Date: Thu, 25 Apr 1996 04:20:26 -0700 
     From: einexile the meek (einexile@NETCOM.COM) 
     Subject: The oppression continues...


Nearly God
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Great stuff. Considerably more trippy and less hoppy than Maxinquaye, but
that is not to say it doesn't groove some. I am still absorbing this one,
but I will say that I dislike none of it, most of it is beautiful or
cool, and it is one long unbroken sinister trip, probably the darkest
thing I've come across since the last Locust album. I'm not sure I love
it and I'm not sure it's brilliant...but I'm pretty sure.


Hope I didn't hurt anyone this time,

  e

     Date: Tue, 30 Apr 1996 01:19:47 -0700 
     From: einexile the meek (einexile@NETCOM.COM) 
     Subject: no opinion

Nearly God
----------
Not only is this possibly the badass coolest album since Bird Wood Cage;
it's got some serious evil to contend with, a pinch of that Modula Green
feel but urbanbound and with hints of sex and violence. Okay, a lot of
sex and violence actually.
  My problem with Maxinquaye can be summed up in Black Steel, which is a
tremendous and fun song but which in its own special way ruins the
album...and it might not, except that it is not alone, and a super hip
record is a wee bit spoiled by outbursts that seem unwarranted and
inappropriate. Here there is none of that, and Nearly God is a seamless
ride through Trickydom, an uncompromising, visionary hallucination that
is all one might hope for or expect but which only benefits from the
whole supergroup thing. Instead of the usual irritating nonmelding of
conflicting talents for which projects like this (including Post) are
known, it's all in perfect working order here, no one seeming to step on
anyone else's toe but each collaboration with its own unique flavor,
and therefore each collaboration irreplaceable and necessary.
  The music itself ranges from dark and unpleasant and disturbing to
dark and erotic and epic, covering many of the shades between and on the
outskirts. There is nothing exactly earthshattering here in terms of
songwriting, no priceless basslines or incredible, shocking chord changes
or melodic noodling--there's not even an Overcome or an Aftermath to
knight the damned thing--but that's hardly something I care about or even
notice, considering all the rest. Here we have our long awaited
replacement for This Mortal Coil; perfect on its own terms, as new as
anything ought to be.