Released at the same time as The Cartel Vol. 1, Vol. 2 isn’t just more of the same. Several tracks utilise the same sounds as tracks from the first volume, and some are very much alternate takes – ‘Banksters’ and ‘Skanksters’, for example, but Vol. 2 is by far the more electronic of the two, with fewer live drums and more in the way of darker, more atmospheric tracks. There are far fewer guest performances, with many tracks consisting of just Brian and Gaz with contributions from Nat Steele and Peter Judge. This makes it feel much more like an actual soundtrack, with a more consistently moody feel, shorter tracks and sparser production being more suited to inclusion in films. The lineup is largely the same – although without Antony Agiros’s guitar shredding – and the art is pleasingly consistent, down to the same inner spread collage, although a different shot of the pair in the studio with Noel is included.
There is the question of why these were released as two separate albums, as opposed to a double album. The two volumes do have somewhat different sounds, with the first being generally more upbeat and sounding like a band, and the second more electronic, atmospheric and FSOL-ish, but with so much crossover material it’s odd to have them as two fully separate releases. I do think it would make more sense – musically, and in terms of fan purchases – for the two to be released as a straight forward 2CD release. The two albums were also released as a double pack with a card sleeve.
Both volumes of The Cartel went down pretty well with fans, even those who tend to be more wary of Amorphous. Undoubtedly the instrumental nature of the music, as well as more incorporation of electronics, loops and samples, added to the appeal, and the intentional focus on creating a specific atmosphere also helps. Having had some (occasionally very vocal) reservations about some of the post-Isness Amorphous material, I don’t have anything negative to say about The Cartel. I think it’s an intriguing project, generally pulled off very well. The first volume is something I don’t really listen to, largely because it’s a step away from what I want from either FSOL or Amorphous, although when I do listen to it, I find myself enjoying it, but those times only ever seem to be while I’m writing about it for something or other online, largely because I’m just never really in the mood to listen to something that sounds like the soundtrack to a ’70s action film. The darker, more electronic feel to Vol. 2, however, is right up my street, frequently falling into a similarly murky category as other FSOLDigital releases like The Woodlands of Old, Salient Moons 1973, An Open Window and The San Monta Tapes.
The two albums were promoted with a mix on Solid Steel radio, and talk of a remix album popped up regularly. Many of the tracks were reworked for use on library music collections – fitting for an album of imaginary soundtracks pieces.
The Monstrous Bubble Soundtrack concept seems to have fallen aside somewhat, with no real mention of them since 2013, which is a shame as I think it’s got so much potential. I’ve been hoping for a Wicker Man-esque album of creepy folk horror music from them ever since, possibly even a FSOL volume of ’70s hauntology synth music to go alongside it. Hopefully one day the series will return.
Release date: 11th November 2013 (Digital), 18th November 2013 (CD).
Tracklist
CD (FSOLD008) / Digital download
1. Watching the Watcher
2. The Watcher
3. An Ocean of Regret
4. Hombre Malo
5. The Visitor
6. Loaded Silence
7. Skanksters
8. 20 Years Behind Bars
9. The Killin’ Spree (Theme from Harry Limescale)
10. 1,000,000 Stashed
11. Dead Vapours
12. Tap-Up
13. Billion Breaks
14. The Decision
15. Tunnel Sequence
16. Dead Man’s Shadow
17. The Costa Rican Cartel
18. Cook the Books
19. Gunrunners
20. Some Time Later
Credits
Produced & mixed by the Amorphous Androgynous.
All tracks written by Cobain/Dougans
‘The Killin’ Spree (Theme from Harry Limescale)’ written by Cobain/Dougans/Moor.
Guitars/bass/drums/hammond/piano/keys/synths/sampling/collage/processing & mixing by the Amorphous Androgynous at 9 Leylines West, The Cow Shed & Le Chateau.
Raven Bush – Violin/cello (3/6) 3 recorded at Wicker Studio by Raven Bush, 6 recorded at Dusty Attic by James Stone.
Virgil Howe – Drums (7/13) recorded at Pipe Dream by Virgil Howe.
Kez Gunes – Bass (7/13) recorded at The Shed by Kez Gunes.
Noel Gallagher – Bass (6/16).
Nat Steele – Vibraphone (3/5/6//8/9/12/16/18/20) recorded at Dusty Attic by James Stone.
Peter Judge – Trumpet/flugal (2/3/5/7/9/16/18/20).
Rainy Moor – Hammond (9) recorded at Pancentral by Rainy Moor.
John Dalton – Flute/harp (9/13/20).
Graham Hicks – assistance on Watching the Watcher.
Alisha Sufit – Vocal (3).
Illustrations by Lysa Bartlett.
Layout by Graham Hicks.
Published by FutureSong Publishing.
9 published by FutureSong Publishing/Copyright Control.
Fractional Difference 