This is easily A.G. Cook's most neutral release to date, with Cook, who is known for innovation and superb production techniques, really falling flat on this one. Its rhythms are derivative and unimaginative, its melodies are almost all interpolations of his past productions, and the general production and mix are very basic. With how overhyped the film and Cook's soundtrack have been, leading up to the release, I really expected this to hit a lot harder than it does.
Of course I ... read more
Just listened to this again for the first time in years and it makes me so darn sentimental of 2013-2018 PC Music.
As an album it remains such a wacky so-bad-its-good type thing, with its trashy midi instrumentation and whatnot, but it hits so HARD! Especially tracks like PR know exactly what they're doing. This album has no reason to go this hard, but it does.
A.G. Cook at his utmost tightest, with some really great deconstructed pop experiments and PC Music main-staple production.
Doc at the Radar Station really feels like it's a re-exploration of everything that makes Trout Mask Replica (1969) work so well. Van Vleet's wonderfully rough and absurdist lyrics and delivery are on the forefront as per always, but this record's instrumentation is something else entirely. Ever evolving repetitive motifs, interchanged with pure chaos. It never really sits still.
Though it is more of a statement piece than it is an album, I do really appreciate it as an extreme lowercase noise and conceptual album. Music made from the absence of the creator, on par with John Cage's 4'33.
I didn't know Xiu Xiu had it in them, but they finally released an album I didn't really like. The general production and mix are not on par with most of their other stuff, and I can't help but ache for a higher production value and more experimentalism to the covers. I do appreciate what they're trying to do though, and I find it an interesting effort. I can also imagine that this was such a hassle to get green-lit by all the original artists.
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