It would be hard for Spanish duo Ferenc to top their ‘03 hit “Yes Sir I Can Hardcore”-and they don‘t. Fraximal isn‘t bad-its 10 synth-layered technotracks are solid enough-but it lacks “Hardcore”‘s brilliance. Opener “Diplodocus” sets an ambient tone that grows steadily more beat-conscious as the album progresses, but many of the tracks never quite differentiate themselves enough from each other. The results are mixed: “Vinagreta,” with its swooshing ocean noises, feels forced, but “Urdangarin Resistance” and “Neng” get deeper, grittier and much better.
Various Artists Dubstep Allstars Vol. 2
The Tempa label gives XLR8R the credit for spreading the “dubstep” tag when it appeared on a 2002 cover with a picture of Horsepower. While we‘re flattered, it was really the first installment of this series that introduced the term, along with names like DJ Hatcha, Skream, Loefah, and D1-the names of the scene, all under one shanty. This emerging sound combines traditional dub elements with junglist intensity, except half-stepped and under heavy, heavy sedation. Every track on this collection, mixed by DJ Youngsta, is exclusive and being issued for the first time, which means that D1‘s “Crack Bong” has yet to become a staple (which it will). Then there‘s Digital Mystiks‘ “Neverland,” which closes out the disc: an anthem in disguise, it amps up with a dancehall tempo and a dutchy production style that‘s slow cooked and potent.
Medina Green Funky Fresh In The Flesh & More
It‘s true that these days, Mos Def is known more as a Hollywood actor than an underground hip-hop artist. It‘s all the more notable, then, that his early indie hip-hop crew Medina Green still flourishes today, consisting of Def, his brother DCQ, their cousin Magnetic, and longtime homies Lord Ato and Jah Born. Medina‘s newest collection draws upon lean, old school, Native Tongue-esque stylings and deeply introspective raps, both of which keenly embrace an intellectual flow. Check out the affectionate cut “Momma Said,” a heartfelt call to young people to better themselves despite their most humbling circumstances.
Kevin Yost Future Flashback
Veteran house producer Kevin Yost has all but abandoned his prior dance music history. Future Flashback finds Yost freely exploring his lifelong obsession with jazz melodies: the result sounds like an airier, electronic version of Kyoto Jazz Massive, bubbling with tinkling piano notes and light jazz riffs with house beats floating only like friendly specters amidst Yost‘s dreamy atmospheres. With its unmistakable lounge vibes, Future Flashback sounds like something that belongs on Germany‘s Compost imprint (particularly “Free,” “Take Me Back” and “Welcome Home”) requiring both a relaxed ‘tude and chilled cocktail in hand for proper appreciation.
Little Brother The Chitlin Circuit 1.5
“This rap shit is chess, not Connect 4…” LB has got that right, but this collection of remixes and B-sides is a bit of a stalemate at that. On one side of the board, you‘ve got tracks like “War,” with a tense balance between Phonte and Big Pooh‘s rolling banter and 9th Wonder‘s rumbling beats and perfectly haunting samples. On the other side, you have the jerky lyrical bombast of “Flash and Flare,” where Phonte and Pooh‘s braggadocio falls hollow. But sit tight until the final track, where the pair‘s raw chemistry and 9th Wonder‘s blend of bang and sweet soul will have you counting the days until their real sophomore album drops.
John Arnold Style and Pattern
The Eddie Van Halen of broken beat is back and he‘s got the grooves on lockdown. Seriously, Detroit‘s favorite axe man is more than up to the task of equaling his stellar debut album as he tightens his focus to 10 slices of funk for the floor. A rubbery, anaconda-huge bassline plus Ty on the mic for the title track? Massive. Crispy-fried MPC beats plus Randolph‘s honey croon on “Rise Up”? Huge. “La Cocina” (a track born from live improv that was added at the last minute) could have been left off, but with the added bonus of Mr. Scruff and Henrik Schwarz‘s remixes of “Inside,” this is not to be missed.
Treva Whateva Music‘s Made of Memories
Carefree, quirky and more than a bit twisted, Treva Whateva‘s got the cure for stuffy clubs full of stiffs holding up the walls. Taking a break from lending a hand to Grand Central‘s Mystic Brew compilations, Trev lets fly with a passel of party rocking joints that cover several genres better than specialists. From the shiny disco vibes of “Driving Reign” to the absurdly infectious piano and vocal hoe-down of “Singalaong” to the skanking drum & bass of “Dedicated VIP,” Whateva works his samples and loops for all they‘re worth. Music‘s Made of Memories isn‘t completely perfect (“Havana Ball” is about as clunky as its punning name) but the occasional misstep is overshadowed by refreshing enthusiasm. Drop the pose and have yourself damn good time-Treva Whateva‘s got yer tunes.
Various Artists Rod Lee: The Official Volume 5
One drawback to internet world-bridging is the imminent end of the already dying phenomenon of regional music genres. While a visit to Maryland is no longer necessary to experience Baltimore club, Rod Lee still runs the genre; Vol. 5 finds Lee vigorously blending his tracks with those of fellow B-more natives like DJ Technics and his 14-year-old cousin DJ Lil‘ Jay. Its future may be in Rotterdam or Osaka, but, if tracks like Technics‘ “Get Up on It” and Lee‘s bitingly truthful “Dance My Pain Away” are any indication, Baltimore club still has a lot of life in it.
Amerie One Bossa (Don Ritmo Re-Edit)
A mash-up of sorts, wherein Amerie‘s back-up vocals get grafted onto leftover Dave Brubeck-meets-Kyoto Jazz Massive bossa jazz before fading back into Rich Harrison‘s brilliant Meters cut-up. Not bad, but it promised more and the fact is we all know it: the original is just that much better.
Black Dice Broken Ear Record
If going major usually signals curtains on an artist‘s creative era, hats off to Black Dice, who‘ve gone pop, as it were, with aplomb. Broken Ear Record is, to these ears, their most realized and (gasp!) beautiful album. Album-opener “Snarly You” and its lazy drum machine concoction notwithstanding, there is hypnotic ecstasy to be found here in the fuzz-and-lock groove of “Smiling Off” and especially the gorgeous loping guitar rays of “Heavy Manners.” It‘s in the contrast of light and dark, of hypnosis and chaos, where one finds Black Dice‘s meta-gold. It‘s the oblivion and lift off that makes this a near-perfect record, broken ear or not.
