Friday, March 30, 2012

INTERVIEW// Exlovers

Exlovers' album 'Moth' is due to drop in May, and Music Dissection is very excited for it! After covering and loving the London quintet's 'Starlight Starlight' and their cover of Chris Isaak's 'Wicked Game', I jumped at the opportunity to send a few questions over for lead singer Pete to answer. Thanks to both the band and everyone at Young And Lost Club for making the interview possible! Exlovers have played dozens of live performances, been promoted by the BBC and look set to make a big impression this year. Read the interview below and swap your email address for the band's excellent single 'Starlight Starlight' here!

Music Dissection: First off, lets start with some standard questions! How did the five of you all meet, and what's behind the band name?

Pete: We all knew each other through mutual friends etc. Chris and I had both lived in St Ives, Cornwall. Laurel and I both studied at Goldsmiths university. There's not much of a story behind us choosing the name 'exlovers', it was just something that I thought of and we all felt that it was in keeping with the tone of the music.

MD: Who and what are your influences and inspirations both musically and lyrically?

Pete: It's good to make a distinction between the two. I grew up mainly listening to bands from the 90's like Nirvana, The Smashing Pumpkins and My Bloody Valentine etc and have been heavily influenced by them. Over the past few years I've been listening to a lot of classical music like Erik Satie and Phillip Glass. I'm just inspired by any music that makes me feel, that is also what inspires me to make music. It's more difficult for me to figure out how I'm influenced lyrically. I write about how I feel or I write words that make me feel something. A few of my favourite authors are Ernest Hemingway, F. Scott Fitzgerald, James Joyce and Oscar Wilde.

MD: Your debut EP 'You Forget So Easily' was fantastic, inherently nostalgic and yet lyrically relevant. Are we going to hear an evolution in sound with your debut album?

Pete: Thank you! I hope so, we certainly feel that we've progressed since we released that EP and we were able to spend enough time on the album to create the sound we wanted for each and every song.

MD: Post-'Moth', are there any instruments or themes that you would like to explore more in the future?

Pete: Well I've really enjoyed playing and composing with the piano and violin recently so I imagine that this will start filtering into the songs I write for exlovers.

MD: The timeless cover art for 'You Forget So Easily' was incredibly dark. Given the reminiscent sound and light vocals on the EP, what was the reason behind the cover?

Pete:  It was a photo of the father of my girlfriend at the time. To be honest, I can't think of much that wasn't dark for me back then. Ha!

MD: Your music has subtle throwbacks to bands like The Cure, Elliot Smith, Pavement and even The Smiths. What do you make of these comparisons?

Pete: Well I can see the comparisons myself and it makes sense really as I've been a fan of all of the above at one time or another. The Cure and Elliott Smith had enormous importance to me when I was younger and I still enjoy listening to both of them.

MD: Take us through your song-writing process.

Pete: I write in bursts. I often end up with a bunch of ideas that are sometimes only half-formed and then I leave them and write another bunch of half-formed songs. Then I go back through them and some of them jump out at me and I'll try to arrange them into a song. When I have a few that are semi-complete as songs we start working on them as a band and try to figure out the best way to arrange them.

MD: You've managed to stack up quite a number of live performances, and as a result your fan-base has grown exponentially! What are your aspirations as a band?

Pete: Just to continue making music, to keep on progressing and learning as we go. I can only really speak for myself here. It becomes quite confusing for me if I start setting goals or wanting to achieve certain things. I'm quite happy just writing music and it's rewarding enough when just one person tells you that they like what you've done.

MD: Who are you all listening to at the moment?

Danny: The Pixies
Laurel: Cat Power
Brooke: Yuck
Chris: Bon iver
Pete: Chet Baker

MD: Finally, I know it's an over-asked question, but what are your favourite albums and why?

Pete: My Bloody Valentine - Loveless
It's just perfect from start to finish.

Deftones - White Pony
It reminds me of my youth, I think Deftones were responsible for me going off on a terrible tangent with what I was listening to, I started listening to some absolute crap after them. I can still listen to this album and love it though.

The Cocteau Twins - Heaven Or Las Vegas
I love the sound they got on this album. They have some pretty incredible melodies and arrangements too. Everything feels fine when I'm listening to this record.

