alex moulton: lindstrom meets klaus schulze meets alan braxe meets hakan lidbo meets vangelis

loooool the artwork

they actually commissioned boris vallejo to do the art, and thanked him in the liner notes (along with schulze, vangelis, eno, jarre, etc etc ... the only electronic music dude per se thanked in the credits is robbie hardkiss?!?)

i basically can't stop looking at the art

come on you clowns

the artwork is ace. was listening to parts of it last night and enjoyed what i heard. will need to absorb more.

Und also sprach Whiney G:
http://www.paperthinwalls.com/singlefile/item?id=1653

i realized what this album *really* reminds me of: eberhard schoener

holy crap @ epic goth-y 'so fine' remix

i dont know the o.g. track so mileage may vary but its pretty O_O to me

I want dude to design LWE's next logo.

The Juno audio clips sound fucking great. Can't wait to hear it in full.

yeah those clips sounds great! the cover art is ace, too. it's like the inverse of blade runner or something.

Due to copyright restrictions you cannot buy this product in your country

wtf?

"okay, i'll steal it then"

lmao

i'm a little bothered that the guy in the artwork apparently has a thick ponytail *and* a receding hairline.

this album is seriously dope. i NEED wallpaper of the album artwork, STAT.

no! copyright issues over cover art. replacement kind of o_0 oh well

^^^^ That's the faceless cat btw.

Really like this record though.

it's growing on me, but the only two tracks that stick out right now are 'vicious' and 'l'arc en ciel'

love the fact that the image above only tells half the 'story'.
is this out in uk ?

i just got this from itunes with a gift card i had lying around and i'm liking it a lot

except the last second or 2 of each track is silence so the track to track transitions dont work and it's kinda bothering me

I thought the silences might just be a consequence of me illegally d/ling it but I guess not. Weird.

weird, i listened to the whole album last night while reading barbarella comics and here's the thread all updated when i wake up.

there's an OTT table is the table (i think) post somewhere about the new lindstrom album being like a combination of oxygene and cerrone albums that's all one long song. i find that hard to believe but that's like *exactly* what this moulton album is on.

and it works really well as a single track, i feel sorry for peeps who have silences between the tracks ;_;

it turned out to just be the first couple tracks but still total momentum killer

i need to find a cd rip i guess

love LOVE the bit starting at 2:42 in 'meridians'

moonship you got this on cd? i was thinking of getting it through iTunes but I don't fancy the silences ciderpress mentions...

http://www.alexmoulton.info/myspace/images/background/am_header_02.jpg

love how huge the drums are on this record

yes, i got it on CD. in fact, i bought it without having heard it because the cover art is so ... immense

my guess was that it would sound more like a rip-off of alan braxe / fred falke / cosmos (middleton) / major boys / etc, and that the cover was a post-lindstrom cash-in ... you have to understand, it was in a major record chain, carelessly sandwiched between ministry of sound's "electro house sessions", hed kandi's "twisted disco" and kitsune's "tabloid mixed by digitalism"

in other words, i figured it was mersh-house crap, but i had hoped it would be on the end of the crap spectrum that i could enjoy as sensibility-tweaking mindless pleasure (ministry of sound, hed kandi) instead of on the end of the spectrum that's just lazy insipid crap (kitsune)

lo and behold, it turned out to be much, much more **serious** than any of that.

this really might be the best cover art ever. i've had it as my desktop background since this thread started and i'm still not tired of it.

god this is good. thanks vahid.

“I was trained as a filmmaker,” Moulton says, “so I always write music with a visual in mind. In this case I actually created a full-realized storyline—an epic sci-fi adventure, or a space-opera, if you will—that builds in a climactic arc with all the plot twists and turns. The songs are presented continuously like a DJ set, but they’re also like key scenes for a film. And even though I know what the characters are doing at every moment of each song, I’m hoping listeners will create their own story.”

this is a fuckin dope album

Is Todd Terje a pun on Todd Terry?

yup

Hi everyone, this is Alex Moulton.

