Wednesday, December 5, 2007
Sunday, September 30, 2007
THE HORRORIST AND MARC ACARDIPANE, double interview
Groove, 2000 (?)
by Simon Reynolds
Cleancut and clad in black, a demagogue stalks the stage
of The Tunnel, the famous Manhattan techno club. His name is Oliver Chesler, also known as The Horrorist, and he's performing a PA to celebrate the fifth release on his label Things To Come. Brandishing an arc-light that gives an eerie
glow to his face, Chesler heralds "the New Direction" and demands "can you take the
pressure?". The kids roar back in the affirmative.
The music that strobes out of the Tunnel's stacked speakers and
subsumes the dancers in a phosphorescent frenzy represents a style that
Chesler calls Gothic Rave---an updated version of early Nineties techno at
its most bombastic and populist, combined with songs and story-telling. It's a bit
like Green Velvet's idea of "folk music for the rave scene". Like Curtis Jones, Chesler is a genius at writing and reciting narratives that fit the weird energies of techno without detracting from or domesticating its posthuman intensity. His songs are hilarious vignettes of drug fiend depravity and drug-fuelled delirium. In "Mission Xtacy", two club kids tell a series of lies to close friends in their quest to procure Ecstasy: "cos we were on a mission... cos we like fuckin' drugs." "Run For Your Life" goes from demented visions of millions of Gothic ravers "falling from the sky" or lurking "in secret record shops/sucking on amphetamines and plotting their plots", to grandiose delusions: "I am the essence/Of overwhelming doom."
Strangely Chesler doesn't perform either of these classics at the
Tunnel, nor his biggest tune, "One Night in NYC"--a true tale about an
under-age, out-of-town girl and a seasoned club kid who plies her with E and then
"fucks her all night". Three years on from its original release as the title track of the first Horrorist EP, "One Night In NYC" is a tune that just won't die. Its latest surge of popularity in Europe comes thanks to a remix by Chris Liebing. Having already wracked up a total of 10 thousand sales in its original and multiple remix versions, "One Night" now looks likely to be picked up a major label (Universal and Polydor are both bidding) for European release.
And that's fitting, because Europe is where it all starts for
Oliver Chesler. A massive fan of Euro Body Music artists like Front 242
and Nitzer Ebb, Chesler was turned onto techno by the Belgian hardcore of the early
Nineties. When he first started going to Manhattan techno parties, he thought the music was nothing special. "Then T99's "Anasthasia", came over the sound system, and it just hit me. I thought 'I'm going to make thisstuff now.' The Belgian sound was just so powerful. Everybody tries to leave that stuff out of history. I'm so sick of hearing about the same three idiots in Detroit. Who cares? It's not relevant to what I do or to most people's idea of what techno is."
Maybe it's the Nietzchean influence of Euro Body Music, but Chesler's experience with the drug side of rave culture is different from most: not so much love/peace/unity, more Titantic self-aggrandisement. "I wasn't into dancing so much as ranting and raving about myself. Ecstasy took me back to when I was 17, before I knew right and wrong. I had a crazy six months where I did everything I wanted to do. I don't think drugs are really practical in everyday life, but it would be great to take an E and be in control of some country, do know what I mean?"
With this Front 242-style "tyranny for you" attitude, it's not surprising that Chesler gravitated towards hardcore, the most power trip oriented of techno subgenres. In 1992, he started out doing stuff with Lenny Dee's Brooklyn-based label Industrial Strength--proto-gabba classics like Disintegrator's "Lock On Target" and DJ Skinhead's "Fuckin' Hostile". Soon he was recording tracks for multiple labels using some 13 alter-ego names, and flying over to DJ and perform in Holland, France, and other gabba-loving parts of Europe.
By 1994, New York's own hardcore scene had dwindled down to small, scary parties--zombie ravers on angel dust twitching to the 200 beats-per-minute, distorted kick drums of tunes like Chesler's own "I Get The Coke" and "Fists of Pride" (released as Temper Tantrum). Gabba's still banging its head against this dead end, but Chesler's opted out of the international race to craft the nastiest and noisiest record ever. In 1996 he started Things To Come to push a new sound: shaped by the hardcore years, but midtempo and tuneful, characterised by ominous melodic cadences and frequent use of the human voice. Chesler wasn't alone in his vision quest--he had kindred spirits in the German producers Marc Acardipane and Miro, plus their French ally Dr. Macabre (also known as Renegade Legion and Lunatic Asylum). Until recently, all three recorded primarily for the Frankfurt-based cluster of labels that includes PCP, Dance Ecstasy 2001, Cold Rush, Powerplant, and
many others. Then Acardipane split from PCP to form his own Hamburg-based label, PCP-Acardipane, and took Miro with him.
