Trax Data

Trax Data

Track Listings

1. Calabi Yau Space

2. You Don't Pay My Bills

3. Crockett's Theme

4. In the Future With Machines

5. Racer Car

6. Seven of Nine

7. Fpu Theme

8. Time Safari

9. Eastside Protection

10. Waiting for Snow

11. Endgame

Tracks:

Calabi Yau Space
You Don't Pay My Bills
Crockett's Theme
In the Future With Machines
Racer Car
Seven of Nine
Fpu Theme
Time Safari
Eastside Protection
Waiting for Snow
Endgame

Customer Reviews:

Amazing and Rarefied.......2004-04-23

I just got the FPU disc in the mail yesterday and I've been listening to it pretty much non-stop. On the way to work I felt refreshed, driving to Seven of Nine and Time Safari. At least half of the songs are incredible, and the rest are good. Not a single annoying or pretentious moment. Peter Benisch (the man behind FPU) exercises a lot of restraint, and consequently, the level of taste is nice and high. Finally, a CD that doesn't insult me or pander to me, and yet sounds so, so good! The melodies and textures are, at times, breathtaking. Especially in Seven of Nine and Crockett's Theme. This guy is one of the brightest lights in the Tech-Pop world.

between Swedish Lego architect & nouveau romanticist..........2003-03-15

You could easily call this the best electronic album of 2003 (so far, anyways). Regardless, FPU, moniker for Swedish mastermind Peter Benisch, has created a sound far beyond the more generic type practiced among his electroclash contemporaries---a sound all his own.
After listening to this album, his signature sound will be heretofore unmistakeable. Most songs are considerably downtempo. Much of the album starts off like a trance track, with thick, unaccented bass drums. Then, more high-pitched elements come in---synth-toms, high hats, snares and the like---and the sound is refined and moves toward a reflective, serene and futuristic melody. The best tracks use this bass drum sound coupled with a "chugging train" effect. This is a synth sound that quickly cycles perpetually, until the melody seeps in, kick-starting the song. "Crockett's Theme" is the best example.
The epic "Crockett's Theme" (put on numerous compilations) is one of the more lifting pieces. It seems a song of this caliber was meant to be, that it couldn't have been created at any other time than the one FPU happened to choose. And It does sound solemnly reminiscent to the 80's "Miami Vice" theme by Jan Hammer (the show soundtrack from which it was penned), while at the same time this and other tracks bring to mind more, like the Swedish landscape perhaps.
FPU's usage of a variety of vocoder sounds also personifies his sound. Tracks like "In the Future with Machines", "Time Safari" and "Seven of Nine" (a song proclaiming his fascination for a Star Trek character) show how nicely cold, squarewave vocals juxtapose with warm, analog synths. In "Racer Car", one of the more melodically-deprived songs, Benisch (FPU) uses his own voice.
This masterpiece reflects the electro sound, but in a much more sincere, subjective and most importantly, creative manner. None of the songs feature sassy, pretentious and obnoxious females bellowing about drugs, sex and success. FPU is more introspective. He's found himself in the place electro sounds best. This niche is hard to place; it's as if he's torn between Swedish Lego architect & nouveau romanticist revivalist.
Comparing FPU to other artists is difficult, attributing his sound to others even more so. However, when listening to this album, other synth-based 80's acts like Depeche Mode, Talk Talk, and Soft Cell come to mind. If this particular breed of electro interests you, also check into stuff like Carl Finlow, Silicon Scally, Metro Area, Arpanet, D'Arcangelo, and Bifrost.

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