With the exception of Boris' benzo-blasted psych-coma "My Machine" off Pink , Walkabout unloads glowing synth circuitry and metallic meltdowns like an hour-and-a-half evacuation's going on at the club.
Throbbing Gristle's cloying twitters are swallowed whole by Grungerman's industrial grab-bag of warehouse rave: factory alarms, stomping feet, chiming glass, and the faint hum of house music from a distant building. Pan Sonic fumbles around, enveloped by burnished electronics and trodden by some delightfully tacky Latin settings off a Casio. Who cares whether Databrain's "Electrofrogs" exhibits the slightest trace of originality? It's impossible to impugn heaps of handclaps and hi-hats piled under hulking resonators.
Undeniably, the most impressive portion is the middle, where Philus spins cell-phone tones into gorged pop and Shane Berry alchemically converts spitting into doo-wop amidst razor-carved reels. Even the least memorable track here, Godsy's ambient "The Grass Runs Red", is covered in the ecstatic noise of dribbled static and foam. And, as a testament to the producers' prowess, one should note that the best moments are in the transitions, not in the songs themselves.
It's like an Apollo mission heard through a rusty screen door, or like a laserium with construction defects. The sheer depth and volume of the tracks are immediately perceptible to even the laziest listener. Lest I appear overzealous, it would only be fair to note that Walkabout isn't inventing the wheel here. The set clangs, clanks, pings, buzzes, and sears, and its rate isn't even close to steady, so it's not even for masochistic dancers who like their pummelings served nonstop.
Hearing the set for the first time, without knowing what's coming, would be particularly challenging during the mid-section. Shane Berry 's following "Fillertet 2," while initially straightforward in a relative sense, rapidly turns into a large and malfunctioning crosscut saw, gradually hacking away at "The Virus" until it is laid to waste.
And what could follow but a gently scrawling neo-"Maggot Brain" guitar solo with minimal accompaniment from a rhythm guitar and what sounds like slowed-down wind howls from Japanese noise-metal trio Boris? From there, it takes another several minutes before the beats resume, hammering away in clenched fits and jarring starts until the end. Not for everyone. AllMusic relies heavily on JavaScript. Please enable JavaScript in your browser to use the site fully. Blues Classical Country.
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