Gang Gang Dance, "God's Money"
This Brooklyn based quartet have hit their stride with their secondproper full length release (not counting CD-Rs and higher-profilereissues of CD-Rs). Although the side-long explorations of disjointedrhythms and free form noise of their previous releases were enjoyablein their chaos, God's Moneyis the sound of a band that has found their strengths and discovered away to present them in a more coherent fashion.
The Social Registry
The more structuredsections many of these tracks feature is an improvement on theirearlier approach. This does not mean that the group has lost theirexperimental tendencies altogether, rather they now use these freeformtechniques to add depth and contrast to their new, more groove orienteddirection. This practice is especially effective during "Egowar." Afterfour minutes of trance-like rhythmic patterns with sparkly synthesizerflourishes, the song falls apart and the collective sound begins toresemble that of a volcano about to erupt. God's Money benefitsfrom a mixture of technical proficiency and the sort of risk-takingnormally associated with sound art. The group sounds like they've beeninspired by the more rhythmic and angular pop music from the lateseventies and early eighties, such as The Slits and Siouxsie and TheBanshees, without sounding like a retro tribute band. They insteadblend these influences with all sorts of ethnic rhythms and melodies tocome up with a sound that is unique and also sounds refreshinglymodern. Tim Dewitt's drumming is so solid and inventive that almostanything could sound good on top of it. His rhythms are so infectiousthat the simple synthesizer vamps played on dated equipment and LizziBougatsos's often shrill vocals can be overlooked. Her voice is theelement of Gang Gang Dance's sound that takes the most getting used to,and will understandably polarize opinion. While previously her vocalswere exclusively used as another abstract sound, the almost traditionalsong structure of tracks like "Glory in Itself" allow her to take amore traditional lead singer role. Several short instrumentals (titled"God's Money" parts I, V, VII, and IX) are interspersed throughout the40 minute set and add variety while providing thematic continuity."God's Money I (Percussion)" sets the tone with tribal drumming. "God'sMoney V" provides a mid-album instrumental rhythmic interlude, while"God's Money VII" is an atmospheric piece that begins with clouds ofkeyboard swells and concludes with electronics and skeletal beats."God's Money IX" finishes the album with loose drumming over similarkeyboard washes. With God's Money Gang Gang Dance has proved that all the meandering and experimenting of their earlier work has paid off.
The Social Registry
The more structuredsections many of these tracks feature is an improvement on theirearlier approach. This does not mean that the group has lost theirexperimental tendencies altogether, rather they now use these freeformtechniques to add depth and contrast to their new, more groove orienteddirection. This practice is especially effective during "Egowar." Afterfour minutes of trance-like rhythmic patterns with sparkly synthesizerflourishes, the song falls apart and the collective sound begins toresemble that of a volcano about to erupt. God's Money benefitsfrom a mixture of technical proficiency and the sort of risk-takingnormally associated with sound art. The group sounds like they've beeninspired by the more rhythmic and angular pop music from the lateseventies and early eighties, such as The Slits and Siouxsie and TheBanshees, without sounding like a retro tribute band. They insteadblend these influences with all sorts of ethnic rhythms and melodies tocome up with a sound that is unique and also sounds refreshinglymodern. Tim Dewitt's drumming is so solid and inventive that almostanything could sound good on top of it. His rhythms are so infectiousthat the simple synthesizer vamps played on dated equipment and LizziBougatsos's often shrill vocals can be overlooked. Her voice is theelement of Gang Gang Dance's sound that takes the most getting used to,and will understandably polarize opinion. While previously her vocalswere exclusively used as another abstract sound, the almost traditionalsong structure of tracks like "Glory in Itself" allow her to take amore traditional lead singer role. Several short instrumentals (titled"God's Money" parts I, V, VII, and IX) are interspersed throughout the40 minute set and add variety while providing thematic continuity."God's Money I (Percussion)" sets the tone with tribal drumming. "God'sMoney V" provides a mid-album instrumental rhythmic interlude, while"God's Money VII" is an atmospheric piece that begins with clouds ofkeyboard swells and concludes with electronics and skeletal beats."God's Money IX" finishes the album with loose drumming over similarkeyboard washes. With God's Money Gang Gang Dance has proved that all the meandering and experimenting of their earlier work has paid off.samples:
