Released
1998
Label
Possible/Invisible
Reviewed by
Michael C. Lund
Contact
Possible Records
Unit 28
Birmingham Business Centre
31 Mount Street Nechells
Birmingham B7 SRD
UK
Visit
Last Edit/Update
28 March, 1998
Various Artists
SONICS EVERYWHERE
Track Listing
Disc 1:
1. PCM -- Year Zero
2. Scorn -- In For
3. Scorn -- Every Bit Of
4. SIMM -- Nowhere
5. Jupiter Crew -- Heads Of Children
6. Ambush -- Tracking
7. Quoit -- Stir
8. Ambush -- Inside Out
9. Interceptor -- Last Bad Trip
Disc 2:
1. PCM -- In the Cooler
2. Scorn -- Noticed
3. Scorn -- Off
4. SIMM -- These Days (Floating Mix)
5. Jupiter Crew -- Rhino Charged
6. Ambush -- To Seek
7. Quoit -- Torn Up
8. Ambush -- Detachment
9. Interceptor -- Slowly Dying
Founded by Mick Harris, Possible
Records is a Birmingham-based label specializing in releasing
"breakbeat" 12"s -- trancy music relying dominantly on drums and bass. The
double-CD Sonics Everywhere compiles material originally recorded in 1996/7, and is
released for the first time in the US by Invisible at single CD price.
Aside from tracks by Mick Harris' own project Scorn, the set
also contains music by Jim Plotkin's Jupiter Crew, Eraldo
Bernocchi's Interceptor, as well as PCM, SIMM,
Ambush and Quoit. Harris has described Possible
as "[a]n open label with an open mind, an array of sound and color." Be that as
it may, the music on Sonics Everywhere does have a very consistent sound. There are
slight variations between the tracks by the various artists featured on the compilation,
but Possible (at least as represented on this release) has a very
recognizable sound.
The four tracks by Scorn
are strongly reminiscent of the later Scorn albums Logghi Barogghi
and Whine. Harris displays his superb percussions over a background of
groaning bass grooves. Sound effects ranging from piercing, drilling pulses to stuttering,
reverbed samples cut or sail through the dense walls of drone. Further in the distance of
the music, subtle harmonic textures course along, adding a melodic element to Scorn's
selections that is largely absent on the rest of the material on Sonics Everywhere.
Ambush is also
represented by four tracks, and appear to have been more dynamically mixed than any of the
other projects, making one jump out of the seat, especially as "Tracking" kicks
in. On a couple of the pieces, the bass is comparatively subdued, but on "Inside
Out" it is extremely dominant. The driving acoustic percussions, however, are the
prominent presence on all of Ambush's cuts. The arrangements are minimal
even for this compilation, with only a few, sparse additional elements aside from the
rhythms and bass, and a sound that tends strongly towards the monotone.
The two tracks by PCM
have the strongest sense of development and variation of the set. "Year Zero"
incorporates a number of effect sounds, and samples concerning the collapse of
civilization and order. The percussions are accelerated, and a foreboding bass theme
underscores the piece, which plays much like a soundtrack for an apocalyptic action
thriller. PCM's other track -- "In the Cooler" -- is more in
the general vein of the compilation, although an extended sequence of sampled alarms and
sirens opens the piece, and are used throughout the piece for texture.
While still relying heavily on
percussions and bass drone, the tracks by SIMM and Quoit
are generally a little more ambient in nature. Other instruments and elements play a
larger role in the compositions of these two projects. "These Days" by SIMM
especially stands out by the introduction of a virtuoso saxophone performance about
halfway through the piece, and both of Quoit's selections feature simple
progressions of chords looped over and over as musical backdrop.
Jupiter Crew
sports the highest bpm rate of the roster -- at times the percussions free-wheel along
with a jazzy attitude, at other times the machinegun beats are suddenly reversed and play
backwards. Plotkin's creations are some of the more textured on the compilation,
with distorted guitar harmonics and other thematic elements used consistently in
conjunction with the perennial deep bass chords.
Both CDs of the set are gracefully
closed by Interceptor. The beats of these songs are slower and more
soulful, and feature actual song (or, very extensive voice samples?) The backgrounds of
the songs are painted with occasional effect sounds, and high-pitched ringing sound waves
that add an element of unease to the otherwise warm compositions.
Sonics Everywhere is a big
mouthful to swallow in one sitting, unless one is a fanatic bass and drums addict. Most of
the tracks are very appealing when listened to individually, as one would have in their
original appearances on 12". However, lumped together on a double-CD, the tracks lose
some of their listening potential and integrity.