If anyone can claim to have invented the style--what Chesler calls Gothic Rave, and others describe as "doomcore"---it's Marc Acardipane. Recording via over 20 different names (most famously The Mover, Mescalinum United, Rave Creator, Marshall Masters, Pilldriver, and Ace the Space), Acardipane was responsible for the vast majority of PCP/etc releases. Ranging from bonehead gabba anthems to atmospheric hardcore to breakbeat and electro work-outs to what he calls "sick ambient", he's built up a body of work as impressive as Underground Resistance's. Once upon a time, he and PCP were even briefly "hip": Aphex Twin remixed Mescalinum United's classic "We Have Arrived", and Acardipane did a whole bunch of records for R&S. But as rave culture splintered into different directions--jungle, trance, "serious"
techno, IDM--Acardipane got sucked into the ghetto of gabba. In Holland, he's still a god to the dwindling gabber tribes; his career anthology double-CD was advertised on television. In Belgium, his Marshall Masters persona scored a gold record with the stomping single "I Like It Loud" and a number 3 pop hit with "Don't Touch That Stereo". "I played on the same bill as the Vengaboys at this Belgian rave," he chuckles.
In his native Germany, though, Marc Acardipane is the forgotten man of techno. Partly, that's because of the now-defunct PCP's strident, intransigent undergroundism, and Acardipane's own cultivation of anonymity and mystique. But it's also because, with the exception of his most blatant anthems like "Six Million Ways To Die", his music is caught in a limbo: between the moronic inferno of Netherlands gabba and the world of "serious" techno. Like Reinforced in the early darkside jungle era, most PCP/Cold Rush music was too "advanced" for its own scene: too "musical" and atmospheric for the gabber kids's drug-determined requirements, yet still too steeped in to the Ecstasy vibe and the hardcore aesthetic for connoisseurs.
The ultimate barrier to Acardipane's access to hipster respect is the way he's kept faith with the gabba audience's craving for "bass", i.e. a pounding, distorted kick drum---the four-to-the-floor "funklessness" of gabba that repels acid-jazz snobs, breakbeat fetishists, and the spiritually goatee-clad everywhere. Unrelenting and monolithic, sure, but the PCP-style kick drum aesthetic is far from monotonous. The piledriving punisher beat is cunningly inflected, alternating between saturated intensity and stripped-down severity. Tracks like Tilt!'s "Pitch-Hiker" and Miro's "Bass Drum Elevation" are symphonies in four-to-the-floor, multi-tiered architectures constructed out of just kicks, claps and hi-hats. Creativity also comes into play with the use of distortion to create the thickest, widest, most
voluptuously concussive bass drum imaginable. Acardipane and his buddies get
so deep into timbral distortion that the bass drum pulse become a smeared belt of sound, with the percussive impact of each kick muffled deep within a sensuous wall of noise.
Not that the other elements of doomcore's sonic vocabulary are going to win converts from hipster land, either: locust-swarm drones descended from "Mentasm" and "Dominator"; whiplash snares that crackle and sting; synth-riffs that seem to gibber and jeer like grotesque, cackling demons; other synth-textures that are snaky and slithering or clammy and mucus-like; dirge-like gloomy melodies and horror-movie refrains. There's the cavernous reverb that transforms your living room into a giant industrial hangar outside Antwerp circa 1991, or on headphones makes you feel like you're inside the catacombs beneath the frozen surface of Pluto. Hence the slogans that used to appear on the Cold Rush releases: "music for huge space arenas", "recorded somewhere in the lost zones." Apparently Acardipane
started out in a punk band that rehearsed in a church--"with hindsight I think that is one of the reasons why I use full, booming, resounding noises in my records" he told hardcore magazine Thunder.
