Helicoide album reviews

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THE ATTIC Staff Picks – March 2019

Millions of Dead Tourists are an intriguing music trio from Greece who ”uses and abuses synths, pedal effects, 2 bass guitars, laptop, sequencer.” Their second album, “Helicoide”, was released on the 1000+1Tilt label and bring into forefront 4 electronic pieces. An intense listening experience, walking through dark sound spheres reminiscent of early electro and evokes post-apocalyptic scenarios. Somehow, without any expressed activism, the sense of the protest is here and can be felt throughout the album. ”Recorded in Athens and Thessaloniki, January to March 2018, while both cities were being sold to airbnb.”


VITAL WEEKLY No 1179

The name of this band is surely inspired by the punk band Million Of Dead Cops, I would think, and like that this band has a political side that is firmly on the left-wing side of the political spectrum. The band name is a response against what they call ‘Airbnb-ed cities’, but also they have a song called ‘Social Media As A Concentration Camp’ (inspired by Culturcide’s ‘Consider Museums As Concentration Camps’?) and a song about “one of the tragedies of our times is the colonization of the human imagination by economics”. The music is very far removed from the world of punk music, however. The line-up is Iason (electronics, which I believe are a synthesizer, such as the Yamaha CS20, Erebus, Nanozwerg, audiomulch) and Sotiris and Yiannis, who both play bass guitar and effects. One song has “vocals, lyrics and tapes” by Alyssa Moxley. I gather that still doesn’t say much about the music they play, which is an excellent form of electronic music, with lots of rhythm and lots of synthesizer sounds. The opener is a fine melodic piece of arpeggio’s synths, a steady fast rhythm out of a box and the two bass guitars playing along in a fine post-punk modus. ‘Nothing Is Possible’ is a much darker beast, with a more complex rhythm, many taped voices and vocals. A similar layer of voices is in the song ‘Social Media As A Concentration Camp’, but with the basses again driving the piece forward, synth locked down and slowly going into a multi-tone colour with the bass drum in mid-tempo ticking time away. In the final piece ‘The Long And Sufficiently Agonizing Death Of A Chicago Boy’ we find the group in their most experimental form, with the basses doing much of the work, going through various effects and the synths in a more supporting role. The sequencer decides upon a rhythm but it stays pretty abstract throughout the twelve minutes this piece lasts. It is the end of a much-varied disc, clocking in forty minutes, which is too short, I think. I understand the time constraint for this as it is also available on LP but I would not mind a bit more. All of this brought to you by the guy who brought you P.S. Stamps Back before, operating in a similar field of very leftfield techno music. The political message is there but not preached too much in the songs, which is a good thing I should think. (FdW)