Published by James December 7th, 2006
in Album, Review and 2006.
I’m Not Young But I Need The Money, that is a sentiment that I can relate to but beyond my little dramas Monsieur Leroc has dropped another compelling album and this time he has crafted a thick stew of Funk, Soul, Hip Hop, with a dash of House and a pinch of smart Euro sensibilities.
It is a dense experiment where Leroc slices samples of Jerry Lee Lewis into the slinky jive of “Great Balls” or the swinging sultry tones of “Freewheelin’ Frankie” whose pacing conjures those fumbling moments between new lovers. the reward lies in seeing just where he’ll hop to next, particularly when it comes to the pieces that feature rhyming. Setting the tone with the second track, “Alles Für die Cuts”, Leroc introduces the listener to German rhymes, which are at first startling to an ear used to English but they quickly become infection and the flow is spot on. At that halfway point he switches gears and drops a more traditional Hip Hop number with “Give Me Not Trouble” which features the mind numbing nimble vocal work of Radioinactive. Rounding out the album is an homage to 80’s era Prince with “Baby” and its crisp drum samples, near ecstatic vocals, and laid back synth line.
Whether the tones are sexy, “Pacemaker” or the lyrics channeling the bizarre, “NewIceCreamTruckSound” I’m Not Young But I Need The Money never ceases surprise, bewilder, or get your jimmy foot bouncing. Highly recommended and easily makes its way onto my Best of 2006 list.
Published by James October 23rd, 2006
in Album, Review and 2006.
Paper Tigers reminds me of the drawing exercises I encountered in studio classes so many years ago, particularly the ones where we were asked to draw the space that the model occupied and by interacting with that space gain a deeper understanding of the subject matter. Sasu Ripatti appears to take that visual arts concept to heart on this release as the arrangements are often indicative of something lusher and more detailed but have been worked down to those essential threads that bind the work together. It is at once abstract and organic, possessing a warmth and depth that can only be arrived at by realizing that a supposed finished composition can often be reworked into something more meaningful and that objects are often defined by the space which they occupy.
Ripatti’s process of carving and sanding his compositions is best felt on “Really Don’t Mind” which for all intents is a House track with a strong club beat and lush, soulful vocals. Execution of the piece takes a different turn as the vocals a reworked as an instrument and a texture much like the beat production, being used to both provide a structure and context to hang arrangement from as well as to serve as a primary focus for the listener. Wrapping about the arrangement are beats that occasionally skitter into the soft pads and sweeps that make up the songs open landscape. As the song bleeds into “Let You Know” it becomes clear that Ripatti approached the album as a whole rather than a series of discrete tracks. The composition sees the arrangement of the prior track evolve into a sort of minimalist Deep House production, similar to the trance leaning “Good To Be With”, though that description does not really do it justice as the compositions are more carefully thought out than just layering samples and beats.
The songs on Paper Tigers have a tendency to slowly unfold, quietly rotating and shifting in a manner that is more akin to the ambient work of Thom Brennan, Robert Rich, or Pete Namlook. It is this tendency that makes the album best suited for headphones rather than pumping it through your stereo as it is a study of contrasts: sparse and lush; wispy and warm; minimal and detailed. For myself, it is one of Ripatti’s best releases and easily makes it on my Best of 2006 list and finds itself to even be a contender for my favorite album of the year. Paper Tigers is simply outstanding.
Published by James October 17th, 2006
in Album, Review and 2006.
Let me lead this post off by saying that if Ubiquity Records were a girl I’d be sending her flowers and poetry that professed my undying love and unassailable adoration for her everyday. Really, when has a label so consistently pummeled the market with so many excellent and can’t miss releases? Seriously, try and answer that. Anyways, the latest to hit my desk is Radio Citizen’s Berlin Serengeti, a pastiche of Soul Jazz, Hip Hop, Grooves, and Afro-Cuban breaks. It follows the trend–like Loka, James Hardway, and Quantic–of constructing songs that emulate live sessions and seeing as I am a sucker for anything that remotely approximates modal Jazz with a dash of Afro-Cuban rhythms I’m all over this release.
