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▐████▓▓▀ █ ▀▓█████▌
▐███▓▓▌ █ BETTER YOU TAKE THAT IS PROUD TO BRING YOU ▐▓████▌
▐████▓▓░ ▄ ▓█████▌
▐█████▓▓▄ the Octopus Project-One Ten Hundred Thousand Million ▄▓▓█▀███▌
▐██▀ ▀█▓▓▌ ▐▓▓██████▌
▐███▄██▓▓▓ ARTiST.... The Octopus Project ▓▓███████▌
▐█████▓▓▓▌ TiTLE..... One Ten Hundred Thousand Million ▐▓▓▓███▄█▌
▐███▓▓▀▀ LABEL..... Peek-A-Boo Industries SOURCE... CDDA ▀▀▓▓▓██▌
▐█▓▀ GENRE..... Indie QUALiTY.. VBRkbps ▀▓█▌
▐█▌ ▄■ RiP.DATE.. Feb-08-2005 TRACKS... 11 ■▄ ▐▓▌
▐█░▄▄▓▌ STOREDATE. Feb-05-2005 LENGTH... 38:30 min ▐▓▄▄ █▌
▐███▓▓ SUPPLiER. TEAM BUTT ▓▓███▌
▐██▓▓▌ ▐▓▓██▌
▐█▓▓▀ ▀▓▓▓▌
▐▓▌ NR. TRACKNAME TiME ▐█▌
▐█ █▌
▐█ 01 Exit Counselor 01:32 █▌
▐█ 02 The Adjustor 02:53 █▌
▐█ 03 All of the Champs that Ever Lived 04:11 █▌
▐█ 04 Bruise 03:11 █▌
▐█ 05 Responsible Stu 03:41 █▌
▐█ 06 Music is Happiness 03:40 █▌
▐█ 07 Tuxedo Hat 05:14 █▌
▐█ 08 Malaria Codes 03:44 █▌
▐█ 09 Hold the Ladder 03:36 █▌
▐█ 10 Six Feet Up 03:53 █▌
▐█ 11 Lots More Stairs 02:55 █▌
▐█ █▌▄
▐█ TOTAL TiME: 38:30 min █▌▄
▐█ TOTAL SiZE: 58,5 Mb ▄██
▐█ ▐█▀
▐█ █▌▄
▐█ <──────────────────────────────────────────────────────────────> ▐█▀▓▀
▐█ █▌
▐█ RELEASE NOTES: ▐█▌
▐█ █▌
▐█ I hope -- I think -- we've finally made it past the era of █▌
▐█ electronica-as-genre. During the '90s, how many dissimilar █▌
▐█ artists were corralled under this ridiculous blanket label in █▌
▐█ the name of the Next Big Trend? At the end of the last decade, █▌
▐█ you couldn't throw a sample or synth line into a song without █▌
▐█ being accused of jumping on the electronica bandwagon. Even █▌
▐█ supposedly do-no-wrong artists like Radiohead and U2 were █▌
▐█ lambasted by fans for hinging entire records on electronic █▌
▐█ experimentation. Perhaps this is why, despite all the brouhaha █▌
▐█ surrounding the "movement", many mainstream practitioners of █▌
▐█ electronic music were unimaginative and derivative of the █▌
▐█ "genre" forerunners. █▌
▐█ █▌
▐█ But yes, thankfully the eggshell tip-toeing that hindered the █▌
▐█ potential of our technology seems to have waned. A song can █▌
▐█ finally be judged by the complete picture on the puzzle rather █▌
▐█ than by the shape of one of its pieces. From an instrumentation █▌
▐█ point of view, the jump from Kylie Minogue to The Postal Service █▌
▐█ really isn't that huge, but we're not going to see them on tour █▌
▐█ together (except in my dreams). █▌
▐█ █▌
▐█ And as genre lines blur, bend, and break in the digital age, █▌
▐█ artists are no longer afraid to push the boundaries of what █▌
▐█ we've heard before. This of course doesn't make my job any █▌
▐█ easier. How does one categorize The Octopus Project, for █▌
▐█ instance? One Ten Hundred Thousand Million, the second release █▌
▐█ from this Austin instrumental trio (with the help of an █▌
▐█ assortment of guest musician friends), is an █▌
▐█ everything-and-the-kitchen-sink concoction of various acoustic █▌
▐█ instruments, keyboards, digital effects, and samples. At its █▌
▐█ most effective, the production is so seamless that it's almost █▌
▐█ difficult to discern the live instrumentation from the loops. Is █▌
▐█ The Octopus Project a symbiosis of man and machine, or does it █▌
▐█ exist in some fluid limbo in between? █▌
▐█ █▌
