Customer Reviews

On the Wires of Our Nerves

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

 

 

Maybe it takes someone who's been there to clue you in on this one; in a world where everything that was old is new once more, Add N to (X) has managed to create the freshest sound I've heard in half a decade. How? By filtering the experiments of twenty to thirty years ago through the production methods of today. Yes, I do mean fresh but I also mean derivative. That, however, is not to say boring--none of the music referenced on this CD was ever popular enough in a commercial sense (at least not here in the States) to become overused--but it is a rather telling sign of our times. We generally think of electronic music these days as being chiefly collage, the lifting, looping and rearranging of source material from everywhere and anywhere. But here we have a return to improvisation, originality and live performance. The tone here is upbeat, lighthearted and quirky without abandoning chaos, uncertainty and danger.

But since the musical references in this CD, and there are many of them, have been almost totally ignored by the critics I've read, let me run through those that come to mind: Track one, Barry 7's Contraption is a tune that would very comfortably fit on an album from 1978 by The Residents, Tuxedomoon or Renaldo and the Loaf (all Ralph Records artists). Track two, Robot New York, cuts in with a bass line that sounds transplanted from Pink Floyd circa Ummagumma and set to a sonic arena of analog trills, shrills and spills. Then it's on to Skills, which is bristling with late 60's psychedelia references (see PF again but this time set the controls back to the days of Piper at the Gates of Dawn), at least in the drum and bass section. Overlay that with more Residential detuned synth play . . . Steve's Going to Teach Himself Who's Boss? Can you say Six Things to a Cycle from Fingerprince by The Residents? By far the best cut on the CD, track 5, FYUZ, combines a speed bass line with crash and burn synth attacks that harken back to the unpublished, and therefore coincidental, 1983 Hotball Suite by The Spot Reducers. And what's that female vocal line I hear but a digitally plucked and tucked melody that could have been pulled off of any of a dozen Renaissance albums? The reference pile up and include everything from 70's avant gard to art and prog rock. To the credit of this trio, their musical references are often more ones of sonic than stylistic or structural choices. Add N to (X) are not imitators but artists adding their own unique stamp to the legacy of many forgotten sonic treasures. As a result this CD is at once familiar to my old ears and totally new, a statement that can't be said of most techno, retro, hip-hop punk or alternative rock. To those unfamiliar with the underground and fringe musical happenings of the late 60's to early 80's this CD is bound to sound like nothing you've ever heard (let's just say it's not dance for one). To those who will recognize the musical past dredged up here, you will find a new look at old ways of hearing and thinking. Avant Hard is eclectic, eccentric, electric, organic, occasionally orgasmic and by far more interesting than anything I've found for too long a time.

i'm obviously incapable of giving this above a four, but most people have missed the point. this is a good few minutes of sex on synth.

highlight? orgy of bubastus. i DEFY you to listen to that and not crack a smile, even if you're not going to laugh like a loon and play air synth...

Where to start? This album is brilliant and alien. Add N to (X) has a clearly developed style, borrowing from Can, Kraftwerk, Ryuichi Sakamoto, Wall of Voodoo, Holger Czukay, Wendy Carlos, the Residents, and Portishead.

The opening track, "We Are Add N to X", is an absolutely wonderful introduction to the band. Most of the other 12 tracks fit together as a movie score written by Daleks -- at times edgy and slightly menacing, but mostly wonderfully, absurdly weird. "The Black Regent" is one of the few duds; it's confined and doesn't go anywhere interesting. "King Wasp" is infectious.

Highly recommended for Electronica/Ambient fans.

--Pat / zippy at cs.brandeis.edu

I think that this is one of the most interesting albums in years. This is a fine mix of analog technology with the high tech use of samples, vocoders and other interesting effects. Seeing this band live, I have to say that a real drummer is a great touch. a great investment

When they get beyond the "gee whiz, we have some analog synthesizers, look at the funny noises we can make" and get around to writing music (about a third of the tracks) this band really does have something here. They create rich synth textures and rhythms that cannot be ignored as background music like so much in this neo-moogie jungle. It's got a good beat, but you can't dance to it. I am looking forward to their next release.

