2350.org - Move D - Pop for Dwoozle

At least there's the second record of David on Pete's own-label. I've waited a long time to hear the new creations of Mr Moufang and I'm very glad I can say it wasn't for nothing. Here's my first impression of 'Pop for dwoozle.'

'Put your ear to the ground' The album starts with some cheesy waves with those typical Move d tones (I guess played backwards) which we know from the Namlook/Move d series. Immediately you get that childhood feeling, it's almost cute, but not for long.. a snare drum and a bass drops in, while we hear some tiny electronic bleeps in the background.. this is why it already sounds like that new-fax stuff.. it gets serieus now, there are the hats.. at the same moment the wave with its tone is gone and we are in the field..

'Looking for some grasshoppers' The rhythm together with its bassline goes on and we are still in that background full of tiny electronic bleeps. It will become loungy now, because Move d is back with his famous chords, while short samples are dropping in and out. A melody appears and you get the feeling again we are still young and we're walking through that field, looking for some grasshoppers. This sounds like Live in Heidelberg, but it has more clarity. The track is not too long and it perfectly fades away. Great one!

'Goofi' A guitar is playing some chords and is sampled again. Electronic clicks and a bass are put with the the guitar-loop. Wow! The sphere becomes very sweet and you get a feeling of safety. A voice calls 'Goofi' and some words I cannot understand, I guess this is Dan, David's son. It is really music for children and children who have children. The guitar drops out, but the atmosphere stays very sweet and warm, because of organ- and synthesiser-chords. The rhythm becomes harder and the guitar is back, the voice again calls 'Goofi'... There's much emotion in this track, super!

'Insert Poel '97/Berlin von seiner schönsten seite' starts with a rhythm and a wonderfull bass-line. The rhythm becomes harder and an organ-melodie comes in. This is indeed schön or beautiful. For some reason it does remember me to Kunststoff, released way back in '94, because it's that typical cheesy stuff. The percussion or rhythm sounds a little bit like the tracks of Solitaire, David's first solo project on Fax.

'Haheessh' uhm.. a rhythm.. uhm... a voice... many uhm's... together with a bass-guitar and a electric guitar.. this is pop for dwoozle, but the track stays easy and cool. The voice returns with many boos and haheesshes accompanied with some electronic sounds, which i really like. The bass-line is very good and the piano-chords really fits to the guitars. Very hard to describe this one.

'The tree/travelling without moving' Again a wonderful sphere is created... this piece starts with a piano, while a synthesiser is playing the accompaniment. A guitar is brought in... it's simple, though I like this. After three minutes the track is going to change, when some soft twinkling bells togheter with a bass and a snare-drum are introduced. I thought the sphere is complete, but some voices start to whisper and humming... "NaaaNnaahh".. This is nice! It sounds a little bit like the band Mùm, if that says something.

'Will funk for food' = minimal techno for 34 seconds à la rather interesting...

'Cacao facil' Tingtungting.. again a voice is singing, the guitar is back. For the first time a female voice is whisper. Some hats, a twinkling sample and a saxophone-sample.. now we've got a little bit jazz. Some piano-chords are dropping in, but than.. it stops and we're going to the next track..mmm already over.. it doesn't say that much... have to listen this 20 times first i guess....

'Watching Trains (Züge gucken)' starts with some nice warm synth wave with some kind of a percussion... this is cheesy.. pfff.. there is finally a cool electronic loop, you can feel the track is going to change.. an electronic rhythm comes in. After a few seconds the story is complete with a gorgeous bass-melody and some cool hi-hats. I indeed can really watch the passing trains/züge on the realway, while hearing this music. For a few seconds the synth is gone and wow there we've got that short electronic tones we all know from false decodings, gosh.. thanks for this one!

'Uchi Soto Uki' begins only with a percussion and some washes. Some bass-line is introduced with electronic synthesiser-tones. Not a real rhythm in this one, only some out-stretched hi-hats with the percussion. If you listen carefully you can hear people talking in the background. You really can chill out with this waves and guitars.

'Tonspur 11' This's the longest journey and a very repetitive one. The piece begins with a loop which consist of some sampled path-tones and a percussion. It almost seems David has ripped an old percussion from his computer he used in 1994. It does remember me for some reason to I.F. or Solitaire. I don't know, but it has got that same ambient-outlandish sphere. There's a little bit turning to the volume of the loop and the percussion is expanded with hats and for a minute a snare-drum. Little by little Move d changes the track with some echoing paths, strings and nature-sounded-samples. However Tonspur 11 is a really electronic track, it sounds a little old.

(Infinity) Und Ð synhesiser-chords, echoing-samples, childrenvoices and a electronic rhythm... it fades away and so does this album... perfect ending of this journey.

Conclusion: Again David shows his talent to put the right samples and loops together to create a perfect sphere. Every single track is like an isolated piece and different from the other. Eleven trips. That's why you can listen this album many times. Recommended. Rating 8.5/10.

(review by Ilmar Links)