Consumer Electronics - Crowd Pleaser

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Label: Hand To Mouth (2)
Catalog#: Hand To Mouth 1
Format: Vinyl, LP, 45 RPM, Limited Edition
Country: Germany
Released: 28 Apr 2009
Genre: Electronic
Style: Noise, Power Electronics, Experimental, Industrial
Credits: Lyrics By [All Lyrics] - P. Best*
Mastered By - Rashad Becker
Performer - Gary Mundy , Mattin , Philip Best
Notes: Limited edition 180 gm vinyl release with lyric booklet.

2 for sale in the Discogs Marketplace


A1   Hand To Mouth
    Featuring - Mattin , Best*
A2   Cockpit
    Featuring - Mattin , Best*
A3   Crowd Pleaser
    Featuring - Mattin , Best*
A4   Parking Lot
    Featuring - Mundy* , Mattin , Best*
B   Oily Possibilities
    Featuring - Mundy* , Mattin , Best*

Consumer Electronics - Crowd Pleaser LP

Consumer Electronics - Crowd Pleaser LP

New CE album by Philip Best, the best rapper in town. Produced with Mattin & Gary Mundy. Tracklisting: Hand To Mouth, Cockpit, Crowd Pleaser, Parking Lot, Oily Possibilites. Edition of 500 copies, 180g Vinyl, with lyric sheet, shrinkwrapped. Mastered and cut by Rashad Becker. Self-released on Best's new label Hand To Mouth. Sounds pretty amazing, no comparison to the No Fun LP. FOR FUCKS SAKE, COME CLEAN!
Tochnit Aleph


I'm in a minority, and even though I have often been told that I'm wrong, I consider Power Electronics to be something of a spent force which should have been left in a shallow roadside ditch some miles back. The only reliables are the long-termers, such Asp, Balisteri, Dando and Solotroff, who, like Bruce Lee before them, offer glimmers of hope to undisciplined imitators masquerading as badboys, who pull their bedroom mirror moves whilst securely decked out in military surplus, fan-boy t-shirts and topped with the obligatory peaked black cap. As sweeping generalisations go, it would seem that the ranks of these vanilla dullards are constantly being expanded by an influx of players recruited from the straight-jacketed ranks of the Hardcore and Metal circuses, where the flock mentality is the unwritten law, and imposing their one-size-fits-all scene regulations a hobby, It's this safety-in-numbers approach and scene molding that snuffs out unique, individual voice, miring us in a pit of the same old tired clichés and opinions. I want my PE to be delivered as a genuine insight into a particular artist's mindset, not by somebody with identification issues flaunting his supposedly 'private' 'obsessions' (which are, amazingly, the exact same as everybody else's on his mailing list)  in front of his little playmates, unsure, unable or unwilling to stand on his own two feet, And I want some cold distance to the subject, coupled with a bit of vague mystery, both of which seem to be lacking from today's team-players. That's why the individual indiscretions of, say, George Michael are far more invigorating and interesting than the tedious clichés of the rock 'n' roll lifestyle exhibited by Montly Crue, doing exactly what they're expected to do in that position they hold.

It's unique, peculiar traits that separate the driven from the masses, fuelling a need that pushes the artist to do what he has to do without any concerns for recognition, let alone acceptance. Nobody in PE should be looking to bond, and nobody should be serious about asking others what their next move should be. Which piece of art is actually a genuine reflection of the artist is tough to pin down, and let's face it, 'authenticity' has always been the greatest deceiver in rock music, but still, contemporary PE, with its sad parody of needy attention-seeking scenesters stretches tolerance levels. Mine, anyway.

These dismal trollops will continue with their play-ground bravado, pushing and shoving each other around at shows, rallying their internet warrior buddies, naked and exposed with full decks dealt, at least until the big boys, watching from a distance, finally step out from behind  the bikesheds and demand that the kids hand over their pocket-money. With Crowd Pleaser,  that demand is finally made.

It would have been far too easy for somebody as highly regarded within PE's hierarchy as Philip Best to have bandied these recordings around any number of safehouse labels and demand his own terms, but it's a testament to the project's individuality and belief in self that the took the hard option oversaw the whole production on his own. It's given aid along the way from Mattin (who had to leave his philosophy books behind) and long-terms accomplice Gary Mundy, as well as the absolute craftsmanship of Rashad Becker during the mastering stage, which makes the whole album fucking bullet-proof.

