SLAM.
Dark Forces Remixes. Soma 45cds
The
final track from the excellent ‘Headstates’ debut album by duo Stuart McMillan
and Orde Meike better known as Slam features four remixes and the amazing
original version of ‘Dark Forces’. The Claude Young mix gives the single a
hard Detroit image whereas the Kenny Larkin version combines some harshness
with inventiveness and the outcome is much more satisfying. The ‘Sick Organ’
remix was lifted from the Full Circle compilation album. ‘Plastic Jazz’ is
only available on the cd format. Underground dance is moving on from it’s
predictability and although the remixers are trying hard to improve on the
original, in reality it’s a hopeless task. (Phil Brook)
QUBISM.
Emit 2294
1994
was a good year for Emit collectors, this being the 3rd album in the series.
Qubism, a name difficult to forget, sprang onto the scene with a full length
release. The track ‘Anthropomorphic’ was included in the compilation 0094
although here it’s running time has been almost doubled. It was previously
superb and now it’s even better because of the electronics, Japanese style
surrounding mellow themes of haunting experimentation. The results are breathtaking,
at long last a company who really care about music, and are willing to allow
artists from all around the world to challenge the previously held belief
that experimental music was only for the performer and not for the listener
to enjoy. Even employing techno on ‘Repercussions’ doesn’t detract from the
melodically generated. Today, this is as fresh as any other material available.
This series boldly goes where no record company goes before so trek of into
the excel zone! (Phil Brook)
RED
SNAPPER. Prince Blimey. Warp CD45
Of
all the artists signed to Warp records, these are the ones that don’t appear
to fit into the modern electronic techno sphere,. For a start they use real
instruments and play as a band. Surely the record company have not made a
drastic change of direction. Certainly not as Red Snapper use their instruments
to the limit to explore interesting sounds, this technique is definitely not
standard. The line up consists of guitarist David Ayers, bassist Ali Friend,
drummer Richard Thair and wind instrumentalist Ollie Nocre. The results are
startling, electronic music without the electronics, the style is all their
own not borrowed or sampled from elsewhere. The opening track ‘Crusoe Takes
A Trip’ is brilliant. There’s only one track with lyrics and this is sung
by Anne Haigh. An album that slowly grows and as my initial thoughts were
of an extremely high standard you will now appreciate the esteem in which
I hold the band. (Phil Brook)
SIMON
FISHER TURNER. Shwarma. Mute. CDSTUMM151.
I
really do believe that there is some form of divine intervention. It was only
recently received an intensely superb album by Simon Fisher Turner, on Humbug
Records, called Revox Volume 1, and I was wondering when Volume 2 would come
out. Well, this isn’t quite Volume 2, but it’s probably the nearest we’ll
get. It’s also as good, if not better than the above. As usual, it’s full
of soundbites, recorded by SFT on his travels around the globe. He’s also
enlisted the likes of Kate St. John, Bruce Gilbert and Jocelyn West. Unlike
Revox, this is more than just a solo album, and the landscapes unfold like
an aural map. This is a very successful experimental album that adds yet many
more facets to the world of ambience. (Dave W)
BLECH.
Blech. Warp CD44
Is
this a compilation album by various artists on the Warp label or by Blech.—’
Well both really as Strictly Kev and PC of Ninja Tune’s DJ Food have been
unleashed in the ballroom vaults of the Cavendish Buildings to cut up, dress
up and serve a remix package that is as outstanding as the originals are.
Artists featured whose music has been reconstituted include Autechre, Aphex
Twin, LFO, Nightmares On Wax and Red Snapper, all pioneers of the electronic
groove. The ambient world of B12 has been shocked by the inclusion of a Jungle
beat. All the tracks have been put together to blend into a continuous mix
with some of the tracks being divided into quarter segments to make up a 23
track album. A word of warning, this is not to be confused with the original
cassette only version released back in December 1995 as the track listing
is different. Yet another classic from the Warp stable this time only available
on cd. Press play to begin and then press repeat. (Phil Brook).
LOOM
FEATURING BILLY MACKENZIE Anacosta Bay. Millenium Mill 022CD
A single of over 42 minutes duration giving
tremendous value for money and featuring Billy Mackenzie who initially rose
to fame in the 80’s with the Associates. Four different mixes including the
instrumental with the building electronic catchy background spinning a rich
collage of sounds in a melodic fashion. All the tracks retain the same theme
yet are sufficiently altered to prevent repetition. The instrumental is excellent
in itself, and with the vocalist it is enhanced. Hopefully a chart winner!
PS, I like the 9 minute 23 second radio edit that will cause problems for
the standard 4 minute radio slot (Phil Brook)
APHEX
TWIN. Richard D James. Warp CD43
How can Aphex Twin continue his techno trip
into the mid nineties when this type of music is now considered by some to
have become staid and very predictable? His reply is emphatic as James exploits
the latest beats and invents new ones which unfolds into a typical outing
of electronic mayhem. Ten shortish tracks allows the musical author to ring
the changes between tracks like ‘4’ and ‘Peek 824542.011, where the mellow
meets the harsh and boundaries disappear at an alarming rate. On ‘Fore Street’
a more standard approach is used to provide an easy listening (well easy for
Aphex) segment on this well crafted album. I was surprised by the ‘Girl/Bay
Song’ where a ‘string quartet’ is joined by an extremely fast jungle beat
- a song that works exceptionally well. A much shorter cd lasting only 33mins,
yet Aphex is still one of the best which the rest can only admire. (Phil Brook)
MOBY
Animal Rights. Mute CD Stumml5O
Having missed Moby’s previous release ‘Everything
Is Wrong’ Mixed and Remixed, it’s good to acknowledge that the man is still
willing to show what diverse type of music he can still perform and write.
The clash between the opener ‘Now I Let It Go’ with the succulent violin playing
of Hahn Rowe and the following heavy metal effect of ‘Come On Baby’ is so
strident, the listener will wonder what genre he is supposed to be entrenched
in. Moby plays drums, guitars, bass and keyboards and uses tongue in cheek
titles life ‘Soft’ to show a slightly lighter (!) side of the heavier scene
with lyrics to match. He is very angry about the lack of animal rights. The
normal dance area has been left alone and apart from the first and final two
tracks, Moby is in a very heavy metal music mode. (Phil Brook)
LUNAR
DRIVE. Here at The Black Mesa, Arizona. Nation NR1076CD
Enter one Sandy Hoover, armed with a video
camera who recorded typical North American experiences in Arizona for Channel
4 viewers. Why loose an opportunity for a musician/editor/web-surfer to produce
a tv programme only when an album was possible. Surely this would only be
a soundtrack anyway. The answer is surprising as she has sought the assistance
of a respected producer with an impeccable record of sympathetic understanding,
Count Dubulah of Transglobal Underground fame who’s distinctive multi - cultural
dance production techniques are used to fill out the soundscore with fascinating,
intricate rhythms and loops of desolate beauty. ..South Dakota is like a cross
between the slower vocal sections of Enigma and up tempo dance music. The
following piece Wupatki Crater features the spoken word of Rey Cantil set
to an electronic score. I read the press release before listening to the album
and it did not do justice. Lunar Drive speed down the highways of Arizona
in a vehicle of class. Reliability guaranteed. (Phil Brook)
NEURONIUM.
