The conceptualization of science fiction through techno is nothing new, especially not for Robert Hood. As far back as his first albums, Internal Empire and Minimal Nation, Hood has posited the existence of other worlds, alternate realities, supposed futures. His latest long player Omega continues this recurring theme, postulating a post-apocalyptic world of decay and decrepitude in which one man works to find a cure for a plague that has rendered any human survivors zombies.
The basis of inspiration for the album comes from the 1971 movie Omega Man starring Charlton Heston, an adaptation of Richard Matheson's 1954 novel I Am Legend. In keeping with the waste and burned out, outlaw society depicted in the film, Hood's tracks are charged with a bleak, mutant desolation. However, where the B-grade Heston flick is soundtracked by a copasetic, funk/jazz accompaniment that sounds every ounce a part of the decade it was made in, Omega the album is cut through with an urgent, futuristic score that profiles the ideas contained in Omega Man rather than the style it was made in.
Hood captures his dystopian vision expertly; from the narrated intro “Alpha (The Beginning)” and tone-setting “The Plague (Cleansing Maneuvers)” through to the aptly titled “Omega (End Times)”, he builds the music around his ideas.
Much of the album sounds like it is written from an impersonal viewpoint; that is to say that tracks like “Think Fast” and “Towns That Disappeared Completely” feel like they are the theme music of the conceptual plague itself. There are moments that feel more like human expression though. “Are You God?” reverberates with a searching, thoughtful tone, and “The Workers Of Iniquity” also carries with it a certain sense of being hand wrought. The bulk of Omega though feels like music is being produced by the stark, febrile world it depicts. On “War In The Streets” you can hear the crackle of digitally rendered fires burning, pulsing war cries of zombies bent on destruction, on “Saved By The Fire” the staccato thrum of morse coded synths.
Hood's minimal techno remains every bit as vital now as it was when he started making the tracks that coined the term. On the surface this album could come across like some of the rawest sketches of what has come to be known as Berghain techno, though deeper meditation on Omega reveals that within the walls of Omega is a heart and moreover a funk. That funk is sometimes all that belies the human construction of these tracks, so good is Hood at conveying the bleak nature of the album's themes. And it is that funk that separates Omega from being strictly a concept album to one that will also remain in plenty of record crates for a long time to come.
SIDEBAR
Hood's re-imagining of Omega as a soundtrack that never was is not the first time that one of the techno greats has taken on cinema. Jeff Mills pipped Hood to the post by almost ten years with his phenomenal album Metropolis. Taking on Fritz Lang's 1927 masterpiece of the same name, Mills not only finally escaped the confines of being seen as strictly a techno producer, but also began to emerge as the artist that fans have always known him to be.
Richie Hawtin has also dabbled with the medium, pairing his “We (All) Search@ track from DE9 Transitions to the Russian sci-fi, cult film Stalker from 1979. If there was ever any reason needed to get those kids to take their hoodies off, then the little spoon bending freak who shows a callous disregard for glassware in this clip is a case in point.
TOP 5
Mr. Raoul K – The African Government (Piano Influence Mix)
Robert Hood – Omega (album)
Tim Toh – No Trace
Dubbyman – King Of Motown
Do Not Resist The Beat – Point Of No Return
Classic Listening
Buffalo Tom – Let Me Come Over
No comments:
Post a Comment