| | Discordance Axis Our Last Day CD Discordance Axis Discography of CDs
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OUR LAST DAY includes two unreleased Discordance Axis tracks, several Discordance Axis songs covered by other artists, and one track by Gridlink, a Discordance Axis offshoot band.
If you love sonic freak-outs, then Discordance Axis' Our Last Day is the place to be. The band still likes to keep things hush-hush about itself and its intentions, despite being together for nearly 15 years by the time of this 2005 release, which is split into several different sections: "Discordance Axis," "Cide Projekt," "Gate," "Mortalized," "Melt Banana," "Noiseear," "Merzbow," and "Gridlink." While grindcore is usually associated with lightning-fast heavy metal riffs and beats, Discordance Axis continues to try new approaches. This is especially evident on the "Cide Projekt" portion, as tracks such as "Tokyo" and "Aperture of Pinholes" manage to combine tricky drum patterns -- which are hard to tell if they're pre-programmed or played by a human -- and riffs that sound as if they're played on a Casio keyboard. Elsewhere, more traditional grindcore (growled/indecipherable vocals, etc.) can be found, including "Sega Bass Fishing" and "Castration Rite." The Hydra Head label continues to mine the most sonically challenging, extreme music out there, and Our Last Day is certainly no different. ~ Greg Prato
Last Of The Prev.Unrel. Material
Discordance Axis: Dave Witte, Jon Chang, Rob Martin. Discordance Axis Our Last Day Songs Our Last Day Review
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Andy Kim's first four albums managed to escape CD reissue until 2006, when Collectors Choice released a pair of two-fers containing his three albums for Steed and his sole effort for Uni. The second of these contained 1969's Baby I Love You, his last album for Jeff Barry's Steed label, and his fourth album, 1973's Andy Kim -- two records that couldn't be more different in their sound or feel. Baby I Love You is of a piece with his two previous records for Steed, his 1968 debut How'd We Ever Get This Way and its 1969 follow-up, Rainbow Ride. Where the latter cribbed heavily from the psychedelic sounds of the late '60s, Baby I Love You took a different approach, leaning upon many of the middle-of-the-road sounds of the time, as well as several of the songs that were hip MOR crossover standards of the time: Tim Hardin's "If I Were a Carpenter," Jimmy Webb's "By the Time I Get to Phoenix," and Burt Bacharach's "This Guy's in Love with You." Clearly, there seems to be an effort to move Kim back into the mainstream -- a place he never left -- but the day-glo colored Rainbow Ride failed to generate a Top 40 hit, and Baby I Love You feels designed for Top 40 play in the best possible sense. It's crisply produced by Barry, who tones down the fuzz-tones and phasers of Rainbow Ride without sacrificing the scale or color of Kim's music, and it's a tight record. There may be five covers here, but they're not only well-chosen, they're executed with inspiration and imagination, particularly on the hit title song -- a lighter-than-air reinvention of the classic Phil Spector-produced single for the Ronettes -- and on "By the Time I Get to Phoenix," which boasted a dramatic, colorful coda. With the exception of "Walkin' My La De Da," which veers too close to cutesy, and the circular "I Got to Know," Barry and Kim's compositions -- all collaborations this time around, unlike its predecessor -- capture them at their bright, bubblegum best, particularly on the exuberant, propulsive "Didn't Have to Tell Her," the Spector-esque "So Good Together" and the cheerful "Let's Get Married." Those aforementioned pair of missteps -- which aren't complete missteps, just mildly awkward -- keep Baby I Love You from being as consistently absorbing as Kim's debut, and it lacks some of the period charm of Rainbow Ride, but it's yet another dynamic late-'60s pop sound that's quite addictive in its high ...
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