Craig Leon (who produced the first Ramones and Suicide albums!) revisits the ideas he established on his 80s records. Along with regular collaborator Cassell Webb, Leon explores the abstract and the alien to near euphoric effect. Anthology Of Interplanetary Folk Music Vol. 2: The Canon has been a long time coming. It was worth the wait. On RVNG Intl.
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I try not to judge records before I’ve listened to them, but sometimes I just can’t help it. I love everything about this Craig Leon before hearing a note, the cover (plain geometric patterns and a brown cardboard sleeve), the title, ‘The Canon - Anthology of Interplanetary Folk Music Vol. 2’, the fact that a portion of the proceeds from the release will go to Society for Immunotherapy of Cancer, and the fact that thank their synthesizer maintenance people in the liner notes just endear it to me. It’s a good thing that I do genuinely love this record, then.
Craig Leon (as well as his partner, Cassell Webb, who's on vocals and production) has made a beautifully succinct LP that takes in naturalistic techno-esque beats, hushed electronics, ambient drones, vocals that sound genuinely hymn-like, and beautiful synthesizer washes. The scope of this record is big. There's no formula, for instance 'The Respondent In Dispute', with its quick tempo, pulsating beats, and krautrocky drones, is a world away from the glacially slow ambience of 'The Gates Made Plain'.
Perhaps best known for his role as producer for legendary artists like The Ramones and Suicide, Leon has made a record that places him in his own context. Although the sonic content is different, the thing that Leon shares with the artists he produced is a vitality and immediacy. TC-AOIFMV2 is a wonderful album and one that I’d recommend to anyone.
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