|by Super8 & Tab|
|Released||September 13, 2010|
|Super8 & Tab chronology|
|Singles from Empire|
This was their first album. Despite all the ghostwriting, they managed some beatifics. There is also one bonus track.
|1.||"Slow To Learn (feat. Jan Burton)"||6:50|
|2.||"Empire (feat. Jan Burton)"||6:41|
|3.||"Black Is The New Yellow (feat. Anton Sonin)"||6:49|
|4.||"My Enemy (feat. Julie Thompson)"||5:46|
|5.||"Perfect Day (feat. Alyna)"||5:13|
|7.||"Good Times (feat. Betsie Larkin)"||6:51|
|8.||"Mercy (feat. Jan Burton)"||7:30|
|11.||"Free Love (feat. Jan Burton)"||4:05|
Slow To Learn
The opener casts the appropriatest mood over the whole Marian Liknes event. This dour, sour allochezia is good for pop music: Jan rhymed & wrote, but the Finns stepped outside & never returned. Their cheques will come stained with blood- STL is their velleity smoked through a gutter cancerette. Maor Levi thankfully fixed it all up.
Empire (Album Edit)
Empire (Original Mix)
The first two tunes are a tripartite acclivity, slowly raising the keys & consciousness, & then electric beeps complementing the already choate holiness. Then Burton strolls out to fractalate our ears with his pearlesque, ultraluxurious voice with the Lennonist chorus, the following verses rhyming in monostichs.
The chorus is Juno Mission all over again, nearly too good for the brain, with the lyrics, beeps, piano & more spilling over each other. But it gets downright scotogenic in the minute from 5:53 where yet another declivity rolls up, & down the stave it goes, drizzling softly, yet harsher than 1703; surprising & obvoluting & gratulating fresher than grapes still on the vine. S8 & T overfilled minds & hearts with this epiphany.
Black Is The New Yellow (Album Edit)
This perplexation is the most bizarre song without being psychedelic. The tune sounds generic enough, but there is a cloud of reconditeness fogging up the senses. This musical gaslighting marks the earliest Vol 8 track singularly.
Flanked by suave train sounds, the tune itself is a jaunty little ditty that does nothing per se. Thankfully for the Volume, they introduced some vocals which captured the bewintered souls of the Finns. Or it would, if it weren't made by Steve Helstrip, aka The Thrillseekers, or the new Super8 & Tab if this continued.
Their first single, Irufushi, wasn't made by them, either, so why would their second single be. Have they ever made anything? Am I to doubt the existence of S8 & T albums? I don't need an emetic.
Catchy vocals count for a lot. I'll never forget these, despite the Maskelynesque-backing. Like Formula Rossa sped up, this is a falling synth, like a tumble down stairs. Repetition is the joy of music, they say, but this is just eating a rat, vomiting, eating that, ad nauseam, which does not exist for these Finns, or their multiple ghostwriters. Their true enemy is themselves.
Trying to break into the coveted mainstream market, the two culmboarded their album with the toxic dreck of Perfect Day, a philistine caricature of music. The raw, bleeding heartlessness is a dagger in the annals of Anjuna.
This is the one good unsingled song. The hibernal & the vernal interweave in this supernal heavenhood, starring stygian electronika held up by true tragedian triumph, all mesosphered by the platinised vocals drifting along in evergreen aureity. Broken up by callow, lifeless percussiontrash, the actual song is timeless & spaceless.
From ES's Great Times to these 'Good Times' is a fierce dip in pride. From that to anaphrodisiac, GT is a bitter sedative. More false advertising.
Jan Burton sang some energising hoo-oo-oo-oos, but the real vocal boost comes from the aah-aahs. The instrumentals are fools' gold, seeming aurous, but really a myxoid illusion. Peccable would compliment this thorn in the spleen of Vol 8.
This Vol 7 blazer is as eclectic as its Maldivian name implies. These Finns breathed a new fashion into Anjunabeats, helping to grow from merely trance. Or they would have if this hadn't been made by Tenishia. S8 & T have such a nondistinct style that I doubt they had anything to do with this at any point.
Abstract vocals lead into Mansnerus & Eloranta's tune: the Maldives are 99% water, & so is Irufushi, drawn from the Pierian Spring. The semperjuvenescent virescnence harks back to Won't Sleep Tonight's futuristic boldness. Am I to doubt the authenticity of that as well?
An example of genuine bliss is Eternal Sequence, which slopes & writhes. Bliss, per contra, is static with death. Alarms repeat less. Bliss is ignorance.
FL is the hare in this race, the winner being the blood-doping hare of Eternal Sequence. FL is a steady descent, & it's spectacular for a chillout mix. But even something as quasi-blissful as this can never reach the depth of something like Eternal Sequence.
Helsinki + Elektra is a ten-minute extended mix of Elektra with the vocals of Helsinki Scorchin' in the first half, then Helsinki Scorchin' in the second half. That is all. It's a bonus the same way the appendix is.