Ceephax is like Groundhog Day, a constant repetition, and we like it, oh boy, do we like it. Like the film that starred Bill Murray, its objective is to do the same thing every day until he does it perfectly, and he’s been doing it for several years now. During this time, taking the sounds of acid as a base, he has been making all kinds of modifications –in the rhythm, in the melodies, in the madness– until coming up with the perfect delirium. The thing is that now, Squarepusher’s younger brother is not going to achieve any perfection: his body of work is already established after so many singles and albums revolving around the same idea –eleven years already– that what’s left is to keep refining the most brutal legacy of the present braindance scene. I’m saying there’s an element here that works to Ceephax’s disadvantage –it’s predictable and he has to change his ways completely if he wants to keep surprising his listeners–, but in his favour, he has the loyalty of a small but persistent group of fans.
On “The Unstoppable Phax Machine” there’s nothing new and it’s all good. The only variety is the label: 030303, the Dutch imprint specialised in delirious acid, instead of Planet Mu and Rephlex, but the rest is classic Ceephax. “Woof Acid” has an almost gabber-like kick drum, Russian video game melodies and a skull-splitting acid bassline, “Russia” has a basic electro set-up reminiscent of bands like Visage or Kraftwerk and “Refresher” does the same, only in the vein of DMX Krew. When listening closely, we could even say he sounds less predictable than expected: “Nigel Ringtone” is possibly the best imitation of the m-Ziq sound in a long time, “Testing Ground” is a good piece of cold ambient with a soundtrack flavour and “South Bank” is an incursion into acid techno that could be played at raves. With things being this way, maybe Andy Jenkinson’s groundhog day should never come to an end.