Released: May 18, 2004
Label: Definitive Jux
Deadringer, RJD2's first album of instrumental hip-hop and b-boy soul came out at the same time as DJ Shadow's Private Press, and for many people (including myself) it sounded more like the Shadow album they'd been hoping for. Since We Last Spoke is the hip-hop producer's Private Press. To All of You is a soft-focus blaxploitation love theme recalling Isaac Hayes' Shaft mood-setting; One Day mellows out with gently pressed piano chords and dusky synthtones punctuated by a muted kickdrum and handclap-inflected snare hits; Exotic Talk jumps between a reworking of his fiery Urban Renewal Program contribution True Confessions and tense dropouts dripping with wah-wah'd clavinet.
A more ambitious but less cohesive album that can be difficult to get your head around, it takes most of its samples from dusty old psych-rock records, arranged into abstract epics and unpredictable grooves. No MCs this time around, but abit of bossa-nova and the odd soft-rock ballad make up for it. I would recommend this to those who like DJ Shadow et al. In my opinion, you shpuld invest in RJD's Deadringer album before getting this.
Rating: 6/10
::::Tracklisting::::
1. Since We Last Spoke (Krohn) - 4:14
2. Exotic Talk (Krohn) - 3:43
3. 1976 (Krohn) - 2:27
4. Ring Finger (Krohn) - 3:47
5. Making Days Longer (Siffre) - 4:36
6. Someone's Second Kiss (Krohn) - 4:28
7. To All of You (Krohn) - 5:09
8. Clean Living (Krohn) - 4:29
9. Iced Lightning (Krohn) - 4:06
10. Intro (Krohn) - 1:10
11. Through the Walls (Krohn) - 3:27
12. One Day (Krohn) - 4:50
More info:
http://www.definitivejux.net/
http://www.rjd2site.com/
Released: 29th March 2004
Label: Ninja Tune
Being a massive fan on the Ninja Tune label, something I don't keep a secret round these parts, I tend to buy most of their new releases soon after they come out, whilst also trying to collect the back-catelogue. Blockhead, a New York-based hip-hop producer, is a recent addition to the ever growing, ever diversifying Ninja Tune collective. He previous outings include work for Aesop Rock and Slug.
I think this effort by Blockhead is my favourite Ninja Tune album at present. It brings together everything the label stands for, established by the Colcut duo as a base to release new styles of music. This album goes from classic jazz, through to mellow hip-hop, with cuts and even some sitar along the way.
It's incredibly hard to categorise this album, the album is simply an eccletic mix of modern music. It's neither a chill-out album, nor an upbeat album. It works well though on both levels. I listen to it alot in the car, yet it is also superb background music. It draws peoples attention as the style changes, both slowly and suddenly. Many people have asked what it is, and all the associated questions. I could say its a crowd pleaser, on a small scale.
I highly recommend this, if your a nu-jazz fan, hip-hop fan or simply and eccletic kid, go shop, you won't be disappointed.
8/10
Released: 10th May 2004
Label: Atlantic Records
There are very few albums I eagerly await the release of, however The Streets' follow up to the 2002 album 'Original Pirate Material' was one. I was a massive fan of his first release, it was a fresh new genre, all on its own. A type of lyrical poetry is how I wished to describe it. Many people mocked my taste when I championed it so heavily, yet I stood firm in what I believed in (thats lyrical poetry, not some slanted political belief).
On the release of the first single from 'A Grand Don't Come For Free', 'Fit But You Know It', it was a real teaser for what was to come. I loved it, and so did most other people, even those hardened people who mocked me so heavily back in 2002. Though some people still even refused to like that, including our GL Master, Monsieur Melia (he isn't French, I just like using that word).
So with the bandwagon full of new fans, we awaited his new release, whilst all those who had previously hated The Streets, proceded to buy 'Original Pirate Material', at inflated prices of course, that little trick record stores love to do just before a new release.
When I finally got my hands on it ('A Grand Don't Come For Free', incase you were thinking of something else), I was like a kid at Christmas time, I couldn't wait to listen. Of course, I had to listen to 'Fit But You Know It', and then, take it from the top.
Right. This is where it went a little bit wrong. It was supposed to be good. Very good in fact. And it wasn't. I wouldn't go as far to say that it was dire, but its certainly a poor effort. Of course the bandwagon massive love it, though they would, because they are sitting on a really big bandwagon. Every review I've seen of this album it hasn't got lower than 9/10 or 4/5, although I haven't seen reviews from the respected music press, only men's magazines and the like. So this review aims to put the world to rights about this problem.
The album has two good tracks. Yes two, just two. 'Fit But You Know It' is, or will be, an anthem of the summer, which means we shall eventually hate it. I really didn't expect that track to get so much airplay, though they have to keep that bandwagon happy I guess. The other track of quality is 'Dry Your Eyes' - the story of getting over a broken relationship. That's it I am afraid. No other tracks stand out. It has it's fair share of comedy value, with some humorous lyrics here and there, but after a while they're not that funny. 'Wouldn't Have It Any Other Way' is dreadful, in the middle of the track, it sounds like Mike Skinner has dragged a mate off the street (no pun there) to lay down a few vocals he made up whilst walking through the door.
This album lacks the angst of the first, its wholly more mellow, which doesn't work. It never gets more toe-tapping than 'Fit But You Know It', nor any more exciting. This album sounds like Mike Skinner and a few of his mates having a sing-song down his studio he build with the profits from 'Original Pirate Material'.
The album is still unique to it's field, but poor compared with the previous. Though maybe this is just relative, because the first album was so good, it was always going to be hard to pull it off again. Had this been his debut, it would still be refreshing, and wouldn't have had any reputation to live up to.
