While the skittering beats of [B]'Fantastic Island'[/B] find him glancing towards the [a]Aphex Twin[/a] and [a]Orbital[/a], [B]Yossarian's[/B] more convincing when he dallies with woozy Moogs and gran
Like a millennial [a]Syd Barrett[/a], [a]Yossarian[/a] makes music to express a kind of lunacy. “And I knew that God was in us/And that God is us”, he announces during ‘Witches And Bitches’, sounding genuinely distracted. And for a while, this is fun.
Indeed, as the avant-glam flounce of ‘Dolly’ shudders the speakers, it feels like ‘Elegant Time’ is shaping up to be the LP the young Ferry and Eno might have made if they’d wormholed their way from ’72 to ’99.
But the promise of more glittery transmissions of static and stomp is only occasionally fulfilled throughout the next 50 minutes. [a]Yossarian[/a] is more concerned with the button on his Casio marked ‘Wobble Bleep Flutter’, and he keeps it depressed for far too long. His HAL-on-helium vocals tease out toyshop melodies from the buzzing sonic carousel of ‘Rollerskate City’, but his instrumentals reel around aimlessly too often.
While the skittering beats of ‘Fantastic Island’ find him glancing towards the Aphex Twin and Orbital, Yossarian’s more convincing when he dallies with woozy Moogs and grand choruses. ‘The Exclusion Zone’, in particular, is the kind of shambolic space-pop that Major Tom probably had piped into his tin can.
Overall, it would be madness to dismiss [a]Yossarian[/a]. But still, it’s crazy flying with him.