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Flowjob - "Zentertainment" (Iboga rec. March 08)
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aden
IsraTrance Full Member
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Posted : Mar 24, 2008 22:18:58
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Title : Zentertainment
Artist : Flowjob
Label : Iboga records
Release date : March 08
Format : CD
Cover : http://twohandsdistribution.com/images/covers/ibogacd54-500.jpg
Tracklist :
1. Change Everything [134 bpm]
2. Peace, Love and Happiness Stuff [136 bpm]
3. I Have A Dream [133 bpm]
4. Colours Are Cool [135 bpm]
5. We are Here [134 bpm]
6. Don't Believe in Mirrors [135 bpm]
7. Joining Mothership [130 bpm]
8. Tomorrow Returns [131 bpm]
9. Flyboy [133 bpm]
Two years have elapsed since Joakim Hjoerne and Mads Tinggaard, the joyful duo behind the exquisite Flowjob moniker released their first album at their home label Iboga rec. In between, a few digital releases and a nice rmx of Perfect Stranger’s “Bliss” caught attention. It’s about time for their follow-up to their successful debut album, this time aptly titled “Zentertainement”.
1. Change Everything starts with a long intro with a spoken female voice sample which opens onto a rocking bassline. Then additional drum arrangements and light percussions come in, soon followed by a set of incisive riffs. The rhythmic combo is all set. Plenty of synth lines arise, some of them looped, others sounding more or less metallic. They all intertwine their arpeggios and scales in a major mode and play with the recurring voice sample. This is sunshine trance filled with positive feelings.
2. “Peace, Love and Happiness Stuff” features a similar groovy rhythmic combo but with more tribal percussions set to the fore. Another soaring synth gives a rather jazzy feel. A child’s voice steps in and repeats “it’s about peace and love” until a synth à la Joe Zawinul returns to give a Weather Report feel to the piece. The voice sample gives a quite good idea of where the music is heading to.
3. “I Have A Dream” changes the voice sample but uses pretty much the same synth combo and swinging bassline which alludes to soul or funk. In spite of repeated attempts to convince myself that using Martin Luther King’s famous lines from his 1963 speech in DC “I have a dream” is OK, I must say I failed and I can’t get over it. Political circumstances at the time (segregation in the south, assassinations, the NAACP) and the weight of that history (the civil rights movement) are so ingrained in that voice, as are other musical “interpretations” by activist musicians such as the late immense Max Roach in a famous recorded and live drum solo just make it impossible to hear it in this context. I find it utterly naive, inappropriate and also dumb. But the good old reverend might be more tolerant than your reviewer...
4. “Colours Are Cool” gives another demonstration of their aptitude to create a nice bassline, although it’s quite similar to #1, this time with transpose. The piece is once again characterized by their use of a short male voice sample combined with a recurring female one that eventually undergoes all kinds of effects, particularly noticeable in the midterm break, together with an omnipresent wind-up/unwind spinning tape sample. The conversing riffs give the last sequences a more rhythmical aspect and build up a soothing atmosphere as they go up the scale and are progressively treated with more reverb at the end. Again, a track filled with positive vibes.
5. “We are Here” showcases a noticeable change in the treatment of the deep undulating bassline. The odd reverberated voice sample is this time more reminiscent of the new wave Holly Johnson from FGTH, and it gives a strong imprint to the track. The polyphonic treatment of the synths is nice but tends to repeat the same formulae from the previous tracks.
6. With “Don’t Believe in Mirrors” we find the same bassline as in #4 but differently transposed, driving along a slightly slowed down rhythmic combo, with a sun-filled soaring synth carrying out a typical flowjob, while a pop-infused voice sample gives the track its sonic fluffy identity. Yet, at this point in the CD, an undeniable and annoying effect of repetition tends to interfere with the listening experience.
7. “Joining Mothership” displays a well-charted driving, siliconed, arpeggiated bassline. The voice sample tends to be more elliptic but does not resist some strong echoing effects. The atmosphere hinges on conversing themes and micro motifs which again give some kind of jazzy touch.
