While the mingling of rock and dub dates back to punk rastas like The Clash and Bad Brains, it’s been less than successful in most experiments. Enter New York-based Dub Trio, whose phenomenal live show has translated to a record well worth the wait. The rock-influenced, predominantly instrumental New Heavy is capped by the brilliant “Not Alone,” where guest Mike Patton shares epic growls rarely heard since his days in Faith No More. As for the remaining 35 minutes, Dub Trio proves that their move from backing musicians to a full-on ensemble was only a matter of time.
Nightmares on Wax In A Space Outta Sound
If it’s not yet summer where you live, producer/DJ George Evelyn’s latest will have you vibing like it is without leaving your house. As with his chill-out classics Smoker’s Delight and Carboot Soul, the feeling-real-good strains of funky, spacey hip-hop permeate In A Space like velvety-sweet smoke. A bit predictable and slow at the outset, the Caribbean dub of “Flip Ya Lid” and dreamy Middle Eastern patina of “Damn” pick up the pace nicely. Hazy, languid vocals on “Me!” and “Soul Purpose” keep things engaging and fluid. If it sounds tired, you’ve been sleeping too long-Evelyn’s still weaving pleasant dreams.
Massive Attack Collected
As a teaser to the Bristol group’s upcoming fifth album, this package of highlights spanning their 16-year career is right on time. The seductively spooky “trip-hop” genre Robert Del Naja and his collaborators helped to create remains a defining sound of the ’90s; but that term doesn’t begin to sum up the influence of decades of soul music lurking in Massive albums from Blue Lines to 2003’s 100th Window. Their new single, “Live With Me” (featuring Terry Callier), is included on the first disc of band-picked favorites (as well as tracks like “Karmacoma” and “Unfinished Sympathy”). Disc two hits and misses with simmering, unreleased tracks and so-so soundtrack tunes, but its flipside offers every MA video to date.
Various Artists More Pressure Vol. 1… Straight to the Head
Longtime purveyors of classic reggae and dub collections, Pressure Sounds’ 50th release focuses not on a particular artist or style but a handful of unknown-and seriously killer-tracks, most followed by equally obscure versions. Many of the 45s featured here have no masters, serving as reminders of a time when dubs were made with little cash and a lot of love. The second 7″ outtake from this batch, Bongo Gene Campbell‘s “Skyjack” and the Bongo Gene All Stars‘ “Skyjack Version,” are reason enough to dig in, as is Uhuru’s soul-stirring “Folk Song.”
The Rogers Sisters The Invisible Deck
The Rogers Sisters (actually two sisters and one unrelated male) play solid, party-starting Brooklyn rock with a melodic slant; great stuff for either a booze-drenched Williamsburg bar or a hang session at home with your pals. Having taken a more song-oriented direction from previous outings, Deck covers a wider sonic palette, delving deeper into emotional territory while remaining dissonant and danceable throughout. And while the lead single, “Never Learn to Cry,” may have critics rehashing hackneyed Gang of Four comparisons, moodier fare like “Your Littlest World” will find your head feeling as inspired as your feet.
The Buzzcocks Flat-Pack Philosophy
Flat-Pack is straight-ahead, no-frills punk rock, and despite some flashier studio effects and cleaner playing, The Buzzcocks’ energy is still there, nearly as compelling as it was 30 years ago. Founding members Pete Shelley and Steve Diggle seem to understand that sometimes it’s better to be who you are than try to catch up with the times; they stick to their guns and come out blazing, with social commentary on everything from corporate culture to Orwell to, of course, love and relationships. Their willingness to show emotions other than anger is what classed them above so many of their contemporaries in the past, and it continues to do so today.
Total Science Mars Needs Total Science
Oxford‘s Q-Project and Spinback, better known to the D&B world as Total Science, have been twisting styles and dropping timeless anthems for over a decade. Returning from a part-time residency in Philadelphia, PA, the duo releases their fourth album with more dancefloor killas like “Never Had a Dream” and “Squash” (Gridlok Remix), but drip their Philly soul experience with syrupy nu-jazz numbers like “Wasting Time,” featuring Little Brother’s Phonte and the J Dilla-esque “Vibe.” Mars Needs Total Science is the boys’ most adventurous album to date, but not their most cohesive one.
I:Cube Live at the Planetarium
I:Cube has been simmering just below the surface of the French house scene for some time now, keeping himself a bit mysterious while flipping from Metro Area-style electronic funk to loopy techno-IDM to collaborations with Wu-Tang patriarch RZA. Here, I:Cube revisits the mid-1990s ambient explosion in eight untitled tracks that immediately envelop the listener in the kind of evocative, flowing sound galaxies once crafted by Global Communication and Aphex Twin. Created for the Starball Festival at the La Villette Planetarium in France, Live at the Planetarium is perhaps best suited for iPod-enabled stargazing, as the gentle drifts into dub and house beats serve to bridge the gaps between sampled chants and low-key glitches. If Pink Floyd is the thrasher’s planetarium soundtrack of choice, I:Cube will be the raver’s option for those nights spent way, way outside the club.
Birdy Nam Nam Birdy Nam Nam
DMC World Team champs Birdy Nam Nam are a testament to the growth that can occur from true companionship. On their self-titled debut, the French team of Little Mike, DJ Pone, DJ Need, and Crazy B bustles through 17 tracks of forward-thinking, mind-bending instrumentals. Instead of overusing their obvious scratching talents, the four DJs take the high road. Soulfully digging through chilled-out funk breaks and non-sequitur sampling (yes, that is a dude taking a leak on “Kind of Laid Back”), Birdy Nam Nam matches technical wizardry with inimitable tone for a truly inspired turntablist hip-hop record.
The Presets Beams
The Presets is the heady dancefloor project of Australians Julian Hamilton and Kimberley Moyes, who met while studying theory and music performance at the Sydney Conservatorium of Music. Beams, the duo’s anticipated debut, is a broad but always danceable effort. From the dark-wave distortion of “Down Down Down” to the melodic synths of “Black Background,” the record covers a lot of ground, and is tied together by the album’s cinematic closer and title track. Their sound could use a little more focus, but Beams is still a respectable beginning for a promising group.
