Customer Reviews

Crash & Burn

5 star:		(2)
4 star:		(1)
3 star:		(0)
2 star:		(2)
1 star:		(0)

 

 

This is a great example of how many different styles Eat Static can stretch and bend with their knobs and dials. Almost every type of electronica can be found tucked into the little corners of the various tracks. This effort definitely is more mainstream and happy go lucky than it's predecessor "Science Of The Gods", but there is quite a bit of odd noises and satirical samples wrapped around Merv's rhythmic genius. "Crash and Burn" may be more of a drinker's Eat Static than a thinker's eat static, but even the thoughtful need to have fun from time to time.

This album is a lot of fun, a great mix of lounge, pop, techno, world beat, and more techno. I'm addicted!

'Crash and Burn' moves past the abstract noise orchestration that fans may be used to. The tracks seem to play more along the lines of hard lounge than hard trance, making a new step into an atmosphere less about psychadelica and more about sampled out smooth beats layered like a cake. 'Crash and Burn' is a head-nodding dance album, as with ALL Eat Static albums...Buy the album, and, if you like it, check out ELECTRO-LOUNGE. In fact, buy all the Eat Static discography.

This will likely be my first (and last) release I ever bother with by Eat Static - I often have heard their name mentioned only from Orric Tentacles fans. Personally, I didn't get much out of this (call it acid jazz or ambient dub) title. Only cut here I liked was the nine-minute inventive "Holy War" and TRIED to get into tunes like "Nocturnal Umbra" and "Mondo A Go-Go" but couldn't. Line-up (from what I could tell): Merv Pepler (Ozrics) - drums, Steve Joliffe & Joie Hinton - synthesizers and Steve Everitt - mixing. So, I gave it a shot.

A range of music styles is mixed, flipped and tweaked by eat static with a sense of fun and energy but the result is now quite dated. It is one for the collection but the cheesy drum-rolls and cliched samples mean you won't play it often or out at a party. It lacks the production qualities and re-listenability of, say, Shpongle's Tales of the Inexpressive which executes similar musical ideas (eg meshing latin, breatbeat and trance) but with much more sophistication.