Sunday, March 25, 2012

MP3// Otto Rollo: Chattanooga Sugarbabe

Experimental ambient sounds are always intriguing, so the little Chicago project that is Otto Rollo struck an immediately engaging chord. Originally by Johnny Cash, 'Chattanooga Sugarbabe' has been slowed down to a melancholic simmer, lyrically downhearted and yet moving with a soothing, contented calm. A subtle harmony is sandwiched between echo and absent-minded hum. Keep from falling into a dreamy sleep and you'll notice the percussion and effects here are striking, but integrated so brilliantly into the music you fall effortlessly into their groove. Drawing to an end, a Jaws-like throb and fading vocals usher in an ominous and interesting finale, singing turning into talking and happiness to despair. The cocaine mentioned in 'Chattanooga Sugarbabe' ultimately twists Otto Rollo, his sound warping and falling into a soundscape that is at once both joyous and quietly and quite beautifully, rather sad. Listen to more here!

Saturday, March 24, 2012

REVIEW// Matthewdavid: Jewellery EP

'Jewellery' is the new release from Matthewdavid, Matthew McQueen's boundary-pushing electronic beat project. The twenty minute long beat-tape is composed of eight remixes, or 'flips', but before now the Atlanta-born producer had never really excited me, his debut album 'Outmind' fantastically experimental, but let down by his overwhelming, sprawling desire for unnecessary complexity. The result was a record that lacked cohesion and left the listener with a headache rather than on an hallucinogenic high. Fuzzy and undefined album art defined McQueen's sound, which makes the cover to 'Jewellery' all the more exciting! Influential hip hop artist Rakim graces both 'Jewellery's sleeve and the music within it, his voice sampled for 'Locket (Chi Flip)'. This hip hop influence on the EP is undeniable, given close friend Flying Lotus' exploration of the genre. Thrown into the mix however is an eclectic combination of sensibilities, tied down with layers of texture to potentially wring an appealing abstraction from the unconscious mind.

It's impressive and intriguing on paper, but the flaw in its construction is still its structural composition. A little more direction might have detracted from the EP's unpredictable nature, but at the same time it may have given aim to the aimless and purpose to the purposeless. The balance between these two ideas is delicately wrought by Matthewdavid, improving on 'Outmind' but still a little way off capturing the perfect suggestive experience, dependent on the listener's complete and unparalleled absorption. McQueen is at his best when the song he 'flips' is at its most recognisable, sticking out of the track like a light in the dark. The EP opens in such a fashion, Mick Jagger's timeless 'Miss You' crooning its way amongst the looped vocals and tempo changes. Skipping past 'Rolex's uninteresting sample and 'Pendant's quelling of what might have been an engaging dance sound, we come back to substantial structure. Instead of a vocal clip, we're dealt a steady beat in 'Medallion', which pushes blood through this close-to-dire record.

As before, there are some good elements to 'Jewellery', an hypnotic throb to 'Diamond Ring' prevailing effortlessly to conclude the EP, and an interesting interview dissolving into the crackle and noise of age. Without integrated order however the sparse and spatial quickly becomes boring, and the dependence on texture for detail often precedes an obscure sonic muddle. If you're looking for a solely experimental effort, a label to which Matthewdavid stands up, then explore 'Jewellery' further. For me though, however boundary-pushing McQueen is trying to be, he fails to spread the decoration of this new room evenly. It's a free beat-tape so stream 'Gold Rope' below and if you wish, grab a free download of the EP over here!

Thursday, March 15, 2012

MP3// Exlovers: Wicked Game

Chris Issak's video for his 1989 track 'Wicked Game' became instantly famous for its black and white take on suggestive sexuality. His immeasurable adoration for this one woman is heartbreaking, because she doesn't love him back. The thin veneer between love and lust vibrates beneath Issak's soaring high notes, those deep blue eyes luring him to play their wicked game. London quintet Exlovers have dropped a cover of Chris Issak's classic as a prelude to their debut, released in May. Surrounded by that same nostalgic surrealism as the original, the vocals sing in a higher, but no less potent key. Instrumentally perfect from the off, if you weren't excited for Exlover's forthcoming album already, you should be after hearing 'Wicked Game'! Captivated? Grab a download and watch the original below!

