Unless I dreamed it, I'm still just about able to recall that brief couple of weeks when everyone thought Portion Control were going to be the next bunch of obscure industrial weirdies to hit the big time, although admittedly were we to enter discussion of just what I mean by everyone, we could be here all fucking afternoon. I seem to recall that Raise the Pulse got played by Kid Jensen or some other mulleted evening DJ, and then suddenly Test Department were on Multi-Coloured Swap Shop and we all forgot we'd ever cared about hard rhythmic electronics.
Living out in the sticks with record buying habits dictated by what I could afford with pocket money and what I brought home from my paper round, I found it fairly difficult to get hold of anything much by Portion Control for the purpose of finding out what they sounded like prior to declaring them my new favourite band that you've never heard of; but the Raise the Pulse 12" turned up in a local record shop, and it seemed to represent what Depeche Mode should have sounded like - which was good - providing an appealing contrast of shouting, machine gun drum machine, and a tinkly little keyboard riff played on a child's novelty organ most likely shaped like a table covered in moulded plastic cupcakes with a smiling teddy sat opposite. I always enjoyed the pleasingly authoritarian name suggesting nutrient slop dispensed to worker drones by means of a spigot, and the rumour that it derived from all three of them being employed in the canteen at the Houses of Parliament; but more than anything they remained mostly a great idea, at least for me. There were articles and reviews in fanzines peppered with intriguing track titles and the notion that Portion Control existed as two distinct technological entities - AMAG and VMAG, respectively Audio and Visual Media Assault Group. It's like they were from the fucking future or summink!
Inevitably, whilst not actually disappointed, I was a little underwhelmed when I finally got my mitts on product a couple of years later. I suppose I'd expected some formidably growling dystopian cybernaut resembling what Front 242 sounded like at the beginning of the nineties, but it more closely resembled a supermarket's own brand version of Cabaret Voltaire. This is the problem with the fetishisation of music technology - as was - namely that you really have to have something creative going on besides access to a synthesiser and an effects pedal, otherwise the chance is that your music will date pretty quickly, in some cases before you've even finished recording it.
The thing which strikes me about this era of Portion Control, at least as I listen to it in 2017, is that I could have done it myself without too much huffing and puffing. I recognise all of the equipment and what is done with that equipment, leaving little room for that old industrial magic - which I state mainly for the sake of contrast with the truism of everything from the allegedly industrial eighties now being declared amazing and ahead of its time as a matter of course. I Staggered Mentally was a great album, albeit a great album which sounded one fuck of a lot like Cabaret Voltaire, and rebranded as Solar Enemy they were astonishing live, but this early greatest not actually hits collection is interesting mainly as a record of its time. It's decent, but I suppose the hype was better.