Numerica. Thunderbolt. CDTB 082.
A couple of years ago, Modern Dance got an
album from Thunderbolt by a guy called Michael Huygen. I can’t, off hand,
remember what it was called, but the point is, Neuronium is Huygen’s band.
What I find rather ironic is that the band members in Neuronium (or, they
are on this album) are, none other than Michael Huygen... and that’s it! Synthesizers
rule the day on this 8 track/8 movement album. It was recorded in Spain back
in 1989, and fortunately (unlike Pete Baumann and Ashra’s later Virgin albums)
it doesn’t slip into what I call Europop. Extreme Limits, Promenade, Deep
Illness Of Love and Au Revoir are pretty impressive pieces that on the one
hand enlighten and lift the heart, then, by turns, bring about a deep and
foreboding mood. A terribly overlooked synth ‘band’. Check it out. (Phil Brook).
VARIOUS.
Viva Diablo Blanco. Indochina. ZEN013CD.
Cracking taster/sampler from Indochina that
contains some tasty gear. Okay, so there’s a picture of a snow boarder on
the cover, don’t let that put you off! Bands such as Apollo 440, 808 State,
Art Of Noise, Fila Brazzillia, Morcheeba and Omni Trio. I must confess, however,
to going truly apeshit over the one track by Grantby. The track in question
is called Timber, and contains a truly remarkable use of what (I’m sure) is
a sample from You Only Live Twice - not the actual song, the movie. The unmistakable
sound of Barry’s strings and orchestral strut is there, shadowed by a little
bit of scratching - remarkable. There’s 13 tracks in all, producing not only
a big fat playing time, but it should produce a big fat smile on your face.
(Phil Brook).
VARIOUS.
Anthems For The Chemical Generation. Virgin.724384472924
Compilations like this one are being released
in such profusion, it is becoming more difficult to decide which fit into
the highly recommended category.
All the tracks bar two are very well known, some perhaps too well known like
Fools Gold by the Stone Roses and the Sabres Of Paradise’s Smokebelch 1. Add
Underworld’s Born Slippy (Nuxx mix), the Future Sound Of London’s We have
Explosive (Part 1) and the original version of Inner City Life by Goldie.
Another popular selection is Alex Reece featuring Deborah Anderson with Feel
The Sunshine and the message becomes clear, no chances have been taken to
deviate from the safe path. As mentioned earlier, the only tracks that may
not have been heard are the Propellerheads Spybreak! and Back Tae The Auld
Skool by Craig Smith. It all starts with the still memorable Pacific 202 by
808 State, flows into Chime by Orbital and then continues with the original
mix of the Sun Rising by The Beloved. There’s even the Choppers Mix of a Black
Grape song and Don’t Fight It, Feel It by Primal Scream. The other track to
complete this album is the Witewash edit of Fluke’s Absurd. To recap, the
fourteen tracks offered here are popular anthems for the chemical generations
and this is the musical equivalent of a coffee table book. So it is quite
easy to listen to this album that contains ideal music for the car cd. (Phil
Brook)
PLAID.
Undoneson. WARP. WAP95CD
It was with great personal regret when the
North London collective known as The Black Dog split after the release of
their excellent Spanners Album. It was hard to imagine that such talent could
stay idle for any length of time and the remaining two members have reverted
to the name Plaid. Ed Hanley and Andy Turner work presented here only lasts
for quarter of an hour, yet within that short time they had me completely
hooked. The title track is very inventive, the second (Spudink) very melodic
and the finale Headspin has a pseudo drum ‘n bass feel, where the emphasis
is on gentle melodic lines of lasting quality. It’s smooth and not in any
way bland. This short single heralds great instrumental electronic music from
their forthcoming album Not For Threes. Get it, I certainly will! (Phil Brook)
JEAN
MICHEL JARRE. Oxygene 7-13. Epic. 486984.
Carrying on in the great tradition of revisiting
old haunts (ala Oldfield), Jarre has given us another seven chunks of Oxygene.
Granted, it’s not quite the Part II scenario (or is it?) - to be truthful,
who gives a damn - if the music’s good, then let’s listen. I had the opportunity
of going to see this gent in Manchester recently, and was simply overawed
with the whole experience. It was great to hear the old numbers come chugging
out of the analogue, and half-remembered pieces came tumbling forth via the
superb lights and the hellishly loud PA. In and amongst the old, and not so
old, material from this album was presented. Part 7 indeed opened the show,
the new single, Part 4, closed it. Inbetween we were treated to the amazing
Part 11, which really gets those neck hairs to raise. Like I once heard about
Tubular Bells part II, the room is the same, but the furniture has been moved.
Jarre has produced a superb album that betters some of his later albums, and
goes a long way to show that this man is a really gifted visionary who is
capable of producing some of the best popular electronic music there is. (Dave
W).
CRESCENT.
Electronic Sound Constructions. Snapshot. CLK 001CD.
As the cd back sleeve states, this is a cd
of home recordings by one member of the Crescent Quartet. The album isn’t
easy going, at first, but if you have a broad sense of adventure, and enjoy
having the odd challenge thrown at you, then this will fit the bill very well.
The inner sleeve notes are about as informative as Roswell, so I’m afraid
I can’t give you too much about who what or why. What I will venture forth
is that it isn’t an album you’d put on at a party! Personal involvement is
of the essence here, and I can distinctly hear people uttering what the hell’s
this? But battle on, brave soldier, as there is some interesting diversions
to be had. I won’t say that the music is utterly brilliant because I don’t
think there was that much that went in to it. What does come across is the
superb spontinaity, and that’s what counts. (Dave W).
RONNIE
& CLYDE. In Glorious Black And Blue. SWIM. WM15
My first, and I am glad to say lasting impression
of the instrumental music of Ronnie & Clyde came from the excellent Swim
compilation double album released not too long ago, where the representative
track Last Hand was well above the standard required. It’s jazzy overtones
will stay with me for a long time. John Ross and Robert Fitzpatrick have released
an album that demands attention. The second track Theme From A Lazy Life starts
and finishes with choral singing, throw in, in a very structured way of course
drums and acoustic bass then provide the rhythm with other electronic sounds
that expands the sound to make a magnificent instrumental of distinction.
If you like me enjoy a heavy meaty bass, then this album is for you. Macro-Scopic
contains a fast jungle beat in comparison to the following track Twice Removed,
where a gentle beats contain an easily hooked melody and a dreamily treated
acoustic guitar. It’s now only at the half way stage through the album and
being disappointed is one of the thoughts furthest from my mind. The tenth
and last track The 33rd Caller is slower with dreamy bass lines and piano
like riffs with just the right tempo to gently lull the listener off to sleep
after hearing what is really a very good album. They indulge in a variety
of subtle styles and they deserve your support. After playing this album in
glorious black and blue, I hope to colour your judgment. (Phil Brook)
BABY
MAMMOTH - One....Two....Freak - Pork - CD044
Their last album was quite a surprise, as it
was one of the best tonics that I have heard for bringing someone out of the
dumps and making the observer feel much happier. Although this album does
not have quite the same effect, I still muse at the track listing which states
such obvious things as Skidding On All Fours, Warm Air Rising and Sound In
Your Mouth. The third track entitled Additive is as addictive as they come
with deep rolling bass, loud drums and a beat of a dance nature. Luna Park
continues the trend with slightly unusual percussion grafted onto a faster
riff and neatly fitted with a slower haunting melody. This is a fine exponent
of their creativity which is used to the full. They have a distinctive flare
for blending melodic overtones with harsh drum patterns and guitars and, in
particular on Zen Butchers it appears to combine three differing sections
into just one piece. Basilica is a typical example of their beguiling, simplistic
approach to composition which completely retains the beautiful choral arrangements.
