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The best way to introduce this record is the instructions
to the record shop owner on the back. It says "file under
electronic listening". This may be an
electronic record, but it is not for the dancefloor. Tarwater, being a German
band and a bit original, are burdened with the dubious category of "Krautrock" which
was coined to refer to the earlier wave of experimental German bands that
broke moulds way back. Apart from being a xenophobic description, it also
creates an impression of harsh, punishing, out- there music. This is wrong,
Tarwater are surprisingly accessible. The vocals may be delivered in a dry,
deadpan style but there is no mistaking warmth, emotion and humour in the
singers voice. Their previous album caused a media stir, if nothing else.
Hopefully this one will catch on, as there is surely a market out there for
mellow electro.
I remember 1994, down at the indie disco, hearing a track
and thinking it reminded me of That Petrol Emotion. It had
the swagger and cool low rock swing of their track "Catch
A Fire". I asked my mate if he knew who it was. Apparently,
it was by a band called Oasis. Funnily enough, I never heard
from That Petrol Emotion again after "Catch A Fire", a track
recorded for the Volume compilation series. I think the O"Neil
brothers went back to doing something with the Undertones,
their original band. Well, this is not new material, but a remastered edition
of their second album from 1987 with five extra tracks. Here they took the
unusual decision of recruiting Swans drummer Roli Mossiman as producer. Of
course, Mossiman has since gone on to work with the Young Gods, Faith No More
and Smashing Pumpkins, but back then it was an intriguing idea. The band always
wrote poppy choruses that hooked you, yet let rip with some seriously rocking
riffs. Naturally, with Mossiman at the controls, the drums sound particularly
devastating. Their influence can still be heard today in the punky poppy sounds
of acts like Ash and My Vitriol, albeit in a third-hand manner. The extra tracks
include a couple of corking extra tracks, 12" indie-disco shacking mixes of "Big
Decision" and "Swamp" that have "pint of snakebite and black" stamped all over
them and a 7" edit of "Creeping To the Cross" that omits the build-up of the
album version, to get straight to the goods. It"s a curious little time capsule,
that has surprisingly aged little.
Wow. After
years of releasing jazz-tinged abstract hip-hop, Ninja
have gone and released a pure jazz album. This is a spectacular
album of laid-back, late-night music. Think the soundtrack
to Taxi Driver with a smokier edge. The brilliant singles "Diablus" and "Channel
No.1 Suite" are there, the later probably counting as the surprise single
of the year. A beautiful, atmospheric and stunning album. Exactly like
nothing else.
there's
nothing quite like a really good debut album. It's like a
fresh beggining for music and there's one of those here.
Reading's the Cooper Temple Clause have been slowly building
up a loyal following with incredible singles like ' the Devil
Walks In the Sand' (Surprisingly not included here, although
it's not really needed with the ammount of quality new music
here) and 'Panzer Attack'. They have proven themselves that
little bit special by being, well, a bit different. Sure,
they rock hard a lot of the time but there's a bit more to
the band than a metal influence. On this album you can hear
the influence of electronic dub, experimental electronic
music, Hawkwind, Mogwai, the God Machine and other oddities,
all brought together into a cohessive and highly agreeable
sound by this fresh-faced six-piece.
The album's subjects take in the subjects of obssesion, street
violence and bereavement yet never once wallows in melodrama
or self-pity. On 'Let's Kill Music' they make a classic taunt
to their contemporaries by shouting 'We dare you to mean a
single word you say', over and over again. There have been
so many amazing live bands who've failed to make the transition
from the stage to studio, but anyone who's seen the band's
live shows is not going to be dissapointed with this. Fresh,
orginal and fantastic.
Carrying on an excellent year for Ninja Tunes, this is the
Herbalisers third album and probably their best to date. There are guest rappers from both sides of the atlantic,
as well as usual collaborator What-What. You get the excellent
single "Road Of Many Signs" featuring the Dream Warriors
but only CD buyers get last years" "Wall-crawling Giant Insect
Breaks" which is pretty
poor for a label that should be supporting vinyl . There are excellent
performances here from quality guests such as Blade but the
real stand-out tracks are the instrumentals, espescialy when
they are joined by a brass section for some excellent Barryesque
tracks like the new single " the Missing Suitcase".
A lot has
been written about the Darkness, and even more has been
said. It's been a long time since a band have polarised
opinion to quite the extent achieved by the Hawkins brothers
and their mates. The Darkness play heavy metal and singer
Justin has a belting falsetto. The influences are pretty
clear: - AC/DC, Iron Maiden, Judas Priest - all the best
of the 80's New Wave of British heavy metal. Add to that,
Justin's front man presence inspired by the likes of Eddie
Van Halen and Freddie Mercury
While there have always been bands kicking around the pubs
of England playing music in this vein, no-one has ever rejuvenated
it. The Darkness have done more than rejuvenate, they've resurrected
it and made it their own. Add a feel-good factor with song
titles like 'I Believe In Thing Called Love' and 'Love On the
Ice With No Rocks'. It's a bold, confident debut with some
audacious guitar work for a new band.
