¥773 marching dynamics. the workers party of haiti. cd. february2k9
|ability to distance||*.mp3|
|the apparition speaks||*.mp3|
|confederate (elementals' soul fire) remix edit||*.mp3|
|29° (marching dynamics vs. tonikom)||*.mp3|
|doorbells in amsterdam||*.mp3|
|the spoor of the wolf in the wet earth||*.mp3|
|eschelons (the ninth life)||*.mp3|
"what about darkness..?"
it was worth waiting more than a year for the second aural manifestation of s.talada's darker self. m.d.'s unique mix of intelligent dance music, dark experimental sound layers and technoid beat'n'bass patterns enthused a large audience worldwide on the previous nailsleeper release. now it's the time for the workers party of haiti to take over...
music as diverse as moody atmospheric dark ambient tunes, slow
hop-beat-driven sub-bass monsters and fast dance tracks built upon hard
hitting breaks. this album displays talada's ability to merge all these
styles into one instead of simply stringing them together. crisp percussion blasts meet soundtrackish synth lines while aggravating your somatic responses - distortion from detroit meets with los(t) angeles
industrial gloom - dark complexity amalgamates with rhythmic intensity...
"the workers party of haiti was my own exorcism from the demon that surrounded me and that was haunting me." (s.talada) - join the exorcism!
a review in russian language can be found on the machinist's webpage:
‘what about darkness?’ is being asked in the first track ‘going under’ of this new marching dynamics album. this is answered on the workers party of haiti in a rich palette of sounds and musical influences that have been used in the music of marching dynamics. dub and ambient, industrial, downtempo and idm, it all passes by. the music of marching dynamics this time is experimental and dark in all facets and this gives a whole different sphere to the workers party of haiti compared to the previous album nailsleeper. heavy basses drenched in dub, layers of synthesizer that sound like a soundtrack to a non-existing movie, processed industrial sounds and fast breakbeats are featured in a great deal of the tracks on this adventurous album filled with electronic music. the breaks are heavy at times and as such this album is danceable although it surely is not your average accessible dance record. the highlight on this album with regards to the dance factor is the track ‘the spoor of the wolf in the wet earth’. shane talada has again achieved in making a quite enjoyable and especially adventurous album. (teknoir)
s. talada is the man behind “marching dynamics”, a musician who owns a special gift to express himself with his music. his new album called “the workers party of haiti“ is a journey into the darkest corners of his soul, accompanied by a soundtrack deeply out of this artist’s clean soul. merging industrial, idm. techno, dubstep and his own personal intelligent musical style together to something big, he proves that he travelled the seven seas of music. deep and deeper you get drowned into an agreeable nightmare of sounds. his ability to merge different musical genres together to something special, that doesn’t sound jointed, is unique. you try to find the boundaries of the different styles, but you won’t be able to find them, everything’s in the right place. this music is like a mirror, you will find thousands of hints to your own musical socialisation – and a thousand hints to your fears and darkest inner self. a masterpiece – that will clean your dark soul! perfect, a must have album.
obwohl marching dynamics eines der vielen kinder von shane talada ist, brauchte es nur ein wenig mehr als ein jahr, bis das zweite album des projekts erschienen ist. vorgänger- und nachfolger-album ähneln sich in ihrer art, verschiedenste elektronische musik zu kombinieren, ideen auszureizen, wieder fallen zu lassen und vor allem ständig neue zu generieren. doch es gibt auch große unterschiede. im gegensatz zu "nailsleeper" ist das neue album "the workers party of haiti" ungleich düsterer ausgefallen. das erstaunliche daran ist, dass marching dynamics dafür keine bedrohlichen melodien benötigt oder das tempo der songs verlangsamen muss. vielmehr legt shane talada bei den beats noch nach. trommeln und heftiger bass sind sogar elementare bestandteile. dub-ähnlich wabern manche sounds regelrecht durch die songs. klavier und streicher kommen ebenso wie samples zum zug, genauso wie die leicht verzerrte, furchtbar melancholische trompete in "situations vacant". geradezu genial ist die kombination von orientalisch klingenden flöten, bass und soundtrack-artigen soundschnipseln in "doorbells in amsterdam". also kein album zum fürchten, aber eins mit einem unheilschwangeren gemüt. die songs haben allesamt etwas sehr organisches und kochen regelrecht unterschwellig. das album wirkt atmosphärisch sehr dicht und ein wenig entrückt. anfänglich klingt es vielleicht nicht ganz so eingängig, wird aber mit jedem hören besser und besser, bis man es gar nicht mehr aus dem kopf bekommt. das und das düstere gesamtbild machen "the workers party of haiti" zu einem wahrlich erstaunlichen album, das ruhig noch etwas düsterer hätte sein dürfen.
