For non-spotters curious about Mike Paradinas’ sound some 10 years ago, this double-CD set on Paradinas’ own Planet Mu imprint is the cheap way to go. Why plunk down top dollar for out-of-print versions of his Mu-ziq monikered Bluff Limbo or In Pine Effect albums, or the exquisite first Kid Spatula album, Spatula Freak? No need. Paradinas’ signature four-bar bass patterns and simplified synthy melodies are all over Meast, namely because its tracks are pulled from dusty mid-’90s DATs. Meast is old hat-nothing new, and most of the themes are incomplete or unembellished. Pass if you own any other Kid Spatula material.
Various Artists Post Office 2
Since we’re talking about a French 12″ minimal techno label and its second compilation, here’s a daft comparison: if Post Office 2 were a wine, it would be a dry white Bordeaux. Punchy and crisp, Post Office 2 sits well with sassier Perlon and flashier Playhouse releases, featuring bass-y unreleased cuts by old hands Ben Neville (“Kidlins”), Dandy Jack (“Le Serpent Qui Danse”), and Ricardo Villalobos (“Something”), as well as future artists Bidul, Run Stop Restore and Spasm. Although its throbbing minimal techno aromas likely won’t age well, Post Office 2 should be drinking quite fine for the next year.
Teargas & Plateglass Teargas & Plateglass
Like something from a J. Saul Kane nightmare, Teargas & Plateglass’ self-titled debut is the martial sound of drums and darkness mixed thick like a pool of blood, reflecting fear and starlight in your ears. Whoever this secretive group may be-acknowledging only connections to reformed gother Tweaker, King Britt and a few art installations-T&P centers on industrial percussion and atmosphere that’s as much deft DJ Shadow, Meat Beat Manifesto and Depth Charge beat smack-downs as it is the haunting illness of Material or Somatic Responses. Take with a stiff glass of absinthe.
The One Am Radio A Name Writ In Water
The second full-length from this outfit is aptly-titled: its shifting styles and fluid melodies are hard to pin down, a dreamy mix of vocals, guitars, synths, violins, and ambient beats. Bandleader Hrishikesh Hirway brings in guest musicians to add weight to the spare and dispassionate vocals and the result is both lush and thoughtful. Highlights include “Lucky,” where a string-backed Hirway croons about not accidentally driving off a cliff, and “Fever Dream,” where the delicate guitar sustains Hirway as he sings about memory and desire. The effect is lingering like sleep, and just as enigmatic.
Afropolice Break-A-Code
In case you’re not tipped off by the holding-a-passed-out-blonde version of Robby the Robot from Forbidden Planet on the cover, here’s the Cliff’s Notes on Afropolice’s debut full-length: Detroit plus Williamsburg via Japan. Think beats so synthetic they make polyester look farm-grown, occasional unintelligible vocals (e.g., “yeah yeah yeah yeah yoooowwww” on “M.F.A.”) and massive portions of