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Noise Unit > Response Frequency
(Antler Subway AS-5029-CD 1990)
Tracklist:
01. Agitate (6:08)
02. In Vain (5:02)
03. Disease (5:33)
04. Paranoid Mass (5:00)
05. Forgotten Realm (5:00)
06. Feel The Anguish (4:50)
07. In Vain (5:02)
08. Homage (4:03)
09. Agitate (6:03)
10. Beneath The Surface (4:10)
Noise Unit = Bill Leeb, Marc Verhaeghen & Rhys Fulber
#2 guitar, backing vocals & mix by Luc Van Acker
#7 guitar, backing vocals by Luc Van Acker
Marc Ickx screams on #6
Mixed by Noise Unit assisted by Koen Brandt
Programmed at the Lab, mixed at Studio Chain,Antwerpen
Review 1
Released in 1990, ‘Response Frequency’ was the 2nd release for the Noise Unit side-project. Still a collaboration between Bill and The Klinik’s Marc Verhaegen, this time Rhys was invited along for the ride, working his way up to his FLA-member debut with ‘Caustic Grip’. The end result is, in my opinion, a superb heavy electro album that fills in the space between FLA’s ‘Gashed Senses’ and ‘Caustic Grip’, and blows the previous Noise Unit album away in it’s depth, atmosphere, and songwriting. The songs are definitely Leeb & Co. staples, but Marc’s involvement adds a distinct dark atmosphere and mood to the album that helps it stand out from all the other electro-industrial being put out at this time period by the boys. It also stands as a nice counterpart to ‘Caustic Grip’, complimenting that album’s intricate minimalism and melody with a different kind of minimalism (fatter sounds, more atmosphere) and an almost noir feeling.
01 Agitate
The album kicks off right away with the stomper “Agitate”. Featuring a heavy combo of 4x4 techno and galloping electro beats and a nice, thick analogue Leeb bassline, this track would fit on any FLA release during the time period if it weren’t for the distinct Klinik atmosphere Marc provides. All the staples are here, dark serial killer samples, swaths of strings and chords, Bill shouting disjointed lyrics about…well, agitation. Listening to this track though, you start to feel how Marc’s involvement stops it from becoming just a disc of theoretical FLA leftovers, and how Rhys’ programming skills could’ve expanded upon the skeleton tracks that made up ‘Grinding Into Emptiness’. Quirky analogue sounds and samples bounce around in the background, adding infinite dimension to a pretty sparse track. A definite precursor of what was to come on FLA’s ‘Caustic Grip’, reminiscent of tracks like “Iceolate” if not as intricate or melodic.
02 In Vain
The second track, “In Vain”, isn’t a favorite of mine by any means but it’s certainly a unique track thanks to a guest appearance by Luc Van Acker of Revolting Cocks fame, who plays fuzz guitar on the track. Starting out with laser sounds and a looping scream, the track has a rock-type beat to go with the guitar appearance and lots of noisy screams and looping crashing sounds in the background while Leeb shouts. The track breaks down at 2:17 then segues into a guitar noise solo of sorts. Van Acker joins in on the shouting at the end, too. Simple, energetic, but overall a bit too dissonant to be of much worth. The abrupt crashing ending is a nice change of pace, though.
03 Disease
A solid if unremarkable track, with oddly enough the same beat structure as the 3rd track on the next Noise Unit album to come. Again the track is stripped down with and featuring a lot of space in the mix, but the space features lots of little noise clatters and sequences crawling around, among them being some very familiar Rhys-style chords and high-end melodies. At 3:12 the track shifts into a little noise & beat solo before a string vs. chord war breaks out, with shimmers of high-end melodies cutting through the din. This track begins the trend of Bill’s vocals becoming harder to follow for the rest of the album, though fitting the tracks, and the use of some very small, dry analogue bass synths.
04 Paranoid Mass
My personal favorite, and indeed one of the best songs ever put out by Leeb & Co. The ambiance and mysterious mood of the track just bleeds out everywhere, not to mention the intricateness of the programming and sample manipulation, with Rhys’s found-sounds playing off of Marc’s homegrown analogue sequences. A slower, mid-paced beat is framed with a classic Leeb bassline, followed by a wonderfully moody string melody which, after another beat & noise sequence breakdown, comes back multi-layered and gets stuck in your head all day. A chord-change breakdown follows near the end. This track could’ve easily appeared on ‘Caustic Grip’ or ‘The Blade’ EP, as it’s reminiscent of an older but far more melodic “Laughing Pain”. A perfect example of classic, moody electro.
05 Forgotten Realm
Clacking noises sounding like metal or wooden rods rolling down a flight of stairs loop on in the beginning of this track, a token Delerium-esque instrumental of the time period able to find a home here before Synaesthesia came about. A fading horn noise and some dark, deep strings kick in as a combination of chimes and squelching synths play behind them. Would fit right in on Delerium’s ‘Syrophenikan’ album, a combination of tribal rhythms and dark atmosphere. That being said, it’s rather simple, but still offers a nice little respite from the pounding electro.
06 Feel the Anguish
Another album highlight. Another 2-beat combo is featured here, much like in the first track, with a slow 4x4 beat laced with more electro-styled drums. Bill sings very low-key and softly as a dry minimal bassline plays against various little noises and samples and some synth-pad programming dancing around the beat. And, like in “Paranoid Mass”, somber strings come in for a bit, fade to a slight breakdown, then come back tenfold for a solemn crescendo to this unique mid-paced electro track. Great stuff. The liner notes say that Mark Ickx of A Split Second fame screams on this track but I'll be damned if I can place him.