Monday, March 12, 2012

REVIEW// Grimes: Visions

Claire Boucher's highly anticipated third album 'Visions' marks an undeniable progression from last year's sophomore release, 'Halfaxa'. Shorter and better produced, these thirteen tracks maintain that same experimental slant on synth-pop, dance and R&B sensibilities flowing over Bocuher's complex and multi-layered sound. I hoped without conviction that Grimes would return to the modest surrealism of 2010's debut 'Geidi Primes', but alas, my nostalgic whims were pushed aside by the cogs of fierce sonic revolution. Taking note of 90s IDM, Boucher's voice recalls that of Kylie Minogue and early Madonna, Little Dragon and even hints of Lykke Li emerging from the reverberated nous of Braids. Joining the ranks of Fever Ray, Zola Jesus and Julia Holter, Claire Boucher's 'Visions' are fascinating.

Singing in a constant falsetto, Boucher's voice is so lathered in reverb that occasionally I found it difficult to relate to. Ethereal and transcendent it may be, but there is definitely a distance here between artist and audience that could turn people off. The more you listen however, the more you appreciate Grimes and this refreshingly unnerving, and alienating aesthetic. The art for 'Visions' emulates better her exploration of witch-house sensibilities, forming an ambient inconsistency around the tracks that while perhaps not for everyone, certainly makes for an interesting and soothing and unique sound. There are a couple of moments on the album that don't work vocally though, the first being 'Eight's Alvin and the Chipmunks-esque pitch and the second being 'Vowels = space and time's strain. Boucher pushes her voice far too hard, losing that effortless, alluring intoxication present on album highlights 'Genesis' and 'Oblivion'.

Opening with 'Infinite Without Fulfilment', a darkly sensual and mysterious tone prevails, a spray-can shaking through the backing track's Squarepusher-inspired percussion. Drum machines meet autotuned vocals, combined with subtler, more natural, bouncy refrains. A moody finish leads straight into 'Genesis', 'Visions' lead single. Oriental and dreamy, there is a saddening innocence here, throbbing and pulsating beneath Boucher's airy singing and strikingly light electronic instrumentation. A synthesiser plays out a shockingly boring scale before 'Oblivion's contrasting synth work swirls in a hazy midnight ballet. More dark undertones are added to the mix, channel-hopping percussion bouncing between curved, warped walls. 'Circumambient's marriage of experimentation and perfect pop melody make it a stand-out song, echoes and a 4/4 loop danceable and spacey and catchy all at once!

'Visiting Statue's simple transition from stark to layered is presided over by an ambiguous and repeated verse, haunting in its purity and stifled distress. 'Be a Body' follows, putting the same exertion on the vocals as 'Vowels = space and time'. Broken by an indistinct and attenuated set of silvery verses, shimmering under reverb and a cavernous echo, 'Be a Body' precedes 'Colour Of Moonlight'. Featuring Doldrums, it switches between choir-like fragility and one provokingly ominous thought. The layered vocals and build are at their most subtle, 'Nightmusic's post-classical vibe a worthy successor to their nuanced charm. Concluding with 'Skin's beautifully sheepish suggestion of love, and then 'Know the Way's almost celestial elegance, 'Visions' retains your attention from beginning to exquisite end!

'Visions' instrumental ability isn't the best, but its gloriously rebellious experimentation and lack of conform means it might just be the most individual and daring pop record this year! One line from 'Skin' sums the album up perfectly; "You touch me within / And so I thought I could be human once again". A new era of electronic pop music has been ushered in by Grimes, a woman whose delight in the fantastical makes up for her every flaw. Focused in style and assured in production, Claire Boucher has, after two albums, hit her stride. Does she show any signs of slowing down? You can bet that she doesn't. Hear 'Genesis' below!

Sunday, March 11, 2012

REVIEW// Young Astronaut: Fawn

South England quartet Young Astronaut's debut album 'Fawn' is host to an intriguing slew of influences and inspirations. Lush acoustic compositions recall artists like Ben Howard, a dappled folk-rock tone drawing comparisons to both Frank Turner and Bon Iver, poignant and passionate in its execution. Mumford & Sons' fondness for aggressive fagility turns up more than once too, early Radiohead sensibilities seeping into the nuanced vocal strain. I am a fan of all of the above, so unsurprisingly, 'Fawn' clicked from the off. Keeping it on a constant rotation reveals a formulaic structure within the first five tracks, but there is more than enough instrumental and dynamic variation to make up for this flaw. Young Astronaut have recorded, in 'Fawn', an album that lives up to every expectation promised on paper!

