Self-Non-Self

After the extremely limited release of the Fuse cassette, Cranes, now expanded to a four-piece, put out Self-Non-Self in 1990. Originally only six tracks, including a dramatic, stronger re-recording of "Fuse" itself, Dedicated added a further two upon its re-release in 1992. The rough, spooky sonics from the band's earliest days were there in force, but evidence of the increased texturing and powerful arrangements started to surface as well. Certainly Jim Shaw's original fascination for groups like Foetus and Cabaret Voltaire wasn't hard to detect in the full-bodied drum slams and rough brass blasts on songs like opening instrumental "One from the Slum." The distorted electronics on other cuts like "Heaven or Bliss" also give it away, but the punchy, carefully arranged nature of the music is just as strong. There's a lot of space and echo throughout, and the band knows how to work with it for better effect, something that would become even more common with time. "Beach Mover" is especially effective, its echoing percussion and weird, droning guitar notes rising through the murk. Alison Shaw's singing is already fully in place as the lost, lonely voice later releases would make all the more familiar, though at times, as on "Focus Breathe," she has surprisingly deeper tones in comparison. The re-release bonus tracks include a live song called "Reach," a strong, surging piece, and "Nothing in the Middle, Nothing in the End," a murky little number with a rough snare drum rhythm and doomy bass. Self-Non-Self is definitely one for the fans most of all, but anyone interested in the shadowy early start of the band is recommended to hunt this down. ~ Ned Raggett