high dependency unit
cross channel multi tap

flying nun, 1998

ds rating:  

Hailing from New Zealand, High Dependency Unit (HDU) have been exploring the extremes of the sonic palette since 1994. Having described themselves as ambient psychedelic punk, the majority of their music is instrumental, and based around the interplay of core threesome Tristan Dingemans (guitars, occasional vocals), Neil Phillips (bass), and Constantine “Dino” Karlis (drums and percussion).

1998’s Cross Channel Multi Tap catches the group at the peak of their powers; their earlier Higher EP featured some immense tracks but was all too brief and inconsistent; later albums Fire Works and Metamathics seemed a little lacking in ideas, and too intent on rocking harder and punker to try and make up for it.

Cross Channel Multi Tap is still not the most consistent album around, with a few patchy moments. However, the brilliance of the better tracks makes it a must-have for anyone with any interest in noise rock / post rock / space rock / insert-stupid-genre-tag-here. With the group experimenting with the Pro Tools recording system for the first time, the recording process clearly allowed them much freedom to exhibit their creative bent.

Space Blues opens the album in stunning fashion; growing out of the initial silence, we have a sustained organ note build in volume (almost sounding like the opening note of Strauss’ Also Sprach Zarathustra - think of that scene in 2001: A Space Odyssey), before a shrieking guitar emerges. The riffing that follows could annihilate any stadium in the world; the title of the track couldn’t be more appropriate. Karlis’ drums are savaging - he is quite simply my favourite percussionist ever, period, with constantly changing subtle variations that never overpower the music, only empower it.

Unfortunately, Deleuzion immediately takes the foot off the throat of the listener, and even suffers from that worst possible trait - it’s simply a bit boring. Ironically, this (as well as the following track, and later boorish song Overtortures) are the tracks which feature vocals - it seems the effort that went into the uninteresting and almost inaudible lyrics zapped all the necessary energy out of the track. Deleuzion’s only saving grace is its funky, chilled, latin-like vibe.

Scinelens is certainly heavier and more abrupt than the preceding track,but still manages to be rather plodding and lifeless. At least it’s a little bit shorter.

Back to the instrumentals - Masd is simply epic, and yet as far removed from Space Blues as humanly possible.  Beautifully restrained (the songs title, referring to Mid Album Slow Down, is both ironic, and also spot on, at the same time), it slowly builds momentum, before exploding into a huge guitar climax - without ever breaking the patience that was instilled right from the start. It is one of those climaxes where you can picture the guitarist standing on top of a mountain, eyes closed as he thrashes the notes forth upon the unsuspecting - yet definitely approving - serfs below.

Eveness is another brooding, slow, (largely) instrumental, with the focus here being on Karlis’ drumming; never rushed; saying more with what he doesn’t play than what he does; and clever, subtle variations throughout. Dingeman’s vocals that emerge towards the end of the track are for once perfectly suited to the track, even if they are (again) almost indecipherable.

The Shark and the Pilot Fish ramps the tempo back up, with the intense tempo of the rampant, foraging shark, before giving way to the ambient, lush journey of the pilot fish. All three musicians are given the opportunity to showcase their talents, whilst still retaining that tight interplay overall.

Another up-tempo rocker, El True East, opens with a fuzzy bass, quickly joined by the percussion, before launching into another searing guitar riff. Dingeman’s provides the best vocals of the album on the track, as with Eveness nearly inaudible yet still perfectly in keeping with the tune.

Overtortures certainly lives up to its name; its tortuously trudging and pedestrian demeanour made all the more obvious following on from the raw energy of the preceding track, and perhaps explaining best why the band is mainly vocal-less. Despite building gradually in tempo, it never quite reaches the climax it appears to be striving for.

Fortunately, final track Marsunrise brings something a little different to the table, sounding like a sinister soundtrack to daily life on the Red Planet. It rounds the album off nicely.

The instrumental tracks are leaps and bounds better than the three with predominant vocals, but perhaps these vocal tracks prevent the album as a whole getting lost in voiceless tunes. Regardless, despite not being quite as consistently brilliant as some other albums reviewed on this site, Cross Channel Multi Tap is still highly recommended, especially to fans of Mogwai, Godspeed! You Black Emperor, Pelican, and other instrumetal post-rock groups.