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Überzone's constant changeups in style and tempo breathe fresh life into a stale genre.
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An early study of California hip-hop, Überzone mixes twisted, bubbling Roland bass, big beats, and vocoder effects to make futuristic electro-anthems that manage to pop and lock like robots, but recall the organic '80s breaker heyday and never sound sterile and stiff.
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The compositions are sharp enough to cleanly burrow themselves into the subconscious; only to rise up at the most unexpected moments and potentially leave you wondering where you heard that funky little beat.
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It's the varying textures on Faith that prove Uberzone to be a true renegade of funk.
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UrbThis well-engineered album's ideas have been gestating a little too long. You might just say it's the best album of 1998. [Sep 2001, p.152]
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MixerIt is good to see such experimentation by an artist in a field usually associated with being so genre-specific. [July 2001, p.82]
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The album awkwardly divides in two: the first half showcases Wiles' forward-looking tunes; the second takes a brief historical look at his dated earlier work.
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Alternative PressLacking the hyperbole of, say, Chemical Brothers or the musicality of more band-like fare like Crystal Method, he finds a middle ground of giving-and-taking frequencies between his twos and fours, as if mixing it live. [Sep 2001, p.104]
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BlenderFaith in the Future is built with recycled beats and borrowed sounds, relying on castoff samples and guest contributions... [Aug/Sep 2001, p.132]
User score distribution:
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Positive: 1 out of 1
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Mixed: 0 out of 1
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Negative: 0 out of 1
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shgyis56i69iMar 17, 2005spot on !!!