Perhaps this album doesn't grab me could be because I don't appreciate the weed-smoking, pill-popping, club culutre people anymore. I've grown up and got more boring, so maybe it isn't aimed at me.
By the time I'd listened to the album, I was more like the family cat at Christmas, more interested in the wrapping and packaging than its contents.
4/10
The 9th unofficial album from 2 Many DJs is another great example of cutting edge mixing beautifully combined with some excellent tracks. This instalment begins with some rocky tunes courtesy of Stupid, Queens of the Stone Age and The Black Neon. This establishes the high-energy tempo of the album. From there we are transported into the realms of some serious underground music. Green Velvet’s Fuk Dat is hilarious to listen to - because what he raves and rants about is so true – “Question - why is it that every time I’m walkin’ down the street, some asshole wants to stop me, just to give me a flyer?”
From Velvet’s poetic rap lyrics – we transcend into the deep beats of dark house/techno. Agent Sumo’s Ain’t Got Time To Stop tune is reminiscent of the beginning of the Eurythmics Sweet Dreams – excellent funky electronica that makes you want to get up and jump around. This flavour for euro-electronica is maintained through the cd – with the inclusion of Op-L Bastards Don’t Bring Me Down, Kiko’s Monique and Monkey’s White 45. An immense collection of dance tunes that will be appreciated by the well informed public.
There’s a wicked version of Grandmaster Flash’s White Lines (Andromedia Remix). This rendition has a drum ‘n’ bass feel to it - with a faster tempo and a phatter beat injected into it. It’s a shame that this track wasn’t longer. From there we venture into various musical territories – from hip-hop (Beastie Boys) to indie rock (The White Stripes) to hard house (Benny Bennasi). The Dewaele brothers know how to mix the rough with the smooth. What I’ve liked about 2 Many DJ’s albums is their ability to maintain the beat and energy levels. This album is no exception. Even when we start to slowdown, the funky beats are still present. The best example in this album occurs between Purple Faces Ace Face and Mr Scruff’s Higher 10.
The mellow moments don’t last long though, we are constantly being introduced to new tunes – a bombardment of musical delights – long enough for you to stop and ask what that tune is, and short enough for you to ask for more. One of my highlights in this album is the mashed-up mix of Axel F and DJ Pied Piper – the theme tune of Beverly Hills Cop with the garage vocals works surprisingly well. Check it out. The final few songs wind down yet another memorable 2 Many DJ session. It was particularly a good that The Korgis Everybody’s Gotta Learn Sometime was the final track of As Heard pt. 9. This is the original version of Beck’s recent cover for the film Eternal Sunshine of the Spotless Mind. Mark my words – this song will be a big hit. It is a wonderful song that has a laidback melancholy feel to it.
Overall, another great album for 2 Many DJs. Can’t wait for the next instalment. Maybe a change of cover is required for parts 11 onwards?
(Caveat: Although the tracks are all chosen, complied and mixed by 2 Many DJs, the actual album is put together by a third party. The original tracks are taken for their Radio Soulwax sessions 0-30. I my opinion, try these original mixes for the full uncut 2 Many DJs experience.)
Tracklisting:
Intro
Stupid - White Label
Chemical Brothers - Music/Response
Queens Of The Stoneage - Lost Art Of Keeping A Secret
The Black Neon - You're So Vain
Maurice Fulton - My Gigolo
Sonovac - Human Fly
Green Velvet Featuring Sagat - Fuk Dat
Agent Sumo - Ain't Got Time To Stop
Zongamin - Serious Trouble
Op:l Bastards - Don't Bring Me Down
Kiko - Monique
Super Discount - Prix Choc
Monkey - White 45
Grand Master Flash - White Lines Andromeda Remix
Beastie Boys - Alive(Alan Hawkshaw Version)
The White Stripes - The Hardest Button To Button
The Rapture - House Of Jealous Lovers
Benny Bennasi - Satisfaction
Basement Jaxx Vs Isley Brothers - Just I Kiss-Whos That Lady Bootleg
Red Hot Chili Peppers - Higher Grounds
Nicola Kuperus - Hand To Phone
Purple Faces - Ace Face
Mr Scruff - Higher 10
Micheal Jackson Demo - Wanna Be Sarting Something
Electric 6 - High Voltage
Tubeway City - Dirty Streets
Peaches - Fuck The Pain Away
Alex F Vs Pied Piper - Do You Really Like It
Ol Dirty Bastard - Shimmy Shimmy Ya (Busta Ra Editz)
Rolling Stones - Monkey Man
Turntable Terror - A Little Funk
Jan Hammer - Crockett's Theme
Op:l Bastards - If I Was Your Girlfriend
Buena Vista Social Club - Los Compadres
The Korgis - Everybody's Gotta Learn Sometime
Before we commence with the review of The Guess Who's Wheatfield Soul - I shall elucidate the newer readers and fans of the ban with a brief history lesson. The Guess Who were a Canadian band who were pretty big in the 1960s and 70s. The band grew out of vocalist/guitarist Chad Allan (born Allan Kobel) and guitarist Randy Bachman with the remainder of the line-up featuring bassist Jim Kale, pianist Bob Ashley, and drummer Garry Peterson. Bachman left the group in July 1970 and formed Brave Belt with Chad Allan, which later evolved into Bachman-Turner Overdrive (You Ain't Seen Nothing Yet).
