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True, there wasn't much to draw from at this point of electronic music's history, but Mark Bell and Gez Varley don't mince words in the opening Intro, first asking what is house music (“Technotronic? KLF? Or something you live in?”) before name-dropping a who's who of Chicago pioneers.
What helped Frequencies stand out from the pack is just how much of a melting pot of influences it is. An almost 'intelligent' take on dance music, you might say, though not too pretentious about it – LFO will still demolish your bassbins if you're not careful with the gain levels. Between this, Nightmares On Wax, and Tricky Disco, Warp was quickly established as a print worth reckoning with, a wholly independent label that clearly had its ear to the pulse of techno that wasn't just mindless boshing bollocks. Not only did it help establish the Brits' take on Detroit's sound as something distinct, unique, and 'bleepy', all the while providing a subtle link to the raving antics of Belgians, but it also put the fledgling Warp Records on the map.
There were other records floating about of similar ilk, but few at the time made such a definitive stamp on UK techno as LFO's debut LP did. It's as though she could make a whole Gorillaz album herself or something. It's even got Noodle doing a couple solo outings with electro-pop Faust and trip-hop Left Hand Suzuki Method, singing in Japanese and all.
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If you're down for more of such genre fusion, plus alternate versions of Clint Eastwood and 19-2000, then G Sides is a fun little bonus to the Phase 1 material. That much of the debut album is filler, however, isn't brought up much anymore, seen as a bunch of genre fusion lacking a concise concept linking it altogether as later albums would. Gorillaz has evolved into a remarkable institution these days, but fifteen years hence, it was seen as little more than a novelty with a clever marketing campaign and some killer singles. Okay, that was a reason back then too, though you must have been one hardcore fan to spring for this album – or just liked more of Mr. Obviously all that content is now easy to find online, meaning the only reason to get G Sides now is for the music.
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As I had a barely functional piece of junk PC at the time, I never got to explore 'Murdoc's Winnebago', and by the time I did get a computer that could, Gorillaz had already moved onto Phase 2, rendering the site obsolete.
I barely even remember how that thing operated, only that it was considered state-of-the-art web design way back in 2001, with the original Gorillaz CD acting as a key to bonus features like cartoon shorts and the like. I don't know if that one ever aired, either debuting on G Sides, or as an unlockable on the original Gorillaz website.
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And while including Clint Eastwood would be rather redundant by 2002 (that got massive rotation on TV the year prior), no one had ever seen the Rock The House video yet. I mean, that was one of the selling points of G Sides back when wasn't it? The two music videos included on the CD? It's honestly remarkable they fit two on here in the first place, most CDs only having room for one vid' at best. It's gotten so technical that they've brought Murdoc and 2-D into our meat-space via remote imaging and cartoon holographic digital-quantum trickery, hackery, puppetry, wizardry, and It's a far cry from their early, simple days, when having CD-ROM bonuses was about the peak of extra content. It's also made doing interactive media all the more challenging for the duo, as among Gorillaz' many manifestos, one of them was to always use cutting edge technology in bringing their virtual band to the masses. Nowadays, it's easy-pie doing so, most resources readily available online. Damon Albarn and Jamie Hewlett were so meticulous in expanding the brand's memorabilia and lore that you almost felt left out if you didn't check out every aspect of it. By the point of Demon Days, springing for additional Gorillaz material seemed a no-brainer.
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