8. “Tomorrow Returns.” At this stage the impression of déjà vu or the eternal return prevails except that the polyphony of synth is taken over by an overwhelming thematic motif of twisted intervals and you will eventually find out that, according to the voice sample, “99.9% of the information you get is wrong”. Groundbreaking news.
9. The last track, “Flyboy” encapsulates one more time the usual ingredients of their music: intricate weaving of synth lines with voice samples intertwined into it which are treated with reverbs. The intermediary break showcases their quite expert handling of synthesizers, so it’s too bad the orchestration does not venture into diversity. The ending stages a long (more than one mn) and pleasant decrescendo.
Bottom line
Zentertainment has the advantage of strong coherence but this asset turns into a liability, with the obvious repetition of identical formulae and instruments, namely the constant presence of voice sample and use of soaring synths. It displays a melodic aspect, yet never reaches the depth of the melodic vein explored by other musicians from the Iboga roster. Indeed, this second instalment has evolved from the prog-house influence that marked the first one, as the faster tempos testify to. Some have already expressed their support for this recording. Therefore there is no doubt it will suit open air venues at the right time, as it oozes fluffy, positive, yet too easy feelings. Undoubtedly they’ve created their own trademark style, however it is not made of break-through innovations and they too overtly re-use the same tricks and this tends to make the listening experience of this album quite long if not boring. Nonetheless, it somehow courageously manages to escape the sometimes much-criticized trend to explore more electro-house, techno influences that has seduced so many talented producers these days, and, in this regard, this might be a strong argument for listeners to buy this album.
ADEN
Related links
Iboga.dk
http://www.myspace.com/flowjobmuzic
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darkgnome
Started Topics :
1
Posts :
128
Posted : Mar 30, 2008 10:22
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Just as lovely album as the previous one... Fluuuuuuuuffffff<3
 Kimi-tachi wa keikoku sareta! |
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exotic
IsraTrance Full Member
Started Topics :
200
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Posted : Mar 30, 2008 12:03
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It just keeps getting better everytime i hear it. great music once again by flowjob! their live should be a treat 
missing plug-in |
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xrust
IsraTrance Full Member
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Posted : Mar 30, 2008 17:23
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indeed great album,and about the live,i havent heared,but i was talking with a guy couple of days ago and he told me that their live is very FAT.the only complain is that their sounds is the same in all tracks,epsecially the bassline.but each track has its unique groove
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***Sideffect***
IsraTrance Junior Member
Started Topics :
36
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281
Posted : Apr 3, 2008 21:42
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mk47
Inactive User
Started Topics :
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4444
Posted : Apr 7, 2008 09:14
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very smooth .. very nice .. ordered 
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aje
IsraTrance Full Member
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Posted : Apr 9, 2008 01:37
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First of all, before i begin, for all fairness purposes I must mention that I always disliked it when people tried to do "funky" prog-psy, i was always more into the stomping and into the deep stuff.
That being said, this is probably the worst Iboga release I can remember. And its not because of any ideological reasons or because I think Iboga shouldn't sound like this(see Electronic Ballroom discussion), because for all I care they could be releasing gay-midget-polka, but because I just don't like it.
In order to not be the asshole who just says "This Sucks", let me give you my reasons:
1. Repitition: This album sounds like 9 slightly different remixes of the same song, and a pretty average song at that. Except those basslines (see point 2), its like someone took all the prog psy songs ever released, put them into a blender, and filled the remaining mush into 9 cups putting just a little different spice mixture in each cup. Theres no Run-Baby-Run like standout track to remember in a few years on here, thats for sure.
2. The basslines: These basslines sound like a mentally retarded, crack smoking and ketamine sniffing bouncy full-on bassline at 133 bpm. Is it even humanly fathomable to turn up the annoyance factor any more than this? Its like an evil genius in a lab tried to engineer the most annoying bassline ever created, and then multiply it by 9. Ok, actually some tracks are worse than others, but i think track 3 takes the cake here.
3. "Funkyness": I guess they were going for the funky morning feeling here, but really it sounds like a tall skinny white guy with suspenders and glasses dancing to George Clinton. Funky stuff doesnt work above 125 bpm. i would even claim not over 120bpm. And white people should keep their hands of it. Face it people, we are just not funky. And I put myself on top of the list of unfunky people.
