Reviews:
(Fakejazz 03/03/2006) To say that Live in Japan is an especially crooked Monotract release is no small statement, as the New York trio have always been purveyors of a confounding sound. At once a rock band, noise unit, and free improv troupe, Monotract find ways to irrevocably wrinkle any style they appropriate, and, in doing so, create the free-flowing mélange that is the Monotract sound. As non-native speakers of a language often retain tendencies ingrained by their original language to create their own idiosyncrasies within their adopted tongue, Monotract, no matter what they’re playing, do so with a distinctive accent, paying no mind to what sounds right or wrong to anyone but themselves, mining an ore indigenous only to the minds of Carlos Giffoni, Nancy Garcia, and Roger Rimada. Live in Japan documents the 2002 jaunt that Monotract made through Japan, and features a side of their sound that’s distinct within the scope of the band’s oeuvre. Perhaps because flying and/or traveling with too many guitars and drums would’ve been tenuous, the tour seems to have been heavy on electronics, brimming over with crunch, crackle, and sizzle. It’s some of Monotract’s most inorganic music, robust and unintelligible. But, as usual, Roger, Nancy, and Carlos find room within the crowded mix for a rhythmic base, and much of Live in Japan (and most of the disc’s best tracks, at that) are built upon beats. But, whereas other artists in their position might use a well-defined beat as a familiar anchor upon which to moor their wilder meanderings, Monotract make it another conflicting voice within many, creating music that’ll initiate head bopping and ass shaking as surely as it’ll serve up a healthy helping of cognitive dissonance. A new release on Ecstatic Peace! due this summer promises variations on the drums/guitar/electronics line-up Monotract have been showcasing lately, and, if the live set they played at No Fun Fest 05 is any indicator, will likely contain more beguiling mishmashes than the ones on this disc. Live in Japan, though, isn’t an ugly, forgotten sibling, and whereas Monotract’s last live document ( a 2001 cdr on Freedom From) didn’t do the group justice, this disc comes close. When learning a new language, the full immersion method is always best. This disc may offer only a few of the dialects within Monotract’s native tongue, but it’s still mandatory homework for any of their serious students. - Adam Strohm
(Vital Weekly No. 520) Monotract are Carlos Giffoni, Nancy Garcia, and Roger Rimada (on drums, electronics and guitars) and have been around for some time. This particular release was recorded in 2002 and apparently has more to do with electronics than their regular live work. Of course there is the usual amount of distortion and noise, but it dwells on rhythm, even including a very nice cover of Throbbing Gristle's 'United'. Of course this is not head-nodding, hip shaking music, but through it's a fine mixture of noise, noise and a nice bit of rhythm. Especially for those who love the current wave of US noise. Great cover also. - Frans de Waard
(Dead Angel No. 6) This live disc from Monotract, co-released in different packages by Public Eyesore, Imvated Reocrds, Carbon Records, Gold Soundz, Humbug, Audiobot, and Breaking World, is a ten-track document of the band's 2002 tour of Japan. This release has been in the works for ages and now finally sees the light of day (I suspect some of the delay has been the peculiar packaging; the disc comes enclosed in a circle of stiff paper decorated with artwork and folded, origami-style, into a square), and the results are... peculiar. The band claims this tour was unique due to the totally ridiculous number of gadgets and impossible-to-recreate songs, so Monotract fans will want to step up and grab this ASAP. The tracks are cluttered, noisy, and odd (what, you expected them to turn into the Beatles?), and -- perhaps as a nod to their surroundings -- a lot of the vocals appear to be in Japanese. Strange, stuttering electronic rhythms are broken up by more electro-frippery, and overlaid with confusing chants often coming from several people at once. The sounds are not necessarily harsh and violent, though; this is less about power noise and more about discordant sound of a physical nature (lots of thumping 'n bumping, clattering, and vibrating), with mechanial loops of rhythm and deeply perverse ideas about "accompaniment." They cover Throbbing Gristle's "United," although I'm not hep enough to Cosey Fanni Tutti's former band to know how much (or little) it resembles the original; it sounds good, though, so what do you care? I like that there are moments where it sounds less like they're "playing" and more like they're kicking their equipment around and maybe even pushing it off the stage. Controlled chaos, my friend... controlled chaos.... - RKF
(Indieworkshop)A seriously crazy brain-drain of an album, this newest Monotract disc was birthed by a coven of strange mothers. Six, count 'em, six of the fuzziest, most deranged labels around co-conspired to put this thing out. The CD comes in brilliantly colored and strangely constructed cardboard packaging that required me to come up with a game plan just to open. But all the plotting and graph paper is worth it. The music is, of course, mad. Frazzled electronics, disturbed ramblings and herniated, ruptured beats flow like waves of ricotta cheese. It's, of course, limited (to what, I am not sure) so I'd jump on this now. It's music for taking yourself off the lithium. Ohhhh it's soooo good. - Adam Richards
