Here we have old school Doof star Rev presenting us with his second solo album. Through his albums and his numerous other releases, you can notice that Revís got a pretty unique sound going, with a special emphasis on funkiness, and plain craziness- the classic loony Doof sound. So whatís different in this round? Let's have a look:
Pony & Rocket starts off with some funny sounding jazz samples and vocals and then just jumps straight to a tight, groovey bassline. This one is all about kicking things off and wastes no time in getting you off your ass and on the dancefloor. I love the way he manages to pack even more groove by the middle of the track, and tops it off with a healthy dosage of scratchy lysergic sounds. This track really does live up to itís name :-D. Next we have See Ya Lato Arigato (T2), which is even phatter than the last track. It takes a short bit to get a nice little gallop running but it's no where as tightly wound as its predecessor- here the sound reflects a relatively more laid back approach, but donít let that fool you- this track is a monster. Dotcalm (T3) starts off as a grumpy space trip waiting to explode, but turns out to be amongst the more subdued tracks here. Killing Lingus gets the album back into the party mood with a powerful dynamic percussions @ 146 BPM. Dig the deviant tweaky melody that bubbles about on the surface, but at 9.42 minutes it is a bit too long. With Motekno (T5), we have Zirkin join in on the fun. The energy level is up another notch and the track is definitely more on the scratchy side. One gets the feeling that somewhere out there R2D2 is pissed and trying to establish contact. All in all, a cool tune. Next Doof heavyweights Entropy join Rev in Jery Camel (T6). Much tighter percussions are evident and the harder trend of the album goes on. Great chemistry between the acts as their trademark leads rip. Towards the middle is when things get interesting- tensions building and released in bursts. Neat track, I wish it ended on a more stonger note though. Birds are here (T7), starts off with bouncy percussions and an alien form of synchronization before the digital bleeps start their rant. This track is a lot more dynamic and sounds a fair bit like what Orca manages to stir up. The Ratatouille sample is pretty funny and keeps the humor alive. As fun as it is, I donít like how the leads sound as if they are going nowhere at times. Though the track does move forward, I feel there is potential for more fluidity in the story. Turning Brakes (T8) has an all business attitude, and steadily entrances you in its snares. There are some silly sounding leads, accompanied with an energetic bass. The final product is groovy with amusing samples. It evolves like the other tunes, but has a very unique moment when a mysterious melody is incorporated, literally conjuring an epic story for you before you're suddenly reminded of who you're listening to, and the tight capped percussions return with a barrage of lysergic sounds. Good track and lots of fun. Finally, we have the title track of the album, Amusia. It starts with a groovy kick bass which immediately transforms into a very serious arrangement accompanied with these alien burps. Heavy basslines, and great energy just make you want to smile and stomp to this. Love the funky break down around the end of the 3rd minute. This monster just continues with the bad ass grooves and really does live up to what I expect from a title track. It is a fitting end to a CD that challenges your sense of insane and plain nutty.