released June 6, 2000

Louis Boone: Nasty Synthesizers, Wrongful Saxophones, Ungainly Programming, Rage Array
Carl Howard: Malicious Synthesizers, Hideous Digi-Sax, Rueful Programming, Immoral Attitude
Reginald Taylor: Filthy Bass, Vile Synthesizers, Sickening Programming
Blaise Siwula: Hateful Saxophones
LG Mair, Jr.: Lascivious Bass Synthesizer
Kenny Brown: Detestable Organic Drums

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THE LAND OF GUILT AND BLARNEY:
Cruel (free DDL on Audiofile)

"This release from 2000 features 61 minutes of cool electronic music.

This time, The Land of Guilt and Blarney is: Louis Boone (on nasty synthesizers, wrongful saxophones, ungainly programming, and rage array) Carl Howard (aka Nomuzic) (on malicious synthesizers, hideous digital saxophones, rueful programming, and immoral attitude), Reginald Taylor (on filthy bass, vile synthesizers, and sickening programming), Blaise Siwula (on hateful saxophones), LG Mair Jr (on lascivious bass synthesizer), and Kenneth Brown (on detestable organic drums).

Here, the tuneage is more evenly spry and enticing, without diversions into sonic abstractions.

The electronics are agile and diverse. While keyboards are utilized to trigger a majority of the sounds, there also exist a definite tonal presence. While these aural textures establish a moody backdrop, the keys delineate threads of pulsating melody that bloop and throb and slither and twirl.

Percussion is vital to this tuneage, providing vibrant locomotion with albeit artificial rhythms. These tempos tease the electronic flow with their quirky beats, coaxing things into appealing motifs. In one instance, the rhythms adopt a twinkling delicacy and in nice contrast to the winsome electronics; while elsewhere grungy tempos accompany the electronics, nudging them into twirling patterns of almost hypnotic beauty.

The saxophone activity is tasty, lending the songs a unique demeanor among contemporary electronic music. Their cadence is often stark and shrill, establishing layers of seething energy amid the sea of beat-driven oscillations. On some occasions, the horns inject the tunes with a crazy jazz influence.

There's a vital bass presence going on that lends a durable bottom to things and often takes center stage in the form of keyboard driven riffs of guttural luster.

These compositions convey a distinct energized animation with their sultry melodies. The tunes are attractive despite the often harshness of the sounds employed in their creation."

- Matt Howarth for SONIC CURIOUSITY
(www.facebook.com/matt.howarth.710)