If you have been paying attention to the blog lately, you have noticed me talking about LAMEBOT a bit, mostly via mixes and older albums. Now I am proud to give you my review of LAMEBOT's latest solo release (has a great piece of work with Black-Tokyo that came out 2 weeks ago.) "No Proven Formulas" is one of those albums that I love, one that was created to be an album and not just a hodgepodge of songs. In fact, you could go as far to say it is a concept album, the story of a weekend trip, although that is not how I reviewed it, but you see the theme played throughout rather visibly. Another impressive feature is how LAMEBOT begins each track with an element of the previous track, making it seem almost like one continuous piece of music that is only broken up to be nice to listeners. But perhaps my rambling is being more confusing than helpful, so let me explain it better in a track by track format, here it goes.
LAMEBOT kicks off the album by attempting to answer a monumental question, "What does Music Feel Like," and does so with a few vocal samples but almost entirely music. Which is typically a no no...trying to define a word by using the word etc. But really how else do you describe what music feels like but through the art itself. LAMEBOT's interpretation of the answer begins with a chopped up guitar, that becomes distorted with drums playing softly behind it. As the track continues, the drums start to take over, especially the bass, making sure you feel the music, giving you a physical sensation besides the emotional answer of what does music feel like. the constant distortion gets inside of your ears and seems as though the music is invading your mind and body. The periodic claps add to the physical sensation, this piece is certainly one of the standout tracks of the album, I find myself repeating it constantly and noticing smile nuances each time.
How do you follow up a song such as "What does Music Feel Like," well if you are LAMEBOT you create a laid back track that still hits, such as "Same Window, Different Visual." It is one of those tracks that upon first listen you enjoy it, no matter how discerning your ear is. Perfect example is as i am writing this, my son is listening and dancing to the music, always good when your music can appeal to a variety of ears. But what does this track sound like (besides laid back and hits) well it starts with some synths that are met up by drums that loops in about 10-15 second intervals, dropping out occasionally until the claps and what can describe as wooden sticks join in to create a very full sound that fills up your ears. That full sound continues to the end when the claps become the dominant feature, and this blends right into the next track.
"The Word Week Bends" has about 10 seconds or so of the claps from "Same Window, Different World" before disappearing entirely, creating a great transition, showing that this album is just that, an album, and not just a random collection of songs (elements of previous songs are routinely repeated in the intro to the next track on this album, and it works beautifully.) At first the track appears to just be drums and distortion, but if you listen careful, you can hear the soft piano playing and then a notch higher, the strings come in, along with some other great sounds that appear and disappear almost randomly, but there is a method to the madness, if you pay attention and open your ears.
While most of "No Proven Formulas" has a very free flowing, more relaxed vibe, the drums on "Star LIt Lap Dance" offer a more jerky motion. it is almost as though LAMEBOT does't want the listener to be complacent in their experience and also assume they know what the album is without experiencing it as a whole. The claps dominate the song with keys making some nice background appearances. But two things stand out on this track and they both deal with drastic changes throughout the track. The first being a pause in the beat at around 30 seconds that throws you for a loops, it only lasts a second or two but still very well done. The second is the addition of the woodwinds near the final third of the song. They work very well to compliment the almost uneasiness of the rest of the track.
For LAMEBOT's next trick he decides to do a mix of Death Cab for Cutie's "Title and Registration" appropriately titled "Title and Registrations [LAME Cab Death Mix.]" I shall be honest, I never heard the original until I was already familiar with LAMEBOT's version and it is almost odd to compare the two because they are so dramatically different. It is a total reconstruction of the song, slows down the speed of the original and then uses that to sample and adds on many other elements, thoroughly impressive in my humble opinion. But what does the song sound like? I shall tell you that now. It begins with a gentle guitar sound with a bit of drums faded into the background, then the drums come to center stage and hit hard causing you to sway a bit while listening. Then the distortion and vocals come in to play. Honestly, LAMEBOT has somehow made Death Cab for Cutie sound like a student of the Flaming Lips, the speed is often changed, either slower or faster, searching for the right sonic resonance. Incredibly well done.
When I first saw the title "A Nervous Tick," I expected a very disorienting that would leave my head spinning. Oddly, I found a solid groove based track with a few tricks up its sleeve. I guess I should've realized that is what the track would be because it really helps to capture the idea of a nervous tick. The drums and keys work to create a head bobbing rhythm, almost to the point where you start to "zone out" but then comes the little nervous tick, only for a few seconds as the whole track becomes muddled and distorted. Then to change things up even more, around half way through the track becomes much less drum heavy and focuses on the keys and guitars but still uses the idea of the nervous tick sprinkled throughout, no matter the situation, the tick is always present.
