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11#;(i-YTEWW • volnmi-xcviii number2 







Party monsters leave a footprint 


musicpreview 

Dietzche V and the 
Abominable Snowman CD 
Release Party 

With Shout Out Out Out Out DJ set, 
Roland Pemberton III and the Hues 
Friday, 7 September at Spm 
Starlite Room 

PAUL BLINOV 

Arts & Entertainment Editor _ 

Just as you might expect from a 
mysteriously named figure and a 
legendary, elusive beast, Dietzche 
V and the Abominable Snowman 
enjoy camping out in the wilder¬ 
ness of Edmonton’s dance music 
scene. They pop up for the occa¬ 
sional show or to release a single 
stirring up the masses—only to 
sneak back into the darkness, leav¬ 
ing audiences to wonder if they still 
exist in between shows. 

Now, after so much under- 
the-radar activity, the techno act 
is finally releasing a full-length 
album. Macho 2003—2007. as if to 
herald their continued existence 
to the world. Like their album title 
suggests, they aren't afraid to make 


boastful statements about them¬ 
selves and their music. 

"This band lias always been about 
keeping it so real that no one's ever 
heard our music, so we picked the 
name to be impossible to remem¬ 
ber,” The Snowman states. “So far, 
it's worked.” 

The tough-guy attitude suggests 
that ego might be the root of so 
much down time between shows, 
but it's actually a problem of dis¬ 
tance—the Snowman no longer 
resides in the Edmonton. He moved 
to Toronto a few years back, and 
although the band resumes when¬ 
ever he visits, that doesn’t happen 
particularly often. 

"I'm back in Edmonton probably 
once every two or three months. 
That allows Dietzche and me to 
get close again, musically, although 
what I don't tell him is that I have 
a musical partner in every city in 
Canada." The Snowman jokes. "I jus: 
want to make sure I don't give him a 
computer virus when we're working 
on electronic tracks.” 

“1 think [distance] keeps things 
fresh," Dietzche adds. "I don't think 
we’ve ever had a point where [our 
music has] gotten stagnant, it seems 
like as soon as that point happens. 


things settle down for a while, 
and The Snowman's gone back [to 
Toronto]." 

Macho 2003—2007 collects select 
tracks from within that timeline, pre¬ 
senting a record of Dietzche and the 
Snowman's musical progress to date. 
Even if they vanish into the back¬ 
ground once more, audiences have 
a snapshot of where they were, here 
and now. Clearly proud of dteir work, 
the duo see Macho 2003-2007 as the 
favourite lovechikl of their collabora¬ 
tive years, as spaced out as those song- 
writing sessions may have been. 

"It's a greatest hits package.” Dietzche 
explains. “We were going to call it a 
greatest hits package, but we didn’t 
know how that would go over for a 
band that no one had ever heard of 
I mean we’re pretty conceited peo¬ 
ple—we’re pretty overconfident and 
arrogant—but we didn't want to turn 
anybody ofTby calling it greatest liits" 

Not that the duo seem worried about 
naysayers. They've proven them wrong 
before, burning only brighter and, 
despite distance, not fading away. 

"There's a lot of haters out there, and 
there's a lot of people who said this 
band wouldn't last." The Snowman 
says. "They were wrong, and we were 
right." 


albumreview 

Dietzche V and the 
Abominable Snowman 

Macho 2003-200/ 

Pop Echo 


PAUL BL1N< >\ 

Arts & Entertainment Editor 


It's difficult to review a dance album 
ill the stationary, stale atmosphere 
of a seat or desk; you have to at 
least imagine it being dropped in 
the middle of a pulsating, breathing 
dance floor and think about how the 
assembled tangle of bodies would 
react from track to track. Fortunately 
for Dietzche V and the Abominable 
Snowman, Macho 2003-2007's '80s- 
laced, sy mil-propelled songs are 


exactly what a D] spins to set a party 
on fire. 

The Purple Rain-era Prince influ¬ 
ence is notable: come-hither syn¬ 
thesizers slither between sweaty 
beats while vocoder-kissed, some- 
limes-ihere vocals suggest escort¬ 
ing tonight’s special someone from 
dance floor to your bedroom. Make 
no mistake: with lyrics like “This 
sex addiction in my mind ! It's caus¬ 


ing me to fall beliind / Why don't 
we head back to your place / So we 
can self-medicate." it's pretty obvi¬ 
ous that this album's got copulation 
on the brain. 

The slower half-way marker 
"Eternity (Beyond Forever)" offers a 
moment of rest from Macho's contin¬ 
uous bump and grind before listeners 
plunge into the album’s second half It 
holds up almost as well as the first, but 
by the time "Sexual Variations” slinks 
along. Dietzclte and ibe Snowman 
seem like they’re out of new tricks to 
turn you on. As a result. Macho feels a 
little tired in its final moments. 

If heard through your headphones. 
Macho 2003-2007 is a solid dance 
album that wears itself out by ilie 
end. On the dance floor, however, 
this is the thumping soundtrack to a 
night ending in sexy results. 


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