Landing - Centrefuge EP
(Music Fellowship)

No matter how you cut it, a theoretical conflict exists. However, if we consider a few facts, it turns out that the actual manifestation of the various interests involved results in a beautiful convergence. First, the fat cat capitalist label owners want the reader to have a favorable impression of this record so that they will all rush out and snatch up copies, thus depositing money into their pockets (Ed: we are so driven by money, we are giving away three copies to prove it). Second, the 'zine (represented by your humble author) wants to provide the reader with an honest assessment of recorded music so that music consumers can make better informed decisions on what inferior products to avoid being suckered by, and which superior products to purchase. Finally, the reader is looking for objective guidance on what is "hot" and what is "not" in the music world, hoping to be able to put their trust in the integrity of the American journalist.

Fortunately for you, my loyalties lie with the reader and not with the establishment and the fat cat record label executives. Thus, though there is a conflict between what the corporate whores want and what my job is, that conflict does not taint this review. I willingly buck the system and bite the hand that feeds me free promos. I will not bow to corporate pressure. I will tell you what I really think about Centrefuge. I like it!

When I first heard this record, many months ago, I was convinced that Landing had to be the biggest Slowdive fans in the entire world. Recently, however, I learned that Dick (a.k.a. Dick Baldwin, who also writes for fakejazz), the bass player, has only recently discovered that fine band. This really blows my theory that this recording was inspired by countless listens to Pygmalion. Plus it leads one to believe that Dick is some kind of sucker for having gone so long without digging Slowdive. What a loser!

Landing is a group of musicians who love sound. What that means is that these folks are all about the FX. Though they are credited with playing instruments likes guitars and such, it would be more appropriate if they listed out what their various pedals and boxes were, as they seem to be generating more of what the listener actually ends up hearing. Landing takes the standard rock set up and uses it to create lush atmospheres and transcendent lines, but with a delicious pop sensibility (sorely lacking in many other bands of this ilk), resulting in music that sounds like air (what you breath, not that French band).

Further, Landing is unique in the mileage they get out of their format. "Blue," the opening track, is a bit like Spiritualized in their more spacey, laser-guided mode. It uses bass, a couple of effect-laden guitar tracks, and maybe some secret lady vocals way in the back at one part. It's a great opening piece, given its simplicity and confidence in that simplicity. (I don't know how these folks feel about Spiritualized, but I do know that Spacemen 3 has made the rounds in their camp.) "Clouds," the next track, however, moves into a more lush territory with lots of echoy sounds, and a more abstracted melody.

"Centrefuge," though, is the big centerpiece. An epic, multi-part song, it is best part of the EP. It begins with a pulsing tone and layered, repeating chiming guitars. The second part opens up into a bright, relaxed piece, built on the chiming guitars from the first part, supported by minimal bass and drums, and an occasional wash of sound. This part slowly winds down to allow for the final part, which is comprised of whirls and chirps and straight acoustic guitar,

Finally, "Hovering" is the most uptempo song on the album, due to a more insistent drum beat and more propelling bass line, over which, of course, the guitars and effects are layered. This one is fun, though, because, the swirling background builds upon itself, nearly overtaking the rest of the music. It's a big, bold ending to a nice little record.

dave christensen 2000 sep 15