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1999 must be the Chinese year of the DJ. Another amazing album featuring lots
of guest rappers but even other DJs. One track ("A Tale Of Five Cities") has
about eight well known Djs each taking a turn to flex their skills. Like Rob
Swift"s album it has the potential to drown in self-indulgence but manages
to rise above it. Even Q-Bert ( the man banned from the world DMC mixing championships
for winning too many times) manages to put it in a restrained performance.
Hot on the heels of their well-loved debut album from last
year, People Under the Stairs bounce back almost immediately
with their second album. Traditionally the second album
is supposed to be difficult, but this hip-hop crew make
the whole thing sound so easy. The rhymes flow as freely
as the tracks and with plenty of variety. People Under
the Stairs do the upbeat an thems ("Crazy Live", "Youth
Explosion") as easily as they do the smoky downbeat numbers such as "Earth
Travellers" which is as engrossing a slab of mellow hip-hop as you are likely
to hear. Like A Tribe Called Quest and the Pharcyde, they manage to be accessible
without being commercial. After the response to their recent singles and
their debut UK shows, things are rolling for them. If they can keep the momentum,
they could become a legend.
The acid house pioneer return with a new album. It now consists of just
Spanky and Professor Trax, but old member DJ Pierre returns for a new version
of Lil Louis classic "Blackout". So, can a group really cut it 17 years
down the line after various line-ups? Are they still relevant or are they
the Iron Maiden of dance music? Well, funnily enough, they are still fresh.
Minimalism is the first word that springs to mind when you hear this. The
rhythms are still hypnotic and there"s still a futurist feel to the whole
thing. You need this on vinyl where you get the full 13 minute version
of "Blackout" and an exclusive new
mix of "String Free". And the Beat Goes On.
The voice. Has any instrument been more abused, confused
and misused or misrepresented? What makes a good singer?
the ability "to sing" is not enough. How many club
records are spoiled by people who can "sing" in a technical sense but are
incapable of imparting any soul or emotion through their voices. They just
want "to sing" but
have nothing to sing of and nothing to sing with. Here is a singer who can
do the business. Pinkie Maclure has a voice that sounds like it"s coming
straight from the bottom of a large and complicated soul. Pinkie has found
an ideal musical collaborator in John Wills, formerly of psychedelic rockers
Loop and avant-garde indie band the Hair And Skin Trading Company, which
counts as probably my favourite band name. The record uses a stripped-down
approach to the music reminiscent of classic late-period Talk Talk, especially
the keyboards. A wonderful array of objects are utilised for percussion and
many live atmospheric sounds are mixed into the recordings. A haunting, beautiful
and sensual record that was born to be played after dark with the lights off.
The world"s love for downbeat just keeps on rising like a
wispy cloud of smoke on a summer"s day. Plastyc Buddha are
Stephan Parmentier and Pieter Verschueren from Antwerp. They
are a couple of musical maestro"s with a strong and varied
musical pedigree in all kinds of music. Here they lay down some sublimely beautiful
little tunes. Working mainly on an instrumental angle with the odd little vocal
samples, these are chilled to perfection. Think Air without the vocals and
a heavier dub and jazz influence. There"s a little bit of a soundtrack thing
going on and some serious percussion. This is modern lounge music to loose
yourself in. Perfectly timed, as it"s coming out before the Summer. This gives
you time to get to know it, then take it outside for some laid-back fun in
the Sun. Delicious and yes, that is the way they spell "plastyc".
If the Polyphonic Spree's glorious debut album hasn't managed
to pull the wedge out of your wallet yet, then now there's
no excuse. All 10 glorious sections of it are presented here
again with bonus material. OK, it's Beach Boys meets Sgt.Pepper
with the Flaming Lips and Morricone on hand. It's a glorious,
Technicolor epic that could never have been made without
a full 24-piece. They're a psychedelic orchestra working
in extraordinary harmony. Now with the this, you get a bonus
4 tracks tucked on the end. They're the single versions of Soldier Girl (much
better than the album version), Hanging Around, Light And Day and It's the
Sun. Topping that off, there's a DVD thrown in which has 3 live tracks recorded
at the Shepherds Bush Empire. Not a full-length DVD, but a nice sweetener.
Forget about the robes, they're just part of the live spectacle, listen to
the music. It's the sound of joy.
Is it really ten years since we got "Loaded"? How the times have changed.
One thing has not changed. Primal Scream are still the most important band
we have. The first reaction I had to this album was simply "wow". The opener, "Kill
All Hippies" sounds like the late, great Curtis Mayfield teaming up with
the Chemical Brothers for the jam of a life time. When recording the previous
album "Vanishing
Point", Mani only joined in time to play bass on "Kowalski". Here his bass
playing is stamped all over the album with the word "genius". No sooner has "Kill
All Hippies" died in a screaming mass of noise, when "Accelerator" kicks
in like a heavier Stooges with Hawkwind"s keyboard player. One of the most
exhilarating songs ever recorded, it sounds like the end of the world at
full blast. Gillespies" lyrics
have improved no end, with the title track "Exterminator" giving nods to
the late William S. Burroughs, a wonderfully unwholesome influence to show.
Elsewhere you get two contrasting mixes of "Swastika Eyes" from the Chemical
Brothers and Jagz Kooner, the dark punk jazz of "Blood Money" and the most
beautiful track Primal Scream have ever written, "Keep Your Dreams". By the
time the album ends with the excellent Bernard Sumner collaboration "Shoot
Speed/Kill Light" it seemed clear to me that this is probably the album of
the year. The best thing Primal Scream have done and an impossible gauntlet
laid down to most of todays" bland bands.
It's now nearly 5 years since Prince's last high-profile studio
album and 2004 sees him raising up above ground once again
to find the world is waiting. Over the last couple of years,
his influence has been inescapable. The cover versions haven't
stopped coming from both the worlds of rock and dance. Every
DJ seems to be playing classic tracks in their sets and the
under- the-counter bootleg remixes still keep coming. Now, he's
suddenly opening the Grammy awards and selling out stadiums
left, right and centre.
The question is no longer one of his popularity, it's now
a question of his relevance. Is his refound fame going to be
based purely on his back catalogue and greatest hits concerts
or can he sell new records. "Musicology" seems like
an intriguing answer. Despite some poorly received albums in
the late 90's, he released the cult classic "The Rainbow
Children" in 2001 to the delight of his hardcore fans,
among whom it is a secret treasure. "Musicology" sees
him returning to a more commercial style of music, but retaining
the confidence and flair of "The Rainbow Children".
The albums opens with the title track which is a straight-up
example of deep funk. It's got a wicked groove and sounds fantastic
at loud volume but with no pop element, it'll be interesting
to see how it does as a single. Perhaps a more suitable single
would have been the amazingly named "Illusion Coma Pimp & Circumstance",
a pulsating, dirty electro/r'n'b joint with some very naughty
guitar licks. There's also the very beautiful synth-drenched
ballad "A Million Days" which erupts halfway though
with the kind of guitars that would make the Darkness weep.
It's a really varied album with everything from the heavy
boom-bass of "Life O' the Party" to gentle moments
like "Reflection" and the heartfelt, soul ballad "Call
My Name" via soft rock moments like "Cinnamon Girl" and "The
Marrying Kind". When you add to that a political edge
with "Dear Mr.Man" and other contemporary references,
it all begins to look like quite a package. A lot of the tracks
take a few listens but it's well worth persevering with. He
may have lost his pop edge, but even at 46, Prince makes fantastic
music.
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