Idiology

Mouse on Mars - Idiology

Idiology
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CD Details

Artist: Mouse on Mars
Edition: Music CD
CD Release Date: 2001-04-24
Music Label: Thrill Jockey
Soundtracks:
  1. Actionist Respoke
  2. Subsequence
  3. Presence
  4. The Illking
  5. Catching Butterflies With Hands
  6. Doit
  7. First : Break
  8. Introduce
  9. Unity Concepts
  10. Paradical
  11. Fantastic Analysis

Music reviews of Idiology

Music Review: good but not as playful
Rating: 4 Stars

Idiology is a very harsh and abrasive ride. Considering that this is my second MoM release I've purchased hot on the heels of Iaora Tahiti one can understand why I feel that way. I almost cried when I plugged this into my stereo and was attacked by the harsh beats and punk-like shouted vocals. What happened to the dreamy soundscapes of Iaora Tahiti? The only thing I liked about the disc was the clever cover and liner notes. Sadly, I put this disc away comtemplating returning it to the music store. Three months went by with me wearing out my Iaora Tahiti CD and, longing for more MoM but afraid to purchase anymore of their releases, I gave idiology another spin and discovered that it's not bad.

This by far is their least accessible but most mature release to date (I've now purchased ALL of MoM's releases). Whereas other releases firmly demostrated MoM's melodic and ambient dance side, idiology ventures full steam ahead into drill 'n bass and glitch territory combining the clicks and cuts of autechre and the epileptic beats of aphex twin with MoM's melody and dub sensibility. Headphones are HIGHLY recommended for this release due to the complexity of the music that regular speakers can not do justice to. This may possibly be the reason why I disliked idiology so much the first time around. Of the 11 tracks, 7 are keepers: 1, 2, 5, 6, 7, 8, 11. The only way I can explain the sound of `idiology' is think of `distroia' from niun niggung only ten times harsher and more abrasive with live guitars, horns and vocals.

'introduce' cracks me up. The vocals sound like they're being done by 70s blaxploitation star Yapphet Kotto. Very funky and funny.

The reggae tinged `doit' is a happy, poppy number with bob marleyesque vocals and is one of the more accessible moments.

`subsequence' is a funky twist on dance music, MoM style. It's a chock full of clicks, bubbly bleeps, a catchy piano riff, funky vocals and a great bassline. I love the Kraftwerkesque break three minutes in.

The vocal half of `presence' is cool if you read along with the lyrics. The second half of randomly discordant noise is just plain irritating.

`first: break', although it's manic drill'n bass, manages to become one of the most strangely beautiful (and my personal favorite) track of the entire disc. Jarring beats, screechy feedback and, after the "first break", a gorgeous melody layered underneath.

'catching butterflies with hands' is weirdly wonderful with a gorgeous sax solo and `fantastic analysis' sounds like it could have been on Iaora Tahiti with it's simply straight forward laidback polynesian feel.

I must admit the vocals on `presence' are pretty awful but overall I like rest of the vocal tracks. I think the chopped up, shredded to bits effect of the vocals adds an extra dimension to the music although the lyrics ARE pretty non-sensical throughout. Overall idiology does not come together as a whole and lacks the playfulness like previous releases. It's good but not their best

More Idiology free music reviews:
1 2 3

Description of Idiology

Idiology is the duo's seventh album. This time around MoM surround themselves with strings, woodwinds, brass and the band's own heavily modified fleet of machines. Kicking off with 'Actionist Respoke', the album's first single, MoM officially declare their independence from glitchtronica's shoegazing legions. Longtime collaborator Dodo Nkishi lends a uniquely warped vocal sensibility to the track which also features MoM's darkest grooves to date. 11 tracks. 2001 release.
Snatching cohesion from the jaws of chaos can't be as easy as Andi Toma and Jan St. Werner of Mouse on Mars make it sound. Their weirdly off-kilter brand of skittery, IDM song craft always depends on uncommonly interesting melodies, even while those melodies swim in digitized madness. It's a trait that also shows up with a vengeance in Werner's other band, Microstoria (with Oval's Markus Popp). Most shockingly, with their recent work, Werner's penchant for tuneful warmth and relentless experimentation have led the band to--get this--use actual instruments. Their last proper full-length, Niun Niggung (the late 2000 release Instrumentals was originally released on vinyl in 1997) included ever-so-slight leans toward more acoustic instrumentation, and the music here continues to bring in occasional bits of French horns, clarinets, even the odd guitar chord. "The Illking," for instance, contains only the barest electronic tidbits amid the lazy lull of a lush string section. Still, the flipped-out drill & bass of songs like "First: Break" go the opposite direction, dissolving and re-emerging in Squarepusher-esque bursts of computerized sonics. Along the way, there are avant-garde-ish oddities like "Unity Concepts" and the hyped-up beat salad of "Doit," which sounds like carnival music as performed by malfunctioning robots. When all the pieces come together for Mouse on Mars like they do on this release, it's a peculiar musical beast, but one that's still absolutely lovable. --Matthew Cooke

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