Firstly, let me say thank you for all the enthusiasm about the album! I'm really happy that you guys are enjoying it, and the crazy cover art ;-)

Secondly, I want to extend a huge apology for the major mistake on iTunes' part in the encoding of the tracks. We are doing everything we can to get iTunes to fix their error as soon as possible. Every other digital retailer is selling properly encoded (and in fact higher quality) mp3s of the album (including Amazon and Zune). But if you're near a good record store, I'd recommend buying the limited edition CD though - the packaging is incredible. Also, there are in fact two versions of the album available digitally - the gapless version (that mirrors the CD) and a version with full tracks for DJs (which you can get at DanceTracks Digital and soon on Beatport).

For those of you who bought a bad copy on iTunes, please email me your iTunes store receipt and I will personally send you a link to download the album at 320kbs - it's the least I can do, and I'd rather you hear the correct version as it was intended to be (with gapless playback). You can email me at alex(at)expansionteamrecords(dot)com

Thirdly, if you want hi-res artwork for your desktop wallpaper, you can find it http://www.expansionteamrecords.com

And lastly, I'll be launching a website soon that will be revealing the storyline of Exodus, serialized month to month, and asking for your involvement, contributions and feedback! The site will be located at:
http://alexmoulton.cashmusic.org/

Sorry again...
Alex

sweet!!!!

alex can you re-enter your email address so it doesnt get fucked up by the system-- is it alex at expansionteamrecords dot com ?

still not seen this cd in a shop.
i guess i must try harder.

I always wondered the legality if iTunes encoding methods; they basically take your property and modify it for their own benefit. Which, on the surface, is technically illegal. Of course there's about 10,000,000 intellectual property lawsuits against Apple in the pipeline right now.

Anyway, this stuff is good.

Fixed the email address so it's readable (if not clickable)

Thanks for showing up & sorting out people who got screwed up by itunes, Alex.

thx pash

This album is great. And seeing as i like all the guys cited in the thread title, i'll have to go look for some hakan lindbo as i have never heard anything by this guy. Any tips on where to start?

Picked up a copy from HMV this weekend... WOW! The packaging is superb even down to the 'vinyl like' CD disc. Drums are ace as is the bass on Meridians.

i mainly referenced hakan lidbo because of the similarity i hear to his data 80 project, which is like a post-techno gloss on the sound of la bionda

data 80 on emusic

I couldn't get into the Data 80 project. Too cheesy, too much vocoder!

Actually, I might play this again..

me neither, at the time ... but several years (and one balearic explosion) later it sounds surprisingly on-point ... not a patch on alex moulton, though!

the mri remix of 'love was made for two' is sweet, like wall-e

i thought most of the data 80 stuff seemed kinda awkward and top heavy

the sound is so sparkely though

the album art is different but equally as epic
http://i333.photobucket.com/albums/m362/kommikool/R-138470-1144093309.jpg

xp i miss mri

I dunno, I gave this a try but am not really feeling it.

- How is this record structurally any different from big room trance (Tiesto, PVD etc) slowed down and with a disco beat instead of a 4/4?

- I love Moulton's rhetoric about ambition, scale etc. but doesn't this represent disco shorn of its sexuality, sensuality and physicality - in other words without most of the things that made it enervating (and transgressive). Vangelis and Jean Michel Jarre have always been the safest and twee-est form of electronic music and isn't Moulton far closer to them than any other touch point?

- Isn't this something very very pedestrian, but packaged very very well?

- I love Moulton's rhetoric about ambition, scale etc. but doesn't this represent disco shorn of its sexuality, sensuality and physicality

except for 'physicality' isnt that this whole scene though? or at least with a very hetero-masculine sexuality.

Well I kinda agree deej, and it's one of the reasons I still spend far more time digging old disco than the new stuff, but it's not universal. Pilooski's 'Send him back' or Terje's 'Spinning star' remix don't fall foul of that judgement to name just two...

haha comparing it to a pointer sisters edit doesnt seem fair

Okay then TS: Exodus vs Love Symphony

Vangelis and Jean Michel Jarre have always been the safest and twee-est form of electronic music and isn't Moulton far closer to them than any other touch point?

to this i am just sort of like 'so what'

"Vangelis and Jean Michel Jarre have always been the safest and twee-est form of electronic music and isn't Moulton far closer to them than any other touch point?"

