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Well, bugger me. I always liked Radiohead. I thought they were quite good. I
knew this was supposed to be a radical album, but I did not expect this album
to be so surprising or so damn good! they"ve unleashed an album of minimal electronica,
spaced-out jazz rock and avant-garde ballads. They begin on a mellow vibe with "Everything In Its Right Place" and "Kid A" which
wouldn"t sound out of place on Warp. It comes as a culture shock, but then in
comes the rumbling bass of " the National An them". Think Primal Scream jamming
with Spiritualised with a bit of avant garde classical before breaking out into
a dirty jazz wig out. It"s hard not to be gobsmacked.
Then in comes "How To Disappear Completely". After the previous
track had got your pulse racing, this one stops it completely.
A hauntingly, beautiful ballad, so fragile it sounds like it
would burst like a bubble if you touched it. Elsewhere the album
sounds like Swans in a mellow mood or Talk Talk after they went
off into the avant-garde. Obviously, narrow minded people only
capable of appreciating a small spectrum of music will be infuriated
that the band have not repeated themselves. Anyone with an ear
for interesting and exciting new music will as impressed as I
am.
It now seems like such a long time since they unleashed their
staggering debut album "Northern Sulphuric Soul" and it probably is. It was a truly timeless
classic, nurtured in the UK"s underground music scene and it managed to bypass
most people, many of whom would have loved it. Now comes their second album
and it"s too big for the underground to conceal much longer. This is fantastic.
In case you didn"t know, Rae & Christian are a Manchester-based production
duo with a healthy line in hip-hop, beats and soul with a real ambience. Whatever
genre they work in, they bring a lush, deep sound that seduces the ear. Mark
Rae also has quite a reputation as a DJ and their knowledge of music shows
itself through their intriguing collaborations.
On this album, they are joined by soul legend Bobby Womack,
best known for the song "Across 110th Street" used over Jackie
Brown"s opening titles. He pops up on two tracks, the recent
single "Get A Life" and a cover of Harold Melvin & the Bluenotes" "Wake
Up Everybody". Womack"s voice has matured nicely into a more
gravely kind of blues voice and these tracks are both moments
of sublime perfection. LA"s the Pharcyde also pop up on a couple
of tracks, bringing the hip-hop but keeping it mellow. Rae & Christian
also manage a couple more coups for the album by getting seminal
reggae band the Congos and Portuguese chanteuse Tania Maria to
do a track each. Congos" singer Cedric Myton provides an inimitable
vocal and his band"s horn section really does the trick. Tania
Maria sings on "Vai Viver A Vida" which is the most haunting
song on the album.
However, the best is saved till last. The band do one track with Siron, their
live singer. The track, "Salvation" closes the album in breathtaking style
and it takes only a few listens to realise that this is an "Unfinished Sympathy" for
the 00"s. It"s high time everybody woke up and realised that Rae & Christian
are a national treasure. This is a stunning album that really should cross
over.
 Fresh from the
success of their top 10 hit “Golden
Touch” and the roaring rock ‘n' roll singles
“Rip It Up” and “Stumble And Fall”
comes Razorlight's debut album. It's easy to feel
a little apprehensive and cynical as you put it in the CD
player. Can they follow up their initial splash? So many bands
promise so much and when it comes to their moment in the spotlight,
they fail to deliver. Razorlight, thankfully, deliver the
goods – by the ton. This album is bursting with invention,
rock ‘n' roll, melodies, cool, attitude, killer
lyrics and the X-factor. Cleverly unveiling sides to them
that the singles hadn't revealed, they go through quieter
moments on tracks like “Up All Night” and then
suddenly rip into a guitar frenzy when you least expect it.
Even the very familiar singles shine here as they fit perfectly
into a beautifully constructed album that flows. They've
even got great song titles like “Vice” and “Rock
n Roll Lies”. Get ready for the Razorlight frenzy –
they really have got “it”.
Yes, I"d never heard of him either. Apparently he is the DJ
for a hip-hop group called the X-Men. No, me neither but I
gave it a listen at the recomendation of my local record shop.
It took one brief spin to make me put my hand in my pocket.
A DJ"s solo album could be hideously self-indulgent but plenty
of skilled rappers guest on here to break up the instrumentals
and the whole thing is done with panache and even humour.
The
words "British" and "Hip-hop" are ones that inspire
caution. Many times, we have been told that British
Hip-hop is about to explode from the underground
and match its American cousins. It never has. Now
people are tipping Roots Manuva and the cynics
don"t
listen any more. Well, maybe Roots Manuva will
never top the American charts but that does that
mean he sucks? Of course not. This is a smooth,
chilled album with as much owed to ragga as hip-hop.