Opener 'Hey Little Ghost' begins how the record means to go on. It's swelling keyboards a core around which the song revolves, things quickly amalgamate into a vast cosmological asteroid of a track. Layers of sound build, drums and chords pooling together, broken by interludes of guitar-driven rock and quiet orchestration. The twang of 'Broken Teeth' is an evocative one, hand-claps and retrospective lyricism following in 'Little Ghost's footsteps. Another mid-track break strips things back before the dam opens up and the sound crashes in. 'Dust's focus is on rock, fast verses and fast instrumentation lending everything a pace not easily forgotten. 'Triumph' succeeds this breathless energy well, bringing things back to a comfortable simmer. The swells and builds have lost the potency they had before, but it's a great number all the same. 'Harmony's vocals are notable, innately sad but resolute in their determination to not appear so.

'The Cloud Collector' follows 'Shadows' beautifully stark, personal guitar. A melodic piano falls into place, bubbling under surreal autumnal reverb. Perfectly pitched singing comes close to cracking, tears choked back and sobs stifled. "What is it for?" floats atop a void of uncontrollable grief, all that pain emptied into a period of flawless, innocent aggression. The switch between this and the image of a broken man is unnoticeable, and 'The Cloud Collector' sounds all the better for it. There is a warmly oriental feel about the penultimate number 'Sugar Is Sweeter Than Gold', an unnerving cello hum prevailing over strings and a low, throbbing voice. Ripples of still water distort stirring theatricality, both carnivals and princes running through the lyrics. It is the sensual refrain however that lifts the whole LP. The concluding notes and final, prolonged fluctuation lead into 'Death In The Foothills', an aptly memorable end to this debut. Epic and huge and fantastic, 'Fawn' finally fades away.

This isn't a faultless record. A couple of fillers intersect songs that for the most part follow a set structural pattern. The first half of 'Fawn' falls the most foul to this accusation, with a stunning second half pulling the album back from possible allegations, of being perhaps a little predictable. However, multi-layered sounds echo a multitude of influences, combining to create something curiously familiar and strikingly unique. 'Fawn' is being given away for free, and as such is certainly worth a download. Stream 'The Cloud Collector' below and grab a copy of 'Fawn' from Young Astronaut's website over here.

Tuesday, March 6, 2012

REVIEW// Flight Brigade: Shaw Court Sessions EP

Flight Brigade are a progressive-folk septet, composed interestingly of two families and an inherently close set of friends. Born astride Oliver Baines' marriage to Miriam Hughes, this seven-member collective boasts a certain intrinsic connection few bands can match, these six tracks emulating their innately beautiful togetherness. Humble vocals interject majestic instrumentals, guitars and drums lending the accordions and glockenspiels a sound more sublime than either could achieve absent the other. A violin and a classically-trained ear offer the 'Shaw Court Sessions' a level of regal orchestration too, ever-heartfelt and never self-indulgent. Finally, poignant lyricism and nuanced harmonies are added into the mix, a retrospective and subtly despondent tone emerging from their combination, laden with the sighs of missed opportunity. The 'Shaw Court Sessions' is, an undeniably magnificent EP.

Opening with 'Sirens', an intriguing vocal harmony plays off a quick, finger-plucked sound. A sombre mood takes hold, curiously mystifying and strangely provocative, recalling some fuzzy, far-off land, the shadows of childhood monsters causing your heart to beat faster. A pre-emptive drum falls into place, Oliver's soothing vocals spurring you on as you run. He talks of struggle, the sounds slowly layering and building. A female voice sits underneath the main vocal line, perfect in pitch. Subtle inclinations in notes make you shiver, climactic explosions of adrenaline rushing like lactic acid through your body. Lyrically we're treated to some stunning lines, trains and mountains adding to the vast, epic soundscape. 'The Hill' follows 'Sirens', a violin, delicate percussion and hand-claps backing vocals that swell effortlessly between registers. A piano instrumental splits verse and refrain, a cinematic finish leading into 'Children of Ohio's perfected nostalgia. Innocent and simple and all the more potent because of it, a hopeful sense of childhood memory prevailing like it never has before. Graceful in its construction and composition, this is retrospection at its best!

'Seven Seas' is the start of 'Shaw Court Sessions' second half, and it demands reference to Arcade Fire's 'Sprawl II'. After Oliver sings "stuck here instead", I half expected to hear Regine Chassegne sing her famous "mountains beyond mountains". Far from a bad thing, Flight Brigade emulate the same feeling, but execute it at a slower pace, comprehending the lyrics with admirable emotional attention. The 'Door That's Never Opened's high notes and the recognisable folk sounds of 'When the Water Whispers' close these thirty minutes as wonderfully as any. Lyrical genius and dark, lush instrumentals amalgamate into a final and triumphant parting of ways.

