Moon Pool & Dead Band built up long jamming tracks of crackling analogue synth fastened to a funky framework, and then farmed out the stems to the likes of Patrick Russell, Ice Cold Crissy and Nate Young of that Wolf Eyes. The results are spread over four sides of vinyl, and display a great range of approach whilst fitting together weirdly well.
Double 12" £24.99 MW001
2x12" on Midwich Productions inc. JTC, Nate Young, BMG etc. remixes.
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- MEQ by Moon Pool & Dead Band
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With the Death Waltz-esque cover, you’d be forgiven for thinking that this is another dusted-off soundtrack to an adventure film where a man hunts cybermoths on a planet full of foliage rooms. Nope, that’s all image, but the music on MEQ is reminiscent of such things - after coming off a review of Escape from New York, it’s an easy thing to notice. And easy is good.
The beats are lo-fi and muffled and the synths are many. Shoddy machines pulse out an electro plod with varying speed, following the intro-build-breakdown-build again format of good house and techno. Some even get a disco feel going on, with Michael Dykehouse’s remix of ‘MEQ’ sounding like a techno robot jamming with Chic. I’ve just realised that these are all remixes of the original ‘MEQ’ tune, all 7 of them! The originals steady pace is maintained by Patrick Russell, but injected with some lazergun synth lines and additional stutter on the beats. JTC brings this into full on acid territory, the 303 squelching away amidst 808 pulses. Watery synth layers enter later, but it’s hard to see how this relates to the original.
BMG’s ‘Interdimensional mix’ explores a dark, industrial morphing of dub techno that sounds a bit like a muted version of that noisy buzz tone that emerges from speakers when you forget to plug things in. ErNo summons noise ghosts come his turn, with the drums taking a more tribal, hand-whacked feel, resulting in one of the best on here. Ice Cold Chrissy turns it into cosmic techno funk or something, sort of in line with the feel of the original. Things fall to bits during the final remix from Nate Young, one of the orig. creators, and it’s a weird semi-rhythmic noise collage that is a nice way to end it all. Kinda get the feeling that most of the tunes on here aren’t unified enough to be considered a full release, despite all stemming from the same point. But as an exploration of the possible directions of the original, it works well.
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