Lost in Place Failsafe Corroded
By Marcus Pan
Disjointed" is a very good way to
describe the Failsafe Corroded release from Lost In Place. And true to
their moniker, Lost In Place tend to get a little lost in the creation of some
of their tracks as well, creating a very far-fetched attempt that combines
ambient, techno and EBM with droning goth-rock style vocals. All of this in one
basket can be quite much and difficult to control...hence the disjointedness of
Lost in Place is one of those savants who claims to be
rearranging piano instrumentals and the like at five years old and, admittedly,
that's pretty impressive. He beat me by about five years. Behind Lost in Place
is R. M. Ramlow and this album is said to be the "release valve on a fiery
furnace," which is why when I put this CD in I wasn't expecting the floaty
instrumental tinkerings that came out. While live he invites Stephen Thaxton
(TAO A) and Andrew Hodge (Industry 56) to help create the performance.
The opening floaty vocals of Things I See is
reminiscent of MeridieM(1) in tone. Very mixed up lyrically, words smashing
into each other, but not as well done as Fektion Fekler(2). Father is
similarly done vocally. Bits and pieces of unrelated musical objectoids
floating about (the piano tinkering in the background), showing that Ramlow may
not always be able to mesh his sound together well, leaving it a little off
kilter on occasion. The strings (cello?) here are another example, they seem to
be alone, playing by themselves without much regard to what's around.
Track 3, Raven, doesn't slide vocal intonations into
eachother as much as the others, but still the voice is overpowered by all the
different things going on around it. Failure wakes me up with a poppy
bass rhythm opening and a very sweetly done synthetic melody...one of the
better tracks of Failsafe Corroded. While Ramlow layers it up like the
others, he doesn't add too many disjointed clips to it.
Decomposed is a nice treat with dark, heavy rhythms
and metal-laced keyboard riffs. Vocals are heavily overlayed and voxed. But a
great beginning, which fades away into a not-as-processed almost whiny vocal
style. This further fades into a harmonized vocal effect...again we're having
trouble with the Kid And His New Toy syndrome where the musician will attempt
to add as many non-segue able, processed, experimental effects as he can to be
as totally kewlio as possible. What started with a strong opening has
degenerated into a big mess of non-interacting whatsits.
Disposable Contact gets heavily Marilyn Manson at the
outset sans guitars not all together a bad thing, mind. Control opens a
bit on the scratchingly annoying side, but the bass line thrown at you as it
moves ahead is worth the price of admission. The bass line alone makes the song
and the mimicking metallic-laced keyboards do as well.
You know, on the whole, Failsafe Correded isn't a
terribly bad output. I wouldn't go so far as to call it a "fiery furnace," more
like a "brooding dweomer," but it has its merits in the fact of its uses of a
number of genres to create its sound. There are only rare examples of melodies
and instrumentation that stands out, while there's plenty of things going on,
and this I think is the main downfall of Lost in Place. It suffers from the
attempt at adding as much as possible until, eventually, you end up diminishing
the track rather than developing it. It's true that sometimes less really is
(1) See Legends #92
for a review of their Distant Thunder
release as well as their interview.
reviewed their Into the Sun release for Legends #148.
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