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Aimee Tallulah Is Hypnotised

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Reseña de álbum

On Aimee Talullah Is Hypnotised, Andy Meecham takes a break from Chicken Lips to concoct analog productions that take in a number of inspirations, including but not limited to crusty Krautrock, the electronic experiments of the BBC Radiophonic Workshop, early Euro-disco, post-punk, Bob James-style jazz-funk lite, and the paranoia-laden sci-fi scores of John Carpenter. The album isn't the unfocused mess that the description indicates. There isn't "the Krautrock track" followed by "the dance-punk track"; instead, nearly each track is a crafty mutant of some kind, with enough mind-altering synth freak-outs and thick dance rhythms to appeal to inert stoners and active dancers alike. There's a whole lot of kitsch at play, but the effect is lasting rather than fleeting. Vinyl hounds who love this should also get ahold of the two singles that preceded the album and the one that closely followed it, especially for non-album B-side "Bloody Hell," the best track not released by DFA in 2004.

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Aimee Tallulah Is Hypnotised, The Emperor Machine
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