Above all, there's a searing, desolate coldness of sound, creating an atmosphere where you can almost see your own breath in the air. No, I don't
see the Kruder & Dorfmeister or Stacy Pullen fans coming round to this style of music nytime soon. But for those who feel it, "for those who know" (as all different
kinds of hardcore scenes tend to say), it's one of the greatest rushes
vintage 1995 interview with the Mover from Alien Underground zine
Tuesday, July 3, 2007
THE MOVER: MARC ACARDIPANE AND PCP / COLD RUSH / DANCE ECSTASY 2001
The Wire, 1998
by SIMON REYNOLDS
Queens, New York, a Saturday night in April: Lenny Dee, hardcore techno warlord and boss of Brooklyn's Industrial Strength label, is celebrating "30 years breathing, 15 years deejaying" at Club Voodoo in the sedate suburb of Bayside. For his birthday bash he's flown in a bunch of gabba allies from across the Atlantic--stormcore DJ Manu Le Malin, English hardtrance outfit Nebula 2 (whose '92-era breakbeat techno for Reinforced reputedly blew Goldie's mind at Rage), plus this mysterious figure from Germany called The Mover who's making his US debut.
Since 1990, using over twenty different pseudonyms, The Mover has released literally hundreds of tracks via the cluster of labels affiliated to Frankfurt-based PCP; tracks whose catalogue numbers are recited in awestruck tones by hardcore cognoscenti. But when the Mover takes over the decks a little after 1-AM, it seems like few of the teenravers on the dancefloor realise that the nondescript-looking fellow in the DJ booth is a living legend. They sho' 'nuff know his tunes, though, roaring their approval and moshing violently to the bonehead bounce of gabbanthems like Turbulence's "Six Millions Ways To Die", with its Sid Vicious "My Way" intro and murderous ragga sample.
The Mover also touches on the more "musical" side of the output of PCP and its sister-labels Dance Ecstasy 2001 and Cold Rush, a style people on the scene have dubbed "phuture techno". Renegade Legion's "Torsion" is midtempo and multitextured by gabba standards, its death-ray riffs strobing your flesh and subsuming the dancefloor in a phosphorescent frenzy. "Apocalypse Never", recorded by Mover and released under his Pilldriver alter-ego, is even more intense, seething around your limbs like a marauding miasma of sentient nerve gas. As with a lot of PCP/Mover music, the track's dark exultation is poised on the brink between the Dionysian
and the frankly fascist--between mob and army, desiring machine and war-machine. Its ear-harassing synth-stabs and ungodly tintinnabulations get your goosepimples doing the goosestep.
An hour after The Mover vacates the DJ-booth, the "Deeday" rave comes to an abrupt end, with Bayside's fire marshals shutting down the party for being overcrowded (the official limit is 300, around 800 turned up). Lenny Dee throws a fit, but the kids disperse in good humor, despite the fact they've driven miles into the wilderness of New York's outer boroughs and paid $15 for a bare three hours of entertainment. All buzzed up and nowhere to go, I'm disappointed too. But at least I can tell my
grandchildren I once saw The Mover.
"We want to carve our initials into the body that is history. So that in 20 years people go 'Hardcore techno -- that was PCP!', like punk was the Sex Pistols and rock was the Rolling Stones" ---The Mover, 1993.
Despite the fact that he has created--especially in his more experimental-leaning identities Alien Christ, Pilldriver, Tilt! and Mescalinum United--a body of work as consummate as Jeff Mills's, the Mover is the forgotten man of techno. Yet once upon a time, PCP were briefly "hip". In 1992, Aphex Twin remixed Mescalinum United's classic "We Have Arrived"--a storm-trooper stampede with a blaring bass-riff which
blueprinted gabba--for R&S. The Belgian label also released an EP of Mover breakbeat tracks called "Hellrazor" under the moniker Spiritual Combat. In May 1993, the PCP crew even played at Knowledge, the London "pure techno" club founded by Djs Colin Faver and Colin Dale and run on strict anti-breakbeat, anti-hardcore policies.
