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Non-Prog CD Reviews

Jane in Space


Review by Gary Hill

This is the second release from this act that I've reviewed. This thing features an intriguing blend of sounds. You'll find plenty of dark electronic music that calls to mind Depeche Mode and others of that sonic stripe. Additionally, this gets into driving, hard-edged techno and industrial zones. The blend of sounds works well.

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Track by Track Review
Little Raurus
Cool keyboard based electronics with a voice talking over the top of it serves as the first section here. The cut drives out from there to a sort of proggy industrial, techno jam that's a real powerhouse. There are definitely hints of space rock in this mix. It drops back down to the mellower stuff after a time. They bring it more into the industrial zones at it approaches the closing, but not for long as it ends abruptly.
Eat Your Face
This comes in with an electronic techno groove. As it drops back for a dark and rather sparse, but still melodic, arrangement, this has a real electronic music vibe to it. It's dark, strange and so cool. They build it out to something that makes me think of Depeche Mode to a large degree. Yet the industrial element is still at play, too. They have driving, powered up sections and mellower ones serving as nice contrast to one another.
Full Stop
As good as the first two tracks were, they have not prepared us for this number. It's purely sublime. Still dark and decidedly electronic there is a real dramatic majesty to the moods and modes of this thing. It has an almost proggy element to it in a lot of ways. Yet, it's still based in both the industrial and the Depeche Mode type textures. This is definitely one of the real highlights of the set.
Breaking Glass
This cut is more decidedly melodic and electronic. There really isn't any of the industrial thing here. The cut is a bit lighter in tone than a lot of the rest, perhaps leaning more heavily on the Depeche Mode like side of things.
The title track powers in with a killer electronic texture. It grows out from there dramatically. It drops way down to mellower stuff for the vocals. The Depeche Mode reference is quite valid. There are also some modern prog leanings to that section in some ways. As it drives upward from there it's classy and has a cool dark melodic and still a bit proggy texture.
Thru the Vines
The opening movement on this is the strangest thing here. It has an experimental and rather bizarre vibe to it. When the cut eventually powers up toward industrial it has an almost Doors meets techno vibe, and it works better. When they drop it back down, they somehow retain hints of that Doors thing, and it retains some of the more effective element. The closing section brings back some of the weirder aspects, but in a cool way.
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