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06[088]06[089]joints in a synthetic seizure that's every which way but loose.Zapp turns the human into a symbiounit. 'When you pop,' Shrimpelucidates, your bodymap alters and 'you become this thing. You go toanother planet. I got into this thing where I wanted to be an alien. 'Liquefy the MenschmaschineZapp's '86 Computer Love opens with a bewitching choir - identified bySimon Reynolds as android doowop - announcing 'ComputerIlIZE', like agenie granting a robot's wish. Kraftwerk's vocoder chorale is winsomewhile Zapp's vocoder chorale is liquefied. Zapp is the menschmaschinegone gooey. 'We are beginning to see,' chaos-theorist Manuel De Landaargues, 'that the really advanced high technology is liquidy and drippyand self organizing and not at all rigid.' In More Bounce to the Ounce,the synthetic bass doesn't drop; instead it bounces off the bottom.Where the Bootsy Collins bass is a rhythmelodic ectoplasm, glutinousand rubbery, the Zapp bass is Spandex stretchy.phonoGlutamateLarry Graham sent the bass through fuzz until it yawned and slurred likea baby mammoth. With Zapp, Roger Troutman's voice is all vowel, aneesysquezy squidge of phonoglutamate, voco-concentrate. Thesynthesizer passes through his vocal tract. On I Play the Talkbox, theRoger voice is tubular treble squeezed from a talkbox.For Parliament, the soundeffect immediately implies an audioIifeform, a universe in which a processed sound takes on an animatronicnonhuman profile. With Zapp, you're inside the impact, bathed in thefull effect of the S Ray gun, in what Techno producer Kevin Saundersonlater terms Essr'ays.Machine Tones for Psychic Therapy: The Jungle BrothersFor a very long time everybody refuses and thenalmost without a pause almost everybody acceptsGertrude steinMutiny on the MothershipYou reserve your nausea for the timeless classic, for the anthems thatsum up an epoch. But The jungle Brothers, George Russell, Tricky: theseare producers who don't synchronize you into those docile ranks-andfilesknown as generations. In fact they shatter you into sensoryparticles, travelling at the speed of thought, break consensual historyinto dust. Instead of rising above their time, the jungle Brothers - AfrikaBaby Bam bass and vocals, dj Sammy B, Mike G guitar and vocals, Torturedrums and vocals - runs HipHop through a particle accelerator, chargingreality with the synthetic sensation you crave at all costs.Their 3rd album, '93 'S J Beez Wit the Remedy, is to the 90S what TheVelvet Underground's White Light/ White Heat was to the 60S: thedecade's great lost album, a colossal epic salvaged from the wreckage ofthe unreleased Crazy Wisdom , acknowledged by a few , reviled by TradHipHop fanatics on both sides of the Atlantic.Derail the RhythmotorIn an era of headnoddin' 120bpm grooves, Remedy returns to the rigidrhythmatics of rhythmsynthesis. The security of the Trad jazzbreak issmashed, left behind for the drastically unmusical pulsations and bleeps,that flagrantly mekanikal rhythmanipulation that HipHop thought itbanished back in the 80S . Manmade Material abandons the lope of 70SBreakbeats altogether, pushing robotic irregularity into machinepsychedelia. 'It wasn't looping one bar, 4 beats, but looping 6 beats,' thejungle Brothers declared. 'Arhythmic, asymmetrical, alinea r. So whatwe 've been doing consistently is intentionally derailing your brain.' Theloop function entrains the body, programming the head until it nods likea dog. HipHop habituates the mind until it runs along the same groovesbut the arhythmic loop undermines the stepper, derails the rhythmotor,with its unresolved dissonance, not arrangements but derangements,wrong-footed, dysfunktional.