Με 8/10 βαθμολόγησε ο Joel Frieders , του syffal.com το «Pólýfónía» των Apparat Organ Quartet:
«I let a roommate in college talk me into taking something once. He had gotten three of these sugarcubes from a friend back home who had been dabbling in combination hallucinogens out of his basement laboratory.
It isn’t that I’m afraid of a bad trip or anything, it’s just I really really hate the taste of metal in my mouth, and as an avid tester of things illegal back in the day, that seemed a common trait.
A few hours after ingesting a single cube we were both kind of freaked out how nature was kind of fucking with us and we decided to Fuck with nature a bit. I grabbed a casio keyboard and while he pulled out an ice cream truck loudspeaker with a megaphone and sound effects board.
An hour later there were maybe twelve people surrounding us staring at us like we were on drugs. I was admittedly hitting the demo button on the casio and laughing uncontrollably while my roommate talk-sang the words to 99 Luft Balloons through a robot vocoder.
We were the protagonists in our own video game and succeeding in collecting power-ups through the acquisition of fresh giggles, odd looks and sweaty t-shirts.
What we thought we sounded like in our brains drippings with trippings, was exactly how the Apparat Organ Quartet sounds in real life. It’s a perfect example of how music is influenced by the first video games generation, whether intentional or not.
Progressive, exciting, romantic, joyful, intense, what you’d imagine your 8-bit self hearing as you skipped joyfully though a bonus level filled with bubbles to pop or places to stick your happy penis; Pólýfónía is an electric erotic experience.
I’d imagine candy flipping now a days would require a follow up trip to the psychologist, but back in the free-loving late 90’s, shit, we’d suck on opossum tits just to feel something. Apparat Organ Quartet’s music is an ideal replacement for potentially dangerous drugs and I condone the use of their music for future road trips/cheap wine binges over the use of psychotropics.
What Pólýfónía makes me feel should be illegal, but the electrified force field they provide your vehicle or person while traveling through space and time is exactly what one would expect from a band made up of robots.
This is delicious, and at the same time, way ahead of its time by being 20 years in the making so it seems.
Electrostrumental through the majority of the record, when you do in fact hear vocals, it’s Jesus talking into a vocoder. How they got Jesus to throw down and spit some hot hot hellfire, I have no idea. But I’m pretty sure there were some promises of oral pleasures given on behalf of queens, princesses and fairies or some shit.
I will attempt to summarize what I imagine when I hear AOQ in one sentence:
Legend of Zelda porn music with 49% more double arrow penetration than previous attempts, a really large robot with a really large penis with a moog tattoo on the glans, and the semen of Nikola Tesla bubbling and floating in a lava lamp.»
Από το humo.be:
Een koortsige thriller over een schimmige kliek terroristen vóór, tijdens en na hun wellicht laatste actie, verpakt in even grillige als van ambitie blakende rock: iets voor u? Dat dachten wij ook! Na hun uiterst pruimbare debuut ‘Mardi Gras of the Sisypha’ offreert The Sedan Vault met ‘Vanguard’ opnieuw een plaatje dat sluit als een bus.
Van de Ground Zero-achtige skyline op de cover en de druk meanderende opbouw vol samples tot de cryptische songtitels (wat dacht u van ‘.. -. ..- -.-‘?): alles ademt naderend onheil en ontvlambare chaos. Toch verliest dit rebelse kwartet uit Sterrebeek zich nooit in moeilijkdoenerij: tussen het bijtende rookgordijn van distortionherrie en smeulende elektronica doemen namelijk een stuk of vijf onvervalste prachtsongs op, nerveus als de laatste van Bloc Party, lichtjes tegendraads als Mintzkov en even intens als Coem – nóg zo’n band die niet allergisch is voor strijkers en blazers.
We worden in het verhaal gezogen door Arno, die in het plat Oostends een soortement proloog brabbelt, waarna de protagonisten in ‘Communism by the Gallon’ hun sinistere bedoelingen ontvouwen – check hoe de elektronische mayhem zich ondertussen meester maakt van de stem van zanger Rutger Meeuwis!
De parel ‘Autochtonic‘ maakt ons daarop manu militari diets dat er wel degelijk straf spul in de cd-lader zit. ‘One Thirty through the Borough‘ en ‘The Axis of Frazier and Forman‘ klinken geremd en fragiel, als de broeierige stilte voor een nietsontziende storm – in dit geval: de stuurloze gitaarriffs spuwende single ‘Unidentified Flying Subjects‘.
Oké, de filmische spokenwordsamples komen soms fake over en Meeuwis mocht gerust wat minder glad klinken, maar dat is met een intensieve whisky- en sigarettenkuur in geen tijd verholpen. En de machtige afsluiter ‘.. -. ..- -.-‘ was zo’n bombastische patat op ons bakkes dat wij alle bedenkingen metéén weer inslikten.
Zoveel kwaliteit op slechts 37 minuten: wie doet het The Sedan Vault na?
