Erotic Terrorism

Performers Fun-Da-Mental

Beggar's Banquet | January 29, 1999 | Compact Disc

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By the time Fun-Da-Mental reappeared with a second album proper, things were surprisingly different for Nawaz and company. Instead of Public Enemy, the touchstones were the Chemical Brothers and the Prodigy, aiming for a largely instrumental industrial/metal/hip-hop/techno sound that's not always as distinct or unique as the Seize the Time m‚lange. Perhaps the goal was to aim at a different audience, but it's not quite the result perhaps was intended. That said, everyone's still righteously pissed off, though music rather than the often-distorted vocals really is Erotic Terrorism's focus, and when the beats get really frenetic or creative, as on the blunt charge of "Demonised Soul" or the echoed rage and rave of "Furious," it's a treat. Nawaz seems to be a one-man band throughout, with only a bassist and banjo player otherwise credited, though he again works with Graeme Pickering as engineer. Various samples of Indian music again appear with regularity throughout Erotic Terrorism, but equally prominent are huge slabs of feedback and massive drumming and percussion loops. Where chanting and tablas have more of the focus, as on the soaring, inspirational stomp of "Ja Sha Taan," there's still a rough, low electronic undercurrent. Given Nawaz's own rock drumming background via groups like the Southern Death Cult, it's not too surprising to hear in context, just a bit of a jarring leap. Nawaz and Pickering actually do show a greater sense of drama and dynamics than before -- sudden cuts between loud and soft passages create some effective moments throughout, while the grunts and children's cries on "Blood in Transit" are disturbing. Above all else, there's the overriding message of the fight against bigotry and oppression -- as the horribly tasteless and racist old song that's sampled to start things off makes all too clear. ~ Ned Raggett

Format: Compact Disc

Released Date: January 29, 1999

Genre: Dance

Style: R&B

Number of Discs: 1

Stereo/Mono: Stereo

Studio/Mixed/Live: Studio

Originally Released: 1998

Label Name: Beggar's Banquet

UPC: 607618501020

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– More About This Product –

Erotic Terrorism

Performers Fun-Da-Mental
Producer Aki Nawaz
Engineer David White, Grame Holdaway

Format: Compact Disc

Released Date: January 29, 1999

Genre: Dance

Style: R&B

Number of Discs: 1

Stereo/Mono: Stereo

Studio/Mixed/Live: Studio

Originally Released: 1998

Label Name: Beggar's Banquet

UPC: 607618501020


See artistic credits for this CD
Title Track Time
1.Oh Lord! (devil would like a word) --
2.Demonised Soul (my head bus on a hard surface but i could never hurt it) --
3.Godevil (all tainted by wickedness) --
4.Je Sha Taan (joo ley lal mustt qalander) --
5.Blood In Transit (after dinner mints) --
6.Repent (not repented yet) --
7.Deathening Silence (thru bloodless birth my being a clone) --
8.Furious (crustacean of the sea, organism of dust) --
9.See I A (dust on ants feet) --
10.The Distorted C (all we want) --
11.One Ness (dhann a dhann) --
12.Sliced Lead (fill it with lead) --
13.Tongue Gone Gold (grown to a medical specimen paranoid mad careless deviance) --

Editorial Notes

By the time Fun-Da-Mental reappeared with a second album proper, things were surprisingly different for Nawaz and company. Instead of Public Enemy, the touchstones were the Chemical Brothers and the Prodigy, aiming for a largely instrumental industrial/metal/hip-hop/techno sound that's not always as distinct or unique as the Seize the Time m‚lange. Perhaps the goal was to aim at a different audience, but it's not quite the result perhaps was intended. That said, everyone's still righteously pissed off, though music rather than the often-distorted vocals really is Erotic Terrorism's focus, and when the beats get really frenetic or creative, as on the blunt charge of "Demonised Soul" or the echoed rage and rave of "Furious," it's a treat. Nawaz seems to be a one-man band throughout, with only a bassist and banjo player otherwise credited, though he again works with Graeme Pickering as engineer. Various samples of Indian music again appear with regularity throughout Erotic Terrorism, but equally prominent are huge slabs of feedback and massive drumming and percussion loops. Where chanting and tablas have more of the focus, as on the soaring, inspirational stomp of "Ja Sha Taan," there's still a rough, low electronic undercurrent. Given Nawaz's own rock drumming background via groups like the Southern Death Cult, it's not too surprising to hear in context, just a bit of a jarring leap. Nawaz and Pickering actually do show a greater sense of drama and dynamics than before -- sudden cuts between loud and soft passages create some effective moments throughout, while the grunts and children's cries on "Blood in Transit" are disturbing. Above all else, there's the overriding message of the fight against bigotry and oppression -- as the horribly tasteless and racist old song that's sampled to start things off makes all too clear. ~ Ned Raggett
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