Kid 606


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Don't Sweat The Technics , 6/10
Down With The Scene , 7/10
PS You Love Me , 5/10
The Action Packed Mentallist , 6.5/10
Kill Sound Before Sound Kills You (2003) , 6/10
Who Still Kill Sound? (2004) , 5/10
Resilience (2005), 5.5/10
Pretty Girls Make Raves (2006) , 5/10
Shout At The Doner (2009), 5/10
Lost In The Game (2012), 5/10
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(Clicka qua per la versione Italiana)

Miguel "Kid 606" Trost-Depedro (born in Venezuela but raised in San Diego and relocated to San Francisco in the 1990s) is an enfant prodige of electronica. He was still a teenager when he began composing harsh "digital hardcore" music that dismembered ambient, techno, jungle, hip hop. Inspiration came from Atari Teenage Riot Autechre, Pan Sonic and Matmos. The former were the main influence on Don't Sweat The Technics (Vinyl Communications, 1998), a punk album in disguise. SilverEgg, Don't Sweat The Technics, GhettoBlaster, Matmos Are The A-team Of Electronica are noise blitzkriegs that take no prisoners.

Disc (Vinyl Communications, 1999) is a collaboration with Matmos and Jay Lesser.

The EP Dubplatestyle (Vinyl Communications, 1999) contains remixes by friends.

A mature and almost decadent sensibility for ambience, droning and melody permeates the subsequent EPs: GQ On The Eq (Vinyl Communications, 1999), whose title-track bends a melody the way a blacksmith welds metals (and will remain his postmodernist masterpiece), The Soccer Girl (Vinyl Communications, 2000), and spills over into his second album, Down With The Scene (Ipecac, 2000). Here the 20-year old Depedro asserts itself as an original and powerful voice, not just a passing novelty. His edgy and convoluted collage art of white noise, sampled voices and frantic breaks (Luke Vibert Can Kiss My Indiepunk Whiteboy Ass is pure adrenaline, Kidrush is pure psychosis), his carcasses of industrial dance (Dame Nature is a symphonic poem for extreme frequencies and distorted, pounding techno beats, Buffalo 606 sounds like a disciple of John Cage's radio noise or Pierre Schaeffer's musique concrete performing Giorgio Moroder's disco-music), his pastiches of digital crackling (Ruin It Ruin Them Ruin Yourself), his ghosts of popular music (Secrets 4 Sale uses a telephone tone, a funky rhythm and a reggae backbeat to propel a rap and its soul choir, Juvenile Hall Roll Call turns a rock and roll into a bacchanal of jackhammers and motorcycles) live in a wormhole at the border between two universes, warped and distorted by a monstrous gravitational pull. The technique peaks with the savage metamorphoses of My Kitten, whose shrill, distorted, electronic effects and beats lash out in all directions, the ideal soundtrack to the eruption of a volcano as viewed from inside a high-voltage electric wire.
Far from being provocative for the sake of being provocative, Kid 606 shows restraint: the brief interludes that dot the album allow for glimpses of an explosive force that is never fully tapped.

PS You Love Me (Mille Plateaux, 2001) is a more pensive work that runs the gamut from alien dances (Together, Whereweleftoff) to alien soundscapes (Twirl, Sometimes, Now I Wanna Be A Cowboy).

PS I Love You (Mille Plateaux, 2001) is, unfortunately, a remix album of PS I You Love Me.

An Innocent Mess To Compress (Tigetbeat6, 2001) is a live album.

Continuing Kid 606's seesaw artistic path, The Action Packed Mentallist Brings you the Fucking Jams (Violent Turd, 2002) is the opposite of PS I You Love Me, a schizo-chaotic collection of dance tracks for terminal post-ecstasy nervous breakdowns. Samples are abused but often returned to their original context. Kid 606 may indulge in white-noise techno (Sometimes I Thank God I Can't Sing, Rebel Girl), but can also soar with post-modernist deconstructions of pop muzak such as Smack My Glitch Up (Kylie Minogue) and This Is Not My Statement (Radiohead). None of these is particularly engaging or innovative. However, at least the 11-minute drum'n'bass massacre of MP3 Killed The CD Star (refocusing the Buggles' classic) and the 14-minute merry-go-round Never Underestimate The Value Of A Holler (that butchers Missy Elliott), whose baroque baroque elegance nicely bridge the gap between old-fashioned dance-music and glitch-music, and stand as a sublime form of cut-up art, justify the existence of the album.

On the other hand, the EP Why I Love Life (Tigerbeat6, 2002) contains seven brief Eno-esque pieces.

Electronic eclecticism can lead to digital confusion, as proven on Kill Sound Before Sound Kills You (Ipecac, 2003). Depedro's incursions into noise, dance and ambience are channelled into more structured songs but the whole appears as pure production mayhem (Ecstasy Motherfucker, Who Wah Kill Sound, The Illness, Woofer Wrecker).

The defect worsens on Who Still Kill Sound? (Tigerbeat6, 2004), which sounds like a mere parade of production techniques that only occasionally entertains (Yr Inside The Smallest Rave On Earth, Live Acid Jam, Robitussin Motherfucker, Ass Scratch Beaver) and never innovates. Like its predecessor, it also suffers from magniloquent and somewhat noisy production.

Resilience (Tigerbeat6, 2005) is a gentler work, if nothing else because it encompasses so many different styles. Unfortunately, tracks such as Done with the Scene and Xmas Funk are mainly meant to show off his studio-manipulation talent... in an age in which he has fallen behind the learning curve. Any "kid" can do what he does, and, alas, does it. In a desperate attempt at regaining currency, Spanish Song is even poppy.

Pretty Girls Make Raves (Tigerbeat 6, 2006) sounds like a faithful tribute to retro electronic dancefloor music.

Shout At The Doner (2009) was pure routine with rare moments reminiscent of the old madness (Hello Serotonin My Old Friend).

Songs About Fucking Steve Albini (Important, 2010) continued the mellow vein of Resilience, bordering on ambient music and on minimalism (Periled Emu God).

That mellow vein overflowed on Lost In The Game (Tigerbeat 6, 2012), basically a set of melancholy electronic vignettes like Godspeed You African American Emperor.

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