Back to the review. Released in 1968, the band had one of their biggest hits with this album (especially with the song These Eyes). It was this seminal work which propelled the band into chart success (eg. Time & American Woman). The songs varied from ballady rock (These Eyes) to psychedelic funk (When You Touch Me ) to the dirty rocky sounds of Friends of Mine - which saw a divergence in style to the original Guess Who sound. Some of the songs in this album - although not wholly imaginative, have a distinct attitude and feel to it - the musical expression of those in the free love and drugs period (a laidback rocky sound with a twist of country). Overall the songs still stand-up to the test of time (modern bands such as the Kings of Leon have emulated such a sound - granted that there's 'extra' distortion to their songs). The energy and passion of each track is perfectly captured in this sort-after collectors album. For me Wheatfield Soul sounds like the Doors on Ecstasy - happy sounding songs with a brooding under current of dark, moody riffs (When You Touch Me & We're Coming to Dinner).
Although not a child of the 60s and 70s, this is an excellent introduction to the period of sex, drugs and rock 'n' roll. Listening to this reminds me of the Simpson episodes where Homer reminisces about his youthful days and how it almost seems cool to like old rock bands again. This band may not be as famous as Led Zeppelin, Deep Purple and The Rolling Stones, but this in my opinion is why they are so good - they are special because you don't have to share their music with so many other fans. It's a discovery that I have reluctantly given up by informing those reading this - go out and get a few of their albums - you won't be disappointed.
Tracklisting:
1. These Eyes
2. Pink Wine Sparkles in the Glass
3. Found Her in a Star
4. Friends of Mine
5. When You Touch Me
6. A Wednesday in Your Garden
7. Lightfoot
8. Love and a Yellow Rose
9. Maple Fudge
Try these other albums:
Canned Wheat
American Woman
Similar bands:
Three Dog Night
Grand Funk Railroad
Bachman-Turner Overdrive
In a rare moment of modesty, Miles Davis once insisted you need only four words to describe jazz, Louis Armstrong and Charlie Parker. A somewhat simplified theory, but one with an undeniable basis of truth.
Charlie 'Yardbird' Parker was born in Kansas City on 29th August 1920. He remains one of the greatest musical innovators of the 20th Century - on a par with the like of Davis, Hendrix et al. Nobody has ever swung quite so hard, so fluently and with as much purpose as the man they called 'Bird'.
In seven recording sessions spaced over a year and a half's time, Charlie Parker changed the face of jazz forever. The sessions he recorded between March of 1946 into December of the following year for the Los Angeles based Dial Record label set the pace for the new bebop style. From All Music.
This album comprises of 26 songs (the original 1946/47 album had 18 songs). The songs highlight his writing and arrangment skills, as well as his God-like musical artistry that makes him one of the most respected jazz musicians of all time. The songs were made with various bands (7 in total) and during these various sessions, he played with many accomplished muscians - most notably Miles Davis (trumpet) in The Charlie Parker Septet, Sextet and Quintet. Other immense musicians include, Dodo Marmarosa, Howard McGhee, Errol Garner, Barney Kessel, Max Roach, Wardell Gray, and J.J. Johnson all contributing mightily on various sides to making these Bird's most fully realized studio recordings.
His rich tonal alto-sax joyously explores thematic variations and emotional subtleties that could not previously be captured on jazz albums of that time. The songs vary form full bebop and swing (Moose the Mooche, Yardbird Suite, Bird's Nest and Klact-Oveeseds-Tene) to the ballards which are laidback and mellow (The Gypsy, Loverman and All the Things You Are). Many argue that this ablum was one of the catalysts that pushed jazz into the modern era. Bird's style and virtuosity truly set the pace in the evolution of the new jazz style. This is a must have for all jazz lovers and is highly recommended to those who are new to this genra of music. Sit back and enjoy the genius that is the 'Bird'!
Tracklistings:
1. Moose the Mooche
2. Yardbird Suite
3. Ornithology
4. Night in Tunisia
5. Lover Man
6. Gypsy
7. Bird's Nest
8. Hot Blues
9. Cool Blues
10. Relaxin' at Camarillo
11. Cheers
12. Carvin' the Bird
13. Stupendous
14. Bongo Bop
15. Dewey Square
16. All the Things You Are
17. Bird of Paradise
18. Embraceable You
19. Klact-Oveeseds-Tene
20. Scrapple from the Apple
21. My Old Flame
22. Out of Nowhere
23. Don't Blame Me
24. Quasimado
25. Crazelolgy
26. How Deep Is the Ocean?
If you like this also try:
Bird & Pres [live]
Jazz at Massey Hall [live]
Yardbird Suite: The Ultimate Collection
Bird at the Roost: The Savoy Years, Vol. 1 [live]
www.amazon.co.uk
www.allmusic.com
Mother Goose Rocks! takes traditional nursery rhymes and turns them on their ears, transforming them into pop songs by fictional groups that parody current chart-toppers.
Most of this album is pretty bad - but it's fun enough for the 6-10 olds, although there are a few stand out songs. For example, a Carlos Santana style song (Hokey Pokey by Dantana), a raggae version of Old MacDonald (by Honey Way) and a rockin' rendition of If You're Happy & You Know It (by Wink 123). We also have the pretty well known song The Wheels On The Bus by Mad Donna - which was a dance hit a couple of years ago.
This album is fun for the first play or when you're highly stoned - but apart from that, I can't really recommend it. If you're interested in how the songs sound like, try downloading them from Soulseek or Kazaa.
