This megamix by Buddy Peace and ZILLA testifies to Warp Records’ continued vitality in IDM/hip-hop/post-rock realms. The CD, which accompanies the excellent WarpVision: The Videos 1989-2004 DVD, telescopes a huge chunk of Warp’s catalog into 54 minutes. In the tradition of the Blech mix, Watch And Repeat Play is part savvy promo device for ADD sufferers and part exhibition of deft mixing skills, cleverly threading teasing snippets of the label’s greatest bits. When your roster’s this deep and talented (Aphex Twin, Autechre, Squarepusher, Boards Of Canada, Prefuse 73, Beans, REQ, Broadcast, etc.), you could issue these sorts of comps ’til doomsday.
The Soft Pink Truth Do You Want New Wave or Do You Want the Soft Pink Truth?
On 2002’s Do You Party?, Matmos’ Drew Daniel glitched up and deconstructed house. Here, he cheekily recontextualizes American hardcore and English punk and new-wave songs. Even if you don’t know the originals, Do You Want New Wave…? succeeds as minimalist, idiosyncratic electro-funk. You can tell Daniel loves these tracks, but he also wants to have fun twisting them into unrecognizable shapes. Of the many triumphs here, the chaotic rendition of Crass’ “Do They Owe Us A Living?” with Vickie Bennett’s hilarious deadpan vocals and the blasphemous microdisco version of Nervous Gender’s “Confession,” with its malignant swarm of old-school synths and acidic fibrillations, resonate strongest.
IQU Sun Q
IQU’s first proper album since 1998’s Chotto Matte A Moment! is a glossy party opus brimming with Asian-American soul, lubricious disco-funk and mellifluous melodies. Sun Q’s production (by IQU’s Michiko Swiggs and Kento Oiwa, along with Brian Weber; Tony Lash mixed) is phenomenally vibrant and full-bodied. IQU’s multi-instrumentalists are hedonists with masterly chops and ears keenly attuned to the cheeky and the weird. From the heart-stoppingly beautiful, Theremin-dominated cover of Minnie Riperton’s 1974 hit “Loving You” to the punchy, staccato funk with distorted guitar and psychedelic keyboard whorls of “Hamachi,” IQU prove that passion for the past can manifest magnificently timeless music.
Losoul Getting Even
Losoul’s Belong (2000) is one of the most auspicious experimental tech-house debut albums ever. It’s unsurprising that Losoul (Peter Kremeier) took four years to follow up such a monumental work. Unfortunately, Getting Even, while mostly solid, doesn’t match Belong‘s skewed brilliance. Getting Even‘s reliance on stern, simplistic 4/4 rhythms and faltering attempts at pop (“A Blood Sample” and “You Know”) overshadow Losoul’s inventive array of percussion eccentricities and warped keyboard tones. The disc ironically peaks on its most atypical cuts: “Soul Down”‘s hypnotic downtempo tech-dub and “Warriors (Rock)”‘s mesmerizing schaffel with Gang Of Four-ish guitar stabs.
Pixel Do You Miss Me?
Kwesi Davies is Pixel, and on this vinyl-only release the title track is a good representation of his signature brand of spaced-out, groovy house. “Grippin To Dirt…” brings a tough broken rhythm. For more of this fresh approach to future house, seek out his debut album, People Needs People. Pixel is destined to be far more than just a blip on the screen.
Moody Allen Extra Mile
The Dutch massive at Flyin High really comes through on the future soul tip. “Extra Mile” from the Moody Allen quartet kills it on the Rhodes, alongside deft beats and a funky-as-hell bassline. NY’s Rha Goddess does her soul vocals just right. Meanwhile, David Borsu grooves it up a bit with some respectable remix action.
Milky Globe Ode To A Beatbox
Lo Recordings’ creative director Jon Tye (a.k.a. MLO, 2 Player, Twisted Science) returns with Luke Vibert and Daniel Pemberton alongside him for a fantastic taste of ambient space funk. As if the original wasn’t potent enough, Tye’s roped in Russia’s Scsi-9 and EU, plus The Advent’s Mr. G for splendidly melodic beat symphony reworks, just in the nick of time to soothe our war-weary souls. Bravo chaps!
Le Tigre This Island
Yes, the once fiercely independent Le Tigre has signed to a major label; and itís true that This Island is a naÔve-sounding record, full of electronic gimmicks and simplistic, often childlike, sing-song lyrics. But itís also one of the most easily digestible political records of the year, transmitting anti-war, pro-queer visibility and feminist messages to a mostly young, mostly female audience who value a fun dance party more than they care about production prowess or the progenitors of the style (Public Enemy, Atari Teenage Riot). This is slumber party mutiny musicñthe shinier, happier, techno-fied version of the riot grrrl revolution leader Kathleen Hanna originally started with Bikini Kill. And This Island has its moments, notably the Nintendo soundclash of rave-meets-Sex Pistols anthem ìSeconds,‘ the fierce bounce-happy electro of ìAfter Dark‘ and a glittering freestyle cover of the Pointer Sistersí ìIím So Excited.‘ Don’t hate, demonstrate.
Chester Copperpot Take’N’Over
Roxbury representer Edo G absolutely rips the marimba-laced beat on “Take’N’Over,” proving that he still gotta have it (and ain’t above takin’ it by force). He transforms what might have otherwise been a light-hearted track into a “y’all don’t want it” anthem. Chicago’s Coppperpot crosses the pond for the B-side’s collaboration, tapping UK MC Moneygrip for “Braintax,” but lines like “You’re a wanker” and “I’m Simon Cowell on the mic” will never fly on the West Side (of the Atlantic).
Glen Washington Wanna Be Loved
Wanna Be Loved is an apt title for Washington’s latest effort. The lovers rock crooner (and former Stevie Wonder drummer) has one of the genre’s most distinctive voices, but has toiled in relative obscurity for the last quarter century. For the most part, he sticks to the lovers material here, but adds touches of consciousness on “Mighty God” and “This Life” (over the “Waiting In Vain” version). His plaintive voice is impossibly sincere; at times, it sounds as if he’s just finished crying (and may start again). But on “Roller Coaster Ride,” he seems to be truly enjoying his career-ups and downs included.
