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That the line between dream and madness is unusually thin, and at times even non-existent, on Mouse on Mars' latest offering needn't be a surprise. Of a more amazing nature is the fact that among all the established paraphernalia of left-field experimentation -noise outbursts, glitches, false starts, psycho-polyrhythmics, acid farts and the obligatory tons of distortion- there is also some aberrant songwriting to be found. Of course, their version of what we casually denominate as 'popmusic' is more at home in psychiatric institutions where old psychedelic junkies recover from their cold turkey from 1975 than on national radio. Indeed, the 60ies and 70ies rule big time on 'Idiology', where cellos, french horns, pianos, trumpets and guitars play an equal role in comparison to the array of crazy electronica. Opening with the single 'Actionist Respoke', a crossbreed of childish punk and the pinball machine estethics of Aphex Twin or Mike Paradinas, you're quite astonished to discover that 'Subsequence', 'Presence' and 'The Illking' have respective leanings with folk, sentimental film soundtracks and even classical music. The staggering 'Catching Butterflies with Hands' shows off influences from lo-fi blues and could easily be suspected of being an unreleased instrumental soundcheck by Tindersticks, Guided by Voices or even Tom Waits, with its untuned violinsection balancing between extreme annoyance and equivocal feelings of wonder. 'Doit', my personal favorite, sounds like a Ska-brassband on bad acid, as if good old Phil Spector decided to try out and subsequently use every possible knob on the lastest state-of-the-art synthesizer, the vocals being partly suppressed by broken vocoders, at other moments providing simple close harmonies. 'First:Break' then seeks to destroy all our previous pop suspections with a machines-gone-mad approach that clatters, creaks and breaks till your ears bleed, while immediately thereafter 'Introduce' goes diving into the world of perverse pop again. The spoken word bit 'Unity Concepts', clearly a consequence of the combination of far-out drugs and way to little sleep, goes philosophising about the One as ideological concept. Thereafter 'Paradical' seems to be a bootleg recording of an orchestra tuning instruments that haven't been played since 200 years or so. 'Fantastic Analysis' concludes this sordid fairy-tale in a Tim 'Just Call Me Lone' Lee countrystyle. 'Jeez' is about the only thing you can possibly utter after going through such a listening experience. It would seem schizophrenia can be fun too.
http://www.kindamuzik.net/recensie/mouse-on-mars/idiology/714/
Meer Mouse On Mars op KindaMuzik: http://www.kindamuzik.net/artiest/mouse-on-mars
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