Foxy Grandpa uses a rather weepy sample to fascinate the mind from the backing
drum loops and bass and as such is incredibly infectious. I am still waiting
for the album filler (ie the weaker track) perhaps it’s the final piece Level
Freak? No it’s another good track this time featuring a trip hop beat. This
album is much better than their last and that was very good. Electronic music
has taken another turn and I just want more, More, MORE! Probably one of the
most underrated duo from New Yorkshire (Kingston Upon Hull) or even the UK.
(Phil Brook)
VARIOUS.
Electronic Drum & Bass. Lodestone. YUMMYCD2.
How far has drum ‘n bass developed since it’s
inception? The answer can be found in this 60 min slice of electronics that
improves this now familiar genre. The first thing to strike me is how exceptionally
mellow the opening track by Mellofonic is, but please don’t take the word
mellow to mean bland because this piece entitled Zen Buddies is really the
most chilled out drum ‘n bass that I have ever clapped my ears on and as a
result it receives an excellent rating. Their debut album is awaited with
great interest. The next track by Robots & Humanoids is just another name
of R.H. Kirk, who is a noted pioneer of musical electronics and on Robot this
true pioneering material can be intoxicating at the same time. Mig’s String
Filter appears on the surface to be a straight forward example of the type
apart from the lush sample of diy stores music that beautifully balances the
stark with the syrupy. Not many of the tracks feature fast and furious drum
beats, but some such as Mystery James Blokes’s Dark Basic Life Form is even
slower than you would imagine and in my opinion better much for it. B Scale
are two former East Germans who deliver a brilliant musical version of Jekyll
& Hyde. The final track by Doktor Uggs (!) is unusual as it features a
harp on this lovely Desert. In general the usual stripped down sound is no
longer prevalent and artists have resorted to much more inventive structures
whilst still using the drum ‘n bass feel. In short this is an album of distinction.
(Phil Brook)
VARIOUS.
Dream Mixers. Virgin CDVD86.
Subtitled a non stop dance mix 97, these all
time classic anthems have been put together to fill longer segments of music
lasting for the most part in excess of ten minutes. A typical example is the
opening track which slices four pieces of known material into almost thirteen
mins. The very well known X Files and Higher state Of Consciousness are entwined
with Offshore and Seven Days And One Week. Some of the other tracks which
are included on the first disc are the bouncy Rhythm Of The Night and Underworld’s
Born Slippy. Other highlights include Moby’s Go on the fourth track and the
chart hit Rhythm Of The Night as part of the fifth sound collage. On the second
disc, of the five offerings the final seventeen plus mins only contains four
individual section. The two by Robert Miles are the well respected Children
and Fable which are followed by DJ Quicksilver’s Bellissima, a current favourite
and it finally ends with the almost singalong I Love You Stop. Unfortunately
there is no information as to the identity of the Dream Mixers, but they do
a very good job of it all. Why should I recommend this album above all the
other mass releases when they may appear to offer more up to date songs? The
answer is quite simple, not all up to date songs will become classic anthems.
(Phil Brook)
VARIOUS.
Electronic(Full On Beats). Virgin. VTCD131.
Where as the other recent compilation Anthems
For The Chemical Generation is more designed for the less serious listener,
this double album is much better, mainly because it allows a greater diversity
of tracks in the electronic mainstream to be presented in a balanced way.
Although it contains some of the same tracks as on the Chemical Generation
like the Future Sound Of London’s We Have Explosive, Goldies’s Inner City
Life and Underworld’s Born Slippy, the other 31 show the range from the power
of Orbital live in New York (Satan) to the brilliant finale by Massive Attack
(Protection The Eno Mix). It all starts with those Block Rockin Beats the
original version by the Chemical Brothers and navigates via a rather impressive
Hardfloor mix of It’s No Good By Depeche Mode to the single version of Leftfield/Lydon’s
Open Up, to the Grid’s Rollercoaster (Original) and finally ends the first
disc with the 440 Radio Edit of Apollo 440’s Ain’t Talkin’ About Dub. Continuing
onto the second silvered spinny thing, the full length Dream Version of Children
by Robert Miles makes a change from the normal mix available on a lot of other
albums. Also of interest is the Daft Punk remix of Life is sweet by the Chemical
Brothers. I still love the delightful infectious sound of Wilmot by the Sabres
Of Paradise and although it is only the shorter version, the trumpet notes
will be repeatedly sung in ones head. Everything But The Girl contributes
just one track, that is Walking Wounded the Dave Wallace Remix, which is another
hidden masterpiece. I could go on, but the above are just some of the edited
highlights, you probably could come up with an entirely different choice to
mine, but to do that you’ll need this double album. Now there’s a hint. (Phil
Brook)
BANCO
DE GAIA. Big Men Cry. Planet Dog BARK CD025.
Few artists can hold the attention of the dance
media for long and still be in their good books, however Tony Marks has previously
released two spectacular studio albums and a live set recorded at Glastonbury
that certainly caught and held the attention of those writers. It was now
time to return to his own studio and put together a new collection of pieces
with a subtle change of direction. Instead of featuring global samples as
the main source, the emphasis is towards using real instruments, partly due
to the increasing problems of obtaining clearances for their use. For instance,
the saxophonist Dick Parry of Dark Side Of The Moon fame is featured on the
track called Celestine, which has a similar composition to many a Pink Floyd
piece. The album starts with Drippy, a percussive section built around a drop
of water sample and evolves into a dancey track. Big Men Cry is dripping with
those lush themes and a haunting style of violin playing, where the melancholy
balances the uplifting sections in just about the right proportions. The final
accolade is a 19 min glorious track about the Starstation Earth where you
will find a musical welcome to the homeworld. There’s nothing to cry about
here, just plenty of rejoicing where Banco continues to release spectacular
albums. (Phil Brook)
COLIN
NEWMAN - Bastard. Swim. WM3
Although this CD cover states 2 CD’s, this
is not strictly a double album, rather an album and an ep from ex-Wire man
Colin Newman. The title and one fingered salute displayed on the front cover
may alienate some prospective purchasers, I think it should draw your attention
to a fascinating trip across the musical barriers. For starters a dance beat
with guitars may lead you to think this sets the mood. The second, called
May uses distorted lead guitar to provide the melody while the very solid
rhythm is in the care of bass and drums. The next piece is even better as
he shows his grasp of all types of music is firmly held in his fingers. Slowfast
(Falling Down The Stairs) is his reply to the current drum n bass craze and
he uses lots of different gadgets to make a track that is asking to be noticed.
