Mixing a willfull disregard for copyright issues with a punk rock sensibility and a midas touch for splicing and mashing samples together, Jason Forrest has been releasing mindbending electronic music mainly comprised of other peoples creations for some time now. His first real shot across the bow was under the name Donna Summer with This Needs To Be Your Style, then he crashed the party again last year with the excellent The Unrelenting Songs of the 1979 Post Disco Crash and dropped the more varied taste of things to come with his Lady Fantasy EP earlier this year.
Shamelessly Exciting is the latest full length from Forrest, and if you've liked his previous work, you're not going to go wrong here, even though he tosses out a few curveballs. The release opens in fairly typical style, blasting out of the speakers with the ballistic "The Walls Of The City Shake" as guitar riffage flies almost like bouncing ping pong balls over chopped-up chunky breakbeats and "New Wave Folk Austerity" keeps things slamming after an almost loungey intro with stuttering blasts of New Wave (I swear the main riff is pilfered Blondie) that offset with quieter finger-picked guitar (with beats that keep thumping away behind).
"My 36 Favorite Punk Songs" is just as the title states, with a whole crazy slew of riffs (including more noticible ones from The Clash and The Ramones) slammed up against one another that somehow work quite well. Forrest seems to have an ear for hooks, and several tracks on the album seem like they're plundered for the absolute maximum possible head-nodding effect. "Storming Blues Rock" and "War Photographer" are both impossibly packed full of goodness, and the latter turns into a sort of funked-out horn-laced beast that kicks like a mule.
The complete odd track out on the album is "Nightclothes And Headphones," which is easily the most poppy thing that Forrest has done to date. With contributed vocals from Laura Cantrell, the track is so sedate (despite some background glitchery) that it almost sounds like it was pulled from a different album. It's by no means bad, and it makes me wonder what Forrest could do if he went ahead and tried to make a more straightforward disc, but it nonetheless sounds a little weird when it's sequenced right next to the lumbering 70s rock versus insane rhythmic workout of "Dust Never Settles." As mentioned above, the album is almost all hooks, and like most albums of said variety, it's a load of fun but doesn't always stick to your ribs. For a quick blast of loud fun, though, you're not going to do much better.