Glenn Michael Wallis - Industrial Surrealist (Musik Von Glenn Michael Wallis) mp3 download

Cyregaehus

G.M. Wallis is the main force behind the legendary Konstruktivists, a nearly forgotten and often overseen Band of the diverse early 80's UK experimental scene. He released several well sought after LP's starting off in 1982, has been a part time member of Whitehouse (around the 'Great White Death' era), collaborated with CTI for the 'Hammer House' EP in 1984 (reissued on 'Collectiv One') and 1985's album 'Glennascaul' was even produced by Chris Carter. They reappeared in the beginning of the 90's with a new line-up a bit unfitting on World Serpent then with a more technoid approach. His later releases (mostly under the banner of Konstruktivists) are spread amongst various small and independent labels all over the world.EE Tapes (once a tape, now a CDR label) from Belgium did a wonderful job on this one, tasteful artwork accompanies this limited and hand numbered collection of 14 unpublished and 'lost' tracks recorded between 1982-1999. With one exception (Bass on "Neukon") G.M. Wallis is the sole artist creating with his synthesizers pure electronic soundscapes.Half of the tracks origin from 1983, the time when Konstruktivists released their probably best known album 'Psykho Genetica' on the long gone Third Mind label, and vary between some of his openly admitted influences; medium Kraftwerk, early Tangerine Dream, Neu! and Tuxedomoon ("Joeboy", "Desire" Pts. One & Two). He guides the listener through minimal and sometimes unexpected lighthearted ("Cologne") synthetic pearls with the sovereignity of a man who knows his equipment well and how to use it.Surprisingly only two newer tracks "Pinas R" (1994) and "Gas Mark" (1997) touch what is commonly known as Old School Industrial with distortions, feedback and a more aggressive attitude. The final and most current track, "Russia" is a beautiful outro, melancholy and nostalgy somehow captured just with a few piano and string sounds.Also the sound quality sometimes lacks a bit of the high gloss finish one got used to nowadays this album works well as a reminder where electronic music took off and shows a substance which is timeless. [Reviewed for The Brain in 2002]