4. WTF factor: Have you ever masturbated and afterwards you thought to yourself: "It wasnt even fun to begin with, but I had nothing better to do , and it was just hanging there anyways, so..." and then that slightly guilty empty feeling sets in? Thats the feeling i get after having listened to this album. Whats the point. A few happy feeings here and there, a little instanct gratification... in german i'd use the word "belanglos", i really dont know how to translate it...
To sum it up: Belanglos!
PS: Talking about german, the last album that i felt exactly like this one about was the Fabio & Bitmonx one. It had the exact same problems, minus the annoying basslines. Therefore it used that german oompa-oompa ones...
Check out my album: http://www.ektoplazm.com/free-music/gay-satanic-hippie-tiefenrausch |
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exotic
IsraTrance Full Member
Started Topics :
200
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Posted : Apr 10, 2008 12:55
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Quote:
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On 2008-04-09 01:37, aje wrote:
2. The basslines: These basslines sound like a mentally retarded, crack smoking and ketamine sniffing bouncy full-on bassline at 133 bpm. Is it even humanly fathomable to turn up the annoyance factor any more than this? Its like an evil genius in a lab tried to engineer the most annoying bassline ever created, and then multiply it by 9. Ok, actually some tracks are worse than others, but i think track 3 takes the cake here.
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The basslines sound perfectly fine. i wonder what it is that you were tripping on when you heard it? i would probably go a little further and say that some of those basslines are downright funky. i can vouch for it by saying all my friends who dig prog are absolutely in love with the album.
The only thing that i do dislike about track three is the sample. the rest just flows perfectly. IMO 
missing plug-in |
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aje
IsraTrance Full Member
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Posted : Apr 11, 2008 00:56
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Nomolos(Zenon Rec.)
IsraTrance Junior Member
Started Topics :
48
Posts :
2027
Posted : Apr 12, 2008 00:57
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Quote:
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On 2008-04-09 01:37, aje wrote:
First of all, before i begin, for all fairness purposes I must mention that I always disliked it when people tried to do "funky" prog-psy, i was always more into the stomping and into the deep stuff.
That being said, this is probably the worst Iboga release I can remember. And its not because of any ideological reasons or because I think Iboga shouldn't sound like this(see Electronic Ballroom discussion), because for all I care they could be releasing gay-midget-polka, but because I just don't like it.
In order to not be the asshole who just says "This Sucks", let me give you my reasons:
1. Repitition: This album sounds like 9 slightly different remixes of the same song, and a pretty average song at that. Except those basslines (see point 2), its like someone took all the prog psy songs ever released, put them into a blender, and filled the remaining mush into 9 cups putting just a little different spice mixture in each cup. Theres no Run-Baby-Run like standout track to remember in a few years on here, thats for sure.
2. The basslines: These basslines sound like a mentally retarded, crack smoking and ketamine sniffing bouncy full-on bassline at 133 bpm. Is it even humanly fathomable to turn up the annoyance factor any more than this? Its like an evil genius in a lab tried to engineer the most annoying bassline ever created, and then multiply it by 9. Ok, actually some tracks are worse than others, but i think track 3 takes the cake here.
3. "Funkyness": I guess they were going for the funky morning feeling here, but really it sounds like a tall skinny white guy with suspenders and glasses dancing to George Clinton. Funky stuff doesnt work above 125 bpm. i would even claim not over 120bpm. And white people should keep their hands of it. Face it people, we are just not funky. And I put myself on top of the list of unfunky people.
4. WTF factor: Have you ever masturbated and afterwards you thought to yourself: "It wasnt even fun to begin with, but I had nothing better to do , and it was just hanging there anyways, so..." and then that slightly guilty empty feeling sets in? Thats the feeling i get after having listened to this album. Whats the point. A few happy feeings here and there, a little instanct gratification... in german i'd use the word "belanglos", i really dont know how to translate it...
To sum it up: Belanglos!
PS: Talking about german, the last album that i felt exactly like this one about was the Fabio & Bitmonx one. It had the exact same problems, minus the annoying basslines. Therefore it used that german oompa-oompa ones...
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Aje i dont know you and dont know this album but you are my HERO! briliant post mate telling it how it is (for you) in a sweet comic way...n0ice!