Stream 'Sirens' down below, then head over to Flight Brigade's site and grab a copy of all six tracks. You can download the whole EP for whatever price you deem appropriate, but after streaming all the songs you'll want to support the band in any way you can! All their effort for potentially no reward makes these seven musicians' brand of rock-infused folk a rather humbling one, big, orchestral and passionate, but also quietly and unashamedly profound. So, listen to 'Sirens' below and explore this fantastic EP in its entirety over here!

Monday, March 5, 2012

INTERVIEW// Being There

Enchanting quartet Being There is James Robinson, Nick Orlenshaw, Tom Rapanakis and lead singer Sam Lewis. After loving both the band's split single and their latest track '17', I jumped at the chance to send Lewis some questions. In the short interview below, we chat about his varied influences, style plans and even some possible future sounds! It reveals an artist and musician as humble and individual as his nostalgic music portrays. Read the interview below, then find my original review of Being There's split single 'The Radio' here! Thanks to everyone at Young and Lost Club and to Mr Lewis for answering the questions!

Music Dissection: How did you all meet, and what's behind the band's name?

Sam Lewis: We met at University, then moved down to London together and started taking playing music more seriously. As for the name, I wanted something that wasn't a 'The' or a 'And The' kind of name, and I just liked the phrase Being There.

MD: What are your influences and inspirations both musically and lyrically?

SL: Musically I love songwriters like Bradford Cox, Kurt Vile and Jeremy Earls, as well as bands like Duckatils, Yo La Tengo and Guided by Voices. Lyrically I like songwriters who have a slightly abstract approach, like Cox and Robert Pollard. Pollard especially has an amazing kind of collage approach to lyrics, with all these disparate images that amount to more than the sum of their parts. I love the honesty of Jeffrey Lewis and Jonathan Richman too. But my all time favourites are probably Bob Dylan and Arthur Russell.

MD: We loved your split single and track '17', so what are your plans album-wise?

SL: Thanks! Our debut record will come out on Young and Lost in late May. Exciting!

MD: Your brand of summer melancholia is distinctly nostalgic. Are we going to here an evolution from that style in the future?

SL: Hmm it's hard to say really...good question. I think nostalgia is a totally valid form of expression, and most of my favourite things are based on nostalgia - Woody Allen's films like Zelig, Annie Hall or Broadway Danny Rose. Bergman's Wild Strawberries. Gondry's Eternal Sunshine. Tolstoy's Ivan Illych and Flaubert's Sentimental Eductation...Sebald's books like The Rings of Saturn, and Nabakov's Speak, Memory. Tarkovsky even made a film called Nostalgia. And then there's the Ethiopian blues, which aren't called the blues but Tizita, which translates as memory or nostaliga. Some of the Tizita songs are so beautiful, like this one by Getachew Kassa, or this by Emahoy Tsegue-Maryam Guebrou. These are all things I love. I think nostalgia has this amazing mixture of sadness and joy, sadness at the passing of time and the happiness of to answer your question, I think I'd find it hard to move away from it altogether.

MD: Are there any instruments or sounds you want to record with in the future?

SL: I'd like to have more electronica in our sound in the future, more computerised beats and samples and keyboards.

MD: Who are you all listening to at the moment?

SL: I've been enjoying the new Lambchop album, Atlas Sound's Bedroom Databank albums, The Clams Casino instrumental record, the last Tiny Vipers album and Jonathan Richman's poem about turning 60.

MD: You were recently selected as one of NME's bands to watch in 2012. First off, congratulations! Did you ever think Being There would get as big as it has?

SL: Thanks, but I think we're some way off being big yet! But being in NME is very cool.

MD: You also toured with Noah and the Whale, which must have been pretty amazing! What did you learn from your time with them, and has the experience made you more confident performing?

SL: I think playing in front of so many people every night can only make you more confident on stage, which is a good thing. As for what we learnt, I think the key is just to keep playing...they're always touring and on the road, so a good show for them is just second nature, they don't even think about it or get nervous, as far as I can tell anyway.

MD: Finally, what is your favorite album and why?

SL: Blood on the Tracks by Dylan. Its got everything for me, lyrics, music, songs? Perfect!