vital weekly + earlabs
"the workers party of haiti" is the follow-up to the awesome debut "nailsleepeer" from the l.a.-based composer shane talada. "the workers party of haiti" continues the style of "nailsleeper" with a hypnotic mixture of moody ambient-techno, breakbeats and a few moments of industrial interventions. the name marching dynamics neatly describes the ability of the composer to create on-going almost militant-like rhythm textures that in combintation with the tribal atmospheres makes the album an excellent club-album. best moments on the album comes with the two atmospheric technoid tracks "ability to distance" and "the apparition speaks", but also the dub-reggae meets distorted bass drones-track "confederate". another excellent moment (so many of them!) is the joint venture with label-mate tonikom on the track "29" - a minimalist piece with tribal beat-textures and droney ambient-scapes swirling in the background accompanied by distant spoken words. brilliant follow-up from marching dynamics. (nm)
dans le petit monde de l'industrial dance music nouvelle génération, certains noms reviennent en permanence et sont souvent associés les uns aux autres. une famille semble s'être trouvée, allant parfois jusqu'à partager le même label ; c'est par exemple le cas de marching dynamics et de tonikom, tous deux signés sur hymen. on pourrait ajouter ad.ver.sary, urusaï, polyfuse, subheim et quelques autres, dont les productions impeccables sont désormais assignées à résidence dans nos baladeurs et disques durs. le second opus de marching dynamics s'inscrit dans une démarche consensuelle que tous les artistes ci-dessus semblent suivre, chacun possédant son propre son que les autres peuvent emprunter sous la forme exclusive d'une collaboration, soit par l'intermédiaire de titres communs (les fameux "vs"), soit par remixes interposés. l'américain shane talada nous offre une suite à "nailsleeper" (2007) avec "the workers party of haiti", dont on remarquera immédiatement la marque de fabrique : une palette sonore reconnaissable depuis le premier album, des rythmes aussi précis que des coups de scalpel, un son ample et extrêmement riche en samples télescopés, et un sens du détail conférant à chaque morceau un petit quelque chose d'unique, comme ces notes de piano et de trompette sur situations vacant. ce second album est bien évidemment plus que recommandé, il est indispensable. quant à ceux qui ne possèdent pas encore "bone music" d' ad•ver•sary -sorti l'an dernier-, ils n'ont plus aucune excuse puisqu'il est désormais disponible gratuitement sur le site officiel du canadien ici. (bertrand hamonou)
i believe in mental telepathy and i also believe that if you listen to this album at night, before bed, there is a good chance you will have nightmares. much like their previous release nailsleeper, the workers party of haiti is full of darkness, but the major difference is the step away from ambient and into dance. although this is not by any means a techno dance party album, it is just friendlier to the dance floor. this is quite evident with “confederate (elementals’ soul fire) remix edit”; a fast paced, dark breaks track. “the spoor of the wolf in the wet earth” is a nice, dark stomper running around 112 bpms. the last track, “eschelons (the ninth life)”, has complex rhythmic patterns that grab hold and command all of your attention from beginning to the very end, and is a very nice way to finish out the album. throughout this album, you will find deep heavy bass laying the foundation for the layers of synths, acids, samples, and other various sounds that all flow together to make something special. the workers party of haiti is a wonderful trip as a whole, and if you decide to pick and chose you will still be full of yummy enjoyment. i recommend blasting this in a car with a pair of subwoofers; 12” minimum. if this is not an option, then you need to get somewhere where the punches hit hard and the droning bass shakes your inner core. the shower radio will not cut it. (mike kieffer)
a shade from tiki culture is back to life to the music scene with an altered mind state scenario as background, the drums are chanting its hypnotizing cadence and a strange aura starts to surround all the things around, the 21sth century is possessed by electronic voodoo. a mysterious magic is in the air, its name is marching dynamics and an overly bizarre title as “the workers party of haiti” constitutes their newest album after their overly praised “nailsleeper” on the charming hymen records from germany. a distinctive change of direction is present in this work, so radically that it makes look the band as a different one. there are not enough adjectives to qualify this ultra original and overly bizarre album from this american outfit. their supremely crafted version on idm with tribal rhythms laced in ambient are really suggestive not to mention delirious in a way, constituting a recipe that will be completely seductive for the listener. there is music that in the first few chords blows you away; this is one of those albums where you can immediately anticipate the big thing coming and you wait for it with a big smile. the