Some detractors think that the band are simply being ironic,
as if 80's metal had never been enjoyed by anyone. Those who
grew up with albums like 'Trash', 'Killers' or 'Appetite For
Destruction' will know what kind of a thrill to expect here. The Darkness have recall those classic moments, since forgotten
in a haze of cool. Expect them to be inescapable this Summer
and massive this Winter.
It sounds
like a filler. A collection of B-sides, remixes and left-overs
from last year"s "Acme". From the opening of "Wait A Minute",
a Moby collaboration with a saw solo, it becomes clear
that this is a record to be respected. There are only three
remixes. There is David Holmes" gospel retread of "Talkin
about the Blues", Jack Dangers giving some beats to "Blue
Green Olga" and
a hip-hopped "Heavy" from the Stimulated Dummies. All respectful
and successful remixes. The remaining 14-odd tracks are
pure Blues Explosion. There is nothing second-rate about this album. It has found
the Blues Explosion new converts and it rocks like hell.
Can"t say fairer than that.
It"s a haunting piece of history. Many legends, rumours and
stories surround this album and the men who made it. A record
review is not the place to cut into such things but it is
impossible to avoid being struck by the fact. The saying
that a light that burns twice as fast, burns twice as brightly
rings poignantly here. This classic album and the five bonus
tracks included for this reissue are the final and total
legacy of the La"s. They were a great
band. Everyone knows the timeless single, " there She Goes". A true an them of
the nineties, but the La"s had more to offer than that. This album resounds
with melody, with wit, with charm and a freshness that hides it"s age. There
is more invention and genius on this album than on.....well, let"s not name
the guilty parties, they know who they are. This is how you write timeless
guitar music. As eponymous debuts go, this album deserves twinning with the
Stone Roses. Both capture a moment that has gone and showcase talents alleged
to have been squandered and lost. An album that must be remembered.
The Roots
have always been at the forefront of real, innovative hip-hop,
but this album still manages to come as a complete shock.
How shocking? Well, in addition to the usual first-rate
beats, rhymes and musicianship with soul and jazz influences,
there are a few other fine things on offer here. I didn't
expect them to do a quick punk number. I didn't expect
the track 'Water' to veer off from its hard funk beginnings
and turn into a huge, vast ambient soundscape as out there
as the Beta Band's most out there moments. I didn't expect
to hear elements of Swing out Sister's 'Breakout' cropping
up as background vocals. I didn't expect to find a techno
remix of one of their songs cleverly hidden towards the
end of the CD.
Most of all, I didn't expect them to make their best album
to date topping all their previous achievements. There's a
wealth of wonderful collaborators from Nelly Furtardo to Musiq
Soulchild, from Talib Kweli to Jill Scott. Particular highlights
include ' the Seed (2.0)' with it's infectious guitar riffing
and soulful yet catchy vocals, 'Break You Off' mellow vibes
and, dammit, the whole album. If you don't like this album,
you don't like hip-hop.
Unabombers Luke & Justin have taken up a different approach
for their third mix album. After the insane discoid mayhem
of their 2 Electric Chair mix albums, they take things a
bit deeper for this album, named after a soulful, underground
(ie.not strictly legit) night they used to run. Susbequently, this mix album
is mellow, soulful, deep classics. It's not rhythmless, of course, but is
in a slower pace. Famous names like Jazzanova, Carl Craig
(in his Detroit Experiment alias), Only Child and Amp Fiddler
mix in with secret classics like Y.B.U. 'Soul Magic' and
Focus 'Having Your Fun'. It all makes sense as genres melt
together and an understanding of future soul music builds within the listener.
It's all wonderfuly twisted together by the Unabombers for a perfect after
hours listening experience, suitable for all manner of horizontal recreations.
Top notch.
 Following on from last year's rather gorgeous "Electric Soul", Manchester 's Unabombers return with another downtempo mix, this time entitled "Electric Soul 2". OK, so not the most imaginative title, but that's the only thing that's uninspiring about this naughty little mix album. The Unabombers blend together some of the finest deep, underground, soulful sounds into a late-night groove fest. Highlights include the man of today Amp Fiddler, guesting on an Only Child track (Only Child is one of the Unabombers) and remixed into a deep club slammer by the Yam Who. It's all deep and it's certainly dirty when Numbian Mindz get KJ to join them for their track "Dreaming". Probably the biggest (in terms of sales) track on here is Rhianna with her hit "Word Love" but it a nice, groovier mix from Jay. It all ends up with Detroit 's Carl Craig doing a very extrodinary remix of Incognito's "Out Of the Storm". This is a wicked little mix covering hip-hop (Talib Kweli's on here), deep house, grooves and basically anything with soul and depth. Highly recommended.
 the Unabombers are back in your CD player with another gorgeous, deep, soulful, intelligent and damn sexy mix. After doing 2 Electric Chair mixes, followed by 2 Electric Soul mixes, I had hoped that they'd go back to the slightly faster paced Electric Chair sessions but having heard this, their third Electric Soul album, I was more than satisfied. The selection is, as ever, 100% quality and a pleasure for the ears. Some of my favourite tracks on here are the 4 Hero remix of Plant Life, Platinum Pied Pipers with Sa Ra Creative Partners and King Kooba. It all tops off with Jazztronik's amazing "Samurai", the sort of track that makes people look up and ask you what it is. Hell, I've even been asked about it by people I've been talking to on the phone. Unabomber mixes are now as an essential part of the summer as festivals, sunbathing and traffic jams.