Thanks again to Sam Lewis for answering Music Dissection's questions, and to everyone at London's Young and Lost Club for arranging the interview. I'm certainly looking forward to hearing Being There's debut full-length in May, but until then I'm satisfied with their split single and the melancholic '17'! Find coverage of both by clicking the 'Being There' label below, then, when you have the time, check out The Young and Lost Club's website here!

Sunday, March 4, 2012

VIDEO// Colours: In The Summer

New track and accompanying video from Tom Crandles now. Back in October we reviewed his eponymous debut EP, the four tracks of which glistened with nostalgia. Layered with a beautifully hazy experimental noise, melodies and thoughts and colours splashed across their fast-moving sonic bodies. 'In The Summer' marks a subtle departure from the sound however, and instead recalls 'Lost At Sea', Crandle's contribution to Hartzine/Beko's 2011 compilation. 'In The Summer remains intoxicated with reverb, a slower sensibility taking a hold on the despondent, post-punk vocals. Guitars and unassuming drums lend the song a sense of almost unnoticeable hope, swirling and floating through Crandle's wistful moot of a lost love. Analogue pops and crackles match the videos kaleidoscopic implosions, an infrequent image of Tom emerging, ethereal, transcendent and beautifully insubstantial.

Saturday, March 3, 2012

REVIEW// Sisterland: Dirty White EP

Leicester based trio Sisterland dropped their EP 'Dirty White' late last month, a four track effort reminiscent of pre-nineties guitar pop. Fuzzy and lo-fi and inherently alternative, the three members refine the tracks on 'Dirty White' with an impressively experimental edge. A certain nostalgia and subtle rock sensibility emerge from waves of reverb, but the way in which they do so lends the release a pleasant individuality, and one I was a little surprised to find. All too often bands recall rather than reinvent, a flaw that should not be applied to Sisterland. There are elements that verge on the banal, but overall, and as an EP, 'Dirty White' is worthy of your attention, stumbling clear of being merely affectionately mundane!

The first number on side A acts as the title track, Pixies-esque drums carrying a hook that, despite the song's name, seems to be the most demure on the EP. Reviving said Pixies influence they may be, but Sisterland lose any of that potential immediacy. I get the sense that 'Dirty White' was composed and recorded with radio airplay in mind, and after getting that out the way, these three guys could explore and experiment freely. 'Bunny Ears' is an example of such, faster guitar, drum and bass contrasting wondrously with the high notes the lead singer executes so brilliantly. A smattering of shoegaze cements the two melodies together perfectly, resulting in two and a half minutes that catch your attention. Following them is their reprise, Sisterland warping the core sound into an incredibly spacey one. A drum matches your hearts every beat, infrequent verses broken by strange sirens and an entrancing shower of cosmic dust. The successive 'Milk & Honey' is everything you wished the opener has been. Fluctuating effects and heavy instrumentation and light vocals all compliment each other perfectly, making the first track seem worse but the EP as a whole undeniably better. And so, the thirteen minutes that make up 'Dirty White' draw to a close.

Sisterland's single 'Tomorrow' was backed by Mogwai, named as their single of the month last year, and 'Dirty White's determination to attract similar attention is admirable. This trio stray from the path a couple of times, but as the title of the EP suggests, the combination of pop nous and lo-fi passion makes for an intriguing listen. Stream 'Bunny Ears' below to sample Sisterland's delights, then purchase all four songs from Blessing Force over here!


As a bonus here's the pretty psychedelic and DIY music video for 'Bunny Ears'. Sisterland twirl guitars and rock about a bit, which confirms the song's enjoyable, carefree vibe. I am definitely looking forward to the trio's next release, but 'til then I'm satisfied with this video!

Thursday, March 1, 2012

MP3// Death Grips: Orange Military (Nasa Remixes)

Death Grips' 'Ex Military' was one of the first albums Music Dissection ever reviewed, their aggressive punk-rock hip hop sound a wondrously experimental one. Almost a year later and here we are, with remixes from Nasa, a producer whose name is a regular one upon our pages. The first track is 'Takyon', a number that retains all of its original abrasive and relentless charm. Apocalpytic drones stand resolute, throbbing and supporting this trio's equally cataclysmic and slightly unhinged vocals. The following song 'Guillotine' features a contribution from ADAM, layered over warped horns and effects and queer, nightmarish theatricality. Suspense builds and lends everything an excellently distorted horror, more so than the original release for sure. I don't know whether Nasa and ADAM's take on the two songs you can stream above surpasses the original, but they come undeniably close! The two tracks and complimentary instrumentals can be downloaded for free here.