(ITDE) As musically cracked as it is visually disturbing, Monotract’s seven-label release (seriously– thank Public Eyesore, Carbon Records, Gold Soundz, Imvated, Humbug, Breaking World, and Audiobot) throws Monotract into the same aural deep end as listeners. Simply put, its a seriously weird album. I could add a lot of different adjectives, but “seriously weird” pretty much covers things. In just over 30 minutes, Monotract belches out an incredible array of electronic noises, kooky beats, shuffling nonsense, and improvised vocals– much of it in random Japanese words. Don't peel and see. Just unfold gently or it will rip! I’ve heard stuff like this done before, but usually it’s coming from the other direction. This might very well be the first band to stand the American fascination with “Engrish” noise acts on its head, and in Tokyo no less. No review of this release would be complete without some comment on the artwork and package. Upon first inspection, I was truly amazed. Despite my familiarity with Public Eyesore’s tendency towards fold-over packaging, I actually tried to peel this one open by the corners first. Then there was a small period of standing around thinking, “huh!” I finally figured it out, and was rewarded with a tremendous ovate spectacle rendered in hot pink marker and ink. (above, duh) The opposite side contains the most frustratingly difficult liner notes ever– if you’re dyslexic, or do not wish to become dyslexic; watch out– this stuff could make Stanley Mouse go blind. - DaveX
(Foxy Digitalis) From the preeminent players in the lazy-bones world of cdr labels comes this bonafide craw-fucker of a CD by the only band that I can think of that can cover a Throbbing Gristle tune without sounding like their nursing from the tired experimental douche of the 20^th century. Quite noticeably what we have going on here is a pitch-shifted fastidious dish of rock meeting anti-rock post-somethingorother that would make Derrida fudge his diapers in elation. This is an entirely bona fide caterwauling that will just as soon nourish your noise-boner as it will provoke you into a two-step humiliation reminiscent I’m sure of a well-rehearsed prom frolic that a dude with a buzz-cut and a suit jacket would stage with his anorexic date (in Spanish). Tightly executed stag-dollops that stage their advents as parodies of rhythmic gestures are coupled with blorps and manifold tech-incidents to promote the inkling that there may be a song going on (somewhere in the expanse of the planet Earth), but manage to put the kibosh on anything remotely predictable and instead opt to stagger down the road where schizophrenics frequently find themselves, in a puddle of their own waste, enjoying the redolence and having profound exchanges with their respective genitalias. The introduction of abstruse synthesizer violence effectively demotes song-structures to the transitory flight of origami pelican poop, yet these turds of mass devastation provide the backdrop for a racket that in the end insists on being interrupted. The symbiosis is beautiful and there is no quarrel as to who will play host as they are as natural together as a well-fashioned beret on the skull of some fag that likes that band Monotract. - Andrew Zukerman
(Paris Transatlantic 02/2007) Strictly speaking this isn't just a Public Eyesore outing, since seems to have been co-released by Imvated, Carbon, Gold Soundz, Humbug, Audiobot, and Breaking World as well (now that's what I call co-production), but I hope they have the same groovy psychedelic pink'n'orange hand-folded packaging as this one. Monotract is the trio of Carlos Giffoni, Nancy Garcia and Roger Rimada (originally from Florida, now New York based, I think), who specialise in a kind of lo-fi anarchic post-punk free improvised Industrial No Wave disco techno, the sort of gleefully colourful what-the-fuckery that will either have you wringing your hands in despair for the Future of Music (what future?) or jumping for joy at the continued creativity of the scene (which scene? well, take your pick). Divine artlessness has long been the hallmark of great alt.rock anyway, so it should come as no surprise that this lot were taken under Thurston Moore's wing for All Tomorrow's Parties' Nightmare Before Christmas. Free souvenir Butlins beermat for any of you who can sing along with the cover of Throbbing Gristle's "United." Yikes. - Dan Warbuton
(Broken Face) On Live in Japan we find Monotract (Carlos Giffoni, Nancy Garcia, and Roger Rimada on drums, electronics and guitars) present another dose of spastic out there music. Equal parts distortion and frazzled electronics make up this noise concoction which depending on mood can strike you as either the ultimate improv rock album or an anti-rock manifest. Need I say that this is only for the seriously demented and adventurous listeners? The CD comes in brilliantly colored and strangely constructed cardboard packaging, which only adds to the overall feel. - Mats Gustafsson
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