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Random Record (8.29.06) Micranots: Obelisk Movements

by Dave Hoffa | 08/29/2006 | in music | user reviews

Okay. As the resident record nerd at Punk Planet, and because of my day job in a record store, I've decided to randomly choose one record per week and write about it on this here site. First up is from the 13th letter of the alphabet, M.

The Micranots initally formed in Minneapolis with three members (MC I Self Divine, DJ/production-guy Kool Akiem, and mystery member Truth Maze, who I'm assuming was another MC), although none of their recorded output recognizes this. Their first full-length, Return of the Travellahs was casstte-only, released in 1996 (and later re-packed onto CD by the Rhymesayers label), and featured only I Self Divine and Akiem.

Obelisk Movements, while technically their second album, was most people's introduction to the group. Recorded in the late-'90s, Company Flow's Big Jus signed the group to his label, 321, which folded before the album could see the light of day. Jus eventually started a new label, Subverse, which then issued the record in late 2000.

Obelisk contains not only a vague political slant that runs through the entire record and its song descriptions on the back cover (the one for "Illegal Busyness" reads, "The war on drugs is a big joke especially when it grosses 1 trillion dollars annually."), but the Micranots were on some other-worldly shit a lot of the time.

"Balance" describes Divine's mental experience in relation to his moves from LA to Minneapolis to Atlanta, and then there's the vinyl-only "58 Perfectly Angled Facets . . . " fuck it, they claim right there in the Intro that, "[They] came on this planet to represent."

While I Self Divine's lyrics are head-spinning, to say the least, Kool Akiem's beats are lung-collapsing in their impact. The bass drums always hit hard, accompinied by anything from strings to piano to keyboard drones that help create a bleak sound, as there's rarely a political hip-hop group that's really excited and supportive of the current Governmental line-up.

Did I mention that this record spans three LP's? Yeah, it's little suffocating to listen to Obelisk in its entirety, but each cut has something to offer, be it a great verse, a good beat, whatever. Though not every song is amazing, everything on the album is solid at its worst.

The group eventually disbanded after their third LP, The Emperor and the Assassin dropped in 2004.

I Self Divine collaborated in 1999 with Slug (Atmosphere), Beyond (Musab), and Gene Poole on the Dynospectrum project (which is excellent), in 2003 with DJ Abilities in the group Semi.Official, and most recently released a solo record on Rhymesayers entitled Self Destruction.

DJ Kool Akiem is now MF Doom's live DJ and has a myspace page over here where you can buy mixtapes and shit.

Micranots Partial Discography:
So Deep I Never Fell (1994)
One Hour of Ill Shit (1995)
Return of the Travellahs (1996)
Farward EP
"All Live" 12"
Obelisk Movements (2000)
Return of the Travellahs CD reissue (2003)
"Glorious" 12"
The Emperor and the Assassin (2004)

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awesome
Sinker's picture
Submitted by Sinker on Tue, 08/29/2006 - 6:19pm.

Great job Dave. Can't wait to see where this is going to go. Already off to an unexpected start!


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can I join in?
maggieloveshopey's picture
Submitted by maggieloveshopey on Wed, 08/30/2006 - 7:52am.

OFFSHORE by EARLY DAY MINERS

Having listened to altogether too much tasteful Americana of late, last weekend I was in the mood for something different, some new cosmic freakout or experimental rock to blow me away. A chance listening post in Shibuya led me to this record. As the sleeve sticker had it, "a 37 minute epic in six parts". Bang, direct hit on my muso nerd bone.

It opens with "Land Of Pale Saints", a driving ten minute instrumental that thankfully doesn't sound anything like the weedy UK former indie act The Pale Saints. There are layers and layers of guitars building on each other in a manner not a million miles from Pelican's instrumental prog metal, augmented by rising and falling keyboard washes. About five minutes in the guitars drop out, and the drums take centre stage, as they will again and again throughout the record. Purposeful and ominous, they lend a foreboding air of apprehension until this too stops, and is replaced by a brief interlude of strings and feedback, signaling a move away from noise and into a quieter place. This stretch, starting with "Deserter", has a hushed, nocturnal quality (most of this record seems to take place in the dark), the same spooky ambience that Daniel Lanois brought to Emmylou Harris' "Wrecking Ball". The music stretches out, becomes reflective and the first vocals appear, a man and a woman singing together over rolling percussion and a lost harmonica echoing in the dark. The lyrics of "people lost underwater" and a "ruined city" conjure images of loss and floods, and bring New Orleans' recent history to mind, as they must surely have been intended to.
From here we move on into "Sans Revival". The assorted instruments come together to make a beautiful shimmering texture, all-enveloping and strangely uplifting, despite the vocal exhortation to "give up". Chiming guitars sound like floating dust motes turned golden by shafts of sunlight penetrating the darkness. The climax is the first moment of silence we've heard on the record, probably the end of side one in old money.
"Return Of The Native" is a quieter, more subdued piece with a broken female vocal, that elides into "Silent Tents",where the only word that will do is "aftermath". The previously roiling percussion is slowed down and the guitars become mournful and elegiac, playing long low notes that speak of loss and regret. Eventually the drums fade away to nothing, and a guitar and keyboard hold a protracted slowly decaying note as the sun rises on muddy brown devastation.

The final track "Hymn Beneath The Palisades" brings the record to a powerful instrumental close. The martial drumming from the opening returns with renewed purpose. This rhythm, the snap of cymbals and the discordant notes of the guitars all herald a vengeful (re)construction. About halfway through the guitars begin to climb. They fall into step with the drums and redouble in intensity. Something big, dark and dangerous is coming. Just as we think it is upon us, it stops. The record ends, and you know you're going to push that play button to hear it again.

In a just world, the music mags would be celebrating this instead of fawning over Thom Yorke's latest laptop sulk. I don't think I've heard emotion expressed so clearly through electric guitars since Explosions In The Sky's "The Earth Is Not A Cold Dead Place"
37 minutes. You could spend it watching an episode and a half of a Friends rerun, or you could listen to the best record I've heard all year. Your choice.


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move?
admin's picture
Submitted by admin on Wed, 08/30/2006 - 8:54am.

Hey, it's awesome that you want to do this too, but not many people will find your piece buried in a comment! Why not do it in your own blog on the site? Then it's easy to find, comments are kept separate, and the magic begins!


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tagged!
admin's picture
Submitted by admin on Wed, 08/30/2006 - 9:27am.

Dave--

I took the liberty to tag this blog entry with the categories "user reviews" and "music" so they can become grouped with similar types of writing. As you continue to write these, be sure to tag them so they'll automatically go into those topics as well.

Dan


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Nerd?! Come on, be real.
Submitted by galin on Wed, 07/23/2008 - 2:03pm.

Nerd?! Come on, be real. Your are really smart, dude. Stop saying that you're a nerd. If you keep saying this I'll have to recommend you some drug rehab programs. I'm joking, of course!

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