This was a great discovery for me. I first noticed the album cover while online searching for some older music that would be new to my ears. The albums cover is one of my favorites in my collection, it definetly caught my eye. After reading a description of "On the Wires of our Nerves", I decided i have to check it out. After hearing sample clips, I decided I have to own this album. Dont expect any pop tunes from this but its worth having if you have a love for cool sounding electronic music. Its all made with analog synths and a few tracks with added live drums. It should be listed to as a whole. Its starts to feel like your on some spaceship journeying through the galaxy, its pretty epic stuff. The album is well produced and sounds like it could be from present times "2009". You can hear the influences of the past 70's and 80's electronic pioneers in their work such as Kraftwerk and other Krautrock groups. Its has some real great, even excitng moments in it. Overall its a sort of futuristic surreal piece of art. They pulled off something special here.

Maybe it takes someone who's been there to clue you in on this one; in a world where everything that was old is new once more, Add N to (X) has managed to create the freshest sound I've heard in half a decade. How? By filtering the experiments of twenty to thirty years ago through the production methods of today. Yes, I do mean fresh but I also mean derivative. That, however, is not to say boring--none of the music referenced on this CD was ever popular enough in a commercial sense (at least not here in the States) to become overused--but it is a rather telling sign of our times. We generally think of electronic music these days as being chiefly collage, the lifting, looping and rearranging of source material from everywhere and anywhere. But here we have a return to improvisation, originality and live performance. The tone here is upbeat, lighthearted and quirky without abandoning chaos, uncertainty and danger.

But since the musical references in this CD, and there are many of them, have been almost totally ignored by the critics I've read, let me run through those that come to mind: Track one, Barry 7's Contraption is a tune that would very comfortably fit on an album from 1978 by The Residents, Tuxedomoon or Renaldo and the Loaf (all Ralph Records artists). Track two, Robot New York, cuts in with a bass line that sounds transplanted from Pink Floyd circa Ummagumma and set to a sonic arena of analog trills, shrills and spills. Then it's on to Skills, which is bristling with late 60's psychedelia references (see PF again but this time set the controls back to the days of Piper at the Gates of Dawn), at least in the drum and bass section. Overlay that with more Residential detuned synth play . . . Steve's Going to Teach Himself Who's Boss? Can you say Six Things to a Cycle from Fingerprince by The Residents? By far the best cut on the CD, track 5, FYUZ, combines a speed bass line with crash and burn synth attacks that harken back to the unpublished, and therefore coincidental, 1983 Hotball Suite by The Spot Reducers. And what's that female vocal line I hear but a digitally plucked and tucked melody that could have been pulled off of any of a dozen Renaissance albums? The reference pile up and include everything from 70's avant gard to art and prog rock. To the credit of this trio, their musical references are often more ones of sonic than stylistic or structural choices. Add N to (X) are not imitators but artists adding their own unique stamp to the legacy of many forgotten sonic treasures. As a result this CD is at once familiar to my old ears and totally new, a statement that can't be said of most techno, retro, hip-hop punk or alternative rock. To those unfamiliar with the underground and fringe musical happenings of the late 60's to early 80's this CD is bound to sound like nothing you've ever heard (let's just say it's not dance for one). To those who will recognize the musical past dredged up here, you will find a new look at old ways of hearing and thinking. Avant Hard is eclectic, eccentric, electric, organic, occasionally orgasmic and by far more interesting than anything I've found for too long a time.

This CD has some of most interesting analog synthesizer work of late... some of it sounding very avant garde and fresh. Not a dance record.

But it has one problem... the drums. Everything else is futuristic and nonlinear, the real drums on this CD sound like any bar band -- straight ahead and boring.

The synths and drums just do not fit together. It sounds like a recording company exec heard the master tape, liked it, but wanted to attract a larger audience so he ordered hard rock-style drumming spliced in to appease the radio crowd. From the mood and feel of the rest of the music, electronic, polyrhythmic percussion might have fit much better.

Anyway, the songs without drums are great, and even with the drums this effort is better than 95% of the boring, sound-alike, slop out there. Should be big on colleg radio, but ignored by commercial stations... even with the added drumming.

Put simply, alot of great Moog work that isn't being done these days. Sure, everyone and their mother is Mooging to their hearts' content, but these kids have a bit more fun with it. This is truly a new sound. Somehow dark and always producing a strange and frightening image. However, at the back of many tracks sits a heavy rock drum set. A REAL drum set... it really changes the feel and makes it beautiful.

this is their weakest record. Avant Hard is MUCH better. I've been doing electronic music since these people were in kindergarten, and I know good programming when I hear it - this ain't it.

HOWEVER: Avant Hard is Well Worth The Effort. I would recommend you give this one a skip and get Avant Hard.