After the success of their Can 'Sacrilege' project,
Mute have another remix album for us where contemporary artists
remix a seminal band and this time it's Throbbing Gristle's turn.
I should point out that there are differences between the track
listings of the vinyl and CD versions, and mention that this
review is based on the vinyl version. It kicks off with Carl
Craig reworking TG's most recognisable track "Hot On the
Heels Of Love". He keeps in all the trademark sounds and
synths, whilst giving it that extra bit of CC welly to make the
track a 04 dancefloor filler. It's instantly recognisable but,
well sue me for saying this, improved. On the B-side, Andrew
Weatherall overcomes his phobia of classics (he famously refused
to remix Can, saying that they were perfect already) by weighing
in with a instrumental and vocal Two Lone Swordsmen remix of "United".
As you can imagine, the track becomes dirty, electronic funk
in their hands whilst still keeping that unhealthy & sinister
air that TG always had about them.
Side C kicks off with TG members Cosey Fanni Tutti and Chris
Carter presenting "Ho theelsUnited" a booming mash-up
of "Hot On the Heels Of Love" and "United".
As it builds up under a relentless, pounding groove, the vocals
become more and more distorted and echoed. It's the album's
most full-on techno moment. Following that is the Motor remix
of "Persuasion" a full-on sinister, electronic grind
which leaves your bass bins quivering. Finally, on side D,
it's Simon Ratcliffe from Basement Jaxx remixing "Hot
On the Heels Of Love". Like Carl Craig's version, it's
instantly recognisable. Both mixes keep in the whip crack,
the oriental keyboard riffs but with this version Ratcliffe
goes wild throwing in a huge cacophony of synths and reverb.
More the man who gave us "Where's You Head At?" and "Red
Alert" than the man who did "Romeo" or "Just
One Kiss". It's a wild, wicked ride of an album and shows
just how much love TG still have in today's world.
 TOM BROSSEAU - "EMPTY HOUSES ARE LONELY" (Fat Cat)
 On first listen to the album's beginning, "Fragile Mind", the first person to come to mind is Devendra Banhart. However, as the album unfolds, it quickly becomes obvious that Tom is his own man, with a diverse range of influences. He has this gorgeous, rich voice that trembles with gentle emotion and yearning. Songs of sadness and change float by as he works his spell through the speakers. This is a compilation of recordings made at different times in Tom's life and this breadth of experience is definitely reflected in the music. An intriguing new talent.
TOSCA - "J.A.C." (K7)
 Richard Dorfmeister (of K & D fame) returns once again with his friend Rupert Huber. The album "J.A.C." takes it's name from the offspring of Richard & Rupert which have been born since their last album. Once again, the boys deliver an album of rhythm, space and bass. The Tosca sound is not one that will appeal to everyone, they are deeply chilled and their music could be more described as soundscapes rather than songs in the traditional sense. However, it's no ambient slush, Tosca do put some rhythm into it. It's not hands in the air glowsticks stuff but definitely very good lounging music. If you like something warm, deep and laid-back then Tosca deliver it.
More Euro grooves courtesy of French funksters Troublemakers. These guys carve a sound that owes debts to sources as diverse
as Cinematic Orchestra, Groove Armada, Kruder & Dorfmeister
and their very own Serge Gainsbourg. It's music you can chill-out
to, but whack up the volume and you can get down with it as
well. Bringing in John Barry and Groover Washington Jnr via
way of sampling gives you an idea of where their heads are
at. You can just imagine them scoring a 70's movie soundtrack
and the sleeve is plastered with images of just such films.
It may all sound a bit retro, but they bring a suitably modern
approach to bass, beats and atmospherics, making the old sounds
just a little part of their sonic blend. This album ought
to make a nice splash this Summer.
Somewhere between Dennis Potter, Jarvis Cocker, Al Bowley,
Lemon Jelly, Serge Gainsbourg and the pages of the book "I,
Lucifer" by Glen DUncan, lies ( the Real) Tuesday Weld.
"I, Lucifer" is an intriguing and coherent concept
album that takes it's inspiration from Glen Duncan's book.
At turns mad, melancholic and always melodic, "I, Lucifer"
explodes with inventiveness. Drawing heavily from the 1950's
for samples and then fusing them with a modern sensibility. The track "Bathtime In Clerkenwell" is a jaunty,
jazzy little number that could get any broad-minded dance
floor hopping, but on the other hand, "The Ugly and the
Beautiful" is a gorgeous and sad little pop song. Yet
within all this variety, there is a still a common thread
that binds everything together into an album that sucks you
in and takes you on a journey, both scarey and sentimental.
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