They lyrical onslaught never lets up from the off, and is snarled out with a rapid-fire intensity. A constant stream of polemic, surging forward, switching from bitter to puzzled, but always lacking any trace of empathy whilst operating without a safety-net of buzzwords. The muzzled restraint which highlighted his work with the two most intriguing tracks on Whitehouse's Asceticist 2006 Album, and which every had expected for the No Fun Productions LP (Nobody's Ugly), is blown apart and the results are delivered with the most effective, fractures viciousness as record has hurled forth in a long time.

Side Two allows the librarian and wordsmith to stand aside and lets the musicians through. Like Nobody's Ugly, this features another highly precise instrumental construction which, whilst having none of the jagged shards strewn across it like the outbursts on the first side, builds on wailing tones and hits like a sneak-attacks from the SAS, in and out within a few minutes, Minimum fuss, maximum impact.
Steve Underwood

Troa 2

I was extremely pleased to receive this LP in the mail, as it was a highly anticipated release for me, and even after the first few spins, I would have objectively been able to say that I was blown away by it. As Whitehouse has shifted to more avant-garde territories, going full-circle, I suppose, back to where that band began, Philip Best has zeroed in on the essence of – yes, I will use the tainted term – power-electronics. From the moment the needle hits the opening groove, the vocals on this album are a vital distillation of the type of rapid-fire, venomous discharge of Best's that I so enjoy, and they are combined with a raw and disorienting electronic soundscape – one that is maybe less-obviously-digital, compared to what I might have expected, particularly after playing the two shows with him last summer. But in retrospect, maybe "seeing" a laptop made me a "hear" a laptop? Maybe it was that the focus was on the sound when it came to the previous LP, "Nobody’s Ugly" (2007, No Fun Productions). Regardless, the laptop debate is a moot point when dealing with Consumer Electronics, as the “gear” is by no means the focus of a performance, and neither is it an issue with these songs. It is certainly not clear who is doing what on the album; both Gary Mundy (Ramleh, etc.) and Mattin are credited alongside Best as performers, but it is apparent that there is a lot of information in the sound. When the electronics are at their thickest, grayest point on the song “Oily Possibilities,” metallic chiming and scraping sounds rise clearly and gently through the mix to keep the listener focused, even without the need for vocals. I appreciate that the overall intensity of the performance - often rare on a studio recording versus the live setting - along with the succinctness of the album - never allows for even a slight lapse of attention. I also appreciated the inclusion of a lyric booklet – a libretto, more or less – even though the vocals are crystal clear. It is still nice to be able to go back and follow the word-play; a lyric from one song is the title of another; references surface to other recordings or releases. This sort of feature has always been a pleasurable element of Whitehouse records, Peter Sotos’ books, etc. The album’s production values are brilliant, and they are only enhanced by the audiophile-quality 180-gram vinyl pressing, and the excellent mastering job by Rashad Becker.

Black Acrylic Blog

Following the end of Whitehouse it's clear there's been a polarisation between Philip Best and William Bennett's subsequent solo projects. From the last album Racket the contents seem to have been split fairly evenly. William gets custody of the pounding percussion for his Afro noise project while Philip gets to keep the hectoring vocals that deliver withering poetic put-downs with a near cartoon-like intensity. Both sides of the amicable split have returned stronger than ever, maybe benefiting from a focus on these individual elements of what made Whitehouse such a potent cocktail. Crowd Pleaser is a short, bracing blast, four tracks on one side, a single instrumental on the other. The noise itself is generally a series of somber mid-range tones feeding back on themselves, quite an abstract backing for Best's excoriating lyrical delivery. As with Whitehouse, the accusations and rebukes pile up into a wall of rage, individual phrases striking out with particular savage humour. "Staring at the blank TV/ Surrounded by videos/ You could just tell were in the wrong boxes" comes to mind immediately. A handy lyrics sheet is a useful reference should the words ever disappear into the mass of pure sound. This is something that rarely happens thanks to some careful production, leaving each element for the most part audible, keeping a delicate balance between light and shade. Like the stark black and white of the album's packaging, it does its work in the extremes.