The fourth installment Without benefits from the use of string instrumentation
and is certainly one hell of a catchy tune. After the standard dance type
beat of the fifth track, the blending of guitar and electronics is boastful
to a point where the riffs, melodies and tunes all explore the edges of what
is called normal and at times the results make you believe it’s just a ordinary
instrumental rock band, such as Spiked. Don’t be fooled, as he mixes certain
telephonic sounds into the overall aural picture with the help of Robin Rimbaud
scanning the airwaves on a track from the ep. With a pedigree of fine albums
released, Newman with the help of Malka still proves the ability to compose
and produce music of very high quality has not been lost. Just one of the
many aspects of amazement found on this album is the variety of styles. This
is no bastard - it’s a thoroughbred. (Phil Brook)
SQUAREPUSHER.
Big Loada. WARP. WAP-92CD.
Squarepusher’s (aka Tom Jenkinson) previous
album Hard Normal Daddy was in my opinion a milestone in the history of the
recorded sound, not because of any startling development in hardware, no,
just the achievement of breaking out of the rather confining strait jacket
of jungle and pushing it to it’s limits. This seven track cd of previously
unreleased material is superb. The drum beats on the opening track A Journey
To Reedham (7AM Mix) are at times at lightning speed and the associated strong
melodies prevent the music degenerating into a cacophony of noise. After the
second track, which the drums are only marginally slower, the previously mentioned
super fast drum snare beats hit home to contrast with the ever so melodic
tune of Massif (Stay Strong). The forth shows his mastery of the bass guitar.
After another harsh track, the sixth (Tequila Fish) reverts to the more melancholy
sounds, at least during the first half before the drum ‘n bass vein pervades
the latter. The final track Jacques Mal Chance (Il n’a Pas Chance) uses slightly
off key sounds to make a short section that could almost be danced to. Although
this will not help to popularize drum ‘n bass music, his ideas are so wonderful
and ahead of their time, he must surely be regarded as a genius eventually.
It might just take the public a little longer to catch up with his music.
(Phil Brook)
AUTECHRE.
Cichlisuite. Warp. WAP96CD
The duo's last single was a bit of an eye opener as they tore down the
last vestiges of musical boundaries and modified the sounds from the insides.
They are not content with just being experimentalists of electronic music,
they wish to alter the very fabric of modern instrumental music. Although
labelled as a single, this is really a half hour ep that continues the good
work of the previous offering and dare I say contains the odd easy listening
section. The less well versed may describe this as electronic noodling or
dabbling in comparison to my opinion of bold compositions that certainly work
well together. I wish there were a lot more musicians of this caliber producing
quality material. It all starts with Yeesland, a track that contains unusual
harsh sounds which compete with an almost syrupy melodic line to complete
the formula. This is followed by the even harsher Pencha which makes appreciation
more difficult. Characi is the best, mainly due to the intriguing use of seemingly
odd loops of samples that don't appear to fit, yet the results are an undeniable
success. It finishes all too quickly for me after seven mins had elapsed.
Krib is slower and much more mellow and the final track Tilapia exhibits a
peculiar charm. The cutting edge of music and Autechre are never far apart
and you won't find many of these sounds on any other packages. Very fine indeed.
(Phil Brook)
ZART. Zart. Millennium. MILL029CD.
My mind is never closed to any new act, just because they are unknown does
not mean they are lacking in musical ability. There's always little bit of
excitement for me when a new debut album is about to be played for the first
time, perhaps at my age I am easily pleased! Zart hails from Mersey side and
the first track, Dark & Deep, surprises with funky sounds blended into
a totally melodic dub tune whilst escaping any semblance of possible blandness.
Dig Deeper is a little like the output of u-ziq mixed with Children Of Dub.
He also dabbles with trip hop and drum'n bass and the ghost of Kraftwerk's
musical inspiration occasionally permeates. The glorious dub type bass resounds
and fills the head with gorgeous notes, all this care of the track called
Dwate. Just as you may have detected a repetitive theme, the next track could
be from a classical piano concerto except for the strange background noises
that suddenly develop into a Led Zep style riff. Unusual to say the least
and jolly good musical fun. The seventh track offers another lurch in a different
direction, lyrics with a strong language content dubbed onto a varied and
often changing theme which all slot together perfectly. The ninth is a great
dub or is it drum 'n bass track. The production is first class, so naturally
headphone listening is heartily recommended. It's not often that an album
is likely to excite reviewers and public alike yet this is pleasurable listening,
so go on indulge yourself. For a debut album, the maturity of composition
shown is breathtaking, Zart should not be described as a promising newcomer,
but as an exceptionally gifted musician. (Phil Brook)
TANGERINE DREAM. Oasis. TDI Music. TD1007CD.
I didn't realise 'til the album came through, that it was actually an album
that contained music from the original piccy, and was indeed a soundtrack!
Mind you, I've not heard of the film. This version of TD is back to Edgar
and Jerome (Froese). Being fair to the lads, it's actually one of the best
albums I've heard by the Froese's and looking at the sleevenotes it would
appear that Oasis is a kind of geographical documentary. The subtitle is Natural
Wonders Of The American Southwest - I'd love to see, and hear, it. There are
eight tracks that sparkle with originality and a freshness that's been lacking
in one or two of TD's late-period material. One or two of the titles give
you a bit of a visual starter, such as Summer Storm, Waterbom and Flashflood,
but stuff like Zion and Cedar Breaks don't give too much away. This initself
is no bad thing as your mind is left, unfettered, to wander without influence
through the colourful and magical synoptic landscapes created by the Froese's.
Pretty effective stuff - even without seeing the film. (Dave W.)
VARIOUS. Untouchable Outcaste Beats Volume One. Outcaste CASTE 3CD.
A veritable cornucopia of eastern influenced music with western foundations
that, it has to be said, form a pretty interesting list of goodies. Some of
the styles are very familiar, and so, are too, some of the names: Natin Sawhney
and stuff from the 70s psychedelic sitar-funk classics from Dave Pike Set
and Amanda Shankar. It has to be admitted that a lot of Indian and/or Pakistan
music is okay when it's instrumental, but quite a lot of the vocal styles
leave me cold. Fortunately most of the aforesaid vocals are quite acceptable.
All in all its a very stylish album that opens yet even further the doors
of musical perception. (Dave W).
SALARYMAN.
Salaryman. City Slang. EFA#04996
Two years ago in Illinois, a quartet was formed to accompany a female singer.
The resultant music worked so well, the band decided to experiment with lo-fi
grungy guitars which they describe as a basement music' project ie music that
you would play in your basement if you have such a luxury. The seven tracks
lasts for 40 mins and were recorded without the use of over dubs but did include
live TV broadcasts to enhance the overall effect. This will not be to everyone's
liking and you certainly won't hear any of these on Songs Of Praise. The album
should be by expectation, a lo-fi event yet the acoustic drums are presented
in full frequency and therefore mitigates to some extent the style. The music
does not contain many riffs or melodies, instead it relies on a collection
of samples above the beat which are not in any way discordant or out of place.
Inca Picnic is a typical example of the new format and I cannot think of any
other purveyors who I can compare them to. Apart from the organist and drummer,
the other members of the band mix samples and broadcasts etc into the final
mix. On New Centurions, the sampled noises are carefully structured to become
an integral part of the rhythm. The last track uses an odd collection of notes
and an occasional riff with bucket loads of distortion to achieve a tuneful
instrumental piece with TV dialogue. It may be slightly uncomfortably to appreciate
what they are doing yet amongst all the drones there is a refreshing spirit
of adventure. (Phil Brook)
VARIOUS.
