The first collaboration between Griffin (Hypnos founder and determined minimalist) and Fulton (Dweller at the Threshold co-founder and now-leader) is broad and spacy sonic vista, yet quite listenable - different enough from previous Griffin music and Fulton music, yet working in generally familiar territory. Combining deep, churning drones with analog sequencer loops, The Most Distant Point Known is a deep and ever-changing collage of shifts and patterns.
Generally known as an ambient minimalist, utilizing synthesizers for most of his work, this time M. Griffin took advantage of "real world" sounds, captured with binaural microphones using a portable digital audio recorder. For this release, Griffin built up collages of numerous location recording elements, including cars driving on freeways, people walking in long echoing hallways, the ocean waves in Kona at night, a metalworking factory with heavy machinery crunching away, distant trains, and clothes driers. These elements were manipulated, combined, worked-on and re-worked, and overlaid with looped spoken elements later created by Griffin in the studio. The end result comes out something like the Zoviet France soundtrack to a David Lynch film, that is, a dark and dream-like collage of loops, spoken fragments, disembodied whispers, and the echo of far-off machinery.
Demon Music will release Renaissance, an 11-disc M People career-spanning box set in February that features albums, remixes, rarities and two DVDs.
Fables of the Reconstruction was intentionally murky, and Lifes Rich Pageant was constructed as its polar opposite. Teaming with producer Don Gehman, who previously worked with John Mellencamp, R.E.M. developed their most forceful record to date. Where previous records kept the rhythm section in the background, Pageant emphasizes the beat, and the band turns in its hardest rockers to date, including the anthemic "Begin the Begin" and the punky "Just a Touch." But the cleaner production also benefits the ballads and the mid-tempo janglers, particularly since it helps reveal Michael Stipe's growing political obsessions, especially on the environmental anthems "Fall on Me" and "Cuyahoga." The group hasn't entirely left myths behind – witness the Civil War ballad "Swan Swan H" – but the band sound more contemporary both musically and lyrically than they did on either Fables or Murmur, which helps give the record an extra kick. And even with excellent songs like "I Believe," "Flowers of Guatemala," "These Days," and "What if We Give It Away," it's ironic that the most memorable moment comes from the garage rock obscurity "Superman," which is sung with glee by Mike Mills.
The Manchester, England-based trio M People scored in 1994 with a series of British Top Ten hits from its debut album Elegant Slumming; both "Moving on Up" and "One Night in Heaven" became U.S. dance club smashes, thanks to an endearing mixture of house and R&B, and Heather Small's startling vocal presence. Fortunately, M People did not suffer the dreaded sophomore slump; the 1995 release Bizarre Fruit continues in much the same vein as its predecessor. Bizarre Fruit is chock-full of funky house grooves, and Small's deep, soulful vocals add just the right touch to the mix, making M People considerably warmer than most contemporary dance acts.
"Several times, as I listened to M. Ward's Supernatural Thing, I asked myself what year it was. Was it 1952, and was I listening to a track from the Harry Smith Anthology? Was it 1972, and was I eavesdropping on the recording session for After the Gold Rush?No, it's 2023, and M. Ward is one of the special contemporary artists who invite such questions. Ward has clearly mastered the whole vocabulary of American popular music and made serious decisions about how to employ it for his own ends.