Volcanic Tongue (Glasgo)

Tip of the tongue

Edition of 500 copies on 180g vinyl, Crowd Pleaser is the
debut releases on Philip Best's (Whitehouse/Ramleh et al)
new private press vinyl imprint, Hand To Mouth. The
follow-up to the jaw-droppingly beautiful Nobody's Ugly,
Crowd Pleaser sees the CE line-up bolstered by the addition
of Mattin (Billy Bao et al) and Gary Mundy of Ramleh. The
first side is a massive departure for CE, with Best
transplanting his recent work with Whitehouse onto four
intensely dynamic vocal-led pieces. Best has really come
into his own over the past few Whitehouse albums, his
lyrics a cascade of fractured images, sidereal horrors,
miserable suburban monotony and explicitly coded assaults
on the armour of personality. As a vocalist I think he has
one of the most original deliveries, his nasty English oik
accent and his barracking machine gun delivery situating
him somewhere between the gutter-snipe style of John Lydon
and Genesis P-Orridge and the vocalized reed work of Peter
Brotzmann, with words sometimes smeared or exploded into
pure texture and explosive epiglottal energy. It's an
exhilarating and challenging listen and the music is very
precisely constructed, now detonating huge bass bursts that
introduce the vocals, now flat-lining into heavenly floating
tones and huge cracks of static. On the flip there's a
single side-long instrumental, a constant accumulation of
guitar feedback and choral electronic tones that peaks like
an ascension of motorcycle engines. In many ways it feels
like a new Whitehouse album, minus the African drums and
with a more dilated approach to the sonics. Either way,
it's totally fantastic and proof of just elastic the
'noise' remit can be in intelligent hands, which is a
rarity in these days of noise-as-elevated-adolescent-hate.
Comes with a full lyric sheet too. Highly recommended.
David Keenan

CONSUMER ELECTRONICS "crowd pleaser" 12"
It's waited return of CE with vocals. Like Whitehouse did, also CE new material has received both praise and hard critical voices from the noise crowd. Some feel like the digital lap-top sound just ain't worth of attention, while others praise the return of the grand masters & pioneering forces of PE, claiming back the crown.
I won't go into neither of extremes, but I have to say that I was highly positively surpriced how great the LP (or lets say 12" as it's 45rpm!) is. I was always fan of the later days Whitehouse, until they went into cheap route of recycling the same idea & sound for too many albums. CE's previous album worked more as a example of his backing tapes of songs, with too long playingtime and too obvious laptop sound. It was still decent, but nowhere near the vocal dominated live appearences I saw around the europe before and after its release.
Now with this 12", CE simply crushes his previous LP and the last couple Whitehouse full lengths. Easily. Loud and clear vocals with intensity, the hostility, yet still sense of humor. It is fast paced, too long breaks are cut away, making it nearly non-stop verbal machinegun of abusive ranting. Vocals are very dominating. They are loud in mix, perhaps even too separated element, because unlike previous LP, I think sound of this 12" better. It is good already as instrumental. Digital clarity and few disturbing moments of "sonic errors" might be counted as negative elements, but all in all, it's clear there is talent in handling the frequencies from deep sub-bass heaviness to disturbingly high pitched feedback noises. I don't think it's my imagination, so I could say that Gary Mundy's contribution to 2 tracks have brought some organic & "hand made" feel to it. Mattin's contributions probably belong to the nature of extreme computer disturbance. These two contributors bring some new depth to the sound of CE, without ruining it or making it sound something else. B-side is long instrumental piece. Covers are minimal, but comes with lyric insert. I would consider this essential purchase. Don't expect 80's CE return. This is CE of today.

Philip Best heitti parhaan levynsä tähän mennessä.
Raivokasta digitaalinoisea sitäkin ytimekkäämmillä
vokaaleilla. Vokaalit on vedetty ihan eteen joten
verbaalihyökkäykseltä ei voi estyä. Loistava levy, vaati
hieman totuttelua.

w.m.o/record label
desetxea net label