Label: Ici D'ailleurs Release date: 08/11/10 Buy: Amazon Much of the Bristol music scene has been overlooked thanks to the likes of Massive Attack, Portishead and Tricky... During the 1990’s, Bristol was something of a hub for experimental musicians including the psych-noise-rockers, Flying Saucer Attack and The Third Eye Foundation. TFE is the musician Matt Elliot who has been active since the early 90’s, initially playing in related bands like Linda’s Strange Vacation (named after the erotic Montparnasse novel) and the previously mentioned Flying Saucer Attack. The interesting thing about Elliot though is that his music is very much based on drum and bass. It’s odd to think of someone involved with ‘post-rock’ getting involved with that movement, but funnily enough Graham Sutton of Bark Psychosis also ditched the whole avant-garde/indie rock sound in order to make drum and bass music as Boymerang. Anyway, his music is generally quite dark sounding; as you may have guessed from the album’s title. I imagine he’s quite into industrial groups like Throbbing Gristle and other noisy stuff. The album states its modern-classical elements from the very first note heard on the album; a pondering sounding piano and a split second of choral voices before the electronic beats kick in. ‘Anhedonia’ builds up, the bassy percussion getting louder and louder; more and more elements being integrated, from glitches to dubby percussion. Eventually, the voices dominate the track giving it something of an ‘epic’ sound before fading into the next track; ‘Standard Deviation’. This track is somewhat reminiscent of dubstep artists of the darker ilk, such as Burial with the wob-wob-wob bass and claps, whilst keeping some of the same features of the previous track. It’s evident that the album is basically just one song with several movements, ‘Pareidolia’ speeding up that dubby bass riff as a typical drum and bass loop is subtly integrated into it. I’ll tell you one thing; this guy is one hell of a producer (as backed up by his work with artists such as Thurston Moore and Mogwai). The next track, ‘Closure’ adds an elegant string section which contrasts the earlier songs that had a feeling of paranoia. Electronic hisses lie underneath however, sounding somewhat like screaming... The drum programming gets more and more manic until the percussion slowly disappears, being replaced with what sounds like an old 1930’s film soundtrack sample with its thick sounding nostalgia. The final track with the urgent title ‘If You Treat Us Like Terrorists, We Will Become Terrorists’ sounds slightly like a grime-instrumental until the typical drum and bass percussion comes in. It does sound like something of an afterthought due to its lack of flow with the previous track and its much shorter length (4 minutes as opposed to 7+ minutes), but it’s no bad thing and definitely kicks off the album with a bang. The only problem with this album is that... well... Elliot’s last album under this alias was in 2001, but this album sounds awfully similar. I mean, I was still using coloured cubes to count in 2001; you’d think maybe he’d do something a little differently. But despite this, it’s a well done album and achieves its sinister urban/classical sound... Apt for the British government’s increasingly fascist behaviour. Photobucket