OCOSI

IN

  1/  Opener(in)                                 (Molyneux,Smerdon)            6.06
  2/  Yous                                       (Molyneux,Smerdon)            6.28
  3/  Coma-scene                                 (Molyneux,Smerdon)            4.15
  4/  Bwoing                                     (Molyneux,Smerdon)            0.37
  5/  Suck Radius                                (Molyneux,Smerdon)            5.00
  6/  Crave                                      (Molyneux,Smerdon)            6.54
  7/  Vor-tec                                    (Molyneux,Smerdon)            7.49
  8/  Out                                        (Molyneux,Smerdon)            7.44

          Recorded/constructed at Task, London, November 1998
          Mick’s drum parts recorded at The Box, Birmingham November 1998
          Produced by Paul Molyneux and Simon Smerdon

Paul Molyneux: programming,demixing; Simon Smerdon: programming,demixing; Mick Harris: live beat/kit samples(chopped by OCOSI).

          1999 - N.A.R. Records (Canada), NAR05 (CD)

REVIEWS :

[In] is an almost ambient industrial soundscape. Driven by sampled and programmed drum tracks [In] goes nowhere slowly. In fact, the relatively flat line tempo of the 8 tracks is a point of particular interest. Rather than creating inhumanly fast rhythmic textures with the aid of sequencers, the drum patterns are sometimes even slow by primate standards. Combined with ambient synth that mixes various flavors of bass hum and grumble, the effect is one of pulsing, breathing, biotechnological environments. OCOSI has made an interesting artistic move by creating tracks that are in non-conventional time signatures. The title track, which is 5 beats to the measure, is particularly effective in the sense that its irregularity is smoothly integrated. There is a certain, perhaps intentional, irony in using these odd times to capture the painfully regular rhythms of industrial life. On the other hand, it may simply be that OCOSI is not as deeply a part of the machine as their music suggests, or that our machines are becoming more human all the time. [In] is fascinating and monotonous. I won't be listening to it regularly, but if I ever feel the need to wallow in the despair and angst of modernity, [In] will provide the appropriate soundtrack.

Joshua Levin (courtesy of the Hollowear review site)