So many words, inked and verbalized, preciously trace the influence of hip-hop upon electronics, particularly in IDM. Here this Danish label drums up a less-than-fresh concept record of IDM artists presenting their take on hip-hop. But with the recent genius explosion of creative ingenuity in hip-hop-crunk, grime, ragga and their superproducer counterparts-what precisely makes a hip-hop record? With some exceptions (i.e.: Tilliander, Melk), most contributions sashay past this quagmire wearing nothing but their slickly processed Mo‘ Wax retreads.
Tarentel Paper White/Big Black Square
Essentially a companion piece to last year‘s stellar We Move Through Water LP, this compilation of EPs highlights an abundance of engaging material from these post-rock veterans. Seemingly capable of coaxing any number of complex emotions out of even the most jaded listener, Tarentel touts an inherent knowledge of the devastating possibilities of sound and instrumentation. From the delicately majestic unfurling of “Paper White” to the sprawling ramshackle of the 43-minute “Big Black Square,” Tarentel displays a mastery of craft that‘s nothing short of perfect.
Johan Skugge Volume
Oft criticized as a dead genre, constantly cannibalizing its (recent) history, “minimal tech-house” records and comps still manage to clog shop shelves weekly, originating from a seemingly teething worldwide network of monotonously mouse-clicking (mostly) men. Almost as a direct response to this monotony, Mr. Skugge unleashes this deftly effective manifesto of thoughtfully constructed tech-house, incorporating funk flourishes, electro squanks, monster bass blasts, and disco swirls. He also adds vocals both robotic and breathy, which are rarely so intoxicatingly woven into records of this ilk. Volume is an involving 60 minutes, and another worthy volume to add to this revived genre.
Hana Haës Rosanova
Haïs‘ debut proves the obvious: deep house sounds great in French. Of course, it never hurts a vocalist when Chicago house legend Larry Heard produces your first single; in this case, the understated, excellent “Il Parlait Pas FranÁais.” Haïs also wrote all the tracks on the album, and her talent is obvious, from the expressive “Je Ne Veux Plus tre Ta Reine” to the accordion-driven “Rosa Nova.” For the unconvinced, a second disc of remixes and dubs gives one last chance to appreciate her. It‘s hard to tell whether the album succeeds because of her voice or the impressive production values, but either way-it works.
Various Artists Appleseed Original Soundtrack
Like anime itself, anime soundtracks run the gamut from the commercially soppy to the edgily outstanding. Fittingly, this soundtrack matches the style of Appleseed and its creator, Masamune Shirow (who also created Ghost in the Shell). Big names abound, including Basement Jaxx, Oakenfold, and Carl Craig and Adult., whose “Hand To Phone” is a great intersection of Craig‘s techno skills and Adult.‘s paranoia-laced style. The soundtrack also includes Japanese artist Ryuichi Sakamoto, who turns in the distortion-fueled “Coro,” and his countrymen Boom Boom Satellites, who contribute four tracks including the driving opener “Dive For You.”
Various Artists Buzzin‘ Fly Vol. 2
Ben Watt is so consistently good reviewing him feels too easy-and this house disc is no exception. Here Watt finds that rare balance between awareness and abandon. The ultra-smooth segue of the intro-which melds parts of the Watt-penned “Williamsburg or Harlem” into the deep house-meets-Jamaican vocals of Jerk House Connection‘s “New York Style”-sets the tone for the disc, which showcases Watt‘s considerable DJ skills. He nails both the mixing and programming, with tracks like DJ T.‘s electro “Time Out” and Nookie‘s lusher “Better Love” culminating in a return to the comp‘s opening track.
Various Artists Mark Farina: Mushroom Jazz 5
Farina‘s Mushroom Jazz series has proven popular; each disc has presented a consistent, midtempo flow of house and jazz. This album‘s no different, and that‘s probably its biggest flaw, if one can call that a flaw. The disc is excellently mixed, on point and subtle and the programming‘s carefully done; standout tracks include The Strange Fruit Project‘s “Maintain,” threaded through with a simple jazz piano line, or DJ Numark‘s “Chali 2na Comin‘ Thru,” featuring vocals from the Jurassic 5 alum. Mark Farina holds his tracks to high standards, meaning this disc has plenty of head-nodding, groove-feeling moments.
Blue Ribbon Another Time
I‘m guessing the other time the title refers to is 1982, since Blue Ribbon‘s album needs only some heavy black eyeliner to finish channeling that decade‘s synth-pop scene. But while bands like New Order are obvious influences, Blue Ribbon goes for a more muted, less beat-driven sound, sticking to a quasi monotone with little emotion. Though tracks like “Miami” work, the navel-gazing “2012205,” with its drone of synths, falls flat. The album ultimately highlights the band‘s need for more rangetoo many of the tracks sound like variations of each other.
All Natural Vintage
This disc‘s title is completely appropriate: this hip-hop goes back to the day when an album meant more than standard tracks proclaiming one‘s greatness on the mic and in the sack. The beats are strong, but the music layered over even more so. How many DJ/MC duos have tracks on their album dedicated to their wives like “When I See You,” which is sweet, tough and honest at the same time? “Uprise,” about making a better life, doesn‘t sacrifice musicality in making its point. And “Keep It Movin‘,” with El Da Sensei and Allstar, does just that. Vintage, yeah, but not old.
Abe Duque So Underground It Hurts
Hollis, Queens‘ Abe Duque is something of a rare bird: he‘s a NYC techno DJ/producer who‘s held steadfastly true-for over two decades-to a genre with a troubled club history in his fair city. Like the man himself, Duque‘s new album is also something of a techno rarity: it‘s a cohesive tale told with all the refined nuances of a master storyteller. So Underground It Hurts practically bursts with old-school affection, showing not only Duque‘s trademark sense of humor and his delight in manipulating mood, but also a deep, abiding love for and obsession with his beloved techno-here displayed unabashedly in all its groovy, rump-shaking glory.
