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███▄░ ▄███
███▄░ Proudly Presents :: ▄███
▄ ▀███▄ Jason Forrest - The Unrelenting Songs of the 1979 Pos░▄▓██▀ ▄
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▓ ▄ ▀▓█▌ RIPPER........: JCE ▐██▀ ▄ ▓
█▄▄▄ ▐███ LABEL.........: Sonig ███▌░▄▄▄█
▄ ▀ ▄▓██▌ ENCODER.......: Lame 3.92 ▐███▄ ▀ ▄
▀ ▄▓████▌ BITRATE.......: VBRkbps ▐▓████▄ ▀
▓▓████▀ MODE..........: Full Stereo ▀▓████▓
▐▓███▀░ DATE.RiPPED...: Apr-17-2004 ▀████▌
▓███▌▄█▄ DATE.RELEASED.: Apr-27-2004 ▄█▄▐███▓
▓███░▀▐█▌ RELEASE.SiZE..: 58,4 MB ▐█▌▀ ████
▐▓██▌▄█▀ TRACKS........: 10 ▀█▄▐███▌
░▀██▓▀ SOURCE........: CDDA ▀██▓▀░
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█ NR TRACKNAME TiME █
▓ ▓
█ 01 Spectacle to Refute All Judgments 03:45 █
█ 02 Satan Cries Again [ft. Dan Walsh] 04:34 █
█ 03 An Event 03:02 █
█ 04 180 Mar Ton 03:18 █
█ 05 Inkhuk 05:52 █
█ 06 Recording in A Nice Venue 00:51 █
█ 07 Stepping Off 03:49 █
█ 08 Big Outrageous Sound Club 05:28 █
█ 09 Why I Love ELO 01:58 █
█ 10 10 Amazing Years 06:12 █
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▓ TOTAL 38:49 min ▓
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▓ ▓
▓ Some fine electronica utilizing some 70's goodies. ▓
▓ ▓
▓ http://www.rjschepper.com/Reviews%20Pages/jasonforres ▓
▓ t.htm ▓
▓ ▓
▓ Here is the pitchfork review... ▓
▓ ▓
▓ Jason Forrest ▓
▓ The Unrelenting Songs of the 1979 Post Disco Crash ▓
▓ [Sonig; 2004] ▓
▓ Rating: 8.5 ▓
▓ ▓
▓ When Pitchfork electronic music guru Mark Richardson ▓
▓ notes that there's been a "perceptible dip in ▓
▓ interest in experimental electronic music in recent ▓
▓ years"-- as he recently did in his review of ▓
▓ Fennesz's exceptional Venice-- I'm inclined to trust ▓
▓ his judgment. What's always reluctantly been called ▓
▓ IDM does seem less compelling by the day, victimized ▓
▓ by both process music that makes for a better ▓
▓ backstory than listening experience and a roughly ▓
▓ three-year flood of experimental electronic refuges ▓
▓ seeking shelter in the more rewarding and ▓
▓ head-turning world of tech-house. ▓
▓ ▓
▓ The rise of tech-house-- and its annexation of the ▓
▓ best work of former Clicks & Cuts-style producers ▓
▓ such as Vladislav Delay, Hakan Libdo, Reinhard Voigt, ▓
▓ and Jan Jelinek-- may seem like a very large nail in ▓
▓ IDM's potential pine box, but it also pointed a way ▓
▓ forward for electronic head music. The message: Shave ▓
▓ your beard. Loosen up. Have fun. Since then, several ▓
▓ artists have pulled off the trick by re-engaging with ▓
▓ clubland, making music that-- while compelling in any ▓
▓ environment-- often works best in a dancefloor ▓
▓ context. ▓
▓ ▓
▓ Jason Forrest doesn't make dance music, but unlike ▓
▓ most IDM producers he doesn't shy away from the ▓
▓ vitality and immediacy of it, either. Forrest is ▓
▓ still probably best known as Donna Summer, former ▓
▓ host of WFMU's "Advanced D&D" radio program and ▓
▓ leader of the impish breakcore collective Cock Rock ▓
▓ Disco. That tag is essentially what The Unrelenting ▓
▓ Songs of the 1979 Post Disco Crash sounds like: brash ▓
▓ and big, furious and frantic, and best enjoyed loud. ▓
▓ And it's performed with a sly wink and nods to ▓
▓ everyone from Prefuse 73 to dj/Rupture, while drawing ▓