Fused. Polygram TV 553 482-2
After the great success of the first double CD compilation of the new directions
in dance (called Wired), there had to be a follow up. This time it is subtitled
3 5 New Directions in Indie-Dance and it features an impressive who's who
of well known artists/bands playing some of their better material. The album
starts with a modern mix of an old TV theme, The Saint by Orbital and finishes
with the 711 edit of Darkheart by Bomb The Bass. The Hardfloor mix of It's
No Good by Depeche Mode does not thankfully, live up to it's title and the
Propellerheads mix of 808 State's Lopez is rather tasty. The Charlatans latest
album contains a couple of songs where the Chemical Brothers have assisted
and they have remodelled Nine Acre Dust for inclusion. Add tracks by Leftfield/Lydon,
The Grid, New Order, Robert Miles and yet another remix of Josh Winx's Higher
State Of Consciousness (Dex & Jonesy's Higher Started Mix). If that was
not sufficient to satisfy, the second helping has The Orb, Portishead, Underworld,
Orbital, Bjork, Goldie and Alex Reece. The 7" original of Papua New Guinea
by The Future Sound Of London is a very worthy addition as is the drum n bass
version of So Many Dreams by A Guy Called Gerald (Aquasky Radio Edit), a name
to follow closely for the future. With over 150 mins of playing time and the
choice of artists, how could anyone criticise the format of music. (Phil Brook)
BABY
MAMMOTH. Bridging Two Worlds Pork 042
The duo of Blissenden and Burdall recording under the name of Baby Mammoth
presents an instrumental package of modern sounds to spread happiness. A certain
amount of patience is required to grasp all the fine detailed music in one
go, yet the average person should have no problem in accepting these uplifting
proceedings. Applegate introduce the style which is basically trip-hop with
a jungle beat and jazzy influences surrounding a sample of the words of Bishop
Desmond Tutu. The next track, Musk Tusk has a lovely bass heavy production
with squelchy synths and those gaps are beautifully filled with rhythm guitar,
whereas the next piece Hoodwinked contains some wondrous notes above the basic
tune and is one of those songs that is very infectious with an almost cheesy
effect. The jazz tinged delights continue with Slipping Jigsaw, but my favourite
is the deep bass lines adapted on Sly Times, which balances these with saxophone
passages above eerie synths. If you are feeling a little low, then please
allow this album to improve your mood and hence well being. My lasting impression
is of a basic trip-hop sound with sufficient variation to make the difference.
There should be no sad faces in the audience. (Phil Brook).
FREDDY FRESH. Chupacabbra Harthouse HH112
Consisting of the original from the rather good debut album, two remixes,
and a bonus track, this 12" single has loads of electro beats which are
spewed out of those analogue synths in such a format as to give the music
a warn feel. The Base Bins Twin remix wakes the listener with the use of a
very loud siren and the Propellerheads remix is another variation of the basic
beat. The bonus track Mi Esposa Mas Fina is somewhat remarkable as it reminds
me of a samba type rhythm. It's not what you would expect from this guy, break
beat formation dancing perhaps. Of all the tracks, I still prefer the original.
When it comes to producing material, this man lives up to his surname. (Phil
Brook)
DAFT
PUNK. Homework Virgin UKCDV 2821
Not since the launch of Jean Ifichele Jarre's Oxygene twenty years ago
has there been so much interest in the musical output of France. Daft Punk,
who are Paris based, first came to my attention via tracks on the excellent
compilations released on Soma Recordings. So I was excited by the prospect
of their debut album. First surprise, the impressive Musique is not included
(shame!) and secondly, the album does not disappoint. Most artists copy others
or only make minor changes to similar material, whereas Thomas Bangalter and
Guy-Manuel de Homen Christo have developed their own individual style. They
like to continually alter the tone controls on some of the songs. Of the many
good tracks out of the sixteen are the previously released Da Funk and a new
piece entitled Fresh which is craftily superimposed onto a sea soundtrack.
I also like the infectious funk strewn All Around The World. They inject a
certain amount of humour into the songs as displayed on the 10th, which starts
with a tinny sound and has the title High Fidelity, or perhaps the very mis-titled
Rock 'n Roll (as far away from this as can possibly be). A great debut and
this is the only time Homework will be a pleasant experience. (Phil Brook)
SQUAREPUSHER.
Hard Normal Daddy. WARP CD 50
There are lots of good bassists in the world, but how many really contribute
to breaking down the traditional barriers of music? Squarepusher is one Tom
Jenkinson, who releases his second album which in many ways is almost a continuation
of the highly respected, Feed Me Weird Things. He has taken the Jungalist
theme of drum & bass, and expanded the manipulation of the sounds way
beyond the normal confined limits of the genre. The album starts with the
jazz drenched Coopers World which is closely followed by the excellent Bleep
Street, fast light snare drum beats provides the main theme for the other
three sumptuous melodies to interact in a positive way. It was from here I
realized that I was listening to a major talent. I like the very short Anirog
Dg, which is the calm before the cut up jungle staccato track six shatters
the peace. On Male Pill Part 13, a lo-fi drum competes with jazz influenced
backing to complete a most unusual but still wonderful piece. The tempo changes
on the interestingly titled Rat/P's & Q's which is breathtaking. Some
drum & bass albums suffer from all the tracks being very similar and hence
rather dull after the 115th track, whereas Hard Normal Daddy has rectified
this problem by the dozen tracks being so varied. He admires the work of The
Aphex Twin and Luke Vibert and so do I. I will have to add the name Squarepusher
to my list of highly respected artists. (Phil Brook)
BROADCAST.
Work And Non Work. WARP CD52
You would expect, more electronic weirdness from the 52nd album released
from the Warp stable, but maybe times are a-changing when a normal female
singer is allowed to accompany what a first glance appears to be standard
music. Of course, the results are much more fascinating with an easy listening
quality to the songs that just do not fit neatly into any category. This should
not happen. The second track generates a very sad mood especially during the
end of second section. The next piece Message from Home is also split into
two distinct parts, the latter being short yet highly effective with it's
haunting accompaniment. I also adore the Phantom with the cheesy sound of
a deranged fairground organ. Living Room seems to be such a simple track whilst
the complexities are deceptively hidden. Most of the nine tracks only last
between three to four mins which accounts for the fact that all three singles
that were previously released on other labels are included. I would like to
hear a fuller length piece to see if they can deliver the staying power needed.
I think the John Barry style orchestration is making a comeback albeit with
electronica that only those people from Warp could get away with. Jimi Tenor
with a female vocalist perhaps? I can't explain why I find so much to enjoy
here and why it's so appealing. (Phil Brook).
