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█ p r e s e n t s f o r y o u r e a r s █
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Mu-Ziq - Bilious Paths
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r i p p i n g n o t e s . . . . . . . ▀
date Apr-13-2003
style Electronic
label Planet Mu
cat.no. ZIQ070CD
source CDDA
type Album
quality 192kbps 44.1hz Joint-Stereo
size 72,3 MB
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r e l e a s e n o t e s . . . . . . . ▀
One of the premiere names in the field of electronic home-listening
music, Mike Paradinas' recordings retained the abrasive flavor of
early techno pioneers and explored the periphery of experimental
electronica even while coddling to his unusual ear for melody, the
occasional piece of vintage synthesizer, and distorted beatbox
rhythms. While his side projects ù including Diesel M, Jake
Slazenger, Gary Moscheles, Kid Spatula, and Tusken Raiders ù have
often emphasized (or satired) his debts to jazz, funk, and electro,
Paradinas reserved his most original and exciting work for major
album releases as ╡-Ziq. Early ╡-Ziq LPs were based around the most
ear-splitting buzz-saw percussion ever heard (in a musical
environment or otherwise), with fast-moving though deceptively
fragile synthesizer melodies running over the top. As Paradinas began
weaving his various influences into a convincing whole, his work
became more fully developed (though possibly not as exciting), a
fluid blend of breakbeat hip-hop and drum'n'bass with industrial
effects and the same brittle melodies from his earlier work.
Born in Wimbledon (though he grew up in several other spots around
London), Paradinas began playing keyboards during the early '80s and
listened to new wave bands like Human League and New Order. He joined
a few bands in the mid-'80s, then spent eight years on keyboards for
the group Blue Innocence. During that time, however, Paradinas had
been recording on his own as well with synthesizers and a four-track
recorder. When Blue Innocence disintegrated in 1992, he and bass
player Francis Naughton bought sequencing software and re-recorded
some of Paradinas' old material. After the material was played for
Mark Pritchard and Tom Middleton ù the duo behind Global
Communication and Reload as well as heads of Evolution Records ù they
wanted to release it; recording commitments later forced Pritchard
and Middleton to withdraw their agreement, though by that time
Richard D. James (aka Aphex Twin) had also heard the tracks and
agreed to release a double-album for his label, Rephlex Records.
The debut album for ╡-Ziq (paraphrased from the side of a blank tape
and pronounced "mew-zeek") was 1993's Tango N' Vectif. The LP set the
template for most of Paradinas' later work, with at times shattering
metal-cage percussion underpinning a collection of rather beautiful
melodies. The Rephlex label was just beginning to flourish, with
added journalistic attention paid to Aphex Twin's recent Selected
Ambient Works 85-92, and though James began to feature less in
label-doings than co-founder Grant Wilson Claridge, later Rephlex
work by Cylob, Luke Vibert (aka Wagon Christ), Seefeel and
Squarepusher made it among the cream of electronic home-listening
labels.
When Naughton began taking college more seriously (something
Paradinas had attempted briefly, from 1990 through 1992), he
officially bowed out of ╡-Ziq. Second album Bluff Limbo was scheduled
to be released in mid-1994, though only 1000 copies made it out of
the gate. (It was officially issued by Rephlex in 1996 after
Paradinas served papers on the label.) Paradinas' first major-label
release came later in 1994, after he undertook a remix project for
Virgin Records. The EP ╡-Ziq Vs. The Auteurs was one of the most
high-profile examples of the remix-by-obliteration movement, a
burgeoning hobby for many electronica producers in which a pop-song
reworking would bear no resemblance to ù or trace of ù the original.
Though the EP was hardly a prime mover in the sales category, Virgin
signed Paradinas to a hefty contract and gave him his own Planet ╡
sub-label to release his own work as well as develop similar-minded
artists. Written into his own contract was a provision for unlimited
recording under different names, and during 1995 Paradinas definitely
took it to task: he unveiled three aliases and released as many
albums in less than a year's time. The nu-skool electro label Clear
released his debut single as Tusken Raiders early in the year; it
mined the fascination with Star Warsand electro music shared by
producers like Global Communication, Aphex Twin and James Lavelle,
head of Mo' Wax Records. Clear also released the first Paradinas
alias full-length, Jake Slazenger's MakesARacket, later in 1995.
