Word: riff
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Dates: during 1980-1989
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Using these basic methods, Trio managers to come up with two songs that are surprisingly accomplished "Boom Boom" is a riff rocker that manages with its one guitar to be both heavier and more rocking than most heavy metal songs with their flurry of frenetic guitars. "Hearts are Trump" (get it?) is basically a silly love song, lifted by a fuzzy synth lead, and some shimmering backing vocals. And for those who didn't hear it the first time around. Trio has obligingly reprised their hit "Da Da Da etc." It's surprising how much mileage the band has gotten...
That process is already underway, prompted in part by the pathbreaking funk-electropop fusion of Afrika Bambaataa's "Planet Rock," which combined chants with a purloined Kraftwerk riff and computer pyrotechnics by Arthur Baker...
...Pack Jam" remix lifts a synth riff from who knows where, and backs it with electronically altered vocals and a variety of funk sounds, which recall everything from Caribbean metal drums to a fart. Spaceman Jonzun, himself, is credited with the following: lead vocals, computer programming, electro drums, space bass, space-vocals, sound effects, synthesized keyboards, background vocals, string and brass synthesizers. And the three other band members do stuff as well...
...Some of the album is terrific and some an error, rather than all being essentially mediocre. Even the concert didn't preclude a future performance of quality. Wynn's songwriting has improved and Down There (as well as parts of the show) demonstrated the group's talent for matching riff to lyric. With maturity they ought to gain control over the new density of sound and their attention to instrumentation. Then they should be unstoppable...
...work suggests a group portrait: one vast, remarkable family, with genetic similarities more noticeable than the vagrant differences in individual ambition, audacity or achievement. Each sibling carries his or her own snapshots: the weary hostility that spills across a kitchen table in The Merchant of Four Seasons; the riff of revenge in The Bitter Tears of Petra von Kant when a quiet young woman walks out on her longtime dominatrix to the bluesy strains of The Great Pretender; the logger-heading of fear and desire in a dozen Fassbinder movies, where the lighting is lurid, the sound track crackles with...