Rinse

Chronique

Winsome, at-home electronic music of all stripes is a growth industry-and-a-half when it comes to the start of a new millennium, and Minotaur Shock's (aka David Eugene Edwards) latest effort (actually a re-release of two earlier EPs) is part of a particularly large -- if not overwhelming -- field. But while Rinse probably won't change the loyalties of Boards of Canada fans, say, it is still an enjoyable release -- equal parts spacey twinkle, sometimes understated and sometimes more aggressive beats and merry trip out -- and of course bits of glitch, like the interrupting percussion that concludes "Stack on Rat." When Rinse fires up, it usually does so in ways that look back rather than forward, such as the monster stomp beat on "Let Me Out," which could just as easily have been a Run-D.M.C. or Rick Rubin break from 1985. Other connections are more obscure -- while it might not be intentional, the combination of acoustic guitar and rushed percussion on "Motoring Britain" suggests some of the remixes of the Cranes' beautiful effort, "Cloudless." Another interesting peek back into the past might come with the vocal collaboration of Louise Davies (aka Sui Said Love) on "Lady Came From Baltic Wharf," partially suggestive of the underrated band Insides' efforts on the Guernica label. Most striking is the ramble of "Albert Park Music," a nearly ten-minute float through a soft repeating melody that evolves into a gently murky, slow percussion break with haunting, sad synth overdubs. It's the best song on the album; if not strikingly original, it's still an enjoyable exploration in the form. The most bemusing title of the bunch would probably be "Don't Be a Slave to No Computer," but while the lead tones suggest Edwards may be, perhaps, a slave to early Aphex Twin, Minotaur Shock does give pretty good evidence he's in control of his equipment, rather than the other way around.
© Ned Raggett /TiVo