ATTICA
BLUES. The Debut Album. MoWax. MW080
Some bands, hopefully find a successful formula and stick to it, whereas
others diversify to make each album different. Attica Blues have combined
these differing traits onto a single debut album that makes them stand above
the majority of the rest that produce ordinary music from those mass production
factories. How have they achieved this? Simply by mixing instrumental and
vocal tracks onto a multitudinous soundtrack that is not heard every day of
the week. The sound is so large, yet it is made by the trio of Williams, Nwatchaku,
and Essaway who pick the choice selections from the hip hop world and use
classical music techniques to create a string section that is exceptionally
melodic whilst not pandering to the easy listening brigade. The band describe
their music as beat orientated musical landscapes where the voice is used
as another instrument and this is precisely what they do in a very effective
way. The memorable single 3ree (A Means To Be) is included, which is guaranteed
to have you humming the chorus line and this is by no means the best track
out of the fifteen in total. I suppose the instrumentals are the easiest to
appreciate at first, as the way the voice is utilized may not be to everyone’s
liking, yet you should not dismiss this instantly as the warmth of her voice
permeates through the electronic score and delivers a refreshing aspect to
the songs. The samples used appear to come from all spheres of music including
classical , one such instance is woodwind instruments, which I have to admit
are not often heard on a hip hop beat. The results of their debut album reveal
an amazing choice, not all enticing on first hearing, but anyone with patience
will soon warm to the more complex rhythms. Remember the name Attica Blues,
as there’s inspired talent lurking within the minds of this extraordinary
band. (Phil Brook)
SUKIA.
Gary Super Macho. MoWax. MW081
A four track cassette, not from a band originating in the far East, but
in California. Their name comes from a character in a Colombian comic and
Sukia is a lesbian vampire. This four piece remind me of a 90’s version of
the B52s crossed with a Frankie Goes To Hollywood chorus and lounge music
you may just be receiving a flavour of their own sound. The single is taken
from the album Contacto Espacial Con El Tercer Sexo and is certainly different
with guitars thrashing against the samples and the results are hugely enjoyable.
The remixes are by the Dust brothers , the Dirty Sanchez mix is laid back
and I especially like the version by the Japanese Major Force West. If you
are looking for something a bit different yet don’t like all the modern ambient-ish
themes and prefer guitars with attitude then this could be just what you have
been waiting for. (Phil Brook)
Various.
Essential Drum & Bass. Beechwood. Essecd1
Let's play completely straight and state the obvious that not everyone
will like the world of drum and bass. The main features of this genre are
the deep bass and the fast snare and cymbal beats. To the casual observer
the tracks and the rhythms may all sound very similar. There are a total of
twenty exclusive pieces from the UK underground movement on this double CD,
which gives a fair representation of the style. The prolific D.Styles has
composed and produced six contributions of which five are under different
names. He is not the only one to do this as C. Bishop and L. Galloway both
have three songs under two different names. Universal Flava's Jazz Creation
is a summery sounding jazzy drum & bass, whereas by contrast Scan's Saxophony
uses a distant muted sax on a loud drum & bass beat. On the second disc,
Scan's Sizeable Respect is one of those essential themes with much more inventive
use of the samples. If you could not imagine what reggae drum & bass would
sound like, then perhaps Need You by Redneck should be your next request.
The final track by Roots once again shows just what can be achieved by using
differing aspects and compositions. Not all the tracks are essential, but
there are plenty that are. With a little more quality control instead of being
good this could have been very good. (Phil Brook)
DJ
KRUSH. Milight. MoWax. MW077
His past life is frightening - he only turned to music after discovering
the severed finger of a comrade on his desk! This former gangster of the Tokyo
underworld has thankfully put his talents to a cause that we all can enjoy.
Hip hop and trip hop vying for the predominant position although there are
all sorts of weird electronic sounds to brighten this otherwise very dark
album. It is surprising how many different contrasts are included especially
when the Japanese hip hop begins, but who can understand Japanese except themselves?
My knowledge of the language is non existent, but there is a morbid fascination
with the track. Most of the other vocal tracks are more easily understood
as they are in English. He has collaborated with rappers Shawn J Period, Rhino,
Tragedy and musician DJ Cam to give a cosmopolitan atmosphere to the twenty
eight tracks of his third album for MoWax. Not only does he work with musicians
from the underground but is also willing to allow a famous Japanese female
singer in this case Eri Ohno to develop his themes to even more of a mystifying
conclusion. The above may sound rather negative and it should not be taken
in such a light as this is an incredible album that manages to pull off almost
every track and delivers compositions that normally I would not entertain.
Although rappers are used, you might expect the gangsta scenario to be all
pervasive, but DJ Krush avoids this trap so easily and amongst those darker
events are uplifting sections that provide a positive contribution. The excellent
finale with the help of singer Deborah Anderson has a hallmark similar to
what Bjork could have achieved . Not since Moby’s Everything Is Wrong have
I heard such a diverse collections of tracks and you had better like this
album or else (you know the consequences!)
(Phil Brook)
VARIOUS.
Shake The Bones Hydrogen Dukebox Duke 033CD
A twelve track slab of all things good available from this label from some
new as well as existing artists, with a little more flavour added by notable
remixers Beaumont Hannant, Monkey Mafia and Andrew Weatherall. New band Soil
are very different with electro beats and bass tuned to beguile the listener.
If this is a typical sample of their output, then a future album should be
a totally electrifying experience. The Big Eye have successfully remodelled
Beelzedub into a pseudo reggae/jungle outing of distinction. I also found
the track by Pilote Burste scintillating as they have combined succulent themes
and bass rhythms that few could play due to the varying beat. TLM are usually
guaranteed to fill the speakers with delightful sounds and it should come
as no surprise to find their beaten and broken Electrastar does exactly what
is promised. The final track by Blue Frog finishes this truly excellent sampler
in great style where the reviewer is left wishing for more. Overall the mix
is certainly in the modern theme where the changes in instrumental music allows
plenty of diversity to shake those bones. (Phil Brook).
MAAS.
Latitude. Soma CD7
One morning when I was on leave from work, I had some back cataloging to
do on the computer and so I put a cd into the player. I suppose it was just
for background music as I did not wish to play something too heavy. Normally
I would have continued the task, but I soon found myself ignoring the screen
and just listening to the impressive instrumental music on offer. Ewan Pearson
is the gent who successfully grabbed and held my attention totally. He delivers
his own style of the instrumental underground dance with dancefloors full
of uplifting beats and sounds. This is jovial music by any standard yet still
retaining the freshness needed to prevent repetition and listening boredom.
Most of the tracks are very easy to digest and could be described as being
lightweight, an example is Upstate, but behind the main theme are lots of
interesting interplay between the various rhythms. It was surely a great pleasure
to be in the aural company of MAAS for 70 mins. PS The cataloging is still
to be done as I Listened to this album instead and I am heartened that I can
occasionally make the correct decision. (Phil Brook).
VARIOUS.
Fused. Polygram TV 553 482-2
After the great success of the first double CD compilation of the new directions
in dance (called Wired), there had to be a follow up. This time it is subtitled
35 New Directions in Indie-Dance and it features an impressive who's who of
well known artists/bands playing some of their better material. The album
starts with a modern mix of an old TV theme, The Saint by Orbital and finishes
with the 711 edit of Darkheart by Bomb The Bass. The Hardfloor mix of It's
No Good by Depeche Mode does not thankfully, live up to it's title and the
Propellerheads mix of 808 State's Lopez is rather tasty. The Charlatans latest
album contains a couple of songs where the Chemical Brothers have assisted
and they have remodelled Nine Acre Dust for inclusion. Add tracks by Leftfield/Lydon,
The Grid, New Order, Robert Miles and yet another remix of Jash Winx's Higher
State Of Consciousness (Dex & Janesyls Higher Started Mix). If that was
not sufficient to satisfy, the second helping has The Orb, Portishead, Underworld,
Orbital, Bjork, Goldie and Alex Reece. The 7" original of Papua New Guinea
by The Future Sound Of London is a very worthy addition as is the drum In
bass version of So Many Dreams by A Guy Called Gerald (Aquasky Radio Edit),
a name to follow closely for the future. With over 150 mins of playing time
and the choice of artists, how could anyone criticise the format or music.