▓ samples from sources as diverse as Talking Heads, ▓
▓ Elton John, Creedence Clearwater Revival, and The ▓
▓ Who. ▓
▓ ▓
▓ Forrest isn't much for minimalism. Perhaps a lesson ▓
▓ learned from his WFMU days, he offers his listeners ▓
▓ instant gratification-- which is a good thing, as ▓
▓ these days, our fingers twitch just as impatiently ▓
▓ over the iPod dial as they do the radio tuner. So, ▓
▓ like The Avalanches' Since I Left You or Basement ▓
▓ Jaxx's Kish Kash, this is a maximalist record. Sounds ▓
▓ and ideas come quickly, make their points, and never ▓
▓ outstay their welcome. In that sense, The Unrelenting ▓
▓ Songs of the 1979 Post Disco Crash is also inclusive, ▓
▓ a post-mashup dragnet that sweeps metal, ▓
▓ drill-n-bass, gabba, disco, and familiar FM rock ▓
▓ staples into a single pie and then slices it with ▓
▓ precision. ▓
▓ ▓
▓ For about 40 seconds, album opener "Spectacle to ▓
▓ Refute All Judgments" seems like another example of ▓
▓ music-making that struggles to make the leap from ▓
▓ idea to execution, as Forrest applies to disco the ▓
▓ slice-and-dice aesthetic that Scott Herren has used ▓
▓ on hip-hop. Then comes the first guitar solo. And the ▓
▓ big glam stomp. And the second guitar solo. And the ▓
▓ drum solo. And... well, it quickly becomes clear that ▓
▓ Forrest has a lot of cards up his sleeve, and little ▓
▓ interest in holding any of them close to his chest ▓
▓ for any length of time. Which works beautifully: ▓
▓ "Satan Cries Again" tears through CCR's jungle, ▓
▓ pausing only for a motorik pep rally; "An Event ▓
▓ (helicopter.passing.(edit).251001.mp3)" is solemn and ▓
▓ hypnotic from a distance before being swept up in the ▓
▓ winds of a clusterfuck of organ sounds; and "180 Mar ▓
▓ Ton" sounds like the Amen break crossing the river ▓
▓ Styx. ▓
▓ ▓
▓ The liberal sampling of classic rock on what is at ▓
▓ heart a disco-cum-noise record shouldn't be much of a ▓
▓ hurdle for potential fans to jump: The arena-ready ▓
▓ guitars serve the same sort of capacity as breakbeats ▓
▓ do in Big Beat records-- as patient, friendly guides ▓
▓ for those who don't normally listen to electronic ▓
▓ music-- while the sensual futurism of "Ceci N'est Pas ▓
▓ du Disco" or deep house tribalism of "INKhUK" is far ▓
▓ too infectious to be ignored, even by the biggest ▓
▓ guitar-phobics. ▓
▓ ▓
▓ Forrest does, however, have The Who to thank for his ▓
▓ show-stopping album closer, "10 Amazing Years". The ▓
▓ record's most ferocious and Unrelenting track, it's ▓
▓ also oddly the most patient and straightforward, ▓
▓ eschewing most of the ADD tendencies of the rest of ▓
▓ the album. Except for a heavily reprogrammed Ringo ▓
▓ Starr drum solo and an extra kick of guitar at the ▓
▓ end, it's essentially filter disco meets classic ▓
▓ rock. It's The Who in their prime covering "Da Funk", ▓
▓ with a half-dozen or so bare and, yes, fairly minimal ▓
▓ elements drifting in and out of the track at ▓
▓ different times before they all come crashing ▓
▓ together for one glorious finale. Were it at the ▓
▓ start of the record, it would cast a long shadow over ▓
▓ the rest of it. As it is, it just makes you want to ▓
▓ dive in and hear the whole thing over again. ▓
▓ ▓
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