Meat Beat Manifesto Satyricon Rare
So many kind words to Mr. Dangers and nothing about the second half of the 'Satyricon' that is also a solid part of '99%' with 'Subliminal Sandwich's' crew - Jonny Stephens. The lightest things that are smoothing the sharpness in this stuff are coming direct from this man, and that can be clearly seen in this album. He is a very talented music producer who formed a special mood in MBM in the early nineties and it just touched the sound formation too. So, if You would like to find the confirmation of my words, then check out Fire Escape or Hayato Mizuta's Shelter (truly all that i could found). And after that it is not too difficult to understand all the differences and similarities:) As a MBM listener I really miss that unusually pleasant softness and, maybe, the whole general approach in the creation of Satyricon. But i am sure that after Jonny Stephens's retirement the conception of MBM came back to their roots - with more sharpness, more good solid bits and i would even say with some hidden aggression but nothing that could point on '.My Placebo' or 'Circles'.
John Wilson
May be that was Dangers personal vision of a progress. No resemblances, just onward movements and forward-thinking. There is something special and important about this album. It is a concept album about society, It's consumption and ability to be influenced by advertising and politics without individual thought. A society of numb, sheep-like creatures who allow ourselves to be controlled without realisation or care that we are programmed. The sample work is second to nothing you have ever heard with pin-point placement between old American TV ads and statements from the general public and fine industrial techno.
Meat Beat Manifesto Youtube
In terms of techno music, Mr. Jack Dangers is up there in the top three innovators of the past twenty five years and I imagine feels a sense of pride or acheivement with this album. I like most of the stuff MBM have done but this has to be the swan song. After this LP he made darker and weirder and harder but never quite managed to create something quite so perfect as Satyricon. But then, how do you improve on perfection. Anybody skipping through this LP or not giving it full attention may not see what the fuss is about but this really should be listened to on the headphones or alone to get the full effect.
Is the item in question rare? Is this an item that was mass produced or produced in very small numbers? Meat Beat Manifesto Satyricon Sleeve Notes by Quiller1.
Also, if you are going to get this album on vinyl, make sure you get the double pack as it containd extra tracks which I always saw as part of the main story anyway. This has to be the finest work i suppose due to highly creative use of sampling, one after the other to create a highly amusing and satyrical journey that laughs in the face of politics, fashion and normality. A real stab at the monotony of everyday life. 'Do you think we'll ever find intelligent life out there' - 'Who cares'.
Meat Beat's music got darker and weirder after this and the sounds were obviously created on more up-to-date kit, but in terms of artistic ability, creativity and perfection, this is the one without doubt.
A Meat Beat Manifesto album is a special thing, since it usually manages to encompass the styles of other acts while still having a distinct voice of its own. Satyricon features the sample-trippy goofiness of the Orb, the sharp, rock-flavored house of the Chemical Brothers, the streamlined trance of Orbital, and the well-oiled angst of Nine Inch Nails, and that's just for starters. Long-term frontman Jack Dangers truly has a producer's ear, which gives his blend of dance music a considerable advantage: he takes a musician's approach into a programmer's territory, and his use of vocals actually upgrades a song's impact rather than diminishes it. There's more song structure here than in any of the aforementioned acts, making this something like a pop group for sworn enemies of the genre. The infectious electronica and obscure samples create an almost constant (and successful) tension between groove and anxiety, between clubber's abandon and confused introspection. Musical partner Jonny Stephens takes on an almost equal workload as producer/engineer/mixer and multi-instrumentalist, and his lap steel guitar contributions add a wonderfully bizarre layer to the album (comparable to the pairing of Luke Vibert and BJ Cole). Scott W Ambler.
Songs like 'Mindstream' and 'Edge of No Control Pt. 1' add just the right amount of Stephens' Hawaiian space cowboy to the mix - kind of like a warmer alternative to Theremin. Several other high points along the way in this stuffed-to-the-gills album include: 'Your Mind Belongs to the State,' a nightmare funky channel-surf through the fractured minds of mental patients and social outcasts, and 'Original Control (Version 2),' a wicked laboratory of robots gone amuck, rave/house sirens, and acid-soaked sequencer riffs, making the whole thing sound like an ugly (and wonderful) catfight between Moby and Squarepusher. Again, with all the soundbites, Dangers must shop flea markets and bad video stores two days a week; his vast arsenal of obscure samples range from failed sci-fi to closed-door psychoanalysis to British TV commercials. There are only a few times his 'sample cup' runneth over in excess ('Brainwashed This Way/Zombie/That Shirt,' 'Untold Stories'), but even these diversions are fascinating. This album still sounded good ten years later, and it's probably why they were still respected then.
One for the books.