This makes me wonder, "safest for whom?"

Vangelis and Jarre (and, to complete the unholy trinity, Tangerine Dream) have been critically trashed for so long that they don't strike me as particularly safe - who wants to own up to listening to prog new age? Twee, I'll grant.

But (as with attempts to discredit, say, trancey minimal) I think simply comparing current music to such reference points only gets us so far.

e.g. the notion of a discofied take on trance music actually strikes me as strategically on-point, given that the lack of swing in trance music is the primary stumbling block for so many non-fans.

I'm ambivalent re the presence of sexuality etc. in a lot of this stuff. I don't think it's necessarily a choice between hetero-masculine and gay/feminine. If you can even draw such distinctions cleanly: house music at gay clubs is mostly quite regimented and trancey feeling; conversely, all the Moodymann fans I know are very heterosexual. There's too much going on here to detangle it easily.

Let's try another tack:

Most dance music explicitly or implicitly posits some sort of motivant for dancing. This can be sexual (dancing as a kind of elaborate foreplay) but it can also be drug-related - most commonly either ecstasy-transcendent (dance music that "takes you higher") or speed-accelerant (a harder/faster punitive vibe). There are other options as well as internal hybrids of course.

It's hard to do speed-accelerant with a disco beat of course, but it strikes me that a lot of the melodically elaborate nu-disco/cosmic-disco is going for an e-transcendent feel rather than a sexual feel.

This isn't necessarily a good thing or a bad thing - unless we assume that "Voodoo Ray" or "Chime" are by definition worse/better records than, say, "Luv Dancing".

The best records in either category often blur the lines between these points - much in the same way that the best sex or the best drugs tend to flood all these pleasure receptors simultaneously - the experience becomes so overwhelming that you get a sensual spillover or bleedthrough effect.

My favourite nu-disco track so far this year is Aeroplane's "Whispers", which nominally falls into the e-transcendent category, but is so gorgeous, so irresistible in the pull of its groove, that I can't help but consider it to be an incredibly sensual track as well.

very much on point, tim, but what do i know; i am listening to electronic right now. oh wait, now it's faith evans. and that "love on a real train" remake/re-release/edit/whatever-it-was earlier this year was nice imo.

i was at amoeba the other day with stack full of stuff and i passed this up because i couldn't put anything back that i already had. the digipak (or whatever it is) looked sweet, too. guh.

Well all good points well made, Tim, as ever. BUT for me this particular record just pushes all the wrong buttons on a subjective level.

Things this makes me think of: irritation at the fact that sex and 'good times' and even cultural commentary have been hived off as something that happens in hip hop/rnb but not 'dance' music per se. Part of my enthusiasm for disco is the fact that it is, at its best, such a rich brew of these things (in stark contrast to the majority of 'functional' dance music).

Secondly, irritation at the recontextualising of disco as being about italo-style retrofuturism and yes, e-transcendence or (even worse) 'quirky' rock experimentation as opposed to ecstatically sexual and intrinsically earthy dance music. The fact that Baldelli, Robotnick and Chaz Jankel are the modern fans touchpoint for 'classic' disco as opposed to, say, Nicky Siano, Larry Levan or Grandmaster Flowers.

Now, yes, I'm aware that this is straying dangerously close to Pipecockian territory. And also that 'scene' cultural dynamics are not actually relevant to pure artistic quality. However you'd have to admit that it's hard to argue that Exodus is original and interesting at a conceptual level, as it just seems like the inevitable result of current discourse around this music. There's nothing surprising about what it is, or how it's packaged.

On the other hand, one could look at it on a pure craft level, and I'd have to give it another listen to be sure on this, but again, I feel it falls short. Unlike, say, Delia and Gavin (who arguably did the same thing, better, earlier) Moulton has basically one motif per song and while the modulations on each motif are solidly constructed they lack any element of joyful surprise to my ears.

Anyway that was all a little vague, am going to listen again...

J@cob--you need to look up enervated in a dictionary.

i am with max here, jacob, in the "who cares" camp

also "ecstatically sexual and intrinsically earthy" ?!?