Tracklisting:
1. Hokey Pokey - Dantana
2. Shoo Fly/Skip to My Lou - Serene Begone
3. Old MacDonald - Honey Way
4. Bongo - BLT
5. Where Is Thimbkin?
6. ThisOld Man - Buffy Fairs
7. Little Bunny Foo Foo - Jim McDrawl
8. One, Two Buckle Shoe - Ryan Right
9. Wheels on the Bus - Mad Donna
10. Alphabet Song - Ruta Bega
11. Itsy Bitsy Spider - Hope Mountain
12. I'm a Little Teapot - Hope Hammy
13. If You're Happy and You Know It - Wink 123
Although this is not an album, this radio show has consistently provided some serious aural pleasure for those who have a Catholic choice in music. This week's 2 hour session is jam packed full of immense music - simply beautiful.
On this week's show (5th to 12th) Strictly Kev gives us a taste of the Solid Steel club night by distilling the highlights from his recent sets into the first hour. As usual his selection is liberally sprinkled with all manner of superb spoken word fodder from the master King Megatrip. Expect funk, fusion and that cover of 'Ring of Fire'. The guest mix comes from Novophonic/Camping Gaz/Digi Onze mainman, Javi Pez from San Sebastian. His mix was specially created to showcase his faves from his record collection and also his forthcoming productions on the HiTop label. DK does his best Franz Beckenbauer impression and sweeps up the end of the show with a mini selection that could have you shedding a small tear. (from http://www.ninjatune.net/solidsteel)
The first 10 minutes is just amazing. We are treated to a mixture of funk, hip-hop and soul. From Ty Feat Roots Manuva's \"Oh U Want More?\", Alex Cartana's \"Hey Papi (Ross Orton Remix)\", Prince's \"Sign O The Times (rootz N Workz Mix)\" and Grandmaster, Melle Mel & Duke Bootee's \"The Message\" - we are spoilt rotten with some truly great music. To top it all off they are all beautifually mixed into one another.
There's plenty more music from Javi P3z and DK, but personally - Strictly Kev is the man. He's got sooo many cool tunes and knows how to mix and match them. Keep listening out for this weekly show.
For those who live in or near London check out their monthly night. The Solid Steel club night happens on Thursday the 1st of April (and every month) at Ruby Lo in London. Your hosts DK & Strictly Kev cordially invite you to come and shake yo ass.
(from http://solidsteel.net/club/)
This is an unofficial 60-minute mix from DJ Yoda, mixed for BBC Radio 1. Duncan Beiny aka DJ Yoda has built up a reputation as one of the best cut-up and mix DJs in the world. This set comprises of the typical wacko style Yoda is famous for. Mostly a rap/hip-hop orientated mix, he still manages to combine elements of 80s pop, TV theme tunes and hilarious parodies of contemporary music. Add to this his phenomenal scratching and you have one of the best cut ‘n’ paste albums.
We start off with a generous helping of up to date hip-hop with the likes of Fatman Scoop and the Jungle Brothers. From this, we transcend into mayhem. The Alchemist’s version of the Cookie Rap mixed into the original Sesame Street then it quickly moves onto the A-Team Theme Tune with generous portions of Yoda scratchin’ – excellent! Further down the line, we are treated to an odd mixture of the Cheers Theme mixed in with a rap version, which is effortlessly combined with Grandmaster Flash vs Pitman’s The [Alternative] Message.
There’s further silliness in the form of various old skool theme tunes – Inspector Gadget, Happy Days and Blue Peter. There’s also a generous helping of rap songs in the form of Pharaoh Monch (Simon Says), Roots Manuva (Witness da Fitness), Missy Elliot (Work It) etc…. Although this was another top-notch mix from Yoda, he had problems mixing the Red Hot Chilli Peppers with the 50 Cent medley (in my opinion, this was just down to the tunes being mixed and not his technical abilities as a mixer). In the 50 Cent medley, we’re treated to three different versions of In da Club (see tracklisting below). The whole 50 Cent thing has been over done by may other DJs but this mix puts a twist to the whole affair. Yoda adds an element of tongue ‘n’ cheek to this medley and for that, this version is hilariously excellent.
We move into the retro era towards the end. The immense tune Once in a Lifetime (by Talking Heads) is nicely mixed into Abracadabra (by Steve Miller Band). Then there’s the combination of Madonna and Public Enemy – crazy but it works! The vocals for Bring the Noise is beautifully fused with the backing track of Borderline to form another unique Yoda mix. The final moments of this set sees Yoda going back to his 80s pop roots. New Order’s Blue Monday is given the Yoda treatment (scratched to fuck), and the Human League’s Don’t You Want Me is dubbed over by D12’s Purple Pills – nice touch although it doesn’t sound quite right (due the two songs being in different keys). Overall this is a fun album – perfect for those house parties. This album is pretty different from his official “Hoe to Cut & Paste” series – it’s more poppy and less serious than those albums. Get this if you can, recommended.
Tracklisting
Intro – DJ Yoda
2G – Tribute to Michael Jackson (Rap medley)
Michael Jackson vs Q Tip - Breathe Don't Stop
Fatman Scoop - Be Faithful
J-Lo - Jenny From The Block [Instrumental] with rappers abuse.