07 In Vain (Remix)
A very literal adaptation of the word “remix” is applied here, as it’s pretty much the same track as before only just mixed a little differently. Sounds are transposed into different areas of the track, such as some of the heavy feedback from the end being in the intro to this version. More little elements are added, like extra samples, squelching synths, and sceechier distortion to Leeb’s vocals (Luc’s remain the same). A little more interesting than the original, but still nothing amazing.
08 Homage
Stuttering drones and a loud fading horn (possibly the same one from “Forgotten Realm”) open another instrumental, this time more straight heavy beat industrial than Delerium, yet it wouldn’t be entirely out of place on perhaps ‘Spiritual Archives’ (think the last track there, “Sermon”). Some tribal chanting and percussive elements abound, braced against a thick monotone bass synth and a tinkling chord-line. The bass drum on this track is particularly massive. Later on choir-type strings and more chanting samples fill out the track. Interesting how this album goes from sparse and minimal to rich and intricate track to track and yet nothing feels out of place.
09 Agitate (Remix)
Another very literal remix, this alternate version of the first track even starts similar to the alternate version of “In Vain”, with a percussive element and looping sample of a woman screaming. Then an interesting spin as the track is more or less the same, but the vocals and lyrics are entirely re-recorded, as Bill does his best 1984-1986 Ogre impersonation. The string swaths of the original are relegated to the very end of the track, too. It should be noted this is identical to the “Another World Mix” of this track available on the ‘Agitate/In Vain’ single.
10 Beneath the Surface
Rounding out the album is another dark ambient instrumental. Deep drones start off surrounded by distant echoing background samples, snatches of deep pipes, low rumblings, and violins, though they’re obviously sampled from some sort of horror movie. Simple, like early Delerium or even Lustmord, it’s a nice, unsettling coda to the album showcasing what it’s been all about: atmospheric darkness.
Dark, varied, and atmospheric as HELL, this album is truly a lost classic, as it went out of print years ago and hasn’t been re-released in any form. And that’s a shame (well, with the advent of file-sharing not THAT much of a shame), because this is a fine album well worthy of being a staple to any FLAnboi’s collection. You definitely feel this music, not just hear it, as this was the very start of the peak period FLA & Co. were ushering in, the ensuing years being filled with quality track after quality track and they could seemingly do no wrong. Even the couple of areas of this album I didn’t like I still found interesting to pick apart. Seek this out if you haven’t heard it, it’s a welcome addition to any ‘Caustic Grip’ fan’s collection.
Reviewed by Douglas Sudia (recoil)
Review 2
I like this album a lot. I'm surprised I haven't heard more about it as personally I think it's nearly as good as Caustic Grip. Infact the first track Agitate wouldn't sound out of place on that album. It's pacey and has Bill in aggressive vocal mode over a lively bassline and Rhys chords. In Vain features guitars, that's right guitars, but nicely integrated ones along with a dense mix of samples and pounding bassline. A very hard track
The third track Disease slows the pace just a touch as Marc and Rhys start getting all analogue on us while Bill uses a low growl for the vocals. The best thing about this track is the combination of cool programming and Rhys's chord work later in the track. Very nice. Things get even better with Paranoid Mass which again features some lovely programming and lush Rhys chords. I swear if this track had been on Hard Wired it would have blended in perfectly.
Forgotten Realm is an instrumental track that starts with plenty of clanking sounds and then builds in to a powerful tune that would easily feature in an early Delerium album Feel The Anguish is probably the best song on the album. Once again it's very modern in it's sound thanks to what sounds like a programming battle between Rhys and Marc and more melodic chord work. Bill gets all depressed with the vocals and the result is a brilliant track. We get another version of In Vain next. It's not a whole lot different really, just a few extra sounds added to the mix.
Track eight Homage is another slow burner that evolves in to a Delerium/Klinik style mix of twinkling piano melody and chants. Then follows another mix of Agitate that again is more of a slight variation over the first. using a different vocal distortion. The last track Beneath the Surface is a dark haunting instrumental that again could be from Delerium.
I'd definitely recommend this album to fans of FLA/early Delerium and Noise Unit. It's difficult to find now though so pick it up if you can.
Reviewed by Jon M
Review From Sounds At Time Of Release (exact publication date unknown)
NOISE UNIT
Response Frequency (Antler Subway) ***½
NOISE UNIT are Bill Leeb and Rhys Fulber with Mark Verhaeghen of The Clinic. Along with guest guitar and mixing from Revolting Cock Luc Van Acker - it's their second collaboration, recorded in June of this year.
There are some relentless industrial dance tracks here, like the opener 'Agitate' or ‘In Vain', which would not be out of place amidst the FLA/Skinny Puppy/Front 242 axis.
But there are some amazing spacey workouts like ‘Forgotten Realm' and 'Feel The Anguish' that are a bit like an alternative soundtrack for Eraserhead.
This is perverse dancefloor music - miles better to hear in a club than 90 percent of those insipid remixes and cover versions - but sadly it is only in the 'elite' establishments that you will hear this at the decibel levels that it demands.
'Response Frequency' is the real metal machine music, the sound of the Age of Anti-Aquarius. It does not soothe, it doesn’t blend in, this is what music in the elevators of Hell would sound like.
Tommy Udo.
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Last updated 2009-10-29 19:55:00 by: recoil.
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