Although they were still audible, the LP downplayed his electro
influences in favor of some rather cheesy synthesizer figures and a
previously unheard debt to jazz-funk.
The distortion re-appeared on Paradinas' second LP of the year,
Spatula Freak by Kid Spatula. The first American-only release of a
Paradinas album (it appeared on Jonah Sharp's San Franciso-based
Reflective Records), its sound had the metallic feel of the first two
╡-Ziq LPs but with a less-dense production job. Just one month after
Spatula Freak, Paradinas released his first proper ╡-Ziq LP for a
major label, In Pine Effect. The album included tracks recorded from
1993 to 1995, and though it was quite a varied album, the distance
appeared to give it quite a disjointed feel.
Paradinas spent 1996 releasing a second Jake Slazenger album (Das Ist
Ein Groovy Beat Ja? for Warp) and his first as Gary Moscheles (Shaped
to Make Your Life Easier for Belgium's SSR/Crammed Discs). Both LPs
journeyed further down the queasy-listening route of the first
Slazenger record, with departures into '80s-style party funk and
surprisingly straightahead soul jazz. He also owned a half-share in
the Rephlex-released Expert Knob Twiddlers (credited as Mike & Rich),
the fruit of Paradinas' 1994 recordings with the Aphex Twin.
Paradinas entered 1997 ready to undertake the most ambitious style
makeover in his career; the fusion of his home-listening techno with
the hypertensive rhythms of street-level drum'n'bass. One year
earlier, Aphex Twin had released a single of schizophrenic jungle
noodlings ("Hangable Auto Bulb"), and Tom Jenkinson's Squarepusher
project had provided the first convincing headphone drum'n'bass act.
Paradinas waded into the pool with Urmur Bile Trax, Vols. 1&2, a
double-EP also released as one full-length compact disc. Though the
change-over wasn't completely convincing, the next ╡-Ziq full-length
more than made up for expectations. Lunatic Harness presented a
complete synthesis of the many elements in Paradinas' career, from
synth-jazz-funk and beat-box electro through to ambient-techno and
jungle. Though still unable to break through to a mainstream which
had recently accepted Prodigy and the Chemical Brothers into the
fold, Paradinas and ╡-Ziq were introduced to many rock fans after he
toured America as the support act for techno chanteuse Bj÷rk. [See
Also: Kid Spatula, Jake Slazenger] John Bush, allmusic.com
http://www.planet-mu.co.uk
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p l a y l i s t . . . . . . . . . . . ▀
01 Johnny Maastricht 04:12
02 Meinheld 03:39
03 Siege of Antioch 04:16
04 Octelcogopod 04:48
05 On / Off 03:44
06 Silk Ties 04:25
07 Aec Merlin 03:27
08 Grape Nut Beats (Pt.1) 05:22
09 Grape Nut Beats (Pt.2) 05:09
10 Mouse Bums 04:30
11 Fall of Antioch 02:04
12 My Mengegus 06:57
. .
52:33 min
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t h e p u r p o s e o f i t a l l . . ▀
digaphobia public sound specializes in releasing so-called
'intelligent dance music', experimental electronic music, dark
ambient, drone/noise, beat-laden indie, and a spot of techno.
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t h e h e a d s . . . . . . . . . . . ▀
peace to music lovers everywhere
1real agw amok chr cmg cms diss fuffens hit2k its just kw mgc
ms nuhs om pulsar pyt rac radial sb sfe sour tr tronik ube wos
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j o i n t h e a r m y . . . . . . . . ▀
looking for MD/DAT recordings of electronic music shows
track us down on IRC if you'd like to help
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a l w a y s r e m e m b e r . . . . . ▀
go to the show. buy the t-shirt. order the vinyl.
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