Cookie Monster - Cookie Rap
Seasame Street - Theme Tune
DJ Yoda vs The A Team – A Yoda
Busta Rhymes - Fire It Up (Knight Rider)
Cheers - Theme Tune [morphed remix]
Grandmaster Flash vs Pitman - The [Alternative] Message
Will Smith vs Grandmaster Flash – The [Fresh] Message
Rakim - When I Be On Tha Mic
Inspector Gadget - Theme Tune
Happy Days - Theme Tune [hip-hop'ped]
Janis Joplin - Mercedes Benz [beatbox'ed]
Country Mike - Country Delight
DJ Yoda - Simon Says [twist ‘o’ country mix]
Pharaoh Monch - Simon Says
Roots manuva - Witness the fitness
Blue Peter - Theme Tune [DJ Yoda'd]
Polyphonic Spree - Soldier Girl vs some Neptunes tune
Missy Elliot – Work it
Red Hot Chilli Peppers – Can’t Stop
50 Cent - In The Club
50 Pence - In The Pub
Beyonce - In The Club
Sugar Bear - Scandalise Mine
Talking Heads - Once In A Lifetime
Steve Miller Band - Abracadabra
Pointer Sisters - Jump [For My Love]
Michael Jackson - Beat It
Madonna - Borderline
Public Enemy - Bring The Noise
Prince – Kiss [DJ Cool mix]
New Order - Blue Monday [scratched to fuk]
Human League - Don't You Want Me vs D12 - Purple Pills
Al Yankovic - Yoda
Download this set from Kazaa or on SoulSeek.
Alternatively, email supersoulwax@hotmail.com for more info.
Memories Are My Only Witness is the debut solo release from Yuka Honda, after the parting of New York postalternative electronica maestros Cibo Matto. Memories can best be described as a rich and complex exploration of an individual’s mind, with fragments of images, scenes, memories and words being littered along the way. Its style at base is electronica, as Honda’s main weapon is the sampler, but this is like describing Leftfield or the Prodigy as mere dance music. Honda uses the sampler to bring together a vast array of musical styles and influences, melding them into a coherent and palpable landscape of sound. Honda prepares a paste of tabla, Gregorian chant, jazzy guitar licks and lounge piano in Why Do We Distrust The Machines We Made? and lays it on a bed of funky 4/4. The result is a joy to experience, gorgeous in texture and sound, a veritable banquet of musical flavours. The track extends further into a whimsical dialogue between a mildly overdriven guitar posing ideas to an initially compliant synth – the dialogue becomes debate and the intensity of the track is all the better for it. Perhaps these scenes are connected we ask, or could they be part of a greater picture in the creator’s mind?
We find panoramic suites of electronica being interspersed with short snapshots of a mind, brief images that sonically flit by before the next foray into musical exploration and experiment. These snapshots can all be explained by their titles, such as Driving Down By The Hudson River, We Saw The Blood Red Burning Sky and The Last One To Fall Asleep With. Perhaps these could be part of a greater epic that isn’t necessarily just the one album. This is part of the joy of Memories – being challenged to question the motives behind the music and to pose your own ideas behind a certain soundscape. This is the rich reward of Honda’s music.
I read somewhere that this is music best listened to with good quality headphones. It is not background music. It is challenging and rewarding to listen to, but not as extreme as, say, Fushitsusha. It lends clarity and purpose to a genre that can all too often get tied up with its own concepts and visions. Honda has focused on her compositions and has clearly worked at them to produce something that fulfils her vision while actually being music that really works. The result is a rare creation that equally fulfils the criteria for musical beauty and integrity, and is one that, in its vision and innovation, begins the first tentative steps to genius. 9/10
Tracklisting.
1. Small Circular Motion (Honda) - 1:29
2. Why Do We Distrust the Machines We Made?:... (Honda/Love) - 8:06
3. You Think You Are So Generous, But It's... (Honda) - 5:06
4. Driving Down by the Hudson River, We Saw... (Honda) - :44
5. Sun Beam - Nothing Hurts - On a Cold... (Honda) - 3:36
6. Single Silver Bullet (Honda) - 2:40
7. Some Days I Stay in Bed for Hours (Honda) - 2:01
8. Schwaltz (Honda) - 4:41
9. The Last One to Fall Asleep With (Honda) - 3:58
10. Night Diving (Honda) - 7:40
11. Liberation #6- Leaving the Memories Behind (Honda/Lee) - 2:45
Having clearly tired of Long Island, it seems that getting in a band and writing some awesome songs was the only way out for Taking Back Sunday. And it’s no loss for the rest of us – their debut is one of the finest examples in the genre of emo and hardcore around, surpassing the pop sensibilities of contemporaries like New Found Glory and the insanity of Dead Poetic with a well-crafted blend of melodic hooks, rhythmic craftsmanship and raw emotion, striking the perfect balance between angst and musicality, melodrama and realism.
Tell All Your Friends is a great album – and this is largely thanks to the production. The sound captures the buzz and spontaneity of a live show, while keeping tight at the same time. The layered guitars meld beautifully and the bass is never muddy, while the drum track could be a separate track altogether! The vocals are excellent as well – while the lead vocalist and backing vocalist will never be entering Popstars on the basis of vocal talent, they hit the nail on the head where it matters. In utter contrast to the farce of manufactured groups seeking specificity in a package, bands like Taking Back Sunday promise hometown integrity and deliver the goods every time. It’s not about range or falsetto; it’s about getting in a band and really enjoying the music. And on Tell All Your Friends, both singers – and indeed, the whole band – are clearly having a blast and you can really feel their hearts and souls in the music. It’s obvious that the band loves playing regardless of the elements, and in a genre like emo, there is nothing more paramount than these factors.
