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- Date Released: October 3, 1995
- Genre: Alternative/Punk
- Label: Too Pure
Don’t call these Germans coy.
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We Say...
Mouse on Mars have certainly proved one of the most adaptable acts in the underground pop landscape — a category which describes a band equally rooted in Krautrock and dance music far better than merely "electronic" or "experimental." Though perhaps "adaptable" isn't the word, as Mouse on Mars have never evolved to fit any discernible external influences; they've certainly never done anything like heed the prevailing winds of the pop marketplace. They've simply remained a profoundly mutable project, but always with an immutable core. It's never been possible to pin down Mouse on Mars to a particular sound — not even within the space of a single album.
In the band's earliest years, it was often tagged for an alleged interest in exotica and lounge music, although the title of the album Iaora Tahiti aside, it's difficult to find much to link the band to, say, Arthur Lyman. Instead, the first three albums — 1994's Vulvaland, 1995's Iaora Tahiti and 1997's Autoditacker — find Mouse on Mars poking and prodding at two levels simultaneously, morphing genre studies into sketches of pure sound, and vice versa.
Here, "Stereomission" might be Mouse on Mars' take on J-pop — or at least that's the impression that the Japanese spoken-word overlay gives. "Saturday Night Worldcup Fieber," spangled and shivery as a figure skater who's just been pulled from a frozen pond, is their rendition of the Eurodance anthems commemorating the sporting event to end all sporting events — but instead of irony, their spry, twinkly riffage comes across as almost impossibly innocent. Don't call them coy, though: "Schunkel" may be German for a kind of dancing where people link elbows and sway in time, but in the band's song of the same name, dub and '50s Theremin spookouts tug darkly at the waltzing chords. -
They Say...
More upbeat and with far greater detail than the debut, Iaora Tahiti proves Jan St. Werner and Andi Toma haven't stood still. The pair's fondness for all things lo-fi follows them here, but just as evident is a depth and punch lacking in their earlier material. Jungle-style programming pops up on the first single, "Bib," as well as elements of dub, funk, industrial, film soundtracks, and musique concrète.
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| 01. |  |
Stereomission |
4:38 |
|
| 02. | |
Kompod |
4:10 |
|
| 03. | |
Saturday Night Worldcup Fieber |
4:24 |
|
| 04. | |
Schunkel |
5:05 |
|
| 05. | |
Gocard |
3:59 |
|
| 06. | |
Kanu |
6:02 |
|
| 07. | |
Bib |
6:04 |
|
| 08. | |
Schelecktron |
5:04 |
|
| 09. | |
Preprise |
1:40 |
|
| 10. | |
Papa, Antoine |
6:56 |
|
| 11. | |
Omnibuzz |
4:38 |
|
| 12. | |
Hallo |
4:01 |
|
| 13. | |
Die Innere Orange |
12:38 |
|
13 Total Tracks, 69:19 Total Length
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Credits
- Wolfgang Flür - Drums // Bodo Staiger - Pedal Steel // Mouse on Mars - Main Performer // Andi Toma - Arranger // Andi Toma - Producer // Dodo Nkishi - Drums // Jan St. Werner - Arranger // Jan St. Werner - Producer // Nobuko Sugai - Vocals
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