It‘s Total time again, and the Kompakt camp is as techno fabulous as ever. From the feel-good, big-room bumpery of label vets Michael Mayer, The Modernist, and Superpitcher to the tape-delayed dub of Mikkel Metal and string-laden atmospherics of Jonas Bering, this compilation is a window into the label’s seasoned and beautiful techno soul. Diverse yet familiar, playful yet superbly sophisticated, the music never seems to waver in its ability to revitalize the dancefloor atmosphere. And while Wasserman (comprised of label heads Wolfgang Voigt and Jurgen Paape) captures Kompakt’s classic spirit perfectly with “In Tyrannis 2006,” it’s fresh input from K2 sub-label recruits Gui Boratto, Steadycam, Robert Babicz, and HUG that will reassure even the staunchest Kompakters out there that the label is as positive and steadfast in their vision as they were eight years ago.
Various Belly of the Whale
While Belly of the Whale provides some interesting manipulations and solid programming from the likes of Kim Cascone, Scanner, and Yannick Dauby, too much of the content either employs its exotic, spiny lobster- and orca samples as a pointless backdrop, or passes off overindulgent, Ableton-esque effects as calculated sonic expression. All conceptual wankery and Greenpeace propaganda aside, Merzbow’s contribution, which sounds like the cast of Finding Nemo being pureed in a cocktail blender, definitely brings some much needed balance to the album. Two chin-strokes and it’s over.
Various Fabric 29: Tiefschwarz
Stuttgart’s infamous tech-house brethren Tiefschwarz reinforce Fabric’s mix series with a 14-track selection that’s as filthy as they come. Firing it up with Louderbach’s “Grace,” the pressure builds up through some choice gritty numbers from Claude VonStroke, Night On Earth, GummiHz, and their own remix of Depeche Mode’s “John the Revelator” before a superbly downshifted exit through Roman Flugel’s reworking of Kate Wax’s “Beetles and Spiders.” It’s not like their seamless mixing talent needs to be emphasized here, so suffice it to say all that’s missing from the Fabric 29 experience is an oxygen-depleted dancefloor and some overpriced drinks.
Solillaquists Of Sound As If We Existed
With some intelligence and soul, Solillaquists Of Sound’s debut proves that modern hip-hop doesn’t have to indulge in gimmicks to make noise. Championed by Sage Francis, SOS urgently discusses culture (“Black Guy Peace”), social ills (“Property & Malt Liquor”), and gender issues (“Ur Turn”) in an unpretentious fashion. Producer DiViNCi’s beats are sprinkled with dynamic changeups driven by hard drums, which compliment MC Swamburger’s thoughtful writing without ever cluttering it. Although some of the sung vocals sound out of place at times, As If We Existed is ultimately sincere, colorful, and delivered with grace.
Plastic Little She’s Mature
Plastic Little walks a fine line between making music and making comedy. That’s not to say their brand of post-PC, ironic humor isn’t palatable (entertaining, even)–you’ve just got to have the stomach for it. She’s Mature sees them mocking everything from Afrocentrism to thug love-triangles and the Five-Percent ideology, to their own hipster scene, and they return often to their favorite themes: party crashing, pulling drunk chicks for one-night stands, and doing it all on a dime. While that’s often amusing, the jokes have their flaws: Songs like “That’s the Jump Off”–a rap explaining the phrase itself-come off like Urban Slang 101 for white folks. PL’s at its best on bangers like “Another Rap Hit,” which plays to the strengths of their sleazy, club-hollering lyricism (“Fellas, grab your big old dicks/Ladies, rub your wet-ass clits”), their intentionally foul sexual and racial politics, and their pared-down, slam-and-shuffle basslines.
Strange Fruit Project The Healing
Named after the Billie Holiday classic, these three MCs (Myth, Myone, S1) from Waco, TX-a town that, in the early 1900s, allegedly lynched more black people than anywhere else in the US-deliver intelligent soul music worthy of Lady Day’s blessing. For bittersweet, gospel-imbued, ghetto realism check out “Liberation.” Dilla’s influence permeates on the S1-produced “Ready Forum” and “Good Times,” which sounds like UGK invading Slum Village. Easily one of the year’s best releases, The Healing demonstrates that Texas hip-hop isn’t just about candy paint and 22s.
OOIOO Taiga
Halfway between a drum circle and a fistfight, a coarse beat kicks off Taiga before pummeling listeners with guitars jutting in and out, which are then matched by rolls of staccato chants from four fierce women. The eight songs here wash together, spaceless and clean like a well-tuned DJ set, and eventually the little bleats stretch themselves into long riffs of total joy. The open structure is hardly unusual for OOIOO; their MO has always been ethereality, but this time out they come closer to aural spirituality than ever before.
Lady Sovereign Public Warning
Making her major-label debut under the wing of Jay-Z has got to put a certain amount of pressure on the young English lass otherwise known as Louise Harman. But Lady Sov proves that she can hang with the best of ’em. The big-name collabos didn‘t pan out (so no Ad-Rock or Missy productions), but Sov mainstay Medasyn still manages to bring the grimy-good beats to Public Warning. The intentionally polarizing single, “Love Me or Hate Me,” which sees Sov blasting edicts like “If you love me, then/Thank you/If you hate me, then/Fuck you!” rides on a plunky, descending synth line while the hard-hitting “Gatheration” is heavy with electro-bass and handclaps. But it‘s Sov’s witty lyrics and true sense of herself that hopefully will propel the Londoner into the hearts of young America. As she states strongly, she “can only be one thing/And that’s be Lady Sovereign.”
Last Chance To Enter XLR8R’s 100th Issue Contest
Only a few more days left of our 100th Issue Rave Daze Contest, wherein you have the chance to win, just by entering, more stuff than you’ve probably bought in the last year.
In honor of XLR8R’s fine history of raving, one winner will be chosen based on a photo of you dressed as your best raver self. We know you’ve still got some of those costumes and moldy glow sticks stored in the backs of your closets, so why not pay them a tribute by digging out those old photos and taking the chance to publicly embarrass yourself. After all, we’d do it.
Did we mention that one winner will receive prizes from 100 different record labels, gear companies, clothing labels, designers, and many more companies? Start entering, because it won’t belong before all those prizes are gone…
The Knife’s First Two Albums Available In US
Not only do The Knife have their first set of US tour dates scheduled, the duo plans to re-release their first two albums to US audiences on Mute. This will be the first time 2001’s The Knife and 2003’s Deep Cuts will reach Stateside. The former will arrive with three bonus tracks, and Deep Cuts will be a CD/DVD release with five bonus tracks, six videos, and a short film. Such goodies are set for release October 31.
The duo’s third album, Silent Shout is out now on Mute.
Tour Dates
11/01 New York, Webster Hall
11/01 New York, Webster Hall
11/03 San Francisco, Mezzanine
11/04 Los Angeles, El Rey Theater
