Blasting out of Birmingham, Futureshock deliver their eagerly anticipated debut. A...
Andy Puleston 2003
Bosh! Blasting out of Birmingham with a laptop load of sound system rockers come Futureshock. And they're armed! OK, they don't have any weapons (that we know of) but their sonic ammunition has the capacitytofrighten small buildings. Their eagerly awaited debut Phatom Theory offers us some first rate progressive stompers as well as some brooding electronica.
Whilst not without its flaws, this is in the most part a great record. The Shoxlengthy love affair with DJing and remixing means Phil Dockerty and Alex Tepper know how to piece atune together. Having turned out top-flight mixes for the likes of Underworld, Moby and The Chemical Brothers as well as running their own Fuju imprint you aren't left in any doubt who's in charge of the machines here.
Kicking off with the massive "Statikman" the first half of the album serves up large slices of upfront, colossus-type thumpatrons. "Late At Night", "Another Hit" and "On My Mind" (featuring Ben Onono on vocals) are all large, lush and lively productions that show acid prog at its best. Thankfully, they've included a piece of their past in "Sparc" which doof-doofs, squelches and wows like it was made in the same studio sessions.
However, Phantom Theory isblightedby a dodgy mid section."Satellite" is worth skipping only to avoid the extremely suspicious lyrics; "My body's a container holding water, 99% and not a quarter, you understand I take my bearing from the sun plus, point me in direction like a compass".Yeahhh... rrright. "Pride's Paranoia" is another slightly retro soundingdawdle which doesn't really do much and the attempt at diversity pales in comparison to the first half of the record.
That said, closing with the awesome, stomping, bleeping "Frequency" the Futureshock boys redeem themselves of their crimes against songwriting and celebrate a fine close to asolid debut. Well worth buying for the first half alone.