Customer Reviews

Satyricon

5 star:		(12)
4 star:		(2)
3 star:		(1)
2 star:		(2)
1 star:		(0)

 

 

Greatness, magnitude, immensity, enormity, infinity, strength, intensity, fullness, importance!

I thought there were too many negative reviews of this CD, so I wanted to put in my 2 cents. This is an astute musician. The guy listens to what's going on. John Corrigan has always done great work but this one is consistently amazing. I would rank this work up there with all the composers that really took chances: Varese, Stockhausen, Subotnick, Mario Davidovsky, Hugh Le Caine, Harry Partch, Todd Dockstader, Iannis Xenakis, Pierre Schaeffer, Gordon Mumma, Oskar Sala, to name only a few. It's possible "Track 15" is the only authentic testament to John Cage in all of modern recording. This CD compares well to Sal Martirano's "L's.G.A." in astonishment level.

Of course, this doesn't say anything for people that only know MBM for some very decent grooves. This may not have the same effect as previous works, and marks MBM's departure into the soundscape composition technique known as "musique concrete".

Considering that Satyricon was released in 1992 just blows my mind! If it were 1992 all over again, you'd be hard-pressed to find anything like it.

Especially with Satyricon, MBM mixes 60's retro with modern dance and low-fi experimental electronica. Satyricon is packed with atmosphere, catchy dance hooks, low-fi loops, sub-bass booms and basslines and pure analog synth wizardry. (now if Jack would only remix Satyricon in 5.1...)

They're all good, but this is definitely my favorite MBM. If you're new to MBM and wondering where to start, start with Satyricon.

Meat Beat Manifesto will seemingly always remain on the fringes of popular Dance music, with their output towering above most similar artists, but with an approach to music that will delight enthusiasts that purposely seek out their music, but never making that cross over to the mainstream. Not that this matters, as when it comes to beat Programming, Sample augmentation, and genre-crossing, Meat Beat are all in a league of their own. If you had to categorise their music, then `Industrial Dance', would probably be most accurate. But once you heard the multi-layered, complex excess of "Brainwashed This Way/Zombie/That Shirt", and the fierce Industrial techno of "Edge of No Control, Pt. 2", it obvious there are not limiting themselves to just work to an industrial template. (Think "Music For The Jilted Generation" era Prodigy), and creatively still remain one of the most innovative dance acts ever devised.

This is a landmark album and a transitional work for Jack Dangers from the early techno style over to the more ambient direction Meat Beat has taken. Jack was way ahead of his time on this album - this is 1992! The spacey, intense grooves on Euthanasia and Edge of No Control sound as with it as any 1999 release. But what really makes this album is the subtle theme throughout that deals with future hype, commercialism, and subversive control of the masses. Without shoving it in your face, the cautionary message of this album gives you a lot to think about. Combine that with the dark kick-*** grooves and this album is a masterpiece.

Prior to "Satyricon" Jack Dangers and co. released three industrial/hip-hop/electro albums of mass destruction. They helped pave avenues for sub-genres and musical talents to come. With this release, MBM adds the final touches to locking in the pattented meat beat sound you can still hear today.
"Satyricon" is a masterpiece in the catalogue of MBM albums. It's an emotionally political jolly good time with every listen. Despite what others may think based on the lines of angst ridden lyrics degrading society or the government, well that's not exactly what Jack had in mind for this album. The amount of positive energy and "get up out and do something" vibe is everywhere on this album. The samples are everywhere and fit perfectly, evolving from one stand out track to the next. THIS is the starting point for any new meat beat fan (the older three albums may be too industrial and can throw off listeners looking for more electronic).

With the release of Satyricon MBM i.e. Jack Dangers continues to evolve to a more techo sound from his industrial roots. Not that its a bad thing. When I first bought this CD back in '92 I was put off by the sound. I was expecting a more industrial sound like 99%. I have listened to it since then and have come to appreciate it. Even though it was made ten years ago, I think it holds up well and still sounds good. Its like he had to make a "mainstream" techno CD before he started to experiment. If you're looking for a sound like "Subliminal Sandwich" you might be disappointed that it sounds like other techno music. Personally I don't think you will be.

I am a late bloomer of MBM...only since 1996 I've been buying their CDs (starting with Subliminal Sandwich). But now, I've come to appreciate them and buy 7 of their CDs, and I think they've been around since 1988. But this is one of the better CDs. It actually has songs that have lyrics (yes, they provide them) and meaning...something that isn't common in the more recent MBM CDs. Remember, this is 1992...this sounds like sounds from the year 2010 or something (like "Track 15"). Some other great songs are "Edge of No Control (Pt. 1)", "Placebo", "Circles", and "Pot Sounds", and they feature lots of samples. This is a great CD for hardcore MBM fans.

one of the best pieces of audio collage ever made, and you can dance your ass off to it. engrossing, compassionate, involved, intelligent, informed, fun, funky, spastic, bombastic, understated, challenging, and completely accessible. not only a lost big-beat classic, but a lost pop classic. this one will be studied 50 years from now. essential, in a word.

Great CD ! Before Jack Dangers and Co.got more instrumental/experimental ! Nothing wrong with the newer stuff,but Satyricon rules !!!!!

A stroke of genius. MBM has never been this good since, partly because Dangers has stopped actually, err, singing. A perfect combination of paranoid sci-fi beats, brilliant samples, dark lyrics, and hard beats. One of the top electronic albums of all-time.