level of elaboration and the uncanny atmospheric structures evaporates any slight accent of common grounds or copycat-ism at once, leaving the listener begging for what comes next every second. contrived electronica with a profound sense for atmosphere and a well developed skeleton of rhythmic chops, these two aspects will sustain a very balanced aural presentation where the psychedelic mystery imposed by the devised ambient part will combine with the extremely modernized dynamics of rhythmic tribalism combined with industrial conceptions and resulting in a full complex conformation charging with the adrenaline of a ritual experience over the listener. there is something definitively ritualistic inside this work, some kind of evocation of a shamanic practice and psychotropics, the cover artwork is somehow instructive in this regard. musically dissected, “the workers party of haiti” has a solid reference into dubstep tendencies with the dub part capitalized effectively on the strong bass lines that equally solidify the rhythmic core and the moody atmosphere. sub bass modulations are delivered across the tracks competing with the atmospheric lines congregated through synths and layers mainly used in pursuit of creating throbbing cadence during most of the work, this gut reverberant frequency constitutes an authentic dub veneration with extremely good results. aside from this aspect a great variety of effects come in during each track conforming a very varied and moody style for the whole development of the work: organic sequences made of unrecognizable sound source, analog loops, tiny sampler additions that form an amalgam of often coil-esque figures and illusions that compete with the bizarre rhythmic additions condescending with tribal to crazy breaks to downtempo and often aimlessly changing from one to another while preserving a defined tempo to maintain a rhythmic line. additionally the work manifests two sides. first half of the work comprehended from track 2 to 7 shows a particular incidence from the characteristically dubstep influence that defines the core from marching dynamics but with a tendency towards industrial pace noticeable in the tempo given to the rhythmic structure. although the rhythmic section preserves an organic and often progressive dynamic, changing between rhythm qualities and genres even, but the tempo is often solidified corresponding to a monotonic sequence so correlated with industrial music. now the last half commencing with “wrong volt” dedicatedly steps into a defined tribalism. intense piercing tribal rhythms rise amidst the break beats and correlated sequences, creating an unnatural and surrealistic landscape of moving sonorities and bizarre visuals where sampler based melodies take a special connotation to recreate exotic atmosphere. to ponder amongst the qualified highlights from this album are the songs: “situations vacant” introducing an obscure jazz feeling with angelo badalamenti reminiscences, pretty moody piece, lacking the hectic rhythm phase that prevailed beforehand. “doorbells in amsterdam” is a very tribal trance track with heavy influx from eastern moods, chaotically exploited with twisted bass lines that mix amidst a sweet indian flute. and the remarkable “wrong volt” probably the more tribal piece full of vertiginous rhythms to infest the dance floor while leaving time for the magic that comes from the weird atmospheric-analog based effects. in general the sound from the work is overly brilliant, perhaps trying to bring an hyper real kind of sonority, but aside from bringing an over polished and refined texture to the body sound creates a malicious side effect, making the hi-hat comes in almost hurtful high frequencies when listening loud or with headphones, nevertheless this effect is kind of understandable from a mix perspective as it does juxtapose to the often thick bass textures that prevail during the work. marching dynamics has conformed to this album a complex transition of diverse genres with an appropriate and exquisite electronic dynamic, from hectic rhythm morphology to complex atmospheric suites. surely a work that will give a lot to talk about. recommended. (jack the ripper)
american composer don hill has been exploring darker territories of ambient under the name porteur de l'image ovet the years. now the chicago-based artist has released a debut album under the alternative name millipede. compared to the explorations of aforementioned porteur de l'image, don hill as millipede circulates in more beat-driven sound worlds with rhyhtm structures that spans from idm-textures to more discreet pulses of clicking pulses. the overall style still points towards the ambient scene, yet the soundscapes isn't dark or threatening. the strength of milipede is the artists ability of creating deep otherworldy ambience, that sometimes moves into harsher expressions not far away from idm-legends gridlock. anyone interested in gridlock or ambient-driven idm should definitely check this work out. music to dive deeply into. mesmerising! (nm)
