"Let a hundred flowers bloom, let a hundred schools of thought contend." -- the tragic irony of Mao saying the right thing for the wrong reason isn't lost, it is celebrated.
Minor Procedure's "Let 100 Flowers Bloom" is a densely varied work (at least, within the boundaries of dark electronic progressive rock) for which a new listener could perhaps benefit from a roadmap -- a tour through the 100 Flowers.
"Progress and Poverty" opens the album with an EBM-ish anthem inspired by artists like Front Line Assembly and :wumpscut: with nods to Atari Teenage Riot and Neurosis -- fierce, heavy electronic dance-rock with a punk attitude, wrapped in a gothic neo-classical blanket. Basically it was the demo we never got around to sending to Metropolis.
Though the album is not a rock opera / concept-album per se, it is something of a book of individual works, pieces, stories, call them what you will, book-ended by two tone poems. The opener is "[Everything Begins] In Aftermath", in which a post-apocalyptic digital orchestra paints an aural portrait of the univeral Morning After. In the distance, perhaps on television in a storefront window, a talking head from the before waxes on about -- well, it doesn't even matter any more.
In "Process Delusion" we swallow our pill and learn how to bend that silly spoon. I think the best description of this one came from a fellow artist's review back in the mp3.com
"Now, *this* is interesting. Imagine, if you will, an intersection between millennial techno and mid-70s English Progressive rock. Take some pretty up-to-the-minute electronic textures, put them across a snare-driven, high-tempo rock beat, layer up some prog-rock male ensemble vocals (think Gentle Giant for the singing, but *not* the beats) -- and then, if that wasn't enough, throw in some sampled spoken musings by French-Canadian chanteuse Zeeza and you've got... well, you've got this track. And, when considered as a whole, it's not like much you've heard here, I don't think. And, we have to say, we deeply appreciate its ambitious experimental hybridism and wish more folks would push the boundaries with this fearless enthusiasm."
-- One Blue Nine
Or to quote Zeeza herself -- "It seduces the complicated minds".
For my part, I saw it as sort of like Praga Khan covering Bad Religion while Mark Knopfler noodled on a midi guitar.
"NV" takes us back to the mid-90s when we rolled with Acid Fist X. Guitarist Paul Galgolzy gets the primary writer's credit for this one, with Pogo's trademark yell leading us through what began as industrial hip-hop but wound up closer to space rock. Recommended for fans of Hawkwind, Killing Joke, and the almighty Beasties.
Guitarist Jim LeClaire and I walked halfway across Ft. Lauderdale one morning, from a friend's apartment in the south causeway area to my little roach motel near Federal and Sunrise, our minds both still blown from the acid the whole band had dropped the night before. When we got to my place we sat at the computer and whipped up this piece of abstract digital art we called "Cerebral Anesthesia", which years later I found to be an excellent intro to "Encryptionite [Mediterranean Morphine]".