Give It Up, Mind On Our Money), and the obligatory weed song (The Weed Song). There's also surprising reflection and future optimism here, as on tracks like, Change The World and Don't Worry, which would have been perfect cuts to end the album on. Unfortunately, three more tunes follow, none of which are bad but hobbles BTNHResurrection's play-through. Ending on a bonus cut of Bizzie Bone getting his mack on with One Night Stand just doesn't leave as lasting impression when compared to the double-shot of Mo' Murda and Shotz To Tha Double Glock on E. 1999 Eternal leaving you cold chillin'.

Re-arrange a few tracks, maybe cut a couple (Souljahs Marching feels redundant no matter what), and you'd have a record talked up just as fondly as any of Bone Thugs' '90s output. Sadly, bad management hobbled Bone Thugs' career in the following decade, and the group's been but a footnote since.

Perturbator - B-Sides And Remixes, Vol. I

Blood Music: 2018

I should have gotten this other collection of Perturbator remixes and b-sides. Only reason I initially bought Vol. II over Vol. I was because I liked Vol. II's cover art more. If Blood Music is going to keep having sales though, there's no excuse in not completing the set. So here's B-Sides And Remixes, Vol. I, with... I assume is Perturbator's Night Driving Avenger companion? Side-kick? Or possibly nemesis? I'm not sure where she fits in the greater Perturbator lore, all the associated artwork having our motorcycle riding, black leather clad, boss helmet-wearing protagonist out night-avenging solo. Gosh, might she even be a cyborg? She does have a mannequin look about her, but what are those tendrils writhing up her arm and thigh? There's so much wicked-cool possibilities one could glean from this art, but we'll get no answers in this compilation. Unless Dead Astronauts somehow figure into the greater Perturbator darksynth universe. It wouldn't surprise if Gost does.

Anyhow, if you recall my review of B-Sides And Remixes, Vol. II, you may remember I spent more time talking about James Kent's tour than any of the music on that release. I suppose it's because there just wasn't much to say, about as typical a collection of b-sides and rarities as you'd expect to hear from a synthwave super-star. What I neglected to mention was beyond the video game and horror movie rubs, there weren't any actual remixes on that edition, all of them featured on the first volume.

Despite having a full LP's worth of remixes here, Kent hadn't lent his talents out that often. Four of the ten tracks available come from the Dead Astronauts' self-titled EP, where Perturbator did his own stylistic alternate versions on each tune. Probably the most interesting of these is In Disguise, where the original is standard synthwavey synth-pop, while James turns it into a cinematic beatless affair, befitting a grand opening credits scene. Unhappy Woman and These Bones up the tempo more, but B-Side slows the rhythm way down, almost getting into New Beat territory.

These tracks are all well and good, presenting a Perturbator before he really broke out, but I'm sure you're here to hear more of those gnarly dark synths and thrashy outrun beats. Good news then, as the next batch of remixes covers the whole lot! Can't say I'm familiar with many of them – only Mega Drive rings a bell – but who cares when it's got all the Perturbator sounds you've come for? Sorry, Reznyck and Dizkodeath, even the James Kent rub wasn't enough of a bump for your careers. And who is “Slick Moranis”? Lord Discogs lists this Pertubator remix as their lone appearance. Maybe a downtempo synth-pop alias for James to indulge in? It's sure unlike anything else in his repertoire.

James' go with Gost's Behomoth ends things off, which is fine, but now I want to hear that Dance With The Dead rub on Reign In Hell again. Devil horns to the moon!

Dubtribe Sound System - Bryant Street

BMG Music Canada: 1999

Considering how often I've come across Sunshine and Moonbeam's music, I feel neglectful in not covering their music much. Granted, they only had a few albums out within a decade's worth of activity, but seeing as how that decade covered the '90s, and a hefty chunk of the early '00s, you'd think their brand of San Fran' house would be right up my ally. And that may be true, if I ever gave them a chance to win me over, to have that One Moment when their music catches me at that perfect flashpoint in time when it hits just right. It's yet to happen though, and while Bryant Street does have plenty good going for it, I'm not sure if it's the album that will accomplish this.

First, a little background. The duo started out on the San Francisco scene as a live house act, incorporating gear, instruments and their own vocals into their shows. Almost immediately, they scored an underground hit in Mother Earth on Chicago-based Organico, a proto big-beat number most famous for Sunshine going on a hippie-punk rant about wanting his planet back (The Chemical Brothers sure loved it). A couple more hot singles and an album or two later, and Dubtribe was touring everywhere. They might have been an even bigger deal had they landed a major label deal earlier on. I'm sure that's what Jive Electro was counting on when they signed them, figuring they'd have another Groove Armada-level big name to their roster. It... didn't quite pan out that way.

Bryant Street starts off strong, getting in on plenty of that Latin house vibe with rows of congas, bombastic string sections, triumphant horns, and jubilant Spanish singing. As the album is continuously mixed too, the party keeps going, even as tracks like El Regalo de Amor and Loneliness In Dub take turns in getting deeper into the house vibes than the surrounding company. I wouldn't go so far as to say Dubtribe are doing much that would stand out from a crowded pack of house contemporaries, but it's fun while it's playing.

Then Sunshine has to start getting his rant on again in Ain't Gonna Do You No Good and Holler!, and, well, it was cool hearing him spouting off in Mother Earth but it just feels forced here, as though he's trying to outdo and over-complicate the simple, emphatic “I want my planet back!” Holler! especially sounds like a hold-over from Dubtribe's earlier rave roots, such that I can't help but expect Sunshine to end each verse with “It's the only rhyme that BITES-AHH!”