But this was at the tail-end of rave's golden era, a happier time when Djs as various as Richie Hawtin, Sven Vath, Lenny Dee and Grooverider could play on the same bill, and an individual DJ set might encompass Belgian hardcore, acid-tweakin' proto-trance, breakbeat 'ardkore, even house. By 1993, the rave scene was stratifying, with some following the trance route, some going into jungle, and some abandoning the dancefloor altogether for ambient and experimental techno. Another option--at least in Northern Europe--was gabba.
The G-word is why PCP are never mentioned in "discerning" techno circles. The Mover's music languishes amidst gabba's moronic inferno of headbanger beats, kamikaze bpm's, and testosterone-drenched sadomasochismo. While PCP are heroes in Holland, the home of gabba, its ever-expanding family of sub-labels--Dance Ecstasy 2001, Cold Rush, Powerplant, Futureworld, White Breaks, Kotzaak, Super Special Corps, No Mercy, Pretty Asshole--is an empire in internal exile as regards Germany. PCP's antagonistic attitude has won them few friends. Leathernecks's "At War"--a
Mover production--was a giant and literal fuck-you to Low Spirit, the label/promoters who rule the Deutsch-rave mainstream and are responsible for Berlin's annual Love Parade. The Mover's determined anonymity (apart from a few fanzine interviews, he shuns the press, while PCP has stonewalled my own attempts to interview them for over a year) has also contributed to the label's low profile.
Yet there are signs that the Mover is sick of subterranean existence, hungry for respect. On his Marshall Masters track "I Like It Loud", his hitherto concealed real name--Marc Acardipane--is emblazoned on the front cover, alongside a photograph. He's just released a double-CD anthology, Marc Acardipane--Best of 1989-1997, whose cover also prominently features his German citizen's photo ID card. On the recording front, there's been a flurry of Mover activity, with his Pilldriver/Tilt!
12 inch "Apocalypse Never" /" Hell-E-Copter" on Cold Rush and the launch of an
Acardipane-run experimental label called Adrenacrome. Maybe the Mover's days in the shadows are over. Maybe....
"Mover is dark because it's set in the phuture of mankind.
I can't possibly justify seeing a happy end to this stupid human drama. Darkness is not mystical, it's your everyday reality"--The Mover, speaking to Alien
In some ways, the label that PCP most resembles is Reinforced--albeit a Reinforced stranded in a perpetual 1993, a limbo of making worldshattering music that was barely heard, let alone respected, by people outside the hardcore rave ghetto. By late 1992, PCP--like Reinforced--were on a "journey from the light" that took them into the darkside of drug culture. The two labels share an interest in futurology and millenial doom; compare 4 Hero's Nostradamus-inspired 1993 track "Students of the Future" with Marc Acardipane's apocalyptic phuture-mythos of 2017. And like Reinforced, PCP track titles and cover imagery often evoke ideas of heroic quests or
paramilitary resistance; 4 Hero's first single was "Combat Dancin', while R&S released a various artists PCP EP entitled "Warriors".
Above all, Reinforced and PCP have a similarly ambivalent relationship with the hardcore rave scenes with which they're linked, jungle and gabba. Early on, both labels released hugely popular anthems; yet both rapidly became too "advanced" for their respective scenes. They were shot by both sides: too "musical" and experimental for the rave massive's drug-determined requirements or the crowdpleasing DJ's funktionalist approach, yet --as far as the outside world was
concerned--irretrievably tarred with hardcore's brush. As PCP artist Stickhead (aka Reign, aka Miro) complained to Fallout zine, "The problem is the normal techno scene doesn't want PCP and with the extreme hardcore scene, PCP is too soft somehow". Although it regularly scores with gabba anthems, most of PCP's output is too atmospheric, too well-produced, and, at around 180 b.p.m, too slow for the gabba and terrorcore markets.
Another parallel between Reinforced and PCP is their ambivalent attitude to drug culture. 4 Hero are all straight edge, more or less; whatever their previous exploits may or may not have been, PCP assumed an anti-E stance in early 1993. On the back of the first Dance Ecstasy 2001 compilation, there's a tiny pictogram of a man dropping an MDMA tablet in a wastebasket, plus the legend "E...? Nee!". Talking to the NME in 1993, one of the PCP squad declared: "We've seen so many people get fucked up on E. We go to the clubs and the people are like zombies. Perhaps they started two years ago with half an E.... But in Frankfurt, now they go out and take five or eight Es and you see some people they never come down. Some
people assumed that we take a lot of drugs because of the names we use, like PCP, Mescalinum United... but when we say 'E? No!' perhaps people see that you don't need E to make music, or to enjoy yourselves".
