The G-Man

Electro Bop

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If Kraftwerk's early-'70s innovations were the birth of what is now called electronica, then electronica was at least 30 years old when Scott G., aka the G-Man, released his debut album, Grin Groove, in 2002. Electronica had long since become a very crowded field -- one with its share of dead wood -- but Grin Groove demonstrated that the G-Man had something worthwhile to add; instead of simply providing beats for the sake of beats, he usually told some type of memorable story. And the Los Angeles-based vocalist/producer continues to be an intriguing storyteller on his sophomore effort, Electro Bop, which is every bit as quirky and eccentric as its predecessor. The G-Man hasn't lost his taste for the bizarre, and he can still be a little too self-indulgent at times. But when an artist's creativity is at a high level -- and the G-Man's obviously is -- one can easily deal with his/her excesses (and perhaps even enjoy them). Again, the G-Man likes plots as well as beats; there's usually a plot of some sort, whether he is paying tribute to L.A. radio DJ Sheena Metal on "Sheena Sez" or being sports-minded on "GoBabyGoBaby." Another thing the G-Man has going for him is a desire to find inspiration from a variety of sources; he has obviously been affected by David Bowie, Gary Numan, and Thomas Dolby, but he has also absorbed everything from goth rock to trance to techno. While "Cunt Is in the Dictionary" has an especially Bowie-ish melody, "Doom and Lollipops" has a strong industrial flavor. And the OMD-ish "Diva Deep Eyes" is, in its own strange way, hauntingly ethereal. All things considered, Electro Bop is a successful sophomore outing for the G-Man.

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