If you claim somethings most obvious refs are Vangelis and Jean Michel Jarre then it's kinda dumb to say that it doesn't also do something a totally different music does.

Hopefully will remember to order this from Amazon tonight.

i dunno, jacob, i'm trying to work out your statement in light of my current favorite disco songs being "open sesame", "happy man", "san salvador" and "bougie bougie". ok, one of those three has some social critique but none of them really can claim earthy sexuality and i'd say they're all guilty of some brand of quirkiness and OTT production.

you have to realize, this whole larry levan thing -- yes, we love you larry, thank you larry, without you there'd be no djhistory.com, no resident advisor comments box, no geir hongro pipecock, oh noes -- was itself a (very disingenuous) recontextualization of disco as the last step in the lineage inherited by house music.

I think I'm going to see if I can pick a copy of this up on the way home tonight.

i certainly have no regrets about it - i'd say it compares favorably to much of lindstrom's work

Strangely, ordering this on Amazon, I'm told I may enjoy this sponsored link: www.blackface.co.uk

"you have to realize, this whole larry levan thing -- yes, we love you larry, thank you larry, without you there'd be no djhistory.com, no resident advisor comments box, no geir hongro pipecock, oh noes -- was itself a (very disingenuous) recontextualization of disco as the last step in the lineage inherited by house music."

Yeah this is an interesting point, I wonder how much Levan's current profile is based on how favourably his work looks in the light of house music's subsequent emergence and development.

"Things this makes me think of: irritation at the fact that sex and 'good times' and even cultural commentary have been hived off as something that happens in hip hop/rnb but not 'dance' music per se. Part of my enthusiasm for disco is the fact that it is, at its best, such a rich brew of these things (in stark contrast to the majority of 'functional' dance music)."

Hmm I don't know if this is super macro-commentary such that my mentioning of examples to the contrary will simply seem pedantic - but does this explanation account for:
- Fuckpony, Kalabrese and other sexually/sensually explicit housey minimal
- US house and garage which is probably enjoying a relative highpoint in crossover appeal (Dennis Ferrer, Quentin Harris)
- erm, pretty much all of mersh electro-house, which is nothing if not "sex and good times (and cocaine)" if not cultural commentary so much (although "Flaunt It" made a brave plea for polysexuality with its boast "Kiss the boys, kiss the girls, it's all the same (and I don't care)")

I tend to think that generally speaking broad-based categories of musical qualities (such as sex, earthiness, dreaminess etc.) never wax and wane too significantly across dance music as a whole, but get rearranged and reassembled in different genre articulations.

"sex and 'good times'" sounds like exactly what all the french/australian electro-filter-nurave stuff is going for

Actually I think the indie end of the Oz stuff puts both 'sex' and 'good times' in scare quotes.

"was itself a (very disingenuous) recontextualization of disco as the last step in the lineage inherited by house music"

when you say disingenuous do you mean in a received wisdom kind of way?

"sex and 'good times'" sounds like exactly what all the french/australian electro-filter-nurave stuff is going for

-- max, Wednesday, July 9, 2008 9:27 AM (4 hours ago) Bookmark Link

not very sensual at all though

yeah + definitely hetero to the max

This is what I mean re you can't just construct a binary whereby sex, good times, sensuality, social commentary, womyn and teh gays are all one one side and furrow-brows, existentialism, keyboard solos, good drugs and straight men are on the other.

"yeah + definitely hetero to the max"

Except The Presets' "This Boy's In Love".

thing is the similarly-vibed electroclash could be exceedingly gay

nu-rave's gay dad, if you will

Yeah, not to mention the unacknowledged debt a lot of the current stuff has to the scissor sisters.

At almost all the self-consciously queer/alternative/unshaven nights here nu-rave/nu-electro is the music of choice.

got a sweet signed poster of the cover art in the mail today!

signed by alex moulton or boris vallejo?!?!

also how do i get one???

moulton.. maybe i should send it to vallejo and get him to sign it too??

i got it cause i emailed alex about his offer to send a link to a downloadable version of the album to anyone who bought it on itunes... he responded really promptly, got the 320 kpbs version with no breaks... one of the label reps from expansion team emailed me the same day to ask for my address and the poster came in the mail today

ALEX HOOK A MOONSHIP UP

wow @ this

paradise is the jam of all jams

Finally got a CD copy of this. One of the best this year I think.