it’s astonishing to think that this is a debut album; it’s pure bliss that something comes along like this out of the blue and has the ability to floor me. ‘all my best intentions’ is an incredible fusion of beat driven ambience, electronic wizardry, melancholy and soundtrack driven magic that barely clings to and is so much more than the straight idm moniker that this will be tagged with. opener ‘endless’ kicks things off with a mass of complex rhythms and eastern vocal samples that add a touch of the arcane to the proceedings that match the likes of some of ‘square meter’s work, but it melds perfectly into the mix without overstating itself and like so much of this album isn’t a path that’s crossed again later on; this is the beauty with millipede, whilst there is a certain underlying style that glues this album together you never get the feeling he is repeating himself. chicago’s don hill has a history in dark ambient circles and whilst i expected to hear this, it is only used as a light foundation to the album that occasionally creeps through and adds those black moments that help evolve his simply beautiful pad work into glorious uplifting rays of light, more akin to acts such as ‘desiderii marginis’ for the aficionados out there. where he really lets himself shine is by being more imaginative than many other acts; ‘reoccurring themes in the artists work’ being a fine example of mixing the electronic with the organic as the light guitars hit you with a wash of what feels like a welcome summers afternoon rainstorm. ‘gridlock’ fans should welcome the utterly phenomenal ’30,000’, one of the albums highlights; i repeated this track a few times when i first heard it. it’s a fantastic array of plastic beats with simple but well orchestrated synth work that captures the heart and drags the listener on a journey; it’s infectious, hypnotic and frankly staggering when the volume is cranked up. on reflection there isn’t anything negative i can say about this release at all. i am flabbergasted, impressed and take my hat off to hill for what is for me one of the best debut albums i have heard in ages as it strays near to perfection, and i am sure will be revered as a mini classic in its own right in years to come; awesome. (tony young)
a review in russian language can be found on the machinist's webpage:
derrière le projet marching dynamics se cache s. talada, activiste américain sur la scène électronique depuis plus de 20 ans. déjà auteur d'un naislepper plus que prometteur, la marche dynamique nous envoie aujourd'hui une énorme baffe en plein dans les tympans. au croisement de l'electro-indus et des sonorités minimales et triturées de detroit, la musique de marching dynamics est comparable à une rencontre improbable entre mouse on mars, skinny puppy et future sound of london. et tout cela avec les moyens technologiques de la fin des années 2000... des nappes dark ambient abyssales rencontrent des bleeps technoïdes et des rythmiques syncopées. déstructuration, aspiration et superpositions sonores sont au menu de cette musique électronique violemment torturée. le résultat est magnifiquement cauchemardesque. pour ne pas faire fuir les plus frileux, je dirais que l'écoute de ce disque est éprouvante mais pas indigeste pour deux ronds, quelques titres plus calmes permettent de reprendre ces esprits (particulièrement le sublime simulations vacant). malgé les lignes précédentes, cet album est tout à fait cohérent et parfaitement accessible aux néophytes. les épileptiques peuvent en revanche s'abstenir. je m'imagine en fin de nuit au festival de dour, assistant à un live la mâchoire serrée. il n'est pas nécessaire d'en dire plus... p.s : ceux qui captent le lien antre le titre de l'album et la musique peuvent satisfaire ma curiosité en ajoutant un commentaire ou en m'envoyant un mail. (ed loxapac)
this of course has nothing to do with the latest earthquake tragedy happened some weeks before - it rather belongs once again on me, that i write quite late a review on it. whatever a workers party on haiti has to do with shane talada’s newest efforts, remains to be an unsolved riddle, but however, mr. talada’s work can be called valuable and it is a secret tip to those out there, missing an extra-ordinary and modern sounding idm/electronica/powernoise release. it wonders me once again, what kind of wise calculating electronica-musician shane has become throughout the years. marching dynamics has nothing to do with that angry industrial-outfit and unfortunately too early gone us-coldwave act s.t.g., as he was a member of them. this album impresses with its integrated diversity, which got expressed through genre-bending drum patterns layered and sorted to each other. if he then programs additionally cold and ominous synthesizer sweep-sounds as it best presented on 3 or 4, the listener falls into euphoric impression of this cinematic-like sound design. may the cult act gridlock has to be named as possible comparison especially to these both tunes and for some of other ideas as well, but to me that isn’t a bad reference. marching dynamics offer once again a top-notch electronica album by following the tradition of his previous album ”nailsleeper” (marc tater)
nailsleeper. cd. hymen records ¥762
the workers party of haiti. cd. hymen records ¥773