Meat Beat Manifesto - Impossible Star [vinyl 2LP]

  • szt.
  • Net Price: €24.39 €30.00
Meat Beat Manifesto new record. “Impossible Star” was released on January 19, 2018 via Flexidisc.

Drawing on the paranoid and surreal political and cultural climate, Jack Dangers likens the record “to an MC Escher optical illusion which spirals around and around and never seems to end.”


Influential sample maestro Jack Dangers’ first album since 2010 is a moody, playful exhibition of his strengths.

It’s no slight against Impossible Star, the first album by electronica innovator Jack Dangers’ Meat Beat Manifesto in nearly a decade, to begin this review by outsourcing it to another critic: my six-year-old daughter. “My favorite part is that it doesn’t just sound like one thing,” she said after listening to the album on a lengthy car ride. “Some songs are creepy, some songs are funky. I like that.” Who could disagree? The delights of a good Meat Beat record—a magpie approach to collecting sounds, combined with a tasteful precision in arranging and deploying them—are apparent even to a child’s ears, and Impossible Star is a very good Meat Beat record indeed.

Meat Beat Manifesto debuted with 1989’s Storm the Studio, a furious onslaught of gigantic beats, dizzyingly dense samples and barking agitprop from then-vocalist Jonny Stephens. Its influence on the industrial-dance scene of the day was major, and it sounds as savage as ever to contemporary ears. MBM’s subsequent releases have ranged through a dozen or so beat-oriented subgenres, sometimes all at once, slowing down after 2000 as Dangers’ eclecticism developed greater focus. All of these efforts sounded sincere, though some (his turn leading a full-fledged jazz quartet on 2005’s At the Center) made for more successful entertainment than others (his incorporation of dubstep wobbles and drops on 2008’s Autoimmune and 2010’s Answers Come in Dreams.)

Impossible Star, then, is a proverbial return to form. While less bombastic than Dangers’ ’90s albums, many of which came strapped with absolute banger singles (“Asbestos Lead Asbestos,” “Radio Babylon,” “Helter Skelter,” “Acid Again,” etc.), it evokes their wide-ranging combination of macabre moodiness, driving dance beats and playful aural collage, all while sounding surprisingly contemporary. Its prevailing sound is a blend of Tim Hecker’s fearful noise and Kieran Hebden’s shiny, happy studio wizardry, from an artist who predates them both and long ago recognized the thrilling emotional and intellectual power of that combination.

ONE 02:40
Bass Playa 02:43
Nocebo 05:31
Lurker 14:52
T.M.I 05:16
Nereus Rov 03:31
Rejector 03:04