Liquid Liquid

Liquid Liquid

  • MOG Editorial Review

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    They didn't get the recognition they deserved at the time, but Liquid Liquid have come to encapsulate New York's melting-pot musical sensibilities of the early '80s in retrospect. Combining funk and dance music with a garage punk sensibility, Liquid Liquid were one of the first bands that rock kids could get their groove on to thanks to the intense basslines of classics like "Optimo," a jam with minimal instrumentation cluttering up the beat, not to mention the immortal instrumentals on "Cavern," which you will likely recognize as the song sampled on "White Lines" by Grandmaster Melle Mel. The band never released a proper record, but this double-disc compilation neatly gathers every song from the band's short-but-memorable run, one that would serve as a blueprint for the sounds of contemporary dance acts, particularly LCD Soundsystem and the Rapture.
  • AMG Review of Liquid Liquid

    Amg
    Jason Ankeny
    All Music Guide

    The angular, bass-propelled funk grooves of Liquid Liquid laid the groundwork for post-rock bands like Tortoise and Ui more than a decade before the fact -- stripped of all excess and artifice, their hypnotically dub-like sound offered a starkly minimalist counterpoint to the prevailingly lush production of the concurrent disco movement, in the process impacting the development of everything from hip-hop to drum'n'bass. This superbly packaged, 18-track retrospective collects the sum of Liquid Liquid's official output, recorded between 1981 and 1983, and all things considered, it's remarkable just how prescient and modern the group's music really was. Although only the standout, "Cavern" (the basis for the Grandmaster Flash rap classic "White Lines"), is even remotely familiar in any strict sense, the remaining material, with its thickly fluid basslines and circular rhythms, will undoubtedly strike a chord of recognition in anyone versed in the sonic motifs of post-rock and electronica. Ui's Sasha Frere-Jones is thanked on the sleeve, but in truth he's the one owing the debt -- for all intents and purposes, post-rock (and a whole lot more) starts here.

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