We’ll penetrate your skull, in a sexual way. You’ll love it!
We’re four smelly, gammaradiated and dirty monkeys who love to be naked. But unfortunally we can’t be naked all the time so we just play some tunes instead. We play some progressive stuff blended with the sounds of trains and a guy falling into a well.
«Upon hearing Seven Idiots I thought I had mistakenly stumbled upon the wrong album, for this isn’t the World’s End Girlfriend from Hurtbreak Wonderland or his glorious split with Mono. It feels ridiculous drawing comparisons between the past and present for the Japanese solo artist, so instead it would be a more reasonable idea to ditch expectations altogether and enjoy Seven Idiots for what it is. But what is Seven Idiots? Mindlessly incoherent, like the blabbering of the prophesizing idiot on the side of the road? Or creatively genius and mesmerizing, perhaps even beautiful in the most bizarre of ways… like the blabbering of the prophesizing idiot on the side of the road? Seven Idiots is difficult to genre-tag, to say the least. Regardless, Seven Idiots is impressively original, and how much you value creativity and originality will ultimately determine how much you enjoy World’s End Girlfriend’s latest.
If there’s one tenet of the album that remains constant throughout, it is the disjointed nature of Seven Idiots. Admittedly, I know little about Japanese culture; but WEG’s 2010 LP only strengthens the stereotype I have that all Japanese are, in fact, video-game-playing, stimulus-craving, technology fiends. Bleeps and bloops don’t quite cut it when using onomatopoeia to describe the plethora of sounds here. From distorted saxophones and gliding string sections to electronic sampling galore, with seemingly-random piano melodies strewn throughout, it makes me wonder where Katsuhiko Maeda’s sanity went since Hurtbreak Wonderland.
The album has different stages. Seven Idiots starts out with more sampling, dense instrumentation, and heavy on the production. As the album moves on, WEG progresses to a more minimalist style, adding some nice percussion into the equation that helps to balance the insane juxtaposition of beats and melodies. Still, Maeda seems to have a hard time calming down and letting water settle a little before he jumps in for another cannonball. In effect, the songs themselves feel untidy and incomplete, like they’re never truly fleshed out.
The disjointed nature of Maeda’s Seven Idiots is both the album’s downfall and surprising high point. On one hand, the album is devoid of any continuity or coherence. It feels like a movie with awe-inspiring special effects, but with no plot to complement it (and I’m talking like, less that “Avatar” plot-line). The 1.3 hours is exhausting, trying to keep up with WEG’s jarring shifts. I can’t help but want for some semblance of the staggering atmospheric bliss of World’s End Girlfriend’s past. It’s a shame too, because the creativity and originality are wasted. With a more orchestration and composition, Seven Idiots had the chance to be a brilliant success. For instance, there are definite moments of bliss in between all the madness. Look towards “GALAXY KID 666” and “unfinished finale shed?” namely, but mesmerizing moments of magnificence are sewn throughout, as if only to say, “Look at what I could have done.” Whether it’s a distorted saxophone matching up nicely next to an unexpected guitar riff or a surprising dropout of instruments into a period of near-silence, the spine-tingling moments ofSeven Idiots are wedged pretty deeply within the jumbled jargon.
Give the guy some credit, though. Katsuhiko Maeda took an impressive risk with Seven Idiots. Starting his own record label, Virgin-Babylon, to self-release his newest, and incorporating a new recording method where he – get this – tracks complete vocal duties for each of his entire songs, then filling in the freaky and quirky instrumentation afterwards and removing the vocals, was a bold move. Seven Idiots has moments of inventive ecstasy, gratifying and seamless in their execution. It’s a shame that World’s End Girlfriend seems to have jumped the shark and went overboard in his implementation of excess creativity, because if he exhibited a little more control there’s little stopping Seven Idiots from being a post-rock powerhouse. So take a listen to what used to be a very serene, calculated artist losing his sanity. It’s just as disappointing, fun, unfulfilling and incredibly interesting, as it sounds.»
Από το http://www.gravepine.is:
«Here we have a group of young dudes that are good friends. They’re horny, amped and there are no brakes. That’s how you should sound early in your career. Especially if you love spastic punk, noisy hardcore and metal. The result is like being stuck in a wind tunnel. When sitting through the whole thing, you’d be forgiving for breaking sweat. So, right there, you’re in for a ride. This band is talented and fun to behold. Check. It’s very possible that Swords are taking cues from some of the old GSL, Three One G bands and early Blood Brothers. But Swords Of Chaos trump most of these bands in the bass-playing
Internationally, the envelope is hardly being pushed but in an Icelandic context, they’ve carved their own niche. The guitar and drum work is a little bit samey throughout. Consequently the record needs more variation. When slightly spiced up (‘Mandibular Wolf Tooth in Horse’, ‘Nashkel Mines’ and ‘Chip-On Disguise Chops’) it clearly demonstrates how it wouldn’t have taken much seasoning to make ‘The End Is As Near As Your Teeth’ an irresistible delicatessen.»