Meat Beat Manifesto

Rolling Stone (10/3/96, p.74) - 3-1/2 Stars - Good/Excellent - "...What at first seems difficult to digest becomes more intriguing and intimidating with time--like an Escher drawing. The more you listen, the more you hear....The second disc is the pop-art coup de grace...ultraedited ambient excursions that veer well into get-out-the-butterfly-nets sonic territory..."
Melody Maker (5/11/96, p.48) - "Forget all those `Now That's What I Call Trip Hop' compilations. Forget also all the half-arsed post-modern samplist outfits who regurgitate large chunks of old soundtrack albums, couch it in cod theatrical mystique and are thought of as weird by people who play the album at dinner parties. Meat Beat Manifesto is back..."
New Musical Express (6/8/96, p.51) - 8 (out of 10) - "...Tricky-esque trip-hop, blissed out atmospherics, industrial hip-hop beats....jarring, infectious....the perfect party tape for the oncoming apocalypse..."
Option (9-10/96, pp.120-121) - "...With beats as his bread, he piles on layers of samples, electronics, guitar, vocals and more in this danceable double-decker....Dangers has a better grasp of craft, melody and dynamics than any of his industrial-disco peers....a pulsating carosel of sound..."
Alternative Press (8/96, p.80) - 4 (out of 5) - "...seduces with more elastic funk grooves, dubbier bass lines and more exotic embellishments (theremin, Mellotron, waterphone, bass clarinet, e bow, etc.)....the dub funk that predominates will more likely chill your marrow than ignite a disco inferno..."

It's no big secret that the key to successful pop art is regurgitating disparate stimuli in a
distinctive form. Jackson Pollock knew it. Andy Warhol abused it. Jack Dangers is on the
same wavelength. The sound-edit guru behind Meat Beat Manifesto, Dangers made his name
by cross-pollinating the arty technology of Kraftwerk and Cabaret Voltaire with
postindustrial noise. This strangest-of-bedfellows hybrid rocked the dance floor... More >