The songs can vary in quality – while generally good, the experience of the album can become passive at times, very much like a live show, until something jolts you out of your seat. Songs like You Know How I Do and “Cute” Without The “E” (Cut From The Team) are real gems, but at times the songs can rely too heavy on the power of the lyrics instead of the overall sound in terms of riffs and general musical variation – I personally found myself going “yeah, this is awesome, but how about a memorable guitar line or riff here, or a more melodic breakdown over there?”. However, with passion like theirs and a live show that’ll have tickets selling like crazy, in this moment and time the rise of Taking Back Sunday seems unstoppable. 7/10
Tracklisting
1. You Know How I Do (Lazzari/Nolan/Taking Back Sunday) - 3:21
2. Bike Scene (Reubenstein/Taking Back Sunday) - 3:35
3. Cute Without the 'E' (Cut from the Team) (Lazzara/Nolan/Taking Back Sunday) - 3:31
4. There's No 'I' Team (Lazzara/Nolan/Taking Back Sunday) - 3:48
5. Great Romances of the 20th Century (Lazzara/Nolan/Taking Back Sunday) - 3:35
6. Ghost Man on Third (Lazzara/Nolan/Taking Back Sunday) - 3:59
7. Timberwolves at New Jersey (Lazzara/Nolan/Taking Back Sunday) - 3:23
8. The Blue Channel (Lazzara/Nolan/Taking Back Sunday) - 2:30
9. You're So Last Summer (Lazzara/Nolan/Taking Back Sunday) - 2:59
10. Head Club (Reubenstein/Taking Back Sunday) - 3:01
Los Amigos Invisibles’ major label debut has been with us for a while now, but as the intro Guelcome professes, the mixture of “latin dance and sex culture” is still irresistibly infectious. Their sound on Venezuelan Gozadera is deceptively simple, with grooving basslines and slamming funk guitar coupled with swinging drums and rude-yet-humorous vocals combining for a tight package. Yet it is never too straightforward that their sound becomes uninteresting – the range of influences is a joy to behold, from the Hendrixian chords on Ultra-Funk to the Daft Punk-esque bassline and electronica on Mi Linda. Then there are the vocals – while undeniably overt and humorous in nature, the mere fact that the whole album is sung in Spanish adds to the sex appeal of the sound. The image of the band shines through well in their music as well – it could be any bunch of friends having a good time, just that they happen to play some fantastic funk in a band.
The songs themselves are very good. While not groundbreaking by any means, the range of influences and the strength of songwriting is consistent throughout the album, with hooks and catchy choruses laid over numerous grooves. It is not merely disco or straight-ahead funk all the way through – the songs can extend to spaced-out on Otra Vez and Cha-cha latin rhythms Cha-chaborro (after all, they are Venezuelan). This would make a great soundtrack for a laissez-faire summer whether spend travelling or hanging around your town.
Anyone expecting seriousness from LAI is advised to seriously reconsider – if one expects seriousness from a bunch of 20-going-on-12 guys who turn an argument for backdoor sex into a romantic love song (El Disco Anal), then he or she is missing the point. The music isn’t just music, it’s much more than that – it’s a state of mind that incorporates that summer you went on Holiday with your buddies and the time you scored with an absolute hottie in a club. It’s bliss, and if bliss is ignorant, then we’ll take it without the responsibility and worries. This album is about having fun, and thinking too much would detract from the fun it’s meant to convey. Take it for what it is and what it stands for, and crack open another beer! 8/10
Tracklisting:[b/]
1. Güelcome - 0:18
2. Ultra-Funk (Pardo) - 3:38
3. Mi Linda (Pardo) - 3:46
4. Sexy (Pardo) - 3:24
5. Las Lycras del Avilia (Pardo) - 3:01
6. Groupie (Pardo) - 4:40
7. Otra Vez (Figueredo/Pardo) - 6:20
8. Cachete a Cachete (Bricño/Pardo) - 4:47
9. Balada de Chusy (Bricño/Pardo) - 3:52
10. Asomacho - 1:16
11. Ponerte en Cuatro (Amigos Invisibles/Arcas) - 4:32
12. Mango Cool (Pardo) - 2:54
13. Nerio Compra Contestadora (Pardo) - 0:24
14. Quiero Desintegrar a Tu Novio (Pardo) - 3:26
15. El Disco Anal (Pardo) - 6:14
16. No Me Pagan (Pardo) - 3:20
17. Cha-Chaborro (Pardo) - 2:44
18. Aldemaro en Su Camaro (Figueredo/Pardo) - 3:31
19. The New Sound of the Venezuelan Gozadera (Amigos Invisibles) - 12:10
Out: 19/04/2004
FABRICLIVE. 15 is a confluence of musical influences and ideas. It’s a journey blending rolling broken beats with furious rhythms as Nitin mixes up the tempo and styles, creating a mix that’s thoughtful, energetic and infectious. Kicking off with the deep jazz of Nitin’s Koop re-edit, we’re led into the broken drum patterns of his ‘Eastern Eyes’. Freeform Five’s flamenco styled reworking of ‘Homelands’ contrasts with the deep gentle groove of Viennese Dzihin & Kamien’s remix. There’s dub with the Burnt Friedman mix of Tosca, an Atjazz remix of ‘Tempest’ and 4hero remix Nathan Haines as Nitin takes a step towards the dancefloor. Frantic beats come from two brilliant tracks on melodic drum n bass label Hospital. There’s the growling bassline of Darqwan, into the eastern fusion of forward thinking production and traditional sounds of Visionary Underground. The delicate music of ‘Beyond Skin’ features the powerful words of Robert Oppenheimer, creator of the A-bomb, condemning his Frankenstein, and the mix closes with ‘Hymn 2’, a sublime combination of Photek’s cutting edge production with the ancient sound of choral song.
