- In the last few years, artists experimenting outside the confines of club genres have received a considerable boost in attention. Veronica Vasicka's label Minimal Wave deserves credit for the renewed influence of post-punk, new wave and EBM on current dance music. The resultant freaky cross-pollination of genres that's become de rigueur spurns the dance floor as much as it bows to its rhythmic demands.
Doug Lee is known for disco rather than contemporary club music, which might explain the slinky funk of this brief but bristling 7-inch for Minimal Wave sub-label Cititrax. "Kino-I" opens with a manic drum machine thump. Acid lines wiggle frenetically, and as Lee stacks layers of discordant machine sounds, the pressure builds so much it's as if the track is about to split apart. After about a minute of fried, frayed-sounding electronics, the breakdown is particularly satisfying. But even as "Kino-I" settles into a groove, the prevailing mood is one of chaos, like dance music that's been chewed up and spat out. A drum-heavy "beats" edit draws out the original's more abrasive qualities, while the supercharged bassline is the focal point of the "dub" version. Compared to the original mix, both feel a bit stern and functional, but then most tracks would compared to the rampant orgy of machine love that is "Kino-i."
A Kino-i (Mix)
B1 Kino-i (Dub)
B2 Kino-i (Beats)