Gotta feel for these boys from Berlin, whose first collection of remixes saw such success; now everyone‘s gonna wonder “How does this compare?” For better and worse, it‘s not more of the same. While the¸ber-fat broken beats and super-moody strings on Masters At Work‘s “Our Time Is Coming” certainly recall pre-2002 work, on the whole J-nova breaks new ground with crunchier, more futuristic sounds-among them, the crispy ride of Marcos Valle‘s “Besteiras Do Amor” and the squelchy sci-fi Western flavor of Calexico‘s “Black Heart.” Dig the new breed.
Various Artists Versatile Records: Hot Shots
Versatile‘s artists *heart* machines-warm ones, cool ones, ones that thump and think for themselves with a silicon slyness. Here, the usual suspects-I:Cube, Joakim, Chateau Flight-share some of their favorite artificial intelligences, half of them specially edited for this compilation. Basic Soul Unit blows up the techno waters with the torpedo that is “Surface and Submerge,” Kirk Degiorgio (in his As One guise) unleashes analog artifacts with predictably warm results on “Rumour,” and Joakim makes us all wonder when the album‘s going to drop, both with his careening car-chase of a remix for Chateau Flight‘s “Les Antipodes” and his own prancing, piercing “I Wish You Were Gone.” Not sure if France has some special juice in its AC current, but this treat from the Versatile camp might be an argument that yes, androids do dream of electric sheep-dancing ones at that.
Lindstrom & Prins Thomas Lindstrom & Prins Thomas
Head off into space with the Norwegian kings of new disco. From sprightly keys to perkily plucked guitars that vaguely remind of lost Hall & Oates tracks, this is disturbingly hummable electronic music, completely innocuous but somehow totally irresistible. Even when the pair toys around with country-western stylings (“Don O Van Bud” and “Naa Er Druene Paa Sitt Beste”) that verge on kitsch, a loving attention to dubbed out detail reminds you that they‘re not having fun at your expense-they‘re just having fun.
Ulrich Schnauss Far Away Trains Passing By
The music of Ulrich Schnauss is a bit like teenage love: blissful, cloying, fairly predictable. But damn is it beautiful! This re-release of Schnauss‘ first album, including a bonus disc of rarities, serves up more of the high points from 2003‘s A Strangely Isolated Place-swirling melodies, sparkling production and big hip-hop beats-but with less of the overt homage to shoegaze bands like Slowdive. As such, it‘s a more enjoyable album, with the hissing majesty of tracks like “…Passing By” achieving a sweet grandeur of their own.
Eliot Lipp Tacoma Mockingbird
So much instrumental hip hop just goes up in smoke – not so with Eliot Lipp‘s second album. Tacoma Mockingbird has beats that stick to the ribs, crispy fried snares and bass drum booms thick like gravy, and it has melodies that twine in the mind, uncoiling analog tendrils that will tickle days after the last spin. Lipp is one of the few producers who can write keyboard lines with hooks as huge as any sample – check the squirming lead of “Rap Tight” (which also features an excellent stuttered breakdown) or the tension between the pop-locking synths and their three-note backing figure on “Sex Tapes.” Even when Lipp lifts a beat (“Vallejo” is a dead ringer for Massive Attack‘s “Five Man Army” – who probably stole it from someone else) he makes it his own with a heady electro sheen that doesn‘t lose it‘s luster, even after repeated listens.
Asamov And Now…
Jacksonville‘s Asamov is the first act from outside the North Carolina-based Justus League camp on baseball pro Desi Relaford‘s 6Hole Records-not surprisingly, “Florida‘s Little Brother” fits right in. Sure, the tunes turned out by up-and-coming beatsmith Willie Evans, Jr. (The Perceptionists, Rasco), MCs J-Wonda and Basic, and DJ/producer Therapy tap into a familiar vibe with their Motown samples and recycling of classic hip-hop lines, but in some ways their debut LP one-ups LB‘s The Minstrel Show. For one thing, album highlight “Supa Dynamite” (featuring Mr. Lif) is more of an anthem than anything on that good-not-great album. But, like most of today‘s underground hip-hop, And Now… doesn‘t think enough outside of the box.
King Kong Rumble Jumble Life
This Bobby Konders-curated collection features unsung dancehall pioneer King Kong voicing several decades worth of classic riddims, from Cuss Cuss (“Rumble Jumble Life”) to Stalag (“Call Mr. Madden”) and Penicillin (“They Don‘t Know”). While the tunes are roots consciousness all the way, Kong sounds just as good on bouncier recent dancehall riddims like Wanted, upon which he tackles the sociology behind today‘s out-of-control youth for the tune “Bag Juice (And Cheese Chips).” Kong might epitomize dancehall‘s old school, but with his Tenor Saw-like warble and creative approach to standard lyrical themes (“Call Mr. Madden” warns the famed Jamaican coffinmaker that defeated soundbwoys are headed his way), everything sounds timeless.
Prince Far I Silver & Gold: 1973-1979
From the infinite vaults of UK reissues giant Blood and Fire, Silver & Gold collects rare dubs and versions from Prince Far I‘s golden years, recorded primarily for his own Cry Tuff label. If you know Far I, you know the story: gruff, gravelly stream-of-consciousness toasting that, despite its often arrythmic qualities, was always intrinsically musical. “The Voice of Thunder” truly was the king of the deejays, as tracks like the “Let Jah Arise,” a bass-heavy production by Enos McLeod, and “Jah Dub Version” (“Cesar, Cesar Marrero, you know that man Cesar?”) will attest. There‘s nothing particularly noteworthy to recommend Silver over any previous Far I collection, but it‘s a solid addition nonetheless.
Qwel & Jackson Jones Dark Day
Rapper Qwel and beatsmith Jackson Jones have tailored an album that typifies Galapagos4‘s spirited releases. Qwel‘s raps are insightful and vigorous as ever, while Jones‘ melancholy beats are a perfect compliment. “Vincent Van Gogh Coke Ad” and “A Beautiful Thing” triumph as the album‘s finest moments. However, the project‘s gloomy nature grows unsettling midway through and is dead tiresome by the end. “Dark Day” and “Spit Your Lit” reflect effort, but are tedious downers, as is most of the project. Although Qwel and Jones are obviously sincere artists, Dark Day is simply an unmemorable listen.
Omega One The Lo-Fi Chronicles
Omega One‘s production is all over the place-and that‘s a good thing. Most of the 15-tracker meshes eclectic samples with gritty drums and seamless sequencing. Tracks like “Memento” and “Mom‘s Revolver” demonstrate tip-top technique and a near flawless execution, while “Cliff Banger” is a showcase of Omega‘s knack for clean scratching. Charismatic numbers like “Body Double” and “Paper Bag Boxer” are able to bump and be soothing simultaneously. Although mostly known for his collaborations with Aesop Rock, The Lo-Fi Chronicles proves that Omega One is more than capable of carrying an album by himself.
