Meat Beat Manifesto - Storm the Studio R.M.X.S. 
Music Disc Reviews Audio CD
Written by Dan MacIntosh   
Tuesday, 21 October 2003

Storm the Studio R.M.X.S.,
Tino Corp, 2003
| Performance 7 | Sound 8 |

Jack Dangers and Jonny Stephens, the primary members of Meat Beat Manifesto, are given the remix treatment here with mixed (or shall we say re-mixed?) results, and variety certainly rules the day. For example, variations of the song “God O.D.” is experimented with on five separate occasions for this disc, yet it never sounds the same twice.

This recorded overdose of “God O.D” starts with the “(Eight Ways to O.D. on God Mix)” by Eight Frozen Modules. It begins like a motorcycle revving up, has a bit of an electro-clash vibe in its center and ends with what sounds like a motorcycle slowing down to a stop. Next, the “Jonah Sharp Mix” by Jonah Sharp sports electro keyboards, altered vocals and a bass synth/percussion groove. Then the “Bud O.D. so U Can’t C Mix” by The Mellowtrons starts out, slow and brooding, before breaking into a bass and cheesy synth work. It also has a few echo-y and dub-y things going on in it. Next up, “God O.D. – Parts 2 (Merzbow Mix)” by Masami Akita begins with what sounds like night crickets chirping before going into a slow and mildly funky groove. It ends with something like water flowing, before going into a really static-y noise sound. Ultimately, it’s one of the CD’s most annoying tracks. The last “God”-centered variation is “God O.D. – Part 1 (Lok-Lak Mix)” by Norscq, and it begins with creepy horror move synth that spooks like a siren, before turning into outer-space music. It also features chime-like affects and a lumbering and clunky beat. Additionally, there is an Orient-influenced melody going on in its background.

This release’s more secular section, if you will, begins with “Cease to Exist,” by Ben Stokes and Meat-Beat-er Jack Dangers. It has telephone sound effects, a soul-style beat and wobbly electronic sounds. “Storm the Dub Mix,” by Twilight Circus dub Sound System, begins with a funky bass/drums/guitar/organ workout in a really nice ‘70s soul sort of way. It also goes into a slow plucked bass section, which is matched to female vocals. Next, it breaks into a dub lope, and becomes a slowed-down disco movement. Another take of “Storm the Studio,” this time by DJ Swamp, begins with a low-voiced spoken “Storm the studio” line, before breaking into a fast drum ‘n’ bass jungle part, then into a New Age-y synth vibe. It also has a rock guitar part. In other words, this one has a little of everything.

The rest of the album includes “Shadow & Substance,” by DJ Spooky That Subliminal Kid, which sounds a lot like the messy beauty that is Public Enemy. “STS 2006 (Antipopulist Mix),” by High Priest (of Antipop Consortium), has what seem to be cymbals crashing and a potty-mouthed Jamaican spoken word part. “I Got the Fear (The Opus Mix),” by The Opus, begins with a soul drum rhythm. It also has a really dark and low orchestral underbelly happening. “Re-animix (Kornet Mix)” has something akin to talking drums, and a groove much like Prince’s “Sign O’ The Times” It then goes into a subtle guitar groove over a sweeping and pulsating percussion pattern. The disc closes with “MBM Re-Animator (Scanner: Kindle and Solace Mix)” by Robin Rimbaud. This one features a buzzing sound at the beginning, as well as spoken word sections. Here’s some of its dialogue – Male: “This is the place for crazy people.” Female: “I’m trying to think.” Male: “No, this won’t do.” It might be movie talk, perhaps from a mystery film.

This is an album where many have stormed the studio, and then created a few of their own storms while there.

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