(taken from - Fabric promotion website)
Tracklisting
1 Koop - Relaxin’ At Club F****n (Nitin Sawhney Edit)
2 Nitin Sawhney - Eastern Eyes (Seiji Remix)
3 Nitin Sawhney - Homelands (Freeform Five Remix)
4 Nitin Sawhney - Homelands (Dzihan & Kamien Mix)
5 Tosca - Suzuki (Burnt Friedman/ Nonplace Dub)
6 Marcos Valle - Valeu (4Hero Remix)
7 Kabuki - Tempest (Atjazz Remix)
8 Nathan Haines - Long (4Hero Mix)
9 4Hero - We Who Are Not Others (Jazzanova Mix)
10 Phuturistix - Bad Thoughts
11 Darqwan - Three Note Blue
12 Visionary Underground - Freedom
13 Niraj Chag - The Wheel
14 Ges-e & Visionary Underground - Militant 24
15 Nitin Sawhney - Beyond Skin
16 Craig Armstrong - Hymn 2 feat. Photek
For further info, sound clips and purchasing this try;
http://www.fabriclondon.com/label.artist.album.fabriclive.php?artist=nitinsawhney&release=fl15/nit
First established in the 1980s, Felix da Housecat (aka Felix Stallings, Jr.) was part of the second-wave Chicago house impresario, entering the elite via his recordings (as himself, Thee Maddkatt Courtship, Aphrohead, Sharkimaxx). It was Chicago legend DJ Pierre who gave Felix the encouragement and help in the mid 1980s. Felix produced produced his first single \"Phantasy Girl\" in 1987 with DJ Pierre’s help. His ownership of Radikal Fear Records, one of the premiere Chicago labels of the 1990s, and his phenomenal gift as a DJ, producer and song writer further established Felix’s reputation. The original Kittenz and Thee Glitz album was released in 2001. It was re-released in 2003 with the addition of three bonus tracks (see tracks 17-19 below). This album is an electronica masterpiece by Felix. In it he manages to combine various styles ranging from house, dance, left-field ambiance and electro-synth. Distinct tracks such as Harlot, Madam Hollywood, Silver Screen – Shower Scene and Sequel2Sub are beautifully written, arranged and produced. Some of the songs in this album remind me of classic Pet Shop Boys songs. The simple yet melodic nature of each track really shines through in Kittenz. My favourite song in this album is Runaway Dreamer, the marriage of the funky bassline, melancholy vocals and the slow melodic piano chords really conveys a sense of mellow-chill to the whole album.
The three extra tracks are also excellent. Laurent Garnier’s remix of the Silver Screen - Shower Scene is edgy and moody, while Justin Robertson’s version of Harlot is a lot more dance orientated than the original – adding an extra dimension funky-dance to the whole song. Royksopp’s reworking of What Does It Feel Like?, adds extra depth to this song. The looped bassline and laid back female vocals makes this version sound chilled-out as well as giving it a dark brooding atmosphere. Add to this, special appearances from Jr. Sanchez, Harrison Crump, Vito Lucente and Electrikboy, and you have a formidable album. Overall, two thumbs up to Kittenz and it’s bonus tracks. Recommended.
Track Listings
1. Harlot
2. Walk With Me
3. Analog City
4. Pray For A Star
5. Voicemail W/Ms Kittin
6. Madame Hollywood
7. Silver Screen - Shower Scene
8. Control Freaq
9. What Does It Feel Like?
10. Happy Hour
11. Thee Enter View
12. Glitz Rock
13. Sequel2Sub
14. Magic Fly
15. She Lives
16. Runaway Dreamer
17. Silver Screen - Shower Scene (Laurent Garnier Remix)
18. Harlot (Justin Robertson Remix)
19. What Does It Feel Like? (Royksopp Return The Sun Remix)
This is compilation is intended to illustrate the rich tradition of old skool electro-pop. There’s everybody from the well-known groups such as the Human League, New Order and Soft Cell to the pretty obscure bands of 80’s electroclash such as Propaganda, Fad Gadget and Visage. What is for certain is that this compilation is well thought out and arranged. Songs such as Soft Cell’s Memorabilia (later covered by Nine Inch Nails), Visage’s Fade to Grey and Yello’s I Love Yousum up what 80’s electronica/electro-pop is all about. The soft synthesizer sounds blended in with moody vocals – looping over an infectious melody is the perfect example of this genera. I enjoyed listening to this album, as these were the sounds that pioneered synthcore and modern electronica. My personal favourites in this album was New Order’s Everything’s Gone Green and Sparks’s The Number One Song In Heaven – their passion and energy really shines through in these tracks. I was surprised that such greats as Kraftwerk, Afrika Bambaataa and Herbie Hancock were excluded from this compilation. It would have been excellent to hear such classics as Rockit and Tour de France in this album. The invention and intensity of electro-synth-pop proved that the 1980s wasn’t all about Boy George’s hats and Spandau’s strides, lovable as they were (…not!). There was a rhythm {imagi}nation simmering, an electronica frolic that slowly picked up pace in the late 80s. If contemporary dance and electronica of the 21st century can match the imagination, passion and energy (…though not fashion) of that decade, then we are in for a treat. Overall, this type of music my not suit everyone, but it illustrates the evolution of modern dance/electronica which in my mind is fascinating and intriguing.
Tracklisting.
1. Sound of the crowd - Human League
2. Memorabilia - Soft Cell
3. Life in Tokyo - Japan
4. Dr Mabuse - Propaganda
5. Fade to grey - Visage
6. Whip it - Devo
7. I travel - Simple Minds
8. Everything's gone green - New Order
9. Number one song in Heaven - Sparks
10. Living on the ceiling - Blancmange
11. I love you - Yello
12. Sensoria - Cabaret Voltaire
13. Back to nature - Fad Gadget
Mark Rae and Steve Christian first formed back in 1995 and signed to Grand Central Records. They released a number of singles, as well as some solo work by Rae. It wasn't until late 1998 that the duo released their debut album, Northern Sulphuric Soul.
This album is sublime, it was described as the natural successor to Protection by Massive Attack, which is one massive compliment. The album is a combination of jazz-house, trip-hop and hip-hop.
