REVIEW: Transmutator, Take Over (Hypnotic)
- Joe Silva
Just to prove that you need not be nested in any of the principal fonts of techno (NY, LA, London, Chicago, Detroit, Hawaii) to be akin with the vibe, Romell Regulacion creates the electro-facade of Transmutator in the seemingly disjointed realm of Hawaii. But unlike the island's other well known modern music ensemble, Poi Dog Pondering, Transmutator seems to be free of any nuances that would associate with his native terrain - a thoroughly ukulele-free zone.
Having graduated from his New Wave pop origins and the industrial confines of Razed In Black (where he actually netted some time on the Sony Playstation circuit), Rommell has come up pure electronic with Transmutator. What he carries from those beginnings that a lot of other purists don't is the notion that the smallest of hooks can't always tote the interest of the assembled masses on the dance floor for twelve minutes plus. There's something to be said for economy and the development of viable concepts when it comes to the production of this sort of music. It's a premise that someone like the good Sir Goldie, aka Lord of the Jungle, has forgotten with his new double CD - the first of which is an hour long pseudo-symphonic poem ala Paul McCartney.
The prime example of these smarts, as well as the album's premier draw, is "Brighton Rock (UVX Mix)." Starting off with a great film sample that sets up the song title, thundering beats immediately ensue before giving momentary pause to a sort of electronic jack hammer. A rubbery bass follows, robotic sirens and hoover sounds appear now and again, and the electric guitar break that Rommell throws in helps create enough tension and diversity to make the track stick long afterwards.
Rommell influences seem to run everywhere - "My Wonderful Friend" and "Soul Cleanser" both touch on a bit of house music's origins, and "Destroy" features a bit of old school funk with what would appear to be a dash of Homer Simpson. You may want to fault him for re-visiting Beethoven's Fifth, but otherwise there's enough depth and assortment here to keep you keyed into Rommell's work for the long haul. Which, for his arena, says quite a bit.
