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There are different philosophies regarding the creation of art. One of which has the artist spending a very long period of time developing each piece that s/he makes. With this approach, the artist has time to study, refine, and perfect his/her creation until s/he is completely satisfied with the result. This artist has a definitive goal, a specific target, and will allow as much time determined necessary to reach this destination.

Aaron Funk is not this kind of artist.

As Venetian Snares, Funk has released over 30 albums since 1998. His approach to art is a machine gun method: record as many songs as possible in quick succession. Like music generated by a slow-moving artist, this rapid firing technique will, in all likelihood, eventually hit its mark. Funk’s 2006 masterpiece Rossz Csillag Allat Szuletett is a testament to that.

By the numbers, recording more music than an average artist may increase your chances of success, but recording more music also means more oppertunities for failure. And while Meathole isn’t a failure, it isn’t a complete success either.

Meathole has some terrific moments. "Aamelotasis", the fourth track on the album, is easily the strongest and more interesting track offered. Organic-sounding drums and horns hit in spacious and controlled patterns. As the song grows, its aggression level fluctuates. Throughout the piece, the music builds up and then gives out, collapsing into a short rest. Funk is at his best when he is at his most controlled and "Aamelotasis" plays tight through its entirety.

"Choprite" is another track worth mentioning. "Choprite" starts off sounding more like an industrial/EBM song than breakbeat track. It leads-in with an ominous vocal sample under high-pitched synth washes and hard electrobeats. The beats pound at a steady time signature until eventually giving way to breakcore and drill. It is a fantastic track for about three and a half minutes until it, unfortunately, starts to come apart. In fact, "Choprite" almost victimizes itself by becoming predictable, but is saved by the redundant electronic knocking that mutates its last moments.

Even the weaker tracks on Meathole, are solid songs in their own right. The problems with Funk’s recordings are only apparent when his songs are grouped together. Every song on this album, like much of the songs in Venetian Snares entire discography, follows the same formula: about one minute of a slow, creepy introduction which is then blasted from the foreground by an eruption of heavy drill and bass. The beats usually subside at some point to allow the quieter parts to reprise and build tension. Then, as the climax, the song once again explodes into a storm of loud bass and beats.

Meathole is not a bad album, though it is a disappointment when compared to Rossz Csillag Allat Szuletett. It is predictable and generic, yet solid and well-crafted. Meathole is worth the price for the hardcore drill fans. Everyone else, however, should probably wait. In the time it took to read this review, Funk has presumably recorded an additional 47 songs. Another masterpiece is just around the corner.

Reviewed by: Richie Corelli

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