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Vol.7, No 34, October 27, 1999 

Apollo Four Forty worth import price

By Jason Kosareff
Daily Forty-Niner

The recipe is simple: lay down a fat groove, throw some in live punk guitar , high-hat and snare action, a little DJ mixing Ö and voila!  Apollo Four Forty's new album "Getting High On Your Own Supply" is worth the arm and the leg price. 

Imagine a souped-up version of Fat Boy Slim, or Moby cranking the volume while playing on amphetamines, it's still nowhere near what Apollo Four Forty deliver. 
 

CD REVIEW

The zany boys in Apollo produce the same digital mastery as the Chemical Brothers, or Pressure Funk, but they do not over work the use of loops and they sure are much more chipper than Pressure Funk. 

Where drummers Cliff Hewitt and Kodish downplay the use of complex high-hat rhythm construction, DJ Harry K steps in with masterfully mixed sampling. 

Apollo bassist Kenny Cougar uses bass guitar stylings similar to those of the Low Fidelity Allstars. Vocalist Mary Mary also delivers a bit liked The Wrecked Train from the Allstars. 

The band's sound clearly has punk roots. Gary Hunter rocks out in the old school tradition of punk guitar with a liberal borrowing straight three-cord rock and roll circa 1950. The over all effect of mixing break-beat and guitar is sound that resembles KMFDM, only mellower and more danceable. 

The first track, "Are We a Rock Band or WhatÖ?" never gets answered. "Stop the Rock" takes a leap off any sensible musical platform in an attempt to make these traditionally non-friendly strains of music get along with each other. 

And, it worked. "Stop the Rock" is the best track on the album. 

The album meanders a little further down the line when Apollo goes for a more ambient sound, even though it is just plain boring. 

"For Forty Days" heads in that direction before "Heart Go Boom" twists things up even further with a mix of break-beat with dub rhythms.

 

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