The opening track, “The Hop” is a bit of an anomaly as it introduces the album cloaked in Downtempo breaks: compressed drum patterns, a growling organ pacing about, light vocals from Bajaka give it a human element. It is a solid track but is deceptive as the remaining album slips into a moody and atmospheric Jazz breaks like the slippery “Mondlicht” which floats on patters of crash cymbals, soft reed and organ chords, and a bass line that slides down the arrangement. Tracks like that make Berlin Serengeti perfect for listening when you are trying to shake the effects of slumber, whether it is pulling you in or you are pushing it away the music is a perfect companion for the contemplative, quiet, and solitary moments.
Bajaka is a welcome addition as her smooth voice is reminiscent of an Eartha Kitt as she swallows her vowels with a splash of scotch and lime, warm yet slightly tart. She pairs well with the crackling breaks on “Everything” and the rubbery Dub and Bossa leaning “El Cielo” where the production seems to be channeling both Thievery Corporation and Tosca at once. For pacing, her five appearances are sprinkled throughout the entirety of the album as welcome islands to survey the album’s scope.
As we slip deeper into Autumn here in the Northern Hemisphere you can do no better than slipping on your headphones and shuffling through the leaves in the late evening to “Berlin Serengeti”. Check out Radio Citizen at Myspace, grab the 3hive freebie, or read more about the group over that Ubiquity’s website, and, as always, eMusic has the album.
Published by Marc October 4th, 2006
in Random, Album and Review.
Hello.
Thanks of the invitation of the webmasters of this delicious Candied Pop, I am here.
First of all, I will ask to you to be indulgent : english is not my mother tongue. Le français est ma langue maternelle.
OK, because of this lack of skill and knowledge of language, I am not able to write so subtle and long reviews than my friends.
But, OK also, it will not be my aim. My aim is to try to promote some european albums that deserve a recommendation and aren’t probably not available in States. And I am well placed for this, living in Belgium!!!
I swear : I will never review an album yet reviewed on AMG or Pitchfork…
For the beginning, an pan-european album. “Unwound From The Wood” is released on the belgian label Quatermass. The members of the band are the Scottish singer and composer Luke Sutherland and German electro musicians Volker Bertelmann and Stefan Schneider. The first was the singer of the indie band Long Fin Killie that made excellent romantic albums in the late 90s (the excellent Amelia from 1998 is available on eMusic). The german musicians are in bands like Hauschka, To Rococo Rot and Mapstation.
It was not easy to imagine a crossover between these guys. Sutherland has one of the beautiful voice of the romantic rock. His voice is just like wind in autumnal trees (wow, piece of poetry!). The german are playing some mechanical and very interesting electro pop. Sometimes, 1 + 1 = 1. Sometimes, 2. Here, it’s three. This album can be compare (but in better) with some works of Lali Puna and Styrofoam. The plus is the voice of Sutherland. He is known also as a good novelist as I read. Than, I hope you will have this pleasure of the good language.
Hoping you will find it. Available on Boomkat. You can stream some tracks here.
(OK, next time I will try to put the cover and some links; Paris ne s’est pas fait en un jour!)
Published by James September 12th, 2006
in Album, Review and 2006.
Classics, if you’re anything like me, is the perfect bridge between that pair of acid washed 501s with the tear in the left knee and the fact that Colette’s Hypnotized is still in weekly rotation. It is a decadent romp filled with crisp drum production and thick, heavily processed guitars that oddly evoke fond memories of all those long summer days grinding through “More Than A Feeling” because the guitarist truly believed Boston was the pinnacle of rock music. On their sophomore effort Ratatat joins the mathematical precision of beat making and juggling with all those fleeting moments in rock that might make you pause and think, “Hey, maybe guitarists aren’t so bad after all…”
This is an album about guitars or more accurately about hyper-distorted, freakishly compressed layers of tones that occasionally approximate six strings and a fretboard but more often than not have more in common with a synthesizers and racks of tone generators. This is not to say that Stroud is on the same page as DragonForce’s Li and Totman, rather his playing is definitely more understated, eschewing flashy technique and focusing on balance and interplay between melodies and sounds. “Montanita” shows him layering delicate tones that glisten with just enough tremolo to give a sheen of exotica yet the song still manages to retain grounded in the rock roots from which Stroud emerged.