Closers Breeze and If You're Not Coming Back To Me go more Balearic and jazzy, respectfully, but unfortunately, the abrupt change in the album's tone that preceded these tunes leaves a weird aftertaste on my ears, such that I've checked out. As did Jive, when they dropped Dubtribe after Bryant Street failed to shift as many units as hoped. Back to the underground, I guess.

The Chemical Brothers - Brothers Gonna Work It Out

Virgin: 1998

The Chemical Brothers became known as producers elite so swiftly into their careers, their humble DJing roots were almost entirely forgotten by Dig Your Own Hole. For sure the heady-heads remembered the dodgy 'Dust Brothers' era, but as the '90s came closer to closure, the millions of new fans Ed and Ted had gained remained in the dark of their past influences. Sensing a chance to perhaps educate all these fresh faces attending their concerts, Misters Simons and Rowlands released this DJ mix between albums, a massive mash-up of the tunes that were rinsed out 'back in the day' with a bunch of b-sides and remixes of their current big beat hitters.

I'm not sure if it entirely worked. Oh, the set is great, with plenty of wonderful moments highlighting all that made folks fall sway to the Chem'Bros' charms. I just don't think many of them knew exactly what they were getting. “Is this their new album or not?” they'd ask me in that little music shop I worked at. And I'd reply, “Eh, not really. It's a DJ mix.” After a moment's blank stare, I'd add, “It's not a new album.” Said customer of straw would then move on, leaving Brothers Gonna Work It Out collecting dust, brother. At least, that's how it went down in my backwater corner of Canadaland. I'm sure it sold gangbusters in Great Britain, as most Chemical Brothers merch did.

If there's anything that hampered this CD's general success, it was the fact there are only five indexed tracks. Eagle eye'd spotters may notice twenty-three listed tunes on the back, making this one of those mixes, where bits and pieces are spliced into hefty portions for maximum punch. Like, that mash of Freestyle's robo-vocals Don't Stop The Rock and Metro L.A.'s acid stomp To A Nation Rockin'... I can't hear one without the other anymore! Sure, it'd be handy to skip to specific spots on this CD, but that'd ruin its proper flow, now wouldn't it?

Other highlights? How about The Micronauts' utterly mental, over-driven remix of Block Rockin' Beats, practically right out the gate? It's almost too much awesome too soon, and one of the reasons I really can't ever go back to the original version, so tame in comparison. That, along with The Jazz being featured here, it's small wonder The 'Nauts had so much momentum going for them at the time. Fusing them with some juicy acid care of Sidewinder doesn't hurt either. Elsewhere, '70s funk and psychedelic soul get their looks in, while acid techno and big Meat Beat lock horns.

Yes, there's plenty of bedlam on Brothers Gonna Work It Out, but it also feels like they end the party too soon, the final stretch getting on that Private Psychedelic Reel vibe without playing the actual tune (which would be redundant coming off Dig Your Own Hole anyway). I suppose it works for a nice comedown, but this was a party I could have enjoyed 'till dawn's early light.

Nine Inch Nails - Broken

Nothing Records: 1992

Feels like I've come another full circle, having started this blogging project with an unexpected dive into Nine Inch Nails' discography. Closer, The Downward Spiral, Further Down The Spiral, and Fixed came from a previous owner of those CDs, but I was intrigued enough by Reznor's music to also spring for The Fragile and Ghosts I-IV. Now, as I crawl ever closer to some sort of proper conclusion to this project, I've come to Broken, the last of the big EPs from the band's '90s output. Except The Perfect Drug, but I kinda' already have that since Lab 4 nicked it.

Broken came out at an interesting time in the Nine Inch Nails saga, by which I mean an utterly turbulent, tumultuous test of Trent's resolve. Despite the success of his debut album, Reznor wasn't reaping all the rewards for his efforts. He felt TVT Records was dicking him around (because they were), and was looking for a way out of his contract with them, even going so far as to record new music on the sly under different aliases. It did land him with Interscope Records, and his own Nothing Records, but TVT somehow still had their fingers in the pot (to say nothing of how those label deals turned out later, but that's a discussion for another time). Throw in the killer combo of a world tour that wasn't turning out as they'd hoped, and it's unsurprising that angst-filled thrash vibes were seeping into Trent's sonic palette. Hey, anything to distance themselves from the 'synth-pop' tag TVT so carelessly tossed on them.

The result was Wish, where distorted guitars sound like they're being ground up and chewed back out by the machinery of industry, only to finally unleash their full fury in the chorus (a few 'fuck's thrown in for good measure). Heavy metal industrial was already in existence, but few put as much production detail as Reznor did here, a song remarkably dense for something so primal. Last is more of a standard thrash rocker, while Happiness In Slavery gets thicker in the industrial muck with EBM basslines and digital distortions. Final track Gave Up comes off rather quaint in comparison, muffled for much of its duration, at least until a raucous close-out of shouty, thrashy noise, as if to drive home the point that Nine Inch Nails is anything but a 'synth pop' band.

When Broken first came out, it was followed-up by a mini-EP with extra songs, a gimmick that would carry on with Closer. That was soon changed, second runs of Broken simply adding the tunes to the regular EP, but indexing them as tracks 98-99. Yes, this is one of those CDs, with 90 seconds of silence eaten up by second-long tracks. Hey, if there's fun to be had with the format, have at her. Oh, the songs themselves? Decent hard industrial rockers, but not worth the wait to hear them. Thank god for instant access on computer devices!