In the same way Tom Waits-spun tales familiar to Big Easy pimps and Brooklyn pachucos in the back alleys of San Diego and Minneapolis on To Be A Bob, Dijf Sanders makes modern Antwerp sound more like some bizarre bohemian Jersey City than a Euro club capitol. Let’s call it broken beat-nik: overdriven and overdubbed beats, processed into a conceptualized jazz mulch in which flowers Beck alumnus Jon Birdsong’s smoky, muted trumpet, Benjamin Dousselaere’s Mingus-inspired bass and Sanders’ own oddly accented, gruff café croon. It’s odd, it’s inspired and it’s oh-so close to true greatness.
Dr. Israel Patterns Of War
Absent from the scene since 1999’s Inna City Pressure (recently re-released by ROIR), Brooklyn-based emcee/producer Dr. Israel returns with a masterpiece. That is an understatement: his dub texturing on the low-end counters guest vocalists Lady K and Chemda brilliantly. The vocal interplay between friends and Israel, who toasts with an upbeat consciousness, balances this superb recording. Political awareness abounds-as on the “Hebrew-led Tetze” and searing guitar lines of “Interference”–but that does not dissuade a softer side. Hearing Lady K’s sensuous vocals on “Cover Me” is enough to subdue and subvert any wicked naysayer.
Miwon Pale Glitter
Earlier this year Hendrik Krötz/Miwon’s “Brother Mole” popped its head up from the subterranean acid funk of Andrew Weatherall’s Fabric 19 mix; while it’s one of the few lovely spots there, the track is just one of Pale Glitter‘s many highlights. The album is alternately moody and playful, its happy-go-lucky electro bounce spooned by slow-burning opener “Semafora” and the Underworld-like hypnosis of “Hush.” Just as “When Angels Travel” entrances to the point of coma, the awesome crunchiness of “Spiralize” and “Vertizontale”–the latter of which buries an electro beat similar to that of Robyn’s “Show Me Love” in its web-revives interest in spades. CCO’s known for artists that shimmer, and this is simply their most luminous release of the year.
Fat Lip The Loneliest Punk
Fat Lip’s back, and he sounds a little pissed-off. Of course, the sounds of anger may just be a put-on or a parody–this is ex-Pharcyde prankster Fat Lip we’re talking about-but even if they aren’t, you can’t blame the guy for gettin’ his mean mug on after all the crap he’s been through. Besides, the results sound pretty good. Some of the yelled/sung choruses may put off listeners, but Lip can still spin a terrific verse and flip a taut flow. And he’s not afraid to take on unruly topics like writer’s block on, uh, “Writer‘s Block” and his own shortcomings on the years-old (but still dope) “What’s Up, Fat Lip?” If you’ve been missing Lip-or even if you’re just mildly curious about what he’s been up to-this album won’t disappoint.
Bizzy B Science EP
Now that the old-school choppage revival is in full effect, it’s only appropriate to welcome back hardcore junglist Bizzy B with his “Science” EP. Brace yourself for the breakneck rhythms and rave stabs of “Merda Style 2004” and “Afraid of the Dark,” while “Deep in my Soul” and “Strength” provide more musical and jump-up flavors without ever losing sight of the rinse out.
Fanu Jason
After a short hiatus, Thermal Recordings returns to the scene with a healthy dose of leftfield twelves. Finland’s Fanu steps up with a cinematic approach on “Jason,” combining his signature claustrophobic drum edits with haunting Friday the 13th samples and minimal bass grooves. Flip for “Witchcraft,” which runs in a similar vein and includes a short and sweet downtempo breakdown.
Klute & Pieter K Material Trip
Commercial Suicide and Offshore team up again with another slab of split futurism. Klute and Pieter K join forces and deliver the powerful and moody “Material Trip,” with somber, church-style chanting that hovers over slapping breaks and slippery bass. The Offshore side discovers the untapped Martsman, who delivers one of the most original d&b compositions of late with the refreshingly eccentric “Ago.”
Breakage Ask Me
Rewind alert! Breakage’s “Ask Me” revolves around natty pleading vocals before dropping in with a weighty bassline and the heaviest of amens that are chopped, blended and spit back out for your enjoyment. Contrasting nicely on the flip is Alias’ “Cosmos,” which rolls over thick grooves and a luscious bed of bass.
Someone Else & Ezekiel Honig Goink
If static interference is celebrated as an auditory pleasure, then the folks at Microcosm have tapped gold. Pinned under a shuffling yet steady beat, a melancholic haze of droning synths and bleepy interruptions define this emotionally chill soundscape. Painfully experimental, yet remarkably calming.
Luci Ideal Pour Dire Je T’aime
Fresh from Montreal’s jazz-fused techno scene, this laptop duo delivers their first minimal-oriented release. As ring-modulated vocal snippets rest atop subdued bass stabs, an elastic piano-permeated groove settles the mood. Come for the funky vibe, stay for the shifty compositional technique.
