Richie Hawtin's third album as
Plastikman was a major departure from the manic, percussion-heavy acid techno he'd been associated with since the early '90s. Plunging fathoms deep into unknown waters,
Consumed approximated the sensation of being trapped in a submarine at the bottom of the ocean, echoing the nautical dub techno of
Porter Ricks'
Biokinetics but tapping into a much bleaker, more isolated frame of mind. It remains a singular entry in
Hawtin's catalog, and is easily his greatest work.
Chilly Gonzales heard
Consumed for the first time following its 20th anniversary, and decided to write piano counterpoints for the album. The result essentially sounds like the same sub returning to the exact same coordinates, but this time with a grand piano stashed inside.
Gonzales adds his piano accompaniment to
Consumed in its more-or-less original form, with the exclusion of one brief experimental piece. Some of it works pretty well, particularly when
Gonzales doesn't sound like he's forcing his way into the soundscapes. He locates some space to dwell within the swirling, murky throb of "Contain," gently tickling the ivories and sometimes being swept in reverse. "Consume" has a more aggressive groove, coming close to the schaffel sound that
Kompakt would popularize during the early 2000s, and
Gonzales finds an easy, natural way to add some rolling accompaniment. He wisely stays submerged under the pressurized thump of "Cor Ten," and teases some extra cinematic tension out of the
Gas-like "Converge." By the end of the 70-minute album, however,
Gonzales sounds like he's run out of inspiration and just wants to be done with the project. This is particularly evident on "In Side," on top of which he plunks stiff, awkward melodies which sound straight out of a grade school piano recital. Press the stop button before that track comes on and it's a worthwhile listen, but in no way does
Consumed in Key replace
Hawtin's perfect original work. ~ Paul Simpson