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Chemlab
Rock Whore vs. Dance Floor

Underground, Inc./Invisible Records

Posted: Friday, March 02, 2007
By: Ilker Yücel
Editor

When Chemlab returned onto the industrial music scene in 2004 with Oxidizer, needless to say, it was received with an equal measure of disdain and elation. Many were pleased simply to have one of the heroes of mid '90s coldwave return after seven years, while others were dismayed at the absence of original member Dylan More and that the bulk of the music was produced by the members of Acumen Nation and a plethora of guest musicians, with vocalist/noise poet Jared Louche being the only original member remaining. Still, Oxidizer was a powerful mix of crunchy guitars and gritty electronics, retaining an atmosphere akin to, if not identical to what many recall as the Chemlab sound. After two years of allowing the album to ferment, Chemlab releases the remix album, Rock Whore vs. Dance Floor.

The title is indeed appropriate as the range of mixes on this CD run the gamut from guitar-driven rock and roll to pumping beat-driven dance. Beginning with Needleye's remix of "Monkey God," the album gets off to a rocking start, pummeling its way through your speakers with some primo guitar licks and heavy percussion; industrial rock at its darkest. Other tracks like the Max-Out version of "Binary Nation" by 16Volt keep true to the original tracks, maintaining the heavy rock elements, but touched up with some blistering electronica, and even some heavy drum & bass in the case of Cyanotic's mix of "Atomic Automatic." Even Terrorfakt's Gun remix of "Black Snake Voodoo Hiss" keeps a rocking atmosphere, despite being purely power noise. Other tracks like Die Warzau's Scorpio mix of "Scornocopia" and Kill Memory Crash's Demento mix of "Binary Nation" go for a more electronic approach, emphasizing danceable beats and screeching electronic glitches. The same can be said for Christ Analogue's Glitchstar mix of "Scornocopia," as well as Marc Heal's Cash for Oil remix of "White Room Black Eye," a mix that pummels with hard driving electronics and guitar manipulations, recalling the brilliance of Cubanate.

If there was anything negative about Rock Whore vs. Dance Floor, it would be the seemingly excessive length of 17 tracks. While it's a great collection of mixes, it does tend to drag on after the first 10 or so tracks. Still, to hear so many intriguing interpretations of Chemlab's Oxidizer by some of coldwave and industrial's stars, both old and new, is surely a treat by itself. None of these mixes can be easily discarded, making it an enjoyable experience, if a long one. If nothing else, Rock Whore vs. Dance Floor is sure to satiate the palettes of those hungry for more Chemlab until the next album of new material.