"one of"

...stil waiting for my copy... Store's reliably slow so I'll just be patient, checking this thread once in a while to marvel at the cover art.

Was put off this for so long by the name. That is, saw moulton and assumed tom moulton, realised it was not actually tom moulton and did not continue reading. In fact, in my case, if his name had not had moulton in it, I would probably have listen to this guy about two months before I did (last week)

is this actually out in the uk ?
i've not seen a copy on any shelves yet

play.com have it listed but I've not physically seen it either - emailed my local rekkid shop about an hour ago to ask though so hopefully they'll know what's up

HMV Oxford Street have had some in (in the dance section). I got it off an Amazon seller pretty cheap.

ilx I kiss you for introducing me to this album. the packaging is amazing amazing amazing but somehow the music manages to be EVEN BETTER

WHAT IS WRONG WITH TOM MOULTON

No I love Tom Moulton, it's the disappointment that its not Tom Moulton that put me off for so long cos you know I see Moulton first. And, like, it's an unusual name.

did they fix this on itunes yet? i am confused now that beatport won't accept maestro and displays prices in dollars

got it (cd) in the mail half an hour ago! looks great indeed. artwork by wife/girlfriend, from what i gather from the sleevenotes. now, over to the music...

artwork by boris vallejo

Right now can't get over the ridiculous guitar solo on Sacrifice.

ilx I kiss you for introducing me to this album.

^^^this - pretty sure I wouldn't have seen anything about this if not for ILM, I think it's the first time in over a year I've bought anything directly cos ppl on here are talking about it.

Just halfway through first play now and this is great - 'The Sacrifice' is a funny curveball but I'm OK with that

Yeah, its like five seconds away from being on a guinness ad though

Also that is the keyboard player from Jellyfish playing keyboards on one track! Where the heck is Geir

Am still frustrated by my inability to like this record. The kneejerk "ew, trance" reaction is just too strong I think.

I've been thinking about buying this album from reading this thread, but I never would have thought it was "trance" from anything I'd read up till your post. Now I'm confused.

It's not trance, but there are certain similarities.

you should certainly buy it

"there are arpeggiated keybs" = "ew trance"?

maybe in the sense of klaus schulze's "en-trance"? that's also how I understand the guitar solos ... as a sort of pompous cosmic rock ref ... think eberhard schoener or vangelis or jan hammer or jarre ...

thank you ILM for reminding me how good my taste is ;-)

to be fair, i almost bought the ponty alb with "computer incantations for world peace" on it the other day but allan holdsworth's OTT guitar solos killed it for me.

^ that's a dollar record!

most of the tracks without holdsworth (three of them?) are dope, the tracks with holdsworth are sort of questionable (two or three of them) and there's a short classical interlude that's sort of boring. i do regret picking it up but then i never listen to my andreas vollenweider discs either ...

^^ this album sounds nothing like vollenweider or ponty, btw, except inasmuch as there are arpeggiated keyboards

i wanna hear this

still streams from his http://www.myspace.com/alexmoulton

thanks

is the itunes fixed yet

A: no, it isn't

Don't know if you're in the UK gbx, but I downloaded it from Juno - £5.99 for 192, but they have higher bit rates too.

Sounds great so far. Thanks everyone for the heads up.

I got it here for 8 bucks, 320kbps: https://www.dancetracksdigital.com/

streamed it on the myspace finally

whoa

really really feelin this right now, the stretch from paradise to vicious to pandemonium is reminiscent of a funkier, less in your face, force of nature IMO. love the afro-beatey bits too though (not of those songs but used throughout)

so fun to watch the olympics with the sound off and listen to this

I'm pleased to announce that the iTunes and Amazon versions of the album are now correct and properly gapless. No one could quite explain what went wrong with the encoding before, but rest assured if you buy the album now it can be heard as I intended it... and it only took three months to solve. Sorry. ;-)

Just to reiterate from a previous post - there are still two versions available. The "normal" digital stores (iTunes, Zune etc.) have the CD version which is gapless (as it was meant to be). Beatport, Dancetracks Digital and the DJ-oriented sites have the DJ versions of the songs (i.e. full with no crossfades).