"Leaving Denver" does exactly what I expected "A Nervous Tick" to do, confuse and bewilder me with layer and layer of sound, throwing my ears from one place to another. The main attraction of this track is the multiple synths played throughout, but what really makes it shine are the supporting players, the strings and keys that play almost in the background but add to the musicality and disorientation.
LAMEBOT strips down to mainly drums and a few key notes for "Missed Connections" before adding some great effects prior to the synths joining the party at around the 1 minute mark. The synths offer a great uptempo, hectic feel to the track (almost as if someone is rushing to catch their flight *hint hint*.) The song ends with a very intriguing sound for the last 30 seconds, reminds me of jumping in 8 bit video games, works wonderfully.
The only guest on the album, Brain Cloud, appears on "Prussian Circus," a very spaced out track that still has a great bounce to it. Extended notes are played on the keyboard, while laser like synths are played overtop before the drums join in an match the synths. But of course, that is not all, there are many, "tiny instruments" that make what appear to be random appearances throughout but of course, there is a pattern, as long as you pay attention (which you should certainly be doing.) These intricacies are what really make this track (and in reality the album as a whole) it is LAMEBOT (and on this track Brain Cloud) adding that little something extra or tweaking that sound that keeps your ears on their feet.
One of the most interesting titles, "Bubbles or Butterflies, I Feel it in my Guts" is also one of best descriptions of the sound of a track. In fact, I can only listen to this track one time in a row (normally listen over and over again as I am writing about a track) but the distorting bass notes play with your head and stomach, you really do feel it, it is VERY intriguing but also rather disturbing to think about how easily sound can play tricks on your body, my descriptions of the sound wouldn't do it justice, so check out the track and I HIGHLY recommend wearing headphones to get the full effect (I recommend listening to any music through headphones at least on first listen, and good headphones at that no iPod earbuds.)
LAMEBOT wastes no time jumping all with drums, fades, and laser like synths on "Casey Jones" and just when you think the song is full, the real futuristic synths come in as everything else takes a back seat. We are talking new keyboards, synths and if I am correct (which I probably am not) there is even a theremin in there somewhere, and if there isn't there should be. What amazes me about this song is that even with everything going on, all the sounds, it does not seem convoluted or weighed down by sound, it works beautifully, I know I keep saying this but this is what makes LAMEBOT different from so many other artists out there layering sounds.
By far the best song to listen to with the windows down in your car on "No Proven Formula" goes to "Lunch Time in L.A." LAMEBOT's takes on the classic LA funk sound. It has everything you want for a ride in the warm rather, great bass drums with the all important funk clap, mixed in with some quality keyboard and synths that just screams 80 degrees and sunny. True, it may not be the most complex track on the album but still serves its purpose to the overall story of the album and it is sure to be played a lot for the sheer enjoyment of it.
The utter sonically beautiful chaos of "Sometimes It Backfires" acts in direct opposition to the rather stripped down "Lunch TIme in L.A." This piece might be LAMEBOT's best track I have heard so far. It begins with some hard hitting drums that almost sound like congo drums mixed with some bells, before the computer takes over (only way I can describe what happens) and we begin to go on an incredible ride with rapid fire keys and strings with drums, that suddenly fade and join together again in different combinations, while new instruments join as well (my guess would be there are about 50 or so different sounds used in this track) it really is mind-blowing and something that even as I describe it, I realize I am not doing it justice.
The album ends (excluding a hidden track which is worth checking out for sure) with a remix of "Sometimes It Backfires" by madSavVy. While LAMEBOT's version is spaced out and contemplative I get the feeling of the remix of being more of a dance type song and in reality, I wish this wasn't included, it is quality work for sure but just seems to put a bit of a damper on the album by not ending with the masterpiece of LAMEBOT's version.
Sometimes an artist who has such a high level of output such as LAMEBOT (check the bandcamp page and notice the string of releases recently) has a tendency to have lower quality work, luckily that is not the case here. LAMEBOT realizes that quanitiy is great but you most also have quality and in fact, this album might be LAMEBOT's best work so far. "No Proven Formulas" works well together, but impressively, each track can stand on its own and still offer enjoyment and intrigue to the listener, something that is not easily done. So go visit the link below, press play and get ready to go on one hell of a sonic journey.
You can stream and download the album
here
