Friday, January 2, 2009


Hello frends! I can't be bothered to come up witha n new post right now cas i am sick. Please to be enjoying this classic post from February 22nd 1999!

yours trulii
eb edereoty

C-TecdarkerWax Trax!/TVT Records (Cat. No. TVT7252-2)1657 N. Damon Ave.Chicago, IL

Certainly one goes into listening to any new project with Jean-Luc (Front 242) DeMeyer with certain expectations. Where I would have simply listened to and immediately forgotten darker had it been by anyone else, I could not do so with DeMeyer involved. I kept trying to like it, but after numerous attempts I am afraid I cannot.

C-Tec is DeMeyer teaming up with Cubanate's Marc Heal and Ged Denton. I have heard some of Cubanate and, though it wasn't my favorite, I thought it was some of the better of the new generation EBM. As for 242 and DeMeyer, I have long enjoyed their efforts. Sure the last few albums have not been as good as the earlier ones, they still have enough excellent work under their belts for me to qualify both 242 and DeMeyer masters of the genre. So what goes wrong on this album? Why does C-Tec fail?

Their failure can be associated to one single flaw. The structure is not complex enough. Most of the tracks revolve around one single loop of which is built on throughout the track. The basic structure never changes it only mutates. This is the same structure that the lesser techno bands employ and it is one of the major reasons that I have never taken a fancy to techno in general. Also, like techno, the music itself is based around beats primarily and most of the songs have no major keyboard part. The keyboard sounds are generally limited to the sort of bleeps and blurps standard to techno. The tracks that appealed to me most on the album ("the lost" and "stateless") are the two exceptions to this rule. However they, more than some of the other tracks, fall victim to the single loop syndrome that I mention earlier. The other two tracks I actually enjoyed off of this album were "random" (the opening track) and "silent voices". "Random" works because the beats are frantic and change regularly and because DeMeyer's chorus vocals actually work as a chorus where in much of the rest of the album it appears he's singing along to something that isn't there. "Silent Voices" I liked because it took the opposite route. It gives minimalism and no real chorus and despite the lyrics are not that strong the piece is rather haunting on a whole.

The lyrics on the album range from fine to decent. Nothing great, but nothing terrible either. But that is nothing new for DeMeyer, I have always liked his voice better than his vocals. On prime 242 the lyrics worked because they were oblique and more a part of the song than the whole of the song. As the lyrics became more obvious in their meaning they became less interesting. I suppose it is the constant, almost chirpy optimism and spiritual nature of the lyrics that I don't care for. His voice on this album is quite nice though. I only wish that he had sung along with the songs more often.

The rest of the album is pretty forgettable. Sure, "flowing" is nice enough for the dance floor, but it isn't so interesting for home listening. "Epitaph" uses a poem by the same name by Dorothy Parker for the lyrics. They seem out of place amongst the music and Jean-Luc seems a tad unsure in their use. "Shift IV" uses a combination of heavy guitar and drum and bass that makes the track sound like a weak outtake from a Hellsau session with DeMeyer's voice.

In looking over the review and listening to the album again, part of me wonders if I have been too harsh simply because I had such high expectations from DeMeyer. In the hope that I have been too harsh I do not plan to sell it yet, though I suspect it will sit in my small pile of CDs for a while before I pick it up again. Perhaps if you are a bigger fan of techno structure you will enjoy the album more than I.


Jean-Luc DeMeyer said...

Fuck you motherfucker!

Roger Epert said...

Two thumbs WAY down on this blog entry buddy. said...

Im storming the dance floor right now!

twin shitties darksider said...

Thanks for the review, based on your advice I have decided NOT to pick up this album circa 1999. Very helpful!

Icepick_Messiah said...

This thing came in today about noon or so. Three hours and three complete spins later, I am fully assured that this is indeed the best record of the whole Goddamned millenium.

Every aspect of this album is fucking perfect. Everything that made Front 242 and Cubanate great is present and in full form. Every track rips my soul to pieces and builds it anew. Each and every note and tone sends shivers down my spine, then caresses it like a mother would a child... then bludgeons it with a hammer.

Jesus H. Christ.

To say this album is great is selling it short. This album is everything I dreamed it would be, and then some. We're talking exponentially, infinitely, unreasonably awesome in every concievable manner.


I said GODDAMN, man!

If any of you fuckers haven't listened to this yet, then you haven't lived.

Get it.


"I only want you when you touch yourself."

Doug Brod (editor SPIN Magazine) said...

Eddie, your old writing style was so great, would you like to write music reviews for our magazine?

Miss Kettlewell said...

The boys and girls at the Children's Talent Education Center are simply devastated by your review! Please issue an apology immediately!

Coke Fiend said...

This supposedly "classic" entry tastes more like "New Coke".