Cheers
"....or is it???"
www.zenonrecords.com
www.myspace.com/thenomolos |
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Energy88
Started Topics :
0
Posts :
29
Posted : Apr 12, 2008 18:51
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It has been released ?
Which date will be on stores ? |
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Energy88
Started Topics :
0
Posts :
29
Posted : Apr 12, 2008 18:52
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I has been released ....
Now i saw it ....... |
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MoWGLi
IsraTrance Junior Member
Started Topics :
37
Posts :
415
Posted : Apr 13, 2008 13:41
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Quote:
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On 2008-04-09 01:37, aje wrote:
First of all, before i begin, for all fairness purposes I must mention that I always disliked it when people tried to do "funky" prog-psy, i was always more into the stomping and into the deep stuff.
That being said, this is probably the worst Iboga release I can remember. And its not because of any ideological reasons or because I think Iboga shouldn't sound like this(see Electronic Ballroom discussion), because for all I care they could be releasing gay-midget-polka, but because I just don't like it.
In order to not be the asshole who just says "This Sucks", let me give you my reasons:
1. Repitition: This album sounds like 9 slightly different remixes of the same song, and a pretty average song at that. Except those basslines (see point 2), its like someone took all the prog psy songs ever released, put them into a blender, and filled the remaining mush into 9 cups putting just a little different spice mixture in each cup. Theres no Run-Baby-Run like standout track to remember in a few years on here, thats for sure.
2. The basslines: These basslines sound like a mentally retarded, crack smoking and ketamine sniffing bouncy full-on bassline at 133 bpm. Is it even humanly fathomable to turn up the annoyance factor any more than this? Its like an evil genius in a lab tried to engineer the most annoying bassline ever created, and then multiply it by 9. Ok, actually some tracks are worse than others, but i think track 3 takes the cake here.
3. "Funkyness": I guess they were going for the funky morning feeling here, but really it sounds like a tall skinny white guy with suspenders and glasses dancing to George Clinton. Funky stuff doesnt work above 125 bpm. i would even claim not over 120bpm. And white people should keep their hands of it. Face it people, we are just not funky. And I put myself on top of the list of unfunky people.
4. WTF factor: Have you ever masturbated and afterwards you thought to yourself: "It wasnt even fun to begin with, but I had nothing better to do , and it was just hanging there anyways, so..." and then that slightly guilty empty feeling sets in? Thats the feeling i get after having listened to this album. Whats the point. A few happy feeings here and there, a little instanct gratification... in german i'd use the word "belanglos", i really dont know how to translate it...
To sum it up: Belanglos!
PS: Talking about german, the last album that i felt exactly like this one about was the Fabio & Bitmonx one. It had the exact same problems, minus the annoying basslines. Therefore it used that german oompa-oompa ones...
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Oh man, brilliant. |
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Mad Purple State
IsraTrance Junior Member
Started Topics :
39
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1468
Posted : Apr 19, 2008 09:50
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Quote:
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3. "Funkyness": I guess they were going for the funky morning feeling here, but really it sounds like a tall skinny white guy with suspenders and glasses dancing to George Clinton. Funky stuff doesnt work above 125 bpm. i would even claim not over 120bpm. And white people should keep their hands of it. Face it people, we are just not funky. And I put myself on top of the list of unfunky people. |
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From when did BPM's decide funkyness of music?
The lil that I have read of funk sound here and there... a complex groove with rhythmic instruments can make it faaankkkyyy.
As far as bpm's go, Sattel Battle doesnt go less than 145bpm... and his only mission in his life is to get motherfunky!
And goddamn... everytime I plug his sound into the player... he defines it!
Mad
No great genius has ever existed without some touch of madness... |
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Tula
Started Topics :
1
Posts :
603
Posted : Apr 25, 2008 00:40
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On 2008-03-30 10:22, darkgnome wrote:
Just as lovely album as the previous one... Fluuuuuuuuffffff<3
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Don't Believe in Mirrors - this track meltin' RULZ !!!
btw great review LIFE Is Just The Choice Between FEAR and LOVE.
http://www.youtube.com/watch?v=z1fDq9LnzFk |
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