▐█ The record alternates between high energy drum-n-bass grooves █▌
▐█ and slower cuts of subdued moodiness. Throughout, however, there █▌
▐█ is a sense of urgent unease. Every beat is purposeful, tight, █▌
▐█ and determined. When listening, I can't help feeling that there █▌
▐█ is some task that I have yet to accomplish, and that time is █▌
▐█ running out for me. I think this is due in large part to drummer █▌
▐█ Toto Miranda, who rips out dance beats so quickly that you can █▌
▐█ see why most DJs stick to sampling. The irony is that with a DJ, █▌
▐█ you get the impression of the calm and collected Wizard of Oz, █▌
▐█ pulling the strings behind the scenes -- always in complete █▌
▐█ control. The image of a live drummer, however, is one of █▌
▐█ exhausting work and flailing arms. Even though the drummer █▌
▐█ technically has more control over tempo than a DJ, it's he who █▌
▐█ resembles the slave to rhythm. █▌
▐█ █▌
▐█ This is most evident than on boisterous opener "Exit Counselor", █▌
▐█ where Miranda lays down a furious beat, booming and fuzzy, while █▌
▐█ an amalgam of staccato jangles, echoes, phase-effect keyboards, █▌
▐█ and guitar noise breakdowns create a thick landscape of sound. █▌
▐█ This and other upbeat tracks, such as "Music is Happiness" and █▌
▐█ "Tuxedo Hat", are the quickest to please. █▌
▐█ █▌
▐█ The real heart and soul of this record, however, exists in the █▌
▐█ quieter moments, when the noise and effects are pushed to the █▌
▐█ background, allowing a simple hook or bass line to establish an █▌
▐█ atmosphere. "Adjustor" is the standout track here. It doesn't █▌
▐█ seem possible that the to-and-fro simplicity of its primary hook █▌
▐█ could be so engaging, but it is. "All of the Champs That Ever █▌
▐█ Lived" moves with more urgency but still manages to keep up the █▌
▐█ eerie quietude over Miranda's lightning chops. "Bruise" is one █▌
▐█ of the more minimalist pieces here, beginning with an ambient █▌
▐█ keyboard and slowly building with a gorgeous melody. "Malaria █▌
▐█ Codes", which could be confused for a Groove Armada track if the █▌
▐█ sound wasn't so organic, is propelled from good to great by the █▌
▐█ jazzy horn accompaniment that enters halfway through. █▌
▐█ █▌
▐█ If there were a real negative to this record, it would be that █▌
▐█ the music cannot exist at any time or place. Don't throw it on █▌
▐█ for the first time unless you plan on giving it your full █▌
▐█ attention. The music is almost dependent on the listener's █▌
▐█ concentration, and I won't lie -- at times, this can be a █▌
▐█ struggle. The clicks, blips, beeps and noise occasionally come █▌
▐█ too far forward, resulting in an aural overload that can subvert █▌
▐█ your interest if you're not careful. Fight through it, though, █▌
▐█ and you will be rewarded. A good imagination helps. Because █▌
▐█ there are no lyrics, you are free to invent your own visual █▌
▐█ representation of what this music is trying to say. For me, it █▌
▐█ tells me to keepàdrivingàfaster. And that's indicative of good █▌
▐█ rock and roll. █▌
▐█ █▌
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▀▀█▄▄▄█▀▀▀▀▀▀▀▀ Version: September 15th, 2004 ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀
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