And my offer still stands that if you bought a digital copy of Exodus and the last 2 seconds of each song are silent, then email me your receipt and I'll send you 320kbps mp3 files of the proper version. alex (at) expansionteamrecords.com

Hope you're all still enjoying the record. The live show is coming soon... New DJ mixes are up on http://www.myspace.com/alexmoulton

Alex Moulton

cool man. i think i like this better than the lindstrom record.

got any download links for those mixes so i can take them with me (and not be subjected to the hell that is myspace)?

hey mikebee - links are now up for the two latest mixes so you can download them. Check out Big Shot Magazine too - got a new guest mix up there, and Viva Radio/American Apparel is airing yet another new mix sometime in the next two weeks or so. Lots of space funk goodness to go around!

hey!

my friend bought this off the itunes store (canada) and it was all messed up! just FYI.

love this wall of records. i can name 23 of the 36

http://newsflash.bigshotmag.com/wp-content/uploads/2008/10/alex-moulton.jpg

well, 32

yeah, it's a killer photo!

thanks man! if you ever come out west and feel like doing some sort of instore promo thing (like a DJ set) in the shop i buy for, hit me up at amoeba electro at g mail dot com. we dig the album lots!

links are now up for the two latest mixes so you can download them.

the spacesexxx mix is huge fun, ta alex.

still no sign of this album in uk shops - anyone seen it ?

sacrifice is the jam tho isn't it

so this ended up being one of my absolute favourite albums of 2008. i was blasting it in the sunshine on christmas day and it sounded better than ever.

http://www.pitchforkmedia.com/article/record_review/149099-alex-moulton-exodus

All the people who took Gang Gang Dance away from the albums poll and not this fucked up imo

http://newsflash.bigshotmag.com/wp-content/uploads/2008/10/alex-moulton.jpg

I'm actually curious to know what the records are, I can only identify Mandrill, Earth Wind & Fire, Jean Michel Jarre and the Commodores.

Immediately below top left is Electric Light Orchestra's A New World Record and two to the right is Miles Davis' Live Evil

also, berlin - plesure victim; bob james - three, 2001 ost, moroder - munich machine, bros. jonson, robin trower, MECO, vangelis, etc.

2nd from top left is Mandrill, I would presume

Oh, right. You said that. Bottom right is Herbie Hancock's Thrust

This wall basically looks like what someone might have been listening to when making Exodus. Crazy, huh?

and oshit, yesterdays. I thought that was yessongs at first, but i checked and it wasn't, but it is so obvs roger dean.

and cameo on the bottom row 2nd from left

I was trying to figure out what that one was cause I knew that I knew. I just wasn't in tune w/ that part of my memory.

I have a feeling that far right below salsoul orchestra is an anime ost

Have I mentioned how much I love the drum sound on this record?

1: ?, mandrill "s/t", sun "destination sun", berlin "pleasure victim", bob james "3", salsoul orchestra "magic journey"

2: elo "a new world record", ?, miles davis "live evil", 2001 space odyssey ost, Munich Machine "Introducing The Midnite Ladies", ?

3: brothers johnson "blam!!", (blocked), ?, some roger dean thing, ?, ?

4: ?, (blocked), Meco "Encounters Of Every Kind", Commodores "Greatest Hits", meco "star wars", vangelis "spiral"

5: klaus schulze "blackdance", (blocked), jean michelle jarre "oxygene", (i've seen but forget this one), chocolate milk "milky way", earth wind & fire "spirit"

6: gil scott heron & brian jackson "1980", (blocked), robin trower "Twice Removed From Yesterday", earth wind & fire "all and all", Cameo "Cameosis", herbie hancock "thrust"

the one directly above vangelis is K-tel's Full Tilt compilation. wanna know what's the one next to it though, it's got what looks like the words Space Adventure on it.