And yet PCP has continued to pander to the E-monster mentality. It's not just the band names (Pilldriver, Freez-E-Style, Trip Commando) and track titles ("E-Loco", "XTC Express", "Hell-E-Copter"). Sonically, this is drug music, no two ways about it. In his populist gabba incarnations--Rave Creator, Leathernecks, Nasty Django, T-Bone Castro, Smash?, Turbulence---Marc Acardipane has come up with a thousand variations on the E-rush activating "mentasm" sound, as invented by Joey Beltram & Mundo Muzique, and then turned into a demonic dirge-drone on Human Resource's "Dominator". He's caned a thousand shades of monstrous monotony out of the
distorted four-to-the-floor kickdrum that is gabba's low-com-denom pulse. (And why shouldn't he exploit the reduced horizons of the Dutch market, when he helped sire gabba in the first place with "We Have Arrived"?).
Just as Reinforced's dark-core delirium of convulsive breakbeats and ectoplasmic textures plugged into the paranoid sensorium of the tripped-out raver in 1992-93, similarly PCP make Ecstasy music bent to the sinister. When MDMA is taken in large amounts over a long period of time, its lovey-dovey, empathy-inducing effects (associated with the neurochemical serotonin) wear off, leaving just the jittery,
amphetamine-like buzz (caused by the neurotransmitter dopamine). Rave's hypergasmic euphoria mutates into a forcefield of "weird energy" (as DJ Hype titled an early track). Ecstasy's warm glow is replaced by an affectless intensity, a cold rush.
Cold Rush is the name of the PCP sister-label through which the Mover has released some of his most inspired music. Beginning in 1993, Acardipane and his comrades started making "music for huge space arenas", tracks whose cavernous reverb transforms even the most cramped club into a giant industrial hangar. At home, on headphones, you feel like you're inside a vast cathedral space carved out beneath the frozen methane crust of Pluto. Like dub and psychedelia, Cold Rush style "gloomcore" plugs into the history of sacred echo, from Gothic churches deliberately designed to swathe the listener in non-localisible mid-and-low frequency reverberance, all the way back to the prehistoric audio-technics of pagan rites conducted in caves and grottoes.
Cold Rush's ten releases to date are steeped in Numanoid melancholy, with piteous, lugubrious melodies that seem to wilt and waver in the air. Although the kickdrum is still pretty fast, around 170-180 bpm, the dirge-like droop of shimmery atmospherics makes gloomcore feel slower than it actually is. Rave Creator's "Astral Demons" and "Thru Eternal Fog" hinge around sickly synth-drones that evoke the hideously voluptuous descent of the Ecstasy comedown. Cypher's "Marchin' Into Madness" (from the gloriously titled EP "Doomed Bunkerloops") kicks off with the vocoderized
query "is anybody out there?". The answer is "no", communicated not by silence but a nauseous vulvo-cosmic churn of sound; underneath, a trudging, parade-ground beat marches you into the center of this demonic mandala-swirl of void-matter. The mentasmic maelstrom sounds like "crank-bugs" (the amphetamine-freak delusion that insects are crawling under your flesh) which have burst the skin and swarmed into a
locust-horde. "The Fog Track" by 8-AM (a pseudonym chosen in honour of those diehards still standing at the rave's bitter end) starts with the histrionic injunction "empy your minds" and fulfils its own command with a frigid inferno of wraith-vapor, simulating the sensory eclipse of the "head rush" (the white-out caused by taking one E too many).
Highlights of the Cold Rush series, all these tracks were produced by Marc Acardipane, and all bear the legend "created somewhere in the lost zones". (One exception is Cold Rush #7, "created in Pressure Zones -- so better take care, Doom Supporter"!). Mover, Reign, and a third mysterious character who records as Renegade Legion and Dr. Macabre have pursued a similar gloomcore direction on Dance Ecstasy 2001 (which more often puts out rave-friendly hardtrance similar to German labels like Noom). Tracks like Reign's "Light and Dark" and "Skeletons March" are all snaky slitherings and clammy, mucoid textures that cling to your skin-surface in a sort of abject inversion of MDMA's sensuous synaesthesia. Co-produced by Acardipane, Inferno Bros's "Slaves To The Rave" is a savagely sarcastic anthem of entrapment and zombiehood, which has nonetheless been embraced sans irony by the Dutch gabba scene.
