Form seems to trump function on The Secret Miracle Fountain, as Matthew Liam Nicholson and company build 16 pretty-but-flawed, statuesque songs that reach skyward with solemnity. Yes, the sonic architecture of Nicholson’s second Function venture is inventive and inspiring-it took three years and three dozen musicians to create-but these grim monuments collapse under their own humorlessness and austerity way before they run their proper course. Hushed, synth-bandaged electronics burble and glisten, washes of noise tumble over themselves and vanish into thin air, but ultimately the staid sonics prove imposing and dour.
Zero Crossing My Kinda Funk
Bavarian-born Andreas Angerer (a.k.a. Zero Crossing) has an aptly named debut album, as the tracks are more his interpretation of what funk is than an accurate representation of it. We couldn’t be happier about this, because instead of a predictable 15 tracks we get numbers that shift between two-step, grime, electro, disco, and even have time for a few guest appearances by the likes of Kool Keith and Jaymz Nylon, making for one of the most musically colorful debuts to surface in a while.
Various Artists The DFA Remixes: Chapter One
Having risen from the shadows of the indie scene to the iPods of every hipster in the country in 2005, a collection of dance edits seemed the inevitable next step for DFA masterminds James Murphy and Tim Goldsworthy. Perhaps the real strength here is not so much the production work, but the duo’s ability to choose tracks that translate well into dance numbers. The power chords and spasmodic vocals on Blues Explosion’s “Mars Arizona” seem to have been written with a 4/4 beat in mind, while mainstream numbers from The Chemcial Brothers and Gorillaz receive disco-friendly makeovers that would prompt even the snootiest of music fans to tap their feet. We await chapter two with pleasure.
Isolée Western Store
It’s hard to resist comparing this latest release to Isolée’s wildly impressive WeAreMonster, but fortunately, the Germany producer’s new album stands on its own. Though it is by definition minimal, with bleeps and crunches aplenty, a wealth of subtle layers keep it from being just another techno album. Melody builds upon melody, the 4/4 shuffle makes an appearance, and there are even a few power chords woven into this tapestry, making for a collection as musically intense as it is soothing.
Various Artists M.A.N.D.Y.: Get Physical Vol. I
Here’s looking at four years of consistently superior music from one of Germany’s finest electro-centric imprints; Get Physical Vol. 1 features several more notches on the label’s belt of successes. Pulling from various singles and full-lengths from the last two years, it’s an accurate sampling of who’s doing what within this electro-house family. Booka Shade provides sharp 4/4 dance numbers, both a contrast and compliment to the more ethereal melodies of Chelonis R. Jones, and keep your ears open for a few surprise numbers from the likes of Jona, Zwicker, and Lopazz.
DAT Politics Wow Twist
With Wow Twist, French trio DAT Politics has devolved into the kiddie-kitsch clowns some feared they would become, even during their best records. Over five previous albums, DAT Politics’ madcap glitch-pop ditties often teetered on the edge of absurdity. Mostly, the group charmingly placed their tooth-decay melodies within thrillingly kinetic song structures and topped them with enough flagrantly nutty and bizarre tones to keep Clicks & Cuts brainiacs beaming. Wow Twist, however, is excessively goofy (helium-voxed cutesiness, rubbed-balloon squeals galore, trite tunes) and it only makes you wish for the reformation of Tone Rec, DAT Politics’ earlier post-rock unit.
Mexican Institute of Sound Mejico Maxico
From the heart of Mexico City comes a touching, sweet audio-collage of a release from Camilo Lara (a.k.a. MIS). Presented almost in sketch form-many of the tunes are under two minutes-the album fuses bits of cumbia and mambo with simple drum programming, dub effects, and keyboards reminiscent of early Luke Vibert or David Holmes (if he’d ended up in Mexico City instead of New York). While not terribly groundbreaking, the album’s charm grows with repeated listening and it’s a testament to the depth of Mexico’s music scene that Nacional’s electronic roster reaches well beyond Nortec.
Various Artists Futurism Ain’t Shit to Me 2
Futurism is apparently on some other shit. Kitty-Yo sublabel KYO collects some old joints and some new in what is one of the better comps of even-further hip-hop in recent times. Slick this ain’t. Beats range from traditionally loose and easy offerings like Daedelus’ and Dabrye’s remix of Bus to a slightly unhinged, bass-and-grime-heavy effort from The Tape vs. Infinite Livez to drunken-sailor-on-a-wet-deck Quasimoto with the awesome “Come on Feet.” Futurism is hip-hop with a good dose of Berlin-style glitch ‘n’ glitter in it, with Sole’s “On Martyrdom” turning downright electro by the end. Highlights include Forss’ “Soulhack” (sounding like the best Chocolate Industries joint they never signed), 8-Bit’s “I-Deez” (as in the hook: “Robots don’t got no drivers license, so we gotta get fake…”), and the Quas track, because it‘s as good as everything else he’s ever done. The disc’s only oversight? A lack of great German MCs.
No Movement No Sound No Memories Removed/Acetate
All cut up, with rips and tears in its sonic fabric, this is a great, challenging, darkly complex release from a superb label. A combination of two EPs (one early, one just released), dub, techno, and noise collide and then get run through the abstract filters of the remixers, ranging from Pole’s soft whispers to Modeselektor’s harder edge. Youngman and Kool Pop’s Something J cut up tech-hop, Arovane lends trademark beauty, James Din A4 serves up bounce, and the whole thing gets wrapped in soft gauze, evoking the feeling you’d get looking at a blank Berlin winter sky.
Various Artists Triumphant Rhythm
Produced by Kenmar “DJ Flava” McGregor with nyabinghi drums by Bongo Herman, this acoustic-tinged modern roots set is lead by Gyptian’s chart-topping maternal ode “Mama,” which proves his elastic soprano is capable of more than one major hit. Other surprises come from Perfect, whose “Shoulda Neva” showcases an explosive tonal range, and sweet lovers rock is delivered handily by Ras Shiloh, Thriller U, and Lukie D. Triumphant is more for DJs than home listeners-the album drags after six or seven numbers-and for a riddim centered around a song praising mothers, the absence of female contributors is inexplicable.”
