The New Yorker

s/t

by Nate Dorr

15 July 2007

 

Acid house’s frenetic 303 slurp enjoyed a brief streak of popularity on the hazy club floors of the late ‘80s before moving underground, emerging here and there as a reference point in ‘90s big beat and IDM programming. Lately, though, it’s seen an odd resurgence, with electronica luminaries like Richard D. James (as Analord) and Luke Vibert (as himself) picking at orphaned acid impulses for entire albums in the last few years. And with such genre flirtations nearly dissipated from the swift-moving air, here’s some actual acid house, from an original acid house producer, Tyrone Jackson, here teamed with a newer Brooklyn production team. The results? Four sparse, ominous acid tracks that snap and squeal in the right places but tend to drag on, unalterably once on course. The sense of atmosphere redeems with an early FSOL-like quality, but clumsy, repetitive vocal sample application tends to mar the effect. Acid may yet complete its comeback but it’s going to take a lot more than this.

The New Yorker

Rating:

 

We all know how critical it is to keep independent voices alive and strong on the Internet. Please consider a donation to support our work as independent cultural critics and historians. Your donation will help PopMatters stay viable through these changing and challenging times where costs have risen and advertising has dropped precipitously. We need your help to keep PopMatters strong and growing. Thank you.

 

//comments
//Mixed media
//Blogs

Saul Williams Commands Attention at Summerstage (Photos + Video)

// Notes from the Road

"Saul Williams played a free, powerful Summerstage show ahead of his appearance at Afropunk this weekend.

READ the article