(Copyright © 2012 Piero Scaruffi | Legal restrictions )

I, 7/10
II, 6/10
III, 5/10
Freerave Manifesto (2009), 5/10

Finnish project JS666 assembled albums that were chaotic high-tech collages of styles and forgeries.

I (2007) contains 37 compositions, ranging from five-seconds long to the six-minute closer, that steal rhythms, melodies and riffs from folk, rock and dance music. The hilarious dance-club skits include: JS666 Ei Tykkaa for ridiculously manipulated vocals and bombastic techno beat, the various "gabba"-titled songs that poke fun at Eurodisco music (up to Eurogabba that mocks the very anthem of the European television), the hysterical Inna Hardcore Stylee for fast-forwarded voices and rhythm, His work on rhythm is far from trivial: the drum'n'bass jam Doomis blends jazz trumpets, catastrophic drumming and slowed-down crooner; a pop ditty is deconstructed into an arcade video-game in Ystavineen; etc. But best are probably his takes on traditional street and village music: S-Tyyppi for cartoonish vocals and frenzied folk dance, Sopupelin Enkeli, a refrain spun at infinite speed, and especially the S-Tyyppi for cartoonish vocals and frenzied folk dance, virulent melodramatic polka-tango Kay Sammakot Hiljaa Yossa for operatic singer and choir, thudding electronica, accordion, strings, etc.
The "thefts" are sometimes blatant, whether from vintage rockabilly (Gabboleonin Mopo), from glam-rock (Mustaamakkaraa Komisario Palmu), from ZZ Top (1zz1top), or from straight-ahead techno (Scooter Is Playing In My House ), but always wrapped in new carnival clothes that mix not only genres but also eras. Leo Shotela fuses rap music and electronic organ of the psychedelic 1960s. The winner is probably Dum-Dum-Zak, a glorious disco send-up of the Queen's We Will Rock You. A dizzying merry-go-round of cultural debris from a post-modernist orgy.

II (2008) contains the eight-minute megamix 22 Hittia Korsoon, one of his most uncontrollable fits of disco-folk-plunderphonics, running the gamut from Aqua to Chumbawamba, as well as other megamixes at breakneck speed The twisted cartoonish vocals have become a staple of the entire album, from the exuberant ska-punk of Puhtoinen Lahioni to the booming rap music of Helsinki Rock City Boy. But what really steals the show are the hybrids: Got-Got-Gottonen is a hysterical mash-up of the early 1960s and street folk dance, and standout Hot For Coco delivers a spectacular, acrobatic, surgical fusion of southern boogie and of accordion folk dance. Unfortunately this time the emphasis is on the dance beat. The wild collages of the first album are turned into simpler soundtracks for wild disco nights, and pounding rhythm-machines dominate.

The songs are brief and cold on III (2009), but there are more than 30. The voices are less cartoonish, the folkish elements are less prominent, the blends are less wild. In fact, the most successful songs stay on a theme: Panomies mixes dance rockers, from Fatboy Slim to twist, and 'Ard As Fuck mixes hard-rock icons, from AC/DC to the Who, etc. The music is also less propulsive than on II, with rare exceptions, and few of those exceptions work (Karpasohjus F6-66). There are fewer incursions into Finnish folk (Viina-hata AK-47) and some more into other folk traditions (Irish Raver, Porn Slippy Mountain Breakdown, Kreisibailaus Theme).

Freerave Manifesto (2009) contains 18 more dadaistic skits, including the four Aleatronic Excercise.

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(Copyright © 2012 Piero Scaruffi | Legal restrictions )
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