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Mylo - Destroy Rock and Roll (US Edition)

About.com Rating five out of Five

From Counterguy, for About.com

Mylo - Destroy Rock & Roll

RCA Records

There's really not much point in talking about how great this record is. The only justice I can do is describe what Mylo gets up to on the genius Destroy Rock & Roll. And one way to do that is to say this record's sound is the love child of Royksopp's Melody A.M. and the decade that was the 1980s. There's more to it than that, but this should give folks a pretty good idea.

"Valley of the Dolls" subtly kicks the record off with it's "Eple" beat and Partridge Family-like "bah, bah, bah, bah"s. This is followed by the even chiller "Sunworshipper," a dreamy snapshot of innocence (or insanity) with the repeated recording of a very excited kid (an Emo one, I suspect) stating that to escape drugs and such, he took off on his bicycle and headed down Highway 1. There's just one more laid back cut and then we get to the great stuff. "Drop the Pressure" is akin to Andy Caldwell's brilliant "The Waiting Game," encompassing the electronically filtered vocals, funky bass lines and the splashing of Human League-type synths.

This song is revisited at the close of the record by its verses with Miami Sound Machine's "Dr. Beat," and thus it's renaming as "Doctor Pressure." "In my arms" has to be the guilty pleasure of the year with it's mash-up of the keyboards of Kim Carnes' "Bette Davis Eyes" and a portion of Boy Meets Girl's vocal from "Waiting for a star to fall," all tied together by a solid electro bassline. Later on we have "Rikki", which is another super funky house track with some vocals sliced up in thin little pieces by what sounds like an RCA cable with an short in it.

A beautiful yet moody equally funky house track is "Zenophile," which again is a dead ringer for a Royksopp production. "Need you tonight" is a chunky beat thumper with Vespertine strings and some seriously lamenting vocals via the Judie Tzuke sample.

Strangely, the weakest track (and most annoying) is, alas, the title track. Here we find a mostly monotone music production whilst we get to hear a list of all the artists (from the 1980s, mostly) that should be destroyed.

A masterpiece otherwise.

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