On their first album in nearly a decade, all Coldcut wants to do is hold up a mirror. Soundmirrors finds the duo of Matt Black and Jonathan More stepping to the side while guest rappers, singers, and poets lead the songs and deliver the message. “Somewhere on Earth/Little kids teach themselves how to make a whistling sound/To imitate bombs dropping,” mutters Andrew Broder (a.k.a. Fog). Soweto Kinch bears witness to Western governments acting like mafia dons while delivering relief to developing countries on the brilliant “Aid Dealer,” and Saul Williams writes a touching letter to “Mr. Nichols,” a Faust-like character who sells his soul to Wall Street. But given that Coldcut is part of breakbeat‘s vanguard, their production here-which ranges from dirty electro to cinematic orchestration and bhangra-hop-seems a bit flat. Their righteous message is well put, but could be delivered with a bit more spark.
Tetsu Inoue Yolo
It‘s been said that the brain is most alert during a lightning storm. Tetsu Inoue‘s music mimics that environment-his digital snaps and tones move like the ions that thicken the air. Inoue and other post-techno mavericks have long bathed in a digital ether where organ drones flow like a bloodstream and glitches imitate artificial intelligence correcting itself. Yolo breaks no new ground, but Inoue‘s work is far from cliché. The hymnal “Flow” soundtracks life awakening at dawn, while “Curve” chases drizzling microtones with a net. And within the raw data crunching, there‘s a constant, meditative grace.
Tod Dockstader Aerial #2
After a four-decade absence, Tod Dockstader returned with Aerial #1, one of 2005‘s finest albums. The musique concrète pioneer‘s lifelong fascination with shortwave radio transmissions drove him to record over 90 hours of such noises to digitally sculpt into music. The results are just as haunting and vaporous as the voices and songs that fill the sky. The second installation of the Aerial series has more ominous drone-scapes, like the sublime ballad “Wah.” However, there are some jagged microtones that hinder the album‘s momentum. Nonetheless, Dockstader still has a sharp ear for the constant music from which he extracted just 90 hours.
Ayatollah Now Playing
Unlike his Nature Sounds labelmate Omega One‘s oft-cinematic debut album, Ayatollah‘s Now Playing features mid-tempo beats that are ideal for smoked-out freestyle sessions. Known for his work with the likes of Mos Def, Last Emperor, and even G-Unit, this NYC beatsmith presents 14 of his favorite beats here-many released for the first time and a few of which you‘ve likely heard, such as the reggae-tinged “Kingston.” These instrumentals are not the most intricate, but amid their simplicity you‘ll find a wealth of soulful samples and crisp drum patterns.
Various Artists DJ Revolution and Total Eclipse: Draft Radio, Vol. 1
Constructed like a radio show, this two-part mix CD sees two of hip-hop‘s finest DJs/ turntablists blend together current singles from Planet Asia, Bad Seed, Ras Kass, and a few others. While this mix utilizes a novel format, the idea is tainted by machismo-drenched skits, which add nothing but pointless smut. Despite the wasted airtime, there are some high points-like Mos Def and Esthero‘s feel-good cut “Summer Time,” and Revolution‘s and Total Eclipse‘s unequaled scratching abilities. Unfortunately, that‘s not quite enough to make this one worth the price of admission.
Various Artists All Natural Inc. Anthology, Vol. 1
Some of Chicagoland‘s best MCs and producers call the All Natural Inc. label home and, for the bulk of this compilation, the ANI lineup prove exactly why they‘re so respected. From the simple yet playful lyrical styling of Rita J on the PNS-produced “Warm-Up (Exercise)” to the eye-opening tag-team rhymes of The Primeridian on “Raw,” every act proceeds with a fresh approach. Yet the common bond that holds this roster together is that all these artists effortlessly make soulful hip-hop-something that many indie cats continuously fail to do.
Talib Kweli Right About Now
Let‘s face it: Talib Kweli puts out more mixtapes and albums per year than most consumers can keep up with. But this new “sucka free” mix CD is certainly one of his most worthwhile releases yet. While many fans and critics were on the fence about his last album, The Beautiful Struggle, this brisk, 12-track disc features little to be uncertain about. Kweli calls attention with his articulate flow as he uncovers his long trek through the record industry (“Right About Now”) and even pleads to the missing-in-action Lauryn Hill to step back to the mic (“Ms. Hill”).
Ursula Rucker Ma‘at Mama
Ursula Rucker, the Supa Sista whose poetry melds so perfectly with dancefloor riddims, has always been simultaneously part of a movement and a singular voice. On Ma‘at Mama, the mother of four is more willing than ever to say what a lot of American mothers-of soldiers in Iraq or soldiers in the streets-have been thinking about her favorite subjects: sexism (in hip-hop, politics, wherever), racism, and imperialism among them. But more so than ever, Rucker does it with a musicality and straight-up class missing from much of the genre. Rucker‘s songs once screamed, “Listen!” On Ma‘at Mama, they simply know you will.
Various Artists Luaka Bop Remix
Of Luaka Bop‘s eminently remixable catalog, only a small portion is represented among the 14 tracks of Luaka Bop Remix. While there are some proper triumphs here, by the end of its 66 minutes, fans of the label and of global-sound fusion in general are likely to be left shrugging. The best mixes lovingly play to the strengths of both artist and remixer: Koop‘s looped and boosted reworking of Susanna Baca‘s version of “Afro Blue,” the reggaeton mix of Los Amigos Invisibles‘ “Esto Es Lo Que Hay,” Scratch Perverts‘ turntable-terror take on Clinton‘s “Button Down Disco.” But the stuff fans might long for-Os Mutantes or Nouvelle Vague‘s bossa-post-punk-is AWOL.
Various Artists The Shape of Things to Come
The stock over at the West Coast‘s all-things-funky label Ubiquity has risen sharply over the past year. From the explosion of underground hip-hop hero Ohmega Watts to new releases from dancefloor hitters like Platinum Pied Pipers and Greyboy to funk/soul issues from Breakestra and Darondo, the well-established imprint seems to be going from strength to strength. The Shape of Things to Come, a download-only comp available through the label‘s website, includes all of these artists as well as newer names such as Nino Moschella, whose rickety, Prince-styled bubble-funk on “Are You For Real” proves that, for Ubiquity in ‘06, the shape of things to come is quite appealing.
