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[dmc]
Doom Generation Noises
────[rlsnfo]────────────────────────────────────────────────────────────────────
artist : headman
title : doop
year : 2005
label : relish records
genre : electronic
type : album
────[ripnfo]────────────────────────────────────────────────────────────────────
ripped on: 02/02/2005
ripper : soulfiction
quality : 192 kbps
size : 68,7 MB
playtime : 49:57 min
grabber : dgn
encoder : lame
────[trax]──────────────────────────────────────────────────────────────────────
01. show me the way 06:16
02. hey now 05:20
03. doop 05:17
04. sister 04:47
05. what? 05:39
06. special 07:14
07. birth, school, work, death 05:18
08. aplam 04:40
09. dancer 05:26
────[Release Note]──────────────────────────────────────────────────────────────
Relish started in 2001 based in Zurich and founded by
DJ/musician/artist Robi Insinna. Under the same name Robi has
been hosting club nights / parties since 1999 in several
renownded clubs in Zurich. (There was also the Relish-Mix-CD
which was compiled by Robi Insinna and Phil Mison in the
beginning of 2002). To this day Robi is DJing all over Europe.
According to received musical wisdom, when artists start to
release records under different monikers noses are meant to be
uniformly up turned. Naturally, said musicians probably don't
recognise such pursuits as lesser than their recognised output,
but the term side project has become sullied to such an extent
that almost without exception it is to be avoided. Ordinarily
the by-product of countless hangers-on indulging an artist's
every whim the word No seemingly erased from his or her
associates vocabulary - they are often rooted in gargantuan
delusions of grandeur:
David Bowie's risible Tin Machine project' perhaps the most
cited folly. So surely Swiss producer Robi Insinna is taking
something of a risk in staunchly declaring his Manhead persona
as opposed to his better known and much more celebrated (for
now) Headman guise to be a distinctly separate project from his
Headman, erm, head. Wouldn't it make more sense to offer a more
conciliatory explanation? To declare Manhead and Headman to be
two sides of the same coin? It appears not. Not for the first
time, it becomes clear Insinna is resolutely determined to do
things his own way. I want everyone to be clear on this, he
says. Manhead and Headman are two different projects. Headman
came first, but I soon decided that I wanted to do something
else. I've played with the words so hopefully people will
realise it's me, but I also want people to know the two are
different. Insinna is not being offhand or dogmatic for
dogmatic's sake. Rather, he is possessed of an admirable and
unflappable belief in the power of his conviction. His back
story is testament to such a fact. A true 21st Century
renaissance man, as well producing his own work his awesome
remixes for the likes of Franz Ferdinand, Annie and Mylo have
defined 2004, much like Ewan Pearson cut a swathe through 2003.
He is a fantastic DJ (check his recent Dance Modern' mix for
Eskimo) and also an esteemed artist (he designs all his sleeves
and has sold his paintings in London's ever-so-chic Brown's
Focus). He first came to the attention of the ever inquisitive
electronic fraternity at the fag end of 2001 with the release
of the Headman LP, It Rough. Perfectly capturing that period's
backlash against sterile and characterless house, It Rough did
exactly what it said on the tin. Mixing up long-forgotten early
80s, post punk disco with the new wave of electronic music that
evolved from such a fertile mindset, the much missed Jockey
Slut made it its album of the month. In amongst the likes of
DFA, Gigolo, Kompakt, Metro Area, Chicken Lips, Black Strobe
and Tiga etc, Headman helped give a lie to those short-sighted
fools who were beginning to declare (and whom if truth be told
have continued to do so on a regular basis ever since) dance
music redundant. Almost immediately, Insinna began work on
Manhead.
As I saw it, Insinna says, Headman was my imaginary band. We
were playing all that weird new wave, no wave, disco punk
stuff. It was more concrete conceptually. Manhead was always
designed to be more poppy, more electronic. I wanted it to be
balearic, disco, cosmic. That was the original intention.
His first Manhead single, a 10-inch featuring 'Show Me The Way
Sister', although clearly signposting Insinna's direction
(playful and stylish proto house grooves), was a low key affair
on Robi's recently established Relish imprint. It wasn't until
Trevor (Playgroup) Jackson licensed 'Doop' for his first Output
label compilation that it became apparent that Robi was busy
creating more moments of magic. This was confirmed with the
release of 'Birth, School, Work, Death'. A collaboration with
Christian Kreuz of Dakar & Grinser fame, its lyrics might have
been lifted wholesale from The Godfathers 1988 hit of the same
name, but it was less a cover version, more a dark disoc re-
imagining of the overly serious goth pub rockers' most
memorable track. Insinna for his part says he likes the song's
theme. share it, he laughs. Which brings us neatly to the
eponymously titled Manhead album. Built around nine tracks that
will enable the most disco challenged to shake a leg, its most
abiding accomplishment is justifying Gloria Estefan and the
Miami Sound Machine's assertion that rhythm is indeed gonna get
you.
The opening track, the aforementioned Show Me The Way, is a
clear statement of intent. Relaxed to an inch of its breezy,
pre-88 swing, it evokes a strange Weatherall meets Air
coupling. Even more forthcoming is 'Hey Now': a Haτienda
invoking slice of shoulder swinging stardust, it's hypnotic
acid house mantra is a clear homage to D-Shake's mesmeric Fac
51 anthem 'Hey Ya'. The purposefully decelerated freak funk of
'Doop' and 'Aplam' are sublime stoned meanderings: both
recalling an android tuning up a 808, while the psychedelic p-
funk of Sister will find favour with all Classic and Music For
Freaks acolytes.
'Special' is indeed that. The most overt disco punk track, it's
Black Strobe-esque synth slabs and odd bass lines recall
Madchester's black sheep, New Fast Automatic Daffodils, or a
more metronomic The Rapture. For the most part stridently
instrumental, it makes a virtue of its textures and depth, its
style and aesthetics. I'm interested in how a track sounds,
Robi insists. I might work with computers, but I don't want
anything that's clean or cheesy. It's all about feelings,
there's no tracks referencing flowers or war, it's more
conceptual than that. And what of its palpable 80s vibe?
Yeah, it's retro, he says. But my idea of retro is being
inspired by the past but placing it in a modern context. Trying
to create something new. I first started producing because when
I was DJing I couldn't find the music that I wanted to play,
all that Liquid Liquid, early house and disco stuff. The net
result is an album that warrants the adjective hip not because
it is oblique or unforgiving, but because it is manifestly
accessible. It might reference the 80s of New Order and Peter
Saville (two key influences on Insinna), but it does so not in
a slavish manner, but by updating their adventures for modern
consumption. And by fusing rock'n'roll dynamics with an
electronic template it could well prove to be a key release in
the reconstruction of electronic body music. I want to bring
the fun back, Robi avows. "It did get boring, all that six
hours of DJing nonsense. Now there's more freedom: rock, dance,
hip hop, whatever. I'm only interested in taking what I want
from those genres, I've never seperated any of them. There's a
downside to blindly following the music lore that dictates all
side projects and splinter groups are wrong. Such a rhetoric
reeks of the reactionary mindset, Stick to what you know.
Manhead debunks that myth on every level. Rave on.
Remember to support the artists.
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Nfo file by [dmc]/DGN using Elton's and Morgoth's tools