"Well you know I'm a machine, I'm wired up... I'm roaming the earth
and it's nice and doomy here. The sound of MOVER should speak for itself."
-- Marc Acardipane, talking to Alien Underground.
Not much is known about Acardipane. In the Alien Underground interview, he cites his formative influences as hip hop, acid and the darker side of Detroit--specifically, X-101 (an Underground Resistance alter-ego back when Mad Mike and Mills had more in common with Nordic hardcore than you might imagine) and Suburban Knight's 1990 classic "The Art of Stalking" (whose twitchy trepidation inspired the Mover trilogy "Frontal Sickness", "Frontal Sickness Part 2" and Final Sickness). Other, less reknowned sources for Acardipane's doomier-than-thou sound-and-vision include Belgian proto-gabba outfits like 80 Aum and forgotten rave unit The Mackenzie.
As Kodwo Eshun points out in his book More Brilliant Than The Sun, techno's avoidance of tradpop iconography and its lack of lyrics mean that "peripheral" elements--alter-ego names, track titles, cover imagery, logos, slogans printed on the label or etched into the run-out vinyl--become crucial. PCP releases are as rich in esoterrorist clues and audio-visual triggers as Underground Resistance's ongoing self-mythology. PCP have some of the best artist names and song titles around:
Terrorists's "Prayers of Our Clan," The Mover's "Comet's Swarm Rising" and "Nightflight (nonstop to kaos)", Reign's "The Zombie-Leader Is Approachin'"
EP, Turbulence's "Bass Gladiators", Dr. Macabre's "Dimension of the Doomed", Alien Christ's "The Art of Shredding". The name Renegade Legion makes you think of Kurtz's battalion gone AWOL in the Vietnamese jungle, pursuing unorthdox methods to the mortification of the US military establishment. The Mover alter-ego Mescalinum United manages to simultaneously evoke psychedelic delirium and barmy armies of soccer-thug berserkers. On the visual tip, the logo for Dance Ecstasy 2001 is an
ectoplasmic energy-shape that could be an alien lifeform which insinuates itself into your nervous system and gradually takes control, or the brain-virus incarnation of the "mentasm" sound itself.
"Imagine surveying earth after nuclear destruction and enjoying what you see, that's how it feels when you listen to it."
Marc Acardipane, talking to Alien Underground.
In his Mescalinum United guise, Acardipane has recorded some of his most experimental work. The Mescalinum trilogy of "Symphonies of Steel" EPs escalate from the Die Krupps/Neubauten clangour of "Part One" to the Merzbow-like gabba concrete cacophony of "Part 3". In between came "Jupiter Pulse", the B-Side of "Symphonies of Steel: The Second Level"--a foray into what Acardipane has called "sick ambient," a beat-less deathscape of noxious fumes and aftermath atmospherics. If most PCP music
has a militaristic feel, a blitzkrieg surge towards wargasmic release, "Jupiter Pulse" is the sound of post-coital/post-catastrophic tristesse. Perhaps frustrated by the lack of recognition garnered by his detours into isolationist abstraction (which certainly bear comparison with, say, Porter Ricks or the superb new Plastikman album Consumed), Acardipane's new label Adrenacrome is devoted to experimental electronica. The metallic, glossily reflective sleeves break with gabba's traditional iconography of horror-movie grotesquerie and are more suggestive of a trendy minimalist techno imprint. Ironically, and despite the promising name ("adrenachrome" is a mythical adrenalin-based drug mentioned in Fear and Loathing In Las Vegas that reputedly feels like being plugged into a million-volt socket), Acardipane's first 8 track EP via the label is far less interesting than his gabba-affiliated output.
