THIS SIX-SONG EP from a Christchurch-based duo (Matt Ragg and Sean Bennetts) is like a cut-price version of Boards Of Canada or some other practitioner of late ‘90s IDM (intelligent dance music).
There’s clearly talent here, and they work the genre with some finesse, slicing and dicing voice samples and distressing and bending sonic elements pleasingly out of shape.
Yeah, it’s charming enough, but really, Monkey Records would have been better to advise Factories to keep evolving for a while yet before unleashing their genius on the world.
It all just sounds rather cheap and boxy, and this kind of music differentiates itself just as much with the attention paid to mixing and mastering as much the skills displayed in its actual creation. While it’s nice to hear some pseudo-Emerson-style synth that could be buzzing in from some ‘70s prog-rock album, it sounds like these guys are still trying to come to terms with how to control the sounds it’s emitting. (If it’s a computer-simulated synth, then the problem becomes even more perplexing).
Next time, maybe? GARY STEEL
Music = 3/5
Sound = 2.5/5
Factories – Operator’s Service Handbook (Monkey Records) CD REVIEW
Latest from Music
Stuck between rock and a hi-fi space
GARY STEEL loves the world of music he’s discovered in hi-fi appreciation but hates what its sonic refinement does to many of his favourite
World’s Worst Records: Liverpool FC’s Anfield Rap
MATT KELLY could write a book about the thoroughly awful phenomenon of English football club singles, but wisely chooses to stick to an especially
Teremoana Rapley: Back in time to ‘97 for the Lifetime Achievement award-winner
To celebrate her Lifetime Achievement honour at the forthcoming Pacific Music Awards here’s GARY STEEL’s previously unpublished 1997 interview with Teremoana Rapley.
Guilty Pleasures: Electric Light Orchestra’s Eldorado
ELO’s grandiose 1974 monstrosity is an over-the-top masterpiece, according to long-time appreciator GARY STEEL.
Tubular Bells – Played just like the record, but different
Mike Oldfield’s former keyboardist/orchestrator makes a work of genius come alive one more time. Reviewed by GARY STEEL.