A great thing about this album, and indeed the duo, is that so much of their work is collaborations. The majority of the work on this album features guest vocalists, such as Sharleen Spiteri from Texas, Jeru the Damaja of the Wu-Tang Clan, The Jungle Brothers, and the silky voice of Veba, a now regular comtributor to the pair's work.
The different collaborations give each track a unique sound, and so it is one of those albums you pick new things out of each time you listen.
The best track on the album is no doubt the blissfull 'Spellbound'. Its one of those tracks we have probably all heard in our lives, but we just weren't sure who it was by.
The album was re-released in 2003 with 3 bonus tracks and new cover art.
1. Divine Sounds
2. Anything U Want (Feat. Q Ball & Curt Cazal)
3. Swan Song (For a Nation) (Feat. Veba)
4. Now I Lay Me Down (Feat. YZ)
5. The Hush (Feat. Sharleen Spiteri)
6. All I Ask (Feat. Veba)
7. Swimming Pool
8. Fool (Feat. Veba)
9. Catch a Rude Awakening
10. Play On (Grand Central) (Feat. Jungle Brothers)
11. Bring the Drama
12. Flip the Mic (Feat. Jeru The Damaja)
13. Spellbound (Feat. Veba)
14. Time to Shine [2003 Bonus Track]
15. The Bacalan [2003 Bonus Track]
16. Premonition [2003 Bonus Track]
Note: Image attached above is the original 1998 cover art, not the 2003 re-release.
Now, I know this album isn't exactly a new release, but Si's philiosophy is that all good music review sites should pay their homage to brillaint albums, and it is my quest to lead the disciples of brilliant albums by reviewing them [See Also, Björk - Debut].
So, my quest brings me to Entroducing by DJ Shadow. Entroducing is his first solo album from 1996. Prior to this he had teamed up with James Lavelle and Kudo to form U.N.K.L.E.
Entroducing is no doubt the most innovative hip-hop/electronica/turntablism album of modern times. His work builds on the foundations laid by Grandmaster Flash and Afrika Bambaataa back in the 1970s prior to Hip-Hop going mainstream.
There are many other amazing turntable artists around these days, such as DJ Krush, Rob Swift, Q-Bert and the Cut Chemist (of Jurassic 5), but none push things forward as much as DJ Shadow.
Entroducing is a collection of ambient, trippy hip-hop. Track highlights include Organ Donor, What Does Your Soul Look Like Pt. 4, Stem/Long Stem and Midnight In A Perfect World. The album takes you on a journey through aspects of every genre with bizarre and unique samples. It's one of those albums that everyone should own.
Since his Solo debut, he has gone on to release The Private Press (2002), and a number of cut-ups with the Cut Chemist. He also provided his services for the debut U.N.K.L.E album, Psyence Fiction, as well as lending his services to the great artists of Quannum, including Latyrx and Blackalicious.
Björk is one of those artists you'd see winning Best International Female at the Brits back in the mid-90s. In those days I was a wee nipper, knee high to a grasshopper, and didn't understand Björk, in both senses of the word.
She'd swagger on stage, pick up her award, then proceed to either say 'Fuck' in a pissed Icelandic voice, or reel off some bizarre shit, also in a pisses Icelandic voice.
No one understood why she kept winning (or won - I don't know how many she won). It was the same with Beck for the Best International Male. Although back in those days there was no JT or Beyonce to win.
But as I grew up I started listening to some Björk (and Beck, it's a bizarre world, but that's another story), and, slowly but surely, it blew me away. It's amazing, powerful and clever. But most importantly, there is just nothing else like her. Whatever you see on and these music sites which have a 'Similar Artists' section is rubbish for Björk. Take, for example, allmusic.com, they claim Faithless, Soul II Soul, Air and Primal Scream are 'Similar'. No. They are not. They are all great bands, but nothing like Björk. All they need write is... 'No Similar Artists'. Because that is why she won those Brits, because she is amazingly unique.
'Debut' was her first release back in 1993 (discounting her 1977 self-titled album that she recorded as a child after winning a competition), and in my mind, it is some of her best work.
Some of the tracks that stand out from an awesome album in general are Human Behaviour, Aeroplane, Violently Happy and The Anchor Song.
The entire album flows together perfectly. It does its job on volume 1 or volume 11.
I think Björk is like marmite. You either love her work or hate it. I urge the people that hate it to try it again. And if the only track you've heard by her is 'It's Oh So Quiet' (from her second album, 'Post'), then pretend she didn't do that track, wipe it from your memory (because that is crap, I agree with you), and listen to everything else.
Björk is no doubt my favourite artist. She has been for some time now, and I can't see it changing in the near future, unless some radical young whippersnapper rolls along.
This album is a collective of over two dozen of Detriot's finest jazz musicians.
All the tracks were recorded especially, and then handed over to the legendary Carl Craig to blend and fuse everything together. Linking the dirtiest beats from the past, present and future.
The album moves across a collection of genres albeit keeping a jazz backing. Soul, house and electro-beats all feature heavily.
This album is hard to categorise (aside from modern-electro-jazz). One could say it is a chill-out album, however depending on your mood it can be quite the opposite (no, I don't mean a stress album).
The Detriot Experiment follows on from the successful Philadelphia Experiment, which I am yet to hear, although it cannot be anything less than brilliant, just like The Detriot Experiment.
Okay, although this is not an album or a film review, I thought people might be interested in the every popular world of cut 'n' paste, mash-ups and bastard-pop. The following web site is one of many that dedicates this musical art form.
http://boomselection.net/
This has many new stuff to download and sample. Check it out.