Though Kieran Hebden has certainly developed since his first Four Tet record, his work has never strayed far from course. And his new record is no different. Everything Ecstatic manages to be unquestionably Four Tet while continuing Kieran Hebden’s steady path towards a cosmic rhythm paradise somewhere that side of the sun. Ecstatic jazz, Krautrock, and hip-hop have always been part of the Four Tet package, but never have drums and bells played such an integral role. Like Madlib collaborating with The Boredoms, Everything Ecstatic is blunted and keenly searching, featuring some of Hebden’s most compelling pieces thus far.
Hal Varian Catalysm EP
Appealing to your regressive tendencies, Delsin label head Marsel van der Wielen from the low country conveys a cold, taunting reality through sound on the Catalysm EP, which is similar in style to the music of his Peel Seamus moniker. Fans of labels like Headspace and Peacefrog will enjoy the dark rifts, subtle progressions, and airy smatterings of this sonic essay.
Autechre Untilted
So here is Autechre Version 8.0. Rob Brown and Sean Booth further brandish their electro-funk roots, but mutate their beats into beasts which get shot down from trees, ear-tagged, and thrown in a zoo. Jumbled, broken-footed percussion is at the fore with textures as afterthoughts. The post-techno swordsmanship on the beats is quite deft, but very little is memorable. The lone exception is the taiko-like danse macabre of “Pro Radii,” where phantom jazz melodies and hailing DSP noises intoxicate. Better luck next time.
Meat Beat Manifesto At The Center
I often miss Meat Beat Manifesto‘s ghetto blaster symphonies that fume from the English rustbelt. Nonetheless, Jack Dangers‘ experiment with a live modern jazz trio is intriguing as it drops textures and heavy grooves like ink into a glass of water. “Murita Cycles” saunters through Technicolored spy jazz while “Granulation 1” envelops a panicking piano with black-clouded drone. Drummer Dave King‘s cadences maintain a narcotic flow (best heard on “Wild”) and flutist Peter Gordon fires melodies like a poet screaming for attention in a crowded pub. Keep those ideas coming, Jack.
Blueprint 1988
MCs mention ‘88 in songs more than any other year in history. But as countless acts reminisce about arguably the greatest year in hip-hop, MC/producer Blueprint has opted to model his entire solo debut as a tribute to it. Whether he‘s boasting about the power of his stereo on “Boom Box” or refusing to give into the stronghold of the boys in blue on “Kill Me First,” ‘Print effectively channels the past energy of Rakim, Public Enemy, and every ‘88 act in between. All the while he cleverly reveals his multifaceted personality, and 1988 amounts to a top-notch solo arrival.
Nobody And Everything Else…
Nobody‘s latest is an electronic-induced trip, driven by an abnormal palette of sampled sounds and hip-hop-ready drum patterns. As the title suggests, this album features somewhat random selections that may not have completely fit into his first two long-runners. That said, these moody instrumentals are usually as enjoyable as any of his past work. Nobody crafts tranquil downtempo numbers like “Tilijem‘s Forrest” just as effectively as uptempo offerings, such as the medieval-meets-modern banger “Wake Up And Smell the Millennium.” Of course, depending on your mood, you may be tempted to hit the skip button every now and then.
Various Artists BlackLabel Amsterdam
You would be lucky to find fans of disparate labels such as Gomma and Direct Beat in the same club, let alone buying the same records. But somehow Holland’s BlackLabel have managed to achieve just that. The fantastic, wide-ranging tastes of Dutch DJ and label-boss Kid Goesting are showcased perfectly on this first compilation CD, where ’80s electro-pop imitations (such as Roko Dragonbreath’s “Jumpin 2 Conclusions” make perfect sense next to darker, more purist wares such as Deflektorz’s “Electrobazz.”
Various Artists Brothers On The Slide: The Story Of UK Funk
Just when you thought England was funk impaired, Discotheque shuttles in 18 juggernauts to blow your wig and change your mind. Importing musical cues from stateside pioneers, the groups here stir in their native African and Caribbean influences for flavor. The set mixes usual suspects like Cymande, Labi Siffre, and Average White Band with more obscure outfits such as Black Velvet and The Equals. Replete with liner notes, interviews, photos, and a gang of gnarly funk, this is a must for collectors and connoisseurs of groove. Star cut: Madeline Bell‘s rare gator funk jam “Comin‘ Atcha,” produced by Led Zeppelin bassist John-Paul Jones.
MED Push Comes To Shove
Since ’99, MED (a.k.a. Medaphoar) has been slingin’ rhymes from the left coast via countless guest appearances and one-off singles. After six years, Stones Throw proudly presents his debut full-length. Every track is worth the wait. The album cements MED’s brazen intentions to “snatch the game by the throat with a money grip” by way of a punctuated AK-47 flow and head nod board work by J. Dilla, Oh No, Just Blaze, and the ubiquitous Madlib. Aside from four of his previous joints, including “Special” (sans Badu’s vocals), these bangers are guaranteed fresh out the pack and certified sucker free.
R-H Blackasia Volume 1
Singapore-based DJ and producer Rajesh Hardwani has a vision of a pan-Asian massive united by a shared passion for ethnic sounds infused into progressive beats. Black Asia Volume 1 is the culmination of Hardwani’s philosophizing: a heaping scoop of field recordings from his own travels, everything from Japanese string masters to Malaysian street musicians layered in breakbeat and drum & bass. When it works, like on “Tim Sum Vindaloo,” Black Asia is decent latter-day Asian Underground stuff, but too often, R-H is content to stay ho-hum generic.