Giving structure to all of it is the work of Mast, the brains and production behind the pop friendly beats that dominate the album. From the infectious dancehall inspired back beat of “Gettysburg” to the restrained Beatlesque psychedelia of “Tropicana” his work on the album demonstrates that it is far deeper than just a collection of hooks and bridges. It is his ear for composition and arranging that help this album span the world of bedroom beats and arena rock posturing; if you have any doubts check out the free stream over at Myspace of “Wildcat” with its campy cat growl and early 80’s bare-bones Disco rhythm section.
Slap “Lex” on your next mix to give it that much needed strutting cock-rock flavor and by all means grab the whole album if you have the chance even if it means the rock purists in your circle will wrinkle their noses at the hyperbolic guitar production and post-ironic harpsichord lick. Classics makes it onto my Best of 2006 list for the simple fact that it makes me like guitarists again, if only for a little over 40 minutes.
Published by Scott September 11th, 2006
in Album, Review and 2006.
With a junk drawer’s worth of synthesizers, drum machines, samplers, and turntables balancing melodic acoustic guitar and drawling vocals, Geoff Reacher’s Avec Reacher C’est Plus Sur makes for a novel listen. At first the contrast of electro instrumental clutter with the traditional organic tools of a singer-songwriter can be disconcerting. It seems to waver between unique artistic expression and a horrible mess. Repeated listens tip things in Reacher’s favor as his inventive, often playful sound ultimately inspires appreciation if not enjoyment. Highlights include the hip-hop tinged, Beck-ish “Snarling Wheels of Sin” and the desolate melancholy of “Ride to the Grave.” But my favorite is the loose and funny twang pop of “Look Me in the Eye,” with its nod to The Kinks in the lines, “Well I’m not the world’s most passionate guy / But if that asshole can dance / Well then fuck it so can I.” Geoff Reacher’s intruiging electro country hybrid is definitely worth checking out.
Mixtape tracks- Look Me in the Eye, Snarling Wheels of Sin, My Heart’s a Rocket
Freebies- You Like My Song, Snarling Wheels of Sin
(And I love the comment on Reacher’s site referring to his MySpace page, “if you want em to sound crappier.”)
Published by James July 26th, 2006
in Album.
I was all fired up to write up my thoughts on the new Colette and DJ Heather collaboration House of Om when a summer cold struck me soundly between the eyes (and nose). with my sniffling, sneezing, and general woolly-headedness I can barely string two sentences together (actually that’s no different than any other day). So shifting gears I thought I would profess my love for the art of continuous mixes.
Most DJ albums are intended to be played back in a continuous manner so as to best approximate a live set feel; CDs are mastered with cross fades and individual tracks often feel out of place when not nestled in and among the surrounding tracks. When these albums are presented in MP3 format something is lost; the three second gap breaks the cross fade and introduces a feeling that each track should be discrete when it really isn’t. Thankfully, some labels have been releasing some albums as one giant MP3 to preserve the feel of the mix.
Renaissance has been the best label to find these types of tracks as many of their DJ albums will find two releases on eMusic, a tracks based one and later a continuous mix. Below are some of my favorites that they have released.
James Zabiela - ALiVE
John Digweed - Transitions
Renaissance The Masters Series: Hernán Cattáneo Vol. 1
Renaissance The Masters Series: Hernán Cattáneo Vol. 2
Renaissance Presents Nic Fanciulli
Renaissance - The Masters Series Part 7: Dave Seaman
For a whopping eleven tracks you can drown yourself in over thirteen hours of music. Not only a serious bargain but a blissful way to spend the better part of the day.