(Phil Brook).
EAT
STATIC. Interceptor. Planet Dog. BARK030CD
On a list of acclaimed artists in the field of electronic music the name
of Eat Static is bound to appear in the higher order. They have not allowed
their brand of UFO inspired music to stand still and are willing to embrace
the new themes such as drum ‘n bass and incorporate these intelligently into
their highly individualistic scores. This is their third single which lasts
for twenty min about the normal playing time and is a delight for hi-fi systems
to reproduce the sounds faithfully. The original mix from the excellent album
Science Of The Gods (See Separate review) is included, but this single starts
with the Radio Edit which is not just a cut down original. Often when remixes
are done in house, there is a tendency for less dramatic interpretations to
surface, this is not the case in The Decoder Mix as it is even more scary.
It still uses a drum ‘n bass beat but very modified from the previous and
could almost be a different track. They never disappoint and if you have 20
min of your time to waste, then why not put it to good use by listening to
this single. PS The fourth track is a multi media experience. (Phil Brook)
VARIOUS.
Kraftwork (Nu Skool elektro). Millennium. MILL051CD
Music is built on fashions and they have a tendency to reoccur every now
and again usually in a slightly modified form which either pleases or completely
irritates the listeners. The style of elektro has always been somewhat peculiar
particularly with the sound of those early drum machines competing with that
individualistic jerky sound that so describes the period. This double album
of twenty one different artists gives rise to the rekindling of that short
lived section of modern music where Gary Numan was the undisputed king , although
to be fair this far more modern and the use of cut up beats provides the up
to date moniker where much more experimentation is allowed, naturally derived
from the technological gains of the last few years. So that’s the history,
what's really like and does it stand alone or just fall into a recycle bin.
The answer is, providing you are willing to throw away any performed prejudices,
this instrumental music is much better than the old sound. Take for instance
Between The Lines by Carbon Academy where a quieter more reflective perhaps
even subtle if that is possible in this case. (Phil Brook)
ROBERT
MILES. 23AM. Deconstruction. 74321541132
You know Robert Miles, don’t you? He has sold over 13 million records during
the last eighteen months and his best known work to date is the popular chart
hit entitled Children. This is the follow up to his debut Dreamland and the
first track on here could easily have been allocated to the previous release.
It contains ambience’s during a thunderstorm with light sounding vocal passages
and is rather aurally gorgeous with very gentle themes. It has been given
the title Introducing. The tracks all flow from one to another and the second
commences with the sound of baby noises battling against the ebbing and flowing
of the seascape on A New Flower. The third, Everyday Life is the longest (10.30)
and features the French singer Nancy Danio on the first of two tracks with
harmonization to match the amiable soundscapes created before she sings in
English on an upbeat tempo. The other is Full Moon which has a cinematic overture
with riffs and samples abounding. The other guest vocalist is soul diva Kathy
Sledge, who contributes her own distinctive singing style on two other songs,
Freedom and Enjoy. I thought the inclusion of real trumpets on Heatwave gives
this a majestic pose in contrast to the sax on the following track Maresias
which prevents it from becoming classed as too easy listening. The final track
Leaving Behind is a quieter reflective piece with a piano passage to round
off a very pleasant 60mins. It is important to progress with the release of
each album and not just stick to the same successful formula because music
would become pretty boring if all it consisted of was Status Quo sound-a-likes.
This light hugely enjoyable album perhaps should be played at 2.30 am when
the realization of the many varied styles of music becomes more apparent,
it still after all a very commercial but worthwhile product. (Phil Brook)
VARIOUS.
Naturally Stoned Vol. 1. Millennium. MILL053CD
In these days of the quickly changing aspects of music, a new term is coined
to describe the latest fashions. Dope beat may not totally impart the kind
of sounds included on this 23 track double album, but it signifies the perfect
soundtrack for stoned evenings where slow motion trip hop meets lazy jazzy
grooves. The opener is surely a stunner in anyone’s musical library, it’s
a ten min epic entitled triangle by Sounds For The Ground and contained within
are some of the most haunting collection of melodies that I have heard for
quite a long time. Can the rest of this album live up to the superb entrance?
It certainly tries and with the help of the following two sections by Sternklang,
where a heavy snare sets the scene for the infectious riffs and fascinating
rhythms to make their mark before the jazz influences become apparent. The
fourth track Rotate In Haarlem by The Kaleidoscope is musically lovable due
to the very jazzy bass and ethereal strings. Injuryman’s Bineric Blues contains
a loud kick drum beat that rattles the chest but to prevent feeling uncomfortable,
the cheesy organ provides light relief. The sixth by Visit Venus commences
with dreamy psychedelia before the jazz tinged experience takes over in comparison
to the 7th by Small World which has a remarkable middle section of dub like
landscape. Even Reggae jazz is included with bottom shattering bass on Cactoid
by Kactus. The Starseeds provide an ultimate late night track Timequakes and
Alex McGowan of the Starseeds rounds off the first disc very neatly with Beach
under the name Universal Feedback. The second disc is no less interesting
than the first and includes a number of highlights such as Future 3 and Mr.
Electric Triangle. The only remix here is Vinyl Blair’s alternative version
of the Full Moon Scientists track Monday Morning Dread which again blends
into the general mood of this double. You don’t need to be naturally stoned
to enjoy this 135 min trip where the choice of material shows a wide variation.
This is indeed excellent stuff. (Phil Brook)
DJ
WILD CHILD. Jungle Talk. Millennium. MILL055CD
Introduced on the cover as 17 tracks of hardsteppin’ drum & bass, this
also features MC Skibadee. She, yes She is one of the few female drum ‘n bass
artists to popularise the scene. The music as you may have already noted contains
lots of hard slammin riffs and is not for the feint-hearted. It is true to
say that few of the artists are known to me, but Macko, Dom & Rob, and
Blue I have heard before. This compilation is a live mix created by using
‘good old fashioned vinyl’. The music is extreme yet not unlistenable but
the distraction of Skibadee does become a problem. Perhaps the lo-fi MC was
not on top form when the mix was done because his contribution does become
repetitive after a while. The music is in fact very good, it just takes a
little time to adjust to the beats. The listener has to wait until the 13th
track which is by Mr. Freeze until there is a change in the vocals. This is
most welcome. I have listened to this album three times and now find the style
of deliver of the MC has become too much and I just wish he would shut up
for a while. It’s a shame as this could have been a good album. (Phil Brook)
DE-SENSER.
