This LP is an ‘audio magazine’ from 2002, showcasing the work of Dimosioypalliliko Retire. This was a Greek group preoccupied with experimental rock deconstruction, and On the administration of panic is an excerpt from a live performance. Cross-released by the Rekem, Orila and Agios Anthropos labels in an edition of 300 LPs.
8/10 Robin Staff review, 23 January 2017
A weird one from the combined efforts of avant-garde dreamboats Rekem, Orila and Agios Anthropos sees an anthology of works by Dimosioypalliliko Retire, a group concerned with “rock deconstruction”, who of course make extremely scary and often uncanny music. Conceptualised as a sonic magazine, some context is lost to the band’s performance art element, but this record seems to prove avant-garde’s power to simply stun and bemuse.
A highly performative approach to doing pretty much anything results in coalescing a cappella filibusters like “When I Retire”, which opens the record in a pantomimic disarray, suggesting Morton Feldman’s vocal pieces if they’d been put through a shredder. “Occupations”, which follows, is a proggy number with deliciously silly guitar riffs and momentary solo fragments, played ad nauseum. “Parthenon Marbles”, with its estranged collation of guttural noises, horn-like synth squeaks, and utterly chilled percussion, suggests free jazz being played as smoothly as possible, like Joe McPhee made new age.
The variation is plenty, suggesting the band’s fascination with deconstruction involved as many of traditional band music’s nuances -- a tune like “The Strangler” is eked out like a rock ballad of old, its laborious chords and corny affectations mingling with spoken word, as if it were standing at the crux of a stage play. It’s a constantly changing scenery and a snippet of a group whose live performances were likely never once the same. A massively interesting and weirdly charming find. Kinda makes me want to go listen to a tonne of Gong, to be honest.
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- On the Administration of Panic (The magazine issue 1) by Dimosioypalliliko Retire
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