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 Torn between the pros and the cons Jul 15, 2009
I first learned of Russel Mills through his work with Bruce Gilbert and Graham Lewis of Wire, during what they called MZUI, an art/music installment where various sculptures created by the trio could be used to make sounds (not necessarily 'musical' sounds) by the people who entered the gallery. And even though I didn't much care for the MZUI album, the whole idea was a great concept. And from that I learned Russel Mills had been making his own music, which immediately interested me, thinking of what other great things this artist could come up with.
With this album, however, I found myself more or less entertained than I expected. Experimental in nature, this 'experiment' uses samples and guest musicians, many of who are instantly recognizable. I really wouldn't want to call this experimental; it has the sort of over-produced artsy attempt at being a unique recording, without actually providing any sort of experiment, whether it be genre-based, instrument-based, recording procedures, what have you. There is no 'experiment' of which to speak, and while that may sound fickle and arrogant, I have to admit I expectec something more--hate to say it again--experimental from Russel Mills.
The album is also too reliant on two major things: drum patterns, and airy ambiance. These are two ranges of instrumentation that, although can go quite far, eventually lead to a place of predictability. And though I mentioned the over-production earlier, I may as well note just how glossy and 'perfect' everything is; no minimal recordings here, which some may take for a positive or negative, or between the two. For me, however, it's a bit more on the negative.
But even though my initial expectations were off, there are still some great pieces of music on here; I love the first three tracks, two eerie instrumentals and an airy vocal track provided by David Sylvian (whose voice works incredibly well for this kind of music). During the first few tracks all the things that get monotonous in this album haven't gotten so yet. After the first few tracks are done the feeling of 'same old same old' starts to unravel. It's not always bad; I do like the direction at which they were going, but I'd also wish for something new to happen. 'A Swoon In Amber' is really great, darkly ambient work and 'All Wise Fly' is a fun mix of the usual dark electronic sound with some trip hop feel courtesy of some catchy percussion.
I can't say I'm a big fan of the other vocalists chosen for this project. The female singer on 'Shed Lustre' really brings down an otherwise great song; rather I wished it were an instrumental and I'd really love it.
Overall I give it three stars, right in the middle, though definitely leaning towards the good side.
 Familar Strange May 22, 2007
As reviewer Kitsuki mentions, many of the tracks Mills reworks here were castoffs from other artists -- but oh what a cast of castoffs! Brian Eno, Peter Gabriel, Michael Brook, David Sylvian, Paul Schütze, Harold Budd, Sussan Deyhim, Roger Eno, Graham Lewis, Hector Zazou, Clodagh Simonds, Thurston Moore and more. With friends like that, their trash is more interesting than most peoples' best efforts.
This release isn't quite as successful as his other one, "Strange Familiar" since it includes a couple vocals and a broader variety of sounds or source materials. It is not as cohesive. There are however many moments to recommend it, not the least of which is a version of Syd Barrett's "Golden Hair."
1 of 1 found the following review helpful:
Just one thing: Aug 05, 2005
Most if not all of the famous collaborators listed on Russell Mills albums do not actually 'perform' on them. Mr. Mills askes his clients and friends if they have any unused bits and pieces of sound, melody, texture, beats, etc. and then uses the collected sounds to make a musical collage or bricolage.
This is similar to the technique that he uses in his visual art. I get this information from an interview with Mills, I believe that it is archived on his website:(...)
14 of 15 found the following review helpful:
TOO MANY COOKS... Mar 02, 2000
I first heard Russell Mills and his composite band, Undark, on a Bella Union Records sampler--the label started by former Cocteau Twin Simon Raymonde. The track Mills included, "Cage of Air," stood out from most of the other tracks on the sampler, so I eagerly awaited the copy of "Pearl & Umbra," Mills' debut CD, I'd ordered from Amazon.com.On this CD, Mills' band, Undark, is comprised of many different lights in the experimental/independent music pantheon. Brian Eno, David Eno, Hector Zazou and Thurston Moore all contribute instrumental and production skills (or "sculpting," as Mills calls it). Former Cocteau Twin Robin Guthrie is billed as "sonic mandarin," meaning, I guess, that he's second-sculptor-in-command after Mills. Mitsuo Tate, who brought much-needed life to the Cocteaus' final live performances, helps on guitar. David Sylvian contributes a gossamer vocal to "Rooms of the Sixteen Shimmers," one of the better tracks here. Peter Gabriel contributes "muted howls"--so muted, in fact, that it's hard to figure out exactly where Gabriel's distinctive voice is. There are female vocals, too--sensual and ethereal on "Heaven Dips," and someone who sounds a lot like Annie Lennox (but isn't) on a rather heavy reading of Sid Barrett's "Golden Hair." (I've always preferred Slowdive's haunting version.) Most of the tracks on "Pearl & Umbra" are instrumental, some better than others. "Causes Cause Causes" moves intriguingly; "Canyon: Split Asunder" is beautifully odd; "A Swoon in Amber" is eerily promising. But for the most part, "Pearl & Umbra" as a whole is a rather emotionless album. Disappointing, considering the number of excellent artists helping...um, sculpt this album. I guess it's a product of too many cooks in the kitchen. Not enough direction, too much tweaking. I hope Mills will try again. He might have better luck the second time around.
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