Miles Davis Live-Evil - now, there's an album. One of my best rediscoveries of last year.

yesterdays is pretty sweet if you can find it. then you don't have to listen to the crap on the first two yes albums

why did the lede of that article have to be "In the Web 2.0 era,"

i dont understand why the album got a 6.9

not web 2.0 enough

coz its sexy xpost

In the Web 2.0 era, the successor to the concept album seems to be its user-generated counterpart, the mix CD.

hey watch out im about to be that internet guy who obsessively picks apart pitchfork reviews but i think its silly of this writer to toss out this sentence with absolutely not explanation or followup! and then come back to it in the final sentence as though we had been keeping the concepts in our minds the whole time when it barely made sense at the very start!

thats what im saying dog

it's like.. in this crazy world, people are making mix cds, this guy didn't, but it makes you think!

but its even more complicated than that, its "what a world we live in, where mix cds have succeeded concept albums [ed note: wtf], and here is this dude, who made both, at the same time"

ya but he didnt - he never explains why this is as much mix cd as concept album

sigh

dont sigh at me

attn: pitchfork editors

my review for this cd would have been 40 times more rad, im thinking, a 7-8,000 word outline of the story moulton sketches w/ his synths, featuring a nonlinear timeline and (probably) sex, and someone would have died at the end.

and now u can never have it, because instead u gave the album a 6.9 and 800 words about web 2.0 ... besides im writing about tv for the new yorker so suck it

mention the fever ray thing too - might as well

hardbraggin'

damn max u writing for the nyer???

im trying homie, with ur support i can make it, by support i mean, you need to merk nancy franklin

one step ahead of you

wait nancy franklin? totally misread. never mind

lol r.i.p. http://americansfortruth.com/uploads/2008/08/nancy_pelosi_smaller.jpg

yah theres a house seat open if u want it --

i wouldn't open her seat

would not bring her legislature to order

wouldn't sniff her jurisprudence

would not whip her votes

would not filibuster her bill

ha nice name

dope album

this fucking album

URB Magazine podcast

http://www.urb.com/uploads/blogs/5179/URB-March-2009.jpg

dope artwork imo but not as lol as exodus

i picked this cd up for 3 bucks at amoeba!

i don't think this album works for anybody who likes disco but doesn't like frenchie-electro (i.e. me)

I picked this up on the back of the ILM poll and I'm loving it.

frenchie electro?

honestly this is more like deep house? the more i listen the less i like :(

i mean progressive house

which i don't really listen to but next to albums like WYGIGT how does this come close?

the more i listen the less i like :(

^^^this. i think lindstrom can get a touch prog-housey sometimes too- i usually fall for albums on the more komische end of this spectrum though

i sort of think u guys dont like to have fun

really with the "you guys don't like fun!" line?

artwork is by that german expressionist guy, right? hans richter friedrich david or swhateever?

http://en.wikipedia.org/wiki/Caspar_David_Friedrich

look at u, hatin fun jordan

i just think its weird to go, "the more this reminds me of deep house, the more i dislike it" and not "the more this reminds me of deep house, the more im interested in exploring deep house"

u got deep house in my prog~

xpost (max) - it was two comments?

how about this?

sorry i'm raining on the bonerfest you have for the "concept" album, the more i listen the less i like

ps i'll give you a good 6.9

my problem is not that it's proggy or deep (doesn't sound 'deep' to my ears btw) but that it just doesn't do the same for me as other albums in this style, and it's a style that's becoming pretty pervasive (how many times have you heard klaus schulze and vangelis comparisons lately? is this just me?). isn't justice doing similar things nowadays?

also- we hate fun if we don't dig this album, really? i was legitimately surprised that it was only an hour long the first time i made it the whole way through, it felt like muuuuch longer. certain tracks stand their own, but guess i just don't like the synth sounds or the way they affect the tone of the album

so i want to say i can relate to your position; but do you feel like "discopolis" is only 12 minutes or much longer and is that a good or a bad thing??

i listen to this album in moderation, btw

just checked

still dope as fuck

yup

yurrr

http://www.thejhohcableshow.com/trollpolice/comics/2006-07-11.gif

:D

Where is our hero? We need to be saved from our evil overlords again.

i understand boris used his wife as the model for the artwork

this is still dope

and now making a packet providing music for adverts. Good for him.