This is another late night classic. With guest
appearences on this years Herbaliser, Mr. Scruff
and Leftfield albums, I think the only way is up.
My only complaint is the bonus tracks available
only to CD buyers but one of them was on last years "Funkungfusion" compilation
on Ninja and the other two seem to be brief skits
anyway. Make sure you buy this before your mates
do.
In 2000 Rodney Smith (aka Roots Manuva) adopted the
guise of 'Walworth Road Rockers' to dub up the excellent 'Showtime'
by Big Dada Sound. His dub version went down a storm and the
folks at the Big Dada label asked him to do the same with
'Witness', the first single to be released from his own 'Run
Come Save Me' album. Only appearing on the limited 7" version,
the dub of 'Witness' never theless gained popularity and has
been played out by the likes of DJ Shadow, Cut Chemist and
even the Beta Band.
Manuva continued to work on more dubs of tracks from the album,
and some completely fresh material to boot. A selection of
this work is present here on 'Dub Come Save Me' and the rest
of the album is made up of tracks written for, but cut from
the final version of 'Run Come.' Don't think for a second
that these were cut due to inferior quality, the truth is
that the prodigious Mr. Manuva found himself with well over
thirty tracks to choose from for the finished product, and
a difficult elimination process ensued.
So what we end up with here is a rather unique collection
of rarities and special tracks that gives an alternative take
on the Manuva sound. From reggae inflected hip-hop gems ( the
Lynch, Revolution 5) to harsh psycho dub experiments (Styles
Dub, Brand New Dub) and even an electro workout (Tears), the
Roots man brings us another unique audio
experience.
Well, there's a strange story behind this album. When
Adams delivered this album to his record company last year,
it was met with little enthusiasm and got a grudging Christmas
release as 2 EP's. Apparently, they wanted something
more alt. Country than this. Fast forward a few months to
Spring 2004 and it's being given a proper release as
a normal album and the original version is being deleted.
Okay, so what is the album that upset his record company actually
like? It's a masterpiece.
“Love Is Hell” is the sound of Adam's finally
finding his feet and sounding more like himself than his influences.
“Love Is Hell” is powerful, emotional, stark and
at the same time it's bursting with songs you can sing
in the shower. “Love Is Hell” is one of the best
American alternative albums ever made.
Really, you have to wonder what is wrong with the people
at Ryan's record company? Everything on this albums
screams not only “genius” but “commercial
success”. From his beautiful stripped-down version of
“Wonderwall” (Noel Gallagher loves it) to the
catchy heartbreak of “English Girls Approximately”,
this is the sound of a massive talent at
his peak. Great, great music.
RYAN ADAMS & the CARDINALS - "COLD ROSES" (Lost Highway)
 the ever-prolific Ryan returns, this time with a double album of new material and a brand new band. This time Ryan's returned to his roots, with the closest he's come to the sound of his old band Whiskeytown in his solo career. "Cold Roses" is an album of two halves. The first disc is full of break-up songs and sad laments, whilst the second disc is more upbeat and lively. This is Ryan in full-on alt country mode, which will delight the purists among his fans. There are a lot of highlights on this album, as the quality is so consistent, but stand outs include the soaring sorrow of "Sweet Illusions", the ghostly and haunting "Meadowlake Street" which contrast nicely with the jaunty "Let It Ride" and the bouncy "Beautiful Sorta". The Cardinals seem to be more than just a backing group, getting full songwriting credits and bringing a new dimension to his sound. There really is not a single filler on here. Whatever your opinion on his last couple of albums, if you consider yourself a Ryan Adams fan, then you really have to get this album in your collection.
 RYAN ADAMS & the CARDINALS - "JACKSONVILLE CITY NIGHTS" (Lost Highway)
 If on his spring album "Cold Roses" Ryan seemed to be coming back to his alt country roots, on "Jacksonville City Nights" he goes even deeper, exploring his country roots. As bleak and beautiful as his "Love Is Hell" masterpiece, this time Ryan and his rather fine new band delve into the basics of American song-writing, yet paradoxically it sounds like Ryan's most original work. There's nothing on here that makes you think of another artist (well, apart from his cover of "Always On My Mind" which is a bonus track on this UK CD). Some truly haunting songs on here about life, love and death. "Jacksonville City Nights" is one of those albums that stays with you after you've listened and haunts the imagination. Good work, Ryan, 2 albums so far this year and both crackers. One more to go....
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