Yearnings for credibility aside, Acardipane knows which side his bread is buttered. I doubt that he'll ever renounce the populist pull of the hardcore market. His latest Marshall Masters release "I Like It Loud" is a joyfully cretinized stomp of gabba volksmusik with a melody-riff that sounds like the Oompah-Loompahs's song in Charlie and the Chocolate Factory. And in the sleevenotes to Marc Acardipane--Best 1989-97, he bigs up the Rotterdam massive with a matey "to all you dutch gabbers, nuff respect and stay hard-core for the year 2017."
Despite occasional stabs at electro-style jittery rhythm-programming (Mescalinum United's "Vs Evil") and breakbeat science (from 1992's Spiritual Combat EP to his jokey jungle-meets-classical novelty record released as Beethoven), Acardipane has mostly stuck with the monolithic four-to-the-floor kick drum. Gabba's "funklessness" may be the ultimate barrier to Acardipane's rehabilitation and recognition by the techno cognoscenti. Gabba's piledriver pummel is unrelenting and monotonous, but it doesn't have to be braindead. PCP's punisher-beats are
cunningly inflected, alternating between saturated intensity and stripped-down severity. Above all, creativity comes into play with the timbral density of the kick itself: how thick, how wide, how voluptuously concussive each cranium-denting impact can be. When gabba fans groan the chant "need a bass!", they're not actually talking about bass in the conventional sense, but rather the trampoline-like boinggg of the smearily distorted kickdrum. Mover and his PCP comrades have created symphonies in four-to-the-floor like Tilt!'s "Pitch-Hiker" and Miro's "Bass Drum Elevation", multi-tiered architectures constructed out of just kicks, claps and hi-hats, plus the halo of reverb and the gated crispness of attack. What this music offers is a different kind of rhythmic compulsion to funk's syncopated grooves: a white-line fervour of tunnel-vision fixation. Jonathan "Roadrunner" Richman and Neu! would understand.
Anyway, as a musical attribute, "funk" is just the tiniest bit over-rated, don't you think? Whenever a dance genre starts pining for a return to "da funk", it's a sure sign of encroaching debility. Detroit-pietist UK techno started to become irrevelant round about the time producers began prattling about "phunk", while drum & bass's current two-step-and-acridly-convoluted-bassline stagnation is accompanied by
similar funkster rhetoric. You can hear the same kind of talk from 1998's most ludicrous micro-genre--"nu skool breaks" aka "subfunk"--which is basically "intelligent big beat", big beat with all the fun taken out of it.
All these scenes began as anti-cheese manoeuvres by hipsters hoping to alienate the rave audience. What I love about PCP and the Mover's work is that they're not scared to risk being corny: along with the exquisitely nuanced textures, there's always a big fat hook for the ravefloor massive. Jungle lost its common touch last year, its last gasp of cheesy-quaver-ness being Doc Scott's "Shadow Boxing", with its almost comically doomladen riff (a sort of cosmic scowl). Here's hoping that Marc Acardipane never loses his flair for the all-conquering, avant-lumpen cliche.
Marc Acardipane classics
The Mover -- Frontal Sickness
--Frontal Sickness Pt 2
Mescalinum United --We Have Arrived
--Symphonies of Steel, Pt 1
--Symphonies of Steel: The Second Level
--Symphonies of steel, Part 3
Alien Christ --Of Suns and Moons (Phase II)
Inferno Bros. --Slaves To the Rave (First Rave Age Mix)
Pilldriver/Tilt! --Apocalypse Never/Hell-E-Copter
The Mover & Rave Creator --Atmos-Fear
Marshall Masters --Stereo Murder
Trip Commando --Energy Tanks
--3rd Trip Phase (from Temple Tunes Volume 1)
Cypher -- Doomed Bunkerloops EP
PCP/Dance Ecstasy 2001/Cold Rush/Powerplant classics
Project AE --Whales Alive
Renegade Legion --Torsion/Dark Forces
Reign --Chapter II: the Zombie-Leader Is Approachin'
Miro --Blue Sun/Bass Drum Elevation
Dr Macabre --Voodoo Nightmare from Ghost Stories:
Hypnotizer/Oliver Chesler --Superpower (Things To Come Records)
Bigger, Bolder, Better (CNR)
Marc Acardipane--Best of 1989-98
Frankfurt Trax, Vol 1 -- 5 (PCP)
vintage 1995 interview with the Mover from Alien Underground zine
from May 1993 issue of iD (the Europe issue)