On the second part of the real-time soundclash between instrumentalist Kieran Hebden and drummer/jazzman Steve Reid, these two sonic innovators manage to match the spontaneous chaos of the first Exchange Session. What begins as an ambient experience transforms into a blast of sampled horns and bleeps on track one, and then cools down into a tribal-like tranquility on track two only to re-intensify; the eerie calm of the third and final track properly closes out this exploratory union. How Reid and Hebden manage to keep up with each other here is baffling and, if anything, their inexplicable chemistry is primarily what makes these albums worthwhile.
The Procussions 5 Sparrows For 2 Cents
One might think that being the first act signed to the resurfaced Rawkus Records would leave an up-and-coming group like The Procussions feeling somewhat under pressure-especially considering that the label‘s graduates include the likes of Mos Def and Talib Kweli. But on their sophomore album, The Procussions sound as comfortable as can be while laying down their percussion-centric beats and socially alert raps. While not every track is as catchy as the lead single “The Storm” or as thoughtfully constructed as the anti-child abuse anthem “Little People,” this trio will certainly help Rawkus step back out on the right foot.
PackFM WhutduzFMstand4?
PackFM first made a name for himself as a graffiti writer and battle rap champion in the late ’90s, but on his long-awaited solo debut the witty Brooklynite finally gets the chance to flex his lyrical prowess. As this album has been so many years in the making, Pack aptly makes every moment count. Sometimes grave, sometimes goofy, this agile MC bounces from his trouble staying in school (“Lessons”) to his habit of telling outlandish lies (“Excuses”). And despite his reputation for being a backpacker, Pack proves to be quite the party starter with songs like the vivacious, East Indian-flavored single “Stomp.”
Mr. Lif Mo’ Mega
After doing time with stellar Def Jux outfit The Perceptionists, the thick-dreadlocked Mr. Lif locks street poetry into massive beats throughout Mo’ Mega. Fueled with a political savvy and social conscience unheard in some time, Lif does not confuse meaning and songwriting, and he never allows message to override a dope hook. And Mo’ Mega is full of them: the driving “Ultra-Mega,” the guitar rockin’ “Brothaz,” and the record’s most unique cut, the dancehallton “Washitup.” The Boston MC gets his hustle and flow together on a record certain to lif’ him to the status of lyrical legend.
Luisito Quintero Percussion Madness
Cutting his teeth touring with Louie Vega’s Elements of Life band, Venezuelan percussionist Luisito Quintero covers seriously diverse terrain on his debut. After the localized, tribal Latin rhythms of the first two tracks, he launches into a Fela accolade worthy of Nigerian honors; from there he enters the dancefloor (little surprise as Vega is producer) through mambo and R&B. Most impressive is the range of forms Quintero so effortlessly blends. His hands move with such rapidity and poise as to suggest a rather controlled and enjoyable madness.
Nino Moschella The Fix
Opting out of computer-driven drum loops, Italian-Irish multi-instrumentalist Nino Moschella chose broomsticks and handclaps for his debut, and he ties it all together with a soulful voice. The Fix is such a unique R&B record that it barely warrants that designation. But the soul is heavy, as when he screeches so elegantly above a Zeppelin-fueled drum beat on “Strong Man.” Organs, bass, guitars, and drums are the backdrop for some serious grooves while Nino’s lyrics stay up front and the soul junkies get an unforeseen fix.
Li Alin All In
Li Alin is a mystery, and for now that’s just as well. The story behind her mournful, raw songs-some with electronic embellishments, and all sung in French and English-might dilute the power of their presence. Backing her vocals with echoed pianos and skin-crawling cello strains, she creates authentically desolate atmospheres that re-claim Joy Division comparisons from the boy bands. When Alin whispers “My soul is bleeding/Today my heart is snowing,” you believe it. Like a mistress sequestered in a tower, she contemplates love and the futility of life with heart-breaking precision. The eccentricities of Alin’s incantations make them avant-goth of the highest order. Jokers say the goth dance goes pull the rope, kick the cat, toss the basket. Li Alin’s compelling compositions add another step: rattle your bones.
Jeff Mills Blue Potential
The usual tympanum-ripping, lightning-speed mix from The Wizard (a.k.a. Jeff Mills) this is not. Blue Potential, a live recording of the Detroit legend‘s in-concert collaboration with the National Orchestra of Montpellier, is the latest in a line of recently fashionable classical treatments of popular music. But where London Sinfonietta’s work with Aphex Twin last year seemed a simple grafting of high-concept art projects, the mix on Blue Potential is more fluid and natural. Mills’ eerie, epic brand of Detroit techno lends itself easily to the sweeping scope of orchestral arrangement. Classic cuts like “The Bells,” played large via the apocalyptic bombast of the NMO’s horn section, are joyously transformative.”
Breakage This Too Shall Pass
Breakage has been making waves in the drum & bass scene since his haunting 2001 remix of Doc Scott’s “Here Come the Drums.” After a slew of future classic singles, he unleashes his debut LP filled with D&B explorations in dub science. This Too Shall Pass guides listeners through crackin’ breakbeat minimalism, breathable sub-low bass, and drenched rude-bwoy samples. Highlights include the relentless “Ruff Dub” featuring Rohan, the half-time swing of “Losing Track,” and the Metalheadz mimicry of “Untitled Jungle.” Definitely worth seeking out.
Banco De Gaia Farewell Ferengistan
On Farewell Ferengistan, Banco de Gaia’s Toby Marks attacks materialism’s home with more than just Deep Space 9 references. (It’s said that Ferengistan is Central Asia’s-and Star Trek‘s-name for the greedy Western world.) Marks works his characteristically subtle sonics with socio-political concerns guiding him. The title track rolls out mellow East Indian vox and spooky piano tinklings while BdG actually rocks out on “Ynys Elen” before dabbling in ska (“Chingiz”) and bhangra (“Kara Kum”). “Saturn Return” channels Riley and Reich, and Marks squeezes in references to Philip K. Dick‘s fave tune and Rudyard Kipling’s “White Man‘s Burden” before hurling zings at Blair and Bush.
