Artist: Eleven Tigers
Album: Clouds are Mountains
Genre: Electronic (Dubstep)
Label: Baked Goods
Year: 2010
Rating: 95%
URL: http://eleventigers.net/
Burial’s 2007 LP Untrue introduced many electronic music fans to Dubstep. Untrue’s potent combination of murky beats, bleak melodies mangled R&B vocal samples put a decidedly soulful spin on a genre that was otherwise migrating from its darker origins to a more rave/tweaker friendly sound. The problem was that once you got through Untrue and Burial’s less flashy self-titled debut, there was little else in the scene that sounded nearly as rich. Most popular dubstep tracks sound like lethargic remakes of the squelchy club music from Jersey Shore – fantastic to the clubbers tripping on Ketamine and distracting to just about anyone else.
Lithuanian producer Eleven Tigers breaks that mold authoritatively on his debut LP, Clouds are Mountains. While inspired by Untrue, Clouds are Mountains forgoes R&B and Garage mutations in favour of ambient pads and generous layers of IDM-style synth-work. Vocals are used sparingly and garbled to the point of sounding like Simlish. The songs flow seamlessly, engaging one other via crossfades of up to 40 seconds. The album is mixed like a well-planned DJ set and can be played from start to finish without a break in the action.
While the sum of Clouds are Mountains is indeed greater than its parts, there are still standout tracks. Songs for You plays like the lovechild of Dido and Burial, pulsing along at a slow dub-like speed lead by acoustic guitars before moving double time over ringing analogs. Atomic Turnip pays homage to the dub roots of dubstep with chest-tickling sub-basslines and a heavily reverberated organ. Thesis veers into vintage Prodigy territory, albeit with an IDM twist as three generations of grimy old school rave beats crunch against heavily altered speech loops and indescribable random noises that barely avoid chaos. Stableface easily boasts the greatest crossover appeal and dance floor potential, featuring chopped female vocals over several airy layers of pads and a driving drum beat. Even this track is complex, however, and like nearly all of the tunes on Clouds are Mountains, it constantly evolves.
Clouds are Mountains is easily one of the best albums of any genre that I’ve heard in the past decade. Numerous visitors to my house parties (whose musical tastes span from Alt-Rock to Hip Hop) seem to agree. Only dubstep scenesters may not bite since this album is closer to Boards of Canada than Rusko. However, anyone with an even passing interest in headphone-friendly electronic music would be well advised to check out this hidden gem.
And for Burial lovers … yes, this will tide you over for awhile.
Angina P’s sophomore release, Sensitive Files, dropped abruptly on May 30 and spares little time turning on the energy. “I break your beats” kicks off with a classic trance-style build up to a techy 2-step ruckus – complete with Amen break teasers. Of course, there are several layers of atmosphere behind the floor-friendly energy along with chilled out moments of reflection, as long-time listeners have come to expect. The energy soon fades into “Remember That”, a similarly energetic track containing something we are not used to – vocal samples (and naughty ones in this case). Angina P crafted “Sensitive Files” with equal parts aggression and finesse, weaving the experimental sound of her IDM-focused debut with proven club rhythms and vocal snippets.
Parker’s analogy summarizes the film’s premise: Barack Obama, like all U.S. presidents since JFK, is little more than an attractive empty suit who was promoted by the political “elites” to quell public anger over the direction of the Bush administration. The president’s role is largely ceremonial to pacify the masses while the real power is held by international bankers and non-elected bodies like the Federal Reserve and the mysterious Bildeberg Group. These non-elected bodies aim to consolidate their world power by precipitating a crisis (e.g. the recent failure of the banking system tied to sub-prime mortgages) that will coax the people into submitting more of their civil liberties to centralized powers in exchange for (perceived) security.
Perhaps most shockingly, the film alleges that Obama will in due time fall on his sword and take responsibility for the social upheaval resulting from this agenda. This virtual abdication will pave the way for the next Republican “saviour” who will court the American people as a renegade against socialism, all while perpetuating the agenda dictated by the “elites”.
The second phase of the movie features a long interview with John Perkins, author of “Confessions of an Economic Hitman”. Perkins outlines the role and evolution of the so-called economic hitman – a private or public sector agent who corrupts foreign leaders and economies to enable cheap access to national resources. Foreign leaders who do not comply with agents of the corrupting nation (typically from the West) are typically assassinated and replaced with a more “business-friendly” regime. Perkins cites the Iranian coup of 1953 and subsequent installation of the Shah as the first true economic hit while citing Iraqi dictator Saddam Hussein and Panamanian president Omar Torrijos Herrera (who signed the bill transferring the Panama Canal from American control) as examples of leaders who refused to be corrupted and were subsequently killed.
Focus returns to the monetary system, citing its inherent corruption as the primary reason why societies similar to that outlined by the Venus Project aren’t possible. After once again maligning the banking system as the root of all human woe, Zeitgeist Addendum offers a surprisingly practical list of what the average person can do to exploit the current financial chaos for social transformation. Among the suggested measures are divestment from America’s three largest banks, boycotting mainstream media sources in favour of independent news sources, avoiding military service (extra focus was placed on the effect of post-traumatic stress disorder on Gulf war veterans) and removing from the energy grid.
Zeigeist Addendum’s core message is somewhat contradictory. Firstly, the narrator suggests divesting from the three largest banks as a form of protest, but wouldn’t reinvesting those funds in alternative firms perpetuate the same fractional reserve system? All banks in a nation hold deposits with the same central bank – that’s why it’s a CENTRAL bank.
Off the Chain is a graphic hour-long documentary detailing the origin and evolution of both the dog breeds collectively referred to as “Pit Bull Terriers” and their human admirers. The film begins with a historical overview of the use of bulldogs for bull baiting, a popular form of British entertainment during the 18th and 19th centuries. Once England banned the practice, dog vs. dog fights were arranged and Bulldogs were subsequently bred with Terrier breeds to produce the Pit Bull family.
Fortunately, Off the Chain moves beyond the carnage to explore the fascination with and motivation for dog fighting. Most people correctly identify the macho aspect of Pit Bull ownership – having the baddest dog on the block can be good for street cred. However, money seems to be a greater motivator for dedicated breeders – American dog fighting events take place in remote or secluded areas, charging entries fees between $20 and $50. Owners have waged upwards of $500,000 on a single match (which can be as short as 5 minutes) while tournament-winning dogs can provide further revenue through breeding. Dog fighting is a billion dollar, worldwide industry with a mild level of social acceptance in Mexico, Japan and Italy. The latter nation’s matches can take place in an arena with a seated audience dressed as though they were attending an opera.
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