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Refuse;Start Fires

Scorn Audio CD

Price: 10.63 & FREE Delivery in the UK. Details
o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o
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Most Helpful Customer Reviews on (beta) 4.0 out of 5 stars  2 reviews
3 of 3 people found the following review helpful
4.0 out of 5 stars Another great dub-nightmare recording 17 Dec 2010
By J. Bjorne - Published on
Verified Purchase
I love Scorn. Colossus, Evanescence, and Gyral are my three favorite releases, and pretty much well stay on my mp3 player and in the car. While later Scorn does not have much in the way of signing at all, Mick Harris still produces deep "illibent" music that makes for excellent background music for reading, writing, etc. Not the most danceable stuff, but the subliminal bass makes most of Harris' work better heard on headphones, anyway.
1 of 1 people found the following review helpful
4.0 out of 5 stars Not perfect, but a great return to form 9 Nov 2011
By henry krinkle - Published on
Format:Audio CD
I've been a Scorn fan since Evanescence and loved Harris' transition into "ambient dub" (or whatever you'd call it) all the way through Gyral and Logghi Barroghi. There were moments of brilliance on the albums following those (you could even say he was making "dubstep" years before the term existed) but some of it lacked...personality? It wasn't that it was bad, just that it was neither good nor bad and occasionally went nowhere. When he came back on the scene with Stealth, I was dying for a new release only to be somewhat disappointed by the same issue; a few amazing tracks ("Enough to Hold Bottom" is one of his best ever in my opinion) but just as many enjoyable yet forgettable material that just seemed like filler at times. Plus that frigging snare...wobble wobble TANG! wobble wobble TANG!

Not the case with this one. Sure, there are still a few iffy tracks that may take 50 listens to sink in, but as an album it's his best in maybe 10 years. The songs have their own distinct "personalities" instead of being part of a nebulous 60 minute whole (which is fine for Lull but not what I like about Scorn) the way they did when he first went solo and started bringing the bass pain in a big way. He's also gotten past the dubstep vibe, probably realizing he and a few others (Kevin Martin, Bill Laswell, Tricky, anyone that took a 303 acid track from 1990 and pitched it down a few octaves) already proved their prescience and superiority when it comes to bass-heavy atmospherics over angular beats. Plus the whole "wobble" thing is just embarrassing at this point.

I'd also recommend his latest 12" singles as they're even better than this album. If he continues going in this direction, the next album could be a watershed moment in electronic music. Let's hope the Tornado can keep it up.
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