Mi Ami can, it seems, confidently occupy their own emotional and intellectual space without any hang ups.
Mi Ami can, it seems, confidently occupy their own emotional and intellectual space without any hang ups.
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A hell of a record and no mistake. Screeching, demented and messier than a set of 5 years olds at a birthday party. The opener Harmonics (Genius of Love) is an absolute clarion call if you like music to possess no boundaries. It’s brilliant, especially in the way it dissolves into a fertile wall of screaming, pulsating white noise. Latin Lover is driven by a stern beat and topped off by the sane stream of consciousness vocal runs. It’s more conventional (in that it stays more or less on the beat and references that queen of the underground Whitney Houston) but it still possesses the bug-eyed determination to do exactly what it wants. What an opening…
Dreamers is much softer and very Damo Suzuki-like in the vocal department. Early Can springs to mind, albeit Can with a hell of a lot of feedback… but there are similarities between this record and something like Delay. The Can similarities can also be felt with the attitude; just like Cologne band, Mi Ami can, it seems, confidently occupy their own emotional and intellectual space without any hang ups. Secrets drags us back for a thrash around in the padded cell, the keyboard/guitar sounds (can’t work out which, to be honest) are a marvellous backdrop to this screamathon, which owes a bit to Bowwowwowo. Native Americans is a glorious return to the primordial stew that created the opener, Harmonics and Slow is a celebratory groove that welds a writhing guitar part to some marching band percussion.
A marvellously strange and beguiling record.