Mission to Mars, with robotic mice

Not that different means bad. It's just that the rest of the album sounds more techno—techno of the Mouse on Mars sort, that is, with experimental textures and well- produced, bubble 'n' squeak electronics. And though no track emphasizes melody as much as the opener, there are few that neglect it. The album is so well produced that it seems the German duo is aiming for a specific sort of perfection, one built around tight structures and pinpoint precision—but one built also around carefully calculated imperfections.

This is true of "Albion Rose," which opens with an eerie melody—though the eerieness, with electronic farts keeping the beat, has an obvious sense of humor. Certain notes in the second melody seem misplaced, played slightly off the beat. But after these "mistakes" are repeated, it's clear that the slip- ups are intentional, and they effect a programmed, robotic sort of quality.

That's the way most of the rest of the disc sounds, too. Robotic because each track is heavily produced, robotic because most tracks are intricately structured, robotic because the sounds that could potentially sound sloppy instead sound calculated. But in a more literal sense, certain sounds just evoke robots, spaceships, computers, or even radios—as when, in the middle of "Gogonal," the sound of radio fuzz is projected with speaker-ripping intensity. It's sort of gimmicky—and yet it's weirdly amusing every single listen.

There is something charming about the group's playfulness, but Niun Niggung also feels formulaic, which contributes to its robotic qual-ity and can be downright annoying. Most songs have the same simple formula: a driving rhythm track, a repeated riff, and new lines—made up of carefully placed electronic sounds ranging from water drips to scratches to rocking chair creaks to animal howls to farts—coming and going. It is an interesting approach that makes for some admirably put together songs. But when the same formula is used for nine tracks, songs without spectacular elements to save them get boring in a hurry. Maybe the album's formulaic nature is a result of the band's quest for perfection—maybe it just exists to annoy.

While Niun Niggung lacks consistency and freshness throughout, it's still quite good. The last track ends unexpectedly: it just sputters out when you least expect it. It's the same with many of the tracks—"Boosc" ends the most surprisingly, with mournful, sparse guitars and a waning beep following a plethora of intense machine sounds. These sudden and surprise endings help keep the album moving, ultimately giving it a sense of being whole. (Thrill Jockey) —John Chin

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