Decoder sees FM Einheit as a musician (natch) who replaces the background music at a burger joint with industrial music, resulting in chaos, riots, and most importantly, revolution. As stated on the art, "MUZAK IS MORE THAN MUSIC," and shows that what we hear subconsciously can have more of an impact than its innocent nature would let on. Seeing this, one can understand and appreciate that maxim, and may begin to further investigate the muzak that pervades their shopping/dining experiences. Decoder's soundtrack is anything but muzak, and its varied contributors lead to a fun and fairly chaotic experience. Genesis P-Orridge takes the reins on six of the eleven entries (with Dave Ball joining on five of them) as well as playing the "priest of the Black Noise faith" in the film. For the sake of this review, the Decoder soundtrack will be judged on its own merits, unconnected to the film, so bear that in mind when weighing these words. Slowly stepping forward, Genesis & Dave (G&D going forward) open with "Muzak For Frogs," a somewhat loungy John Carpenter style track, like if Liberace took some ludes before the assault on Precinct 13, if that makes any sense. The piano forays help to break up the hypnotic drum and synth, as do the noisy outbursts and weirdo twinges. Following this, The The brings some Near Eastern "surf" with "Three Orange Kisses From Kazan," complete with vocals straight out of the Dr. Demento show. Oddly, this has a similar lounge vibe in the the vocal cadence, although the effects keep it alien, but still endearing. Like an interlude, "Dream" from G&D is spoken word over warbling, bell tone synths and moves quickly into their "Main Theme (Showdown)." Crunchy, low end synth pops coalesce and close in along a wave like Doppler's nightmare, increasing in frequency as they approach, before the piano dismisses their attack, adding dissonance to the frantic frenzy. Rekindling "Muzak For Frogs," G&D's "Sex and the Married Frog" is like a reprise of sorts, but with female spoken bits and moans. Not with Genesis for this one, Dave Ball put on a track with his pal Marc Almond, Soft Cell's "Seedy Films" from their classic Non-Stop Erotic Cabaret. The riot inducing burger musician FM Einheit drops a funky, vibrant industrial gem next with "Riots". Short but propulsive, the metallic strings play on top of a constantly moving drum machine rhythm, lurching like a robot in the mud. Genesis' "Information" comes next, just a spoken piece from the film (I would assume), which oddly foreshadows Fight Club's Project Mayhem a bit. A collaboration between FM Einheit, Alexander Von Borsig (both of Einstürzende Neubauten fame), and Jon Caffery put forth the long and immersive "Muzak Decoding / Dream Machine / Pirates'," which for the first two-thirds plays somewhat restrained, before sounding like Neubauten light. Which, coincidentally, leads into Einstürzende Neubauten's "Compressed Metal," which adds some more funky, junky atmosphere to the mix. Sounding somewhere between Kollaps and 1/2 Mensch, the chaos is added to rhythm, with the bass leading the charge. A bit more palatable for the masses than traditional EN of the period, this is still a great piece (although missing Blixa's trademark caterwauling). G&D end up the foray with "Main Theme (Finale)," which trades the "Muzak" piano for a sultry horn, with the synth playing the role of the cool, wet, city street. Popcorn-like drums pepper the mix, and Decoder winds down in style. 

 

A wonderful piece of history and art, Decoder is finally available again on CD for those looking to add this piece to their collections. Fans of the artists involved will enjoy the theme and layout of the soundtrack, as well as hearing them alongside other well-known acts in such an interesting work. In addition, Cold Spring includes a 10-page foldout booklet to help fans with their cinematic immersion.