Om. Ultimate/ UKPROMO13CD
Senser are not known for pleasant melodies for afternoon ladies tea parties,
neither are they acknowledged as being purveyors of the latest drum ‘n bass
scene. So you can imagine my surprise that this package turned out to be music
from the latter category. Om (Edit) contains a hard drum ‘n bass beat on a
commercial sounding multi-layered melody with female harmonization and infectious
riffs. If it is possible to make this style popular with a wider audience,
then this is the best example that I have listened to, that has any prospect
of achieving the desired results. Om (12”) uses the same beat and melodies
yet appears to have even deeper bass notes to create an hypnotic effect which
pleased this reviewer. The final track Om (Harry Hogg) is a different remix
where the drum ‘n bass is modified by the use of common cut up beats, whilst
still being full of sampled riffs that manages to break away from the repetitive
sound . At just short of nineteen mins, this single represents a radical change
of direction that is most welcome. (Phil Brook)
RED
SNAPPER. Making Bones. Warp. WARPCD56
Despite what the press releases says about this being their second album
(it’s actually the third) and is their best. In an electronic world , it’s
is somewhat remarkable that a trio consisting of drummer, double bassist and
guitarist with occasional help, can compete with the mighty computerized machines
and produce an album of distinction. On the third track Image Of You vocalist
Alison David from ex-Life’s Addiction waxes yet another aspect to this album
and the fifth piece combines the trumpet playing of Byron Wallen with an acoustic
drum ‘n bass feel. It is like a trip through all what’s best in modern music
and predicting what’s going to be fashionable in the future. Don’t bother
looking for copy cats just go for the original and let this really excellent
album remind your brain what it should be listening to. (Phil Brook).
FUTURE LOOP FOUNDATION. Conditions For The Living. Planet Dog. BARKCD036
Although you may be forgiven for thinking that this is a collective, it
is all the work of drum ‘n bass producer Mark Barrott, who apart from releasing
a couple of singles, has done little on the commercially available front since
his debut album from two years. During that span, he has gone out and toured
which means that he has been able to develop his style to a more personal
level and is now more confident at delivering a more experimental approach
to these rugged instrumentals. For instance on Omerta, a gentle start with
subdued female vocals slowly gives way to a church bell and delightful melodies.
Surely this is not drum ‘n bass and certainly not as we know it. The sixth
track, Praha combines a haunting piano loop with a deep funky bass and typical
percussion for this style and I adore the results. He manages to pull off
a very cool sounding piece on Exit Rush, where scratching blends with a plodding
beat that then allows an n impressive lead guitar riff to build into a memorable
section of this album. To some these contemporary riffs may seem harsh and
without any light, yet the subtlety is there awaiting to be discovered. This
is an album of contrasts within the drum ‘n bass world and for me it’s at
the very least a step forward or more precisely a giant leap. (Phil Brook)
CHILDREN
OF DUB. Digital Mantras. Magick Eye. MEYCD23
Being a part time reviewer, it’s is so easy to only listen to new material.
Yet it was only a fortnight ago that I musically revisited their first album
on Diversity records. Making the instant comparison of just how much more
mature this their fourth album is. Musical diversity appears to be the norm,
because this is where drum ‘n bass meets jazz on a dub rollercoaster and the
results are spectacular. Ever since their last EP that contained the outstanding
Track New Morning, I did not believe this would be bettered. I was almost
right apart from the final excursion Spook that is truly amazing. The album
features a couple of guest vocalist (Saiorse Keogh and Lou Palmer), but the
album is on the whole a major instrumental package with the bands own style
of production. These digital mantras are for adults who wish to buck the diet
of being forced fed with superficially slick music that executive thinks you
should be listening to. They have not made an album below par and this is
certainly the best. (Phil Brook)
SQUAREPUSHER.
Music Is Rotted One Note. Warp. WARPCD57
We all live in a changing world and ignoring those who wish to alter the
boundaries could be construed as burying our heads in the sand. For those
who wish to peer over the horizon, and investigate the latest developments
in the drum ‘n bass arena, then this album takes a step sideways from all
the followers of precise musical programming. In this case, all the instruments
are played live and sequencers have been cast side in what must be a major
gamble. Anything Tom Jenkinson does, he does it with the idea of challenging
the very ideas that he invented recently on his last album and never allows
the opposition a chance to catch up with him. The fifteen tracks all have
live feel, a little like Red Snapper on their most mind boggling experience.
This album is a challenge not only to himself but also the listener and does
not fit into any music category. All the same it is a necessary part of any
worthwhile collection. (Phil Brook)
JIMI
TENOR. Year Of The Apocalypse. Warp. WAP116CD
A three track single which offers two different versions of the title.
If you have not heard Tenor before, then his music is very unusual almost
defying description at times as he lunges from one extreme to another and
combining previously unused styles to make a mixture that is commended. This
commercialised single may just have the right notes to catch the ear of the
Top Of The Pops producer, as it lends itself to silliness, but in a grown
up way. On this single, the title gives the exact opposite impression of the
happy, bounding along song with catchy lyrics. It should not work, but somehow
this guy has the tenacity to carry it off and more upsettingly for most other
artists, he can get away with it. Great music, Great single. (Look out for
his new album) (Phil Brook).
TANGERINE
DREAM. The Dream Mixes. TDI Music. TDI001CD
The huge
body of work continues to grow I am very pleased to say and this double CD
of remixes fits very nicely in the general scheme of things.The basic tracks
featured here can be found in their original state on "Tyranny Of Beauty",
"Rockoon" and "Turn The Tides" but are far enough removed
to engage the seasoned Tangerine Dream fan afresh and to turn a few more onto
their particular brand of synth-driven rock. The two discs can be viewed slightly
differently in that the second is entitled "The Club Dream Mixes"
and is definitely more at home in that particular pigeon-hole. That I can
listen and enjoy is more a testament to the quality of music and innovation
than to my hipness, I can assure you. Particular "faves" are "Little
Blonde In The Park" and "Iowa". The stronger collection to
these ears at any rate is the first disc however, and there are some classic
moments in "Jungle Journey" and "Change Of The Gods" in
particular. There has been somewhat of a resurgence in Tangerine Dream of
late and on the basis of this collection it is easy to see why. (Gordon Maxwell)
MALKA
SPIGEL. My Pet Fish. Swim. WM10
With two albums already under here belt as a solo artists, she released
this last album last year and it has taken MD a while to keep up to events.
She is from Israel and married to the former Wire man Colin Newman. So with
lots of ability and a very wide musical knowledge, we find Malka diving into
all types of musical ponds. The opening track is One that grows on the listener
due mainly to the good solid beat and unusual sounds that gives an ethnic
feel. Her vocal style is not standardized, yet is ideally suited to the rhythms.
The 11 songs on the album all display differing moods and assistance on I
Said You Said is given by electronic pioneer Scanner who surrounds the vocals,
which are delivered in a manner that is slightly reminiscent of Grace Jones
with ambiences. This is good in fact very good. After the guitar influenced
Like Machines and the Indian styled The Fishes & The Shining Sea, we hear
her singing on Fly but only just as the vocals are way down in the mix. Man
and wife have triumphed over the music machines and produced an album of great
distinction. Is it not time that you dipped you musical toe into the water
and sampled the delights of My Pet Fish. (Phil Brook)
SQUAREPUSHER.
Presents Maximum Priest EP. Warp. WAP122CD
A seven track EP from the imaginative mind of Tom Jenkinson. Although he is mainly a drum 'n bass exponent, here he is in a much more playful mood with this weird phase of electronica. The first track combines underwater sounding themes with organ music from a funeral parlour on