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Released
1993

Label
Red Rhino Europe/
Epic

Reviewed by
Michael C.Lund

Contact
Transmission 242
BP 1613
B1000 Brussels

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Last Edit/Update
01 February, 1998

Front 242

06:21:03:11  UP EVIL

                   
Track Listing

  1. Crapage
  2. Waste
  3. Skin
  4. Motion
  5. Religion
  6. Stratoscape
  7. Hymn
  8. Fuel
  9. Melt
10. Flag
11. Mutilate
12. (S)Crapage
13. Religion (Pussy Whipped Mix)

          The two CDs -- 06:21:03:11 Up Evil and 05:22:09:12 Off --released a couple of months apart in 1993 by Front 242 not only differ considerably from each other in sound, they are in fact all but unrecognizable from Front 242's past releases. The 13 tracks on Up Evil are characterized by an extremely rich and saturated soundpicture. The percussion element is still pronounced, but the rhythm patterns are far less predictable than in the past, and, are often almost drowned out by the wash of other sounds. As a tip of the hat to Ministry and Nine Inch Nails, treated and distorted guitars are used for the first time by Front 242, adding extra layers of sonic texture to the chaos engine. The voices of De Meyer and Richard 23 too have been manipulated on many of the tracks, and yet it is in the vocals that the old Front 242 still shines through, obliquely.
          As with all of Front 242's releases, Up Evil has a strong thematic unity and consistent sound. Taken together Off and Up Evil explore the duality of good and evil, with Up Evil representing evil. Everything on the CD, from the cover image of a computer satan to the frantic and ominous sound mentioned above, reflects the qualities of chaos and evil.
          Among the most compelling and successful tracks is the opening piece -- "Crapage" -- which takes the 'sound overload' style of this CD to its extreme. At the other end of the album, "(S)Crapage" is a welcome second serving of the same, without vocals. On the other songs -- "Waste," "Skin," "Hymn," "Melt" and "Mutilate" -- the densely layered, but still fluid qualities of "Crapage," are to a higher degree structured and arranged. The tapestry of synth harmonizes, effects and treated guitars are molded into highly melodic shapes that create an aural impression as of the soughing of the wind, or rushing of water.
          The closing track of the CD is a remix of the single cut "Religion," which in itself is one of the less interesting tracks on the CD. However, Jim Thirlwell's noisy, inverted deconstruction of the original is a very original and justified reworking, although Front 242 almost desappears in the process, and the effort may not be appreciated by Front 242 purists.
          The almost complete redefinition of their musical concept, is a bold decision by Front 242 to take themselves in a new direction. It is a drastic step -- bound to offend some of the band's older fans -- yet, it is a largely successful effort. The music retains the heavy physical dance appeal that has been Front 242's trademark for more than a decade, and the introduction of more layering and melodic qualities in their compositions make for a sound that in the end is more listener friendly.

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