The border between vocal and instrumental tracks is blurred in the wasteland sculpted by Canadian dj Sixtoo (Robert Squire), a member of the "Anticon" collective, on the lengthy jams
The Canada Project, off Songs I Hate and Other People Moments (2001),
Duration Project, off Duration (Cease & Desist, 2002),
The Mile-End Artbike, off Antagonist Survival Kit (Vertical Form, 2003).
The guesting MCs are merely part of the murky, downtempo, post-industrial production, just like the samples, the electronics, the fractured beats and the live instrumentation.
He had debuted
in a duo with Buck65, Sebutones, that released
the cassette Psoriasis (1996) and 50/50 Where It Counts (1998).
His first solos were old-school works such as
Psyche Intangible (Metaforensics, 1998),
Psyche Continuum (Metaforensics, 1999) and Termination Dubs (2000).
That material was collected on
Almost A Dot On The Map. The Psyche Years. 1996-2002.
Villain Accelerate's Maid Of Gold (2003). is a collaboration with Stigg of the Dump.
The mostly instrumental
Chewing On Glass And Other Miracle Cures (Ninja Tune, 2004) completed
Sixtoo's evolution towards digital composition by focusing on
The result is akin to DJ Shadow's funkiest and jazziest efforts.
The three parts of Boxcutter Emporium are quite different in nature:
angst-filled dub-tinged electronic music, a repetitive fuzz-like effect with insistent drumming and sparse bass notes,
a melancholy noir-tinged organ melody.
Sixtoo runs the gamut from the
psychedelic jazz-rock of Sidewinders to memories of
Canterbury's progressive-rock in The Honesty Of Constant Humna Error,
from the sleepy exotic Snake Bite to the trance-like
Closing Day Sale.
The most disorienting piece is the confused aggregate of sonic events around an elegiac guitar of Horse Draws Carriage.
The only drawback is that the album is fragmented in too many brief
pieces, none of which stands up as a memorable composition.
It leaves the impression of a vulnerable and insecure musical persona.
The nine-minute Storm Clouds & Silver Linngs (featuring
Damo Suzuki on vocals)
tries to reach for a higher standard, but the lengthy bluesy
recitation over frenzied drumming and atonal guitar fails to attain any
Jackals and Vipers in Envy of Man (2007) contains 13 untitled beat-based
pieces that sound more like leftovers than full-fledged experiments
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