This is the frist track out of the gate for Man Parrish. I was thinking about this track because of the Sasha Frere-Jones review of the new Massive Attack album in the latest issue of the New Yorker. Jones put Blue Lines and the whole, uh, Bristol scene on the tail end of music created by Parrish. So I looked up some of that late-80's Parrish, pre-trip-hop music, but all I came up with was a slew of trash.
I'm sure there's some intersection I'm missing. Somewhere in 1991 where Hip Hop Be Bop (another *great* Parrish track, featured in Shaun of the Dead) gives way to Safe From Harm, but I can't seem to find it. Its times like these I wish Sasha Frere-Jones had twitter (that man's music knowledge blows my mind).
But, to the track at hand, this is one of those few disco tracks that manages to be both maudlin and hopeful. It is also an early use of vocoder that proves you cannot take emotion out of a robot voice. If I've had enough drinks, this song can make me tear up. Also, I love the typo on this Disconet release--"Heartstroke".
I'm sure there's some intersection I'm missing. Somewhere in 1991 where Hip Hop Be Bop (another *great* Parrish track, featured in Shaun of the Dead) gives way to Safe From Harm, but I can't seem to find it. Its times like these I wish Sasha Frere-Jones had twitter (that man's music knowledge blows my mind).
But, to the track at hand, this is one of those few disco tracks that manages to be both maudlin and hopeful. It is also an early use of vocoder that proves you cannot take emotion out of a robot voice. If I've had enough drinks, this song can make me tear up. Also, I love the typo on this Disconet release--"Heartstroke".
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