Perfectly crafted, effectively rolling DJ tools living up
to rich, techy Chicago Oldschool legacy
MMM's Errorsmith and Fiedel are masters of misdirection.
They specialize in stripped-to-the-bone rave bangers so
rudimentary they sound almost, well, almost kind of basic,
to resort to this week's trending putdown. But, like the
Stooges, they know that there's a fine line between stupid
and stoopid. That line is thinner than ever on "Jack,"
with its two-note melody, its tinny preset tone, its
my-kid-could-do-this level of complexity. On first listen,
it might sound kind of cheap, but hear it loud, and you'll
realize that it's no joke. The jaunty call-and-response
between that pipsqueak lead and that roly-poly bass line,
not to mention the perpetually morphing timbres of it all,
are compelling in a way that almost defies critical
analysis. Their trickster sensibility really comes to the
fore on "Syncro," an extended fugue state whose entire
M.O. is a ping-pong delay drifting slowly out of phase;
it's basically the Jaws shark-attack cue as imagined by
Thomas Brinkmann. (PHILIP SHERBURNE)
MMM bust a sweat with two precise, wall-banging aces
paying tribute to classic Chicago styles. 'Jack7' juices
optimal amounta funk from a camp, twanging lead, kinky
bass fills and heavy kicks reducing elements of NRG disco,
house and techno to a sticky, potent residue. 'Syncro'
follows suit with dry-ass drum machine patterns causing
silky friction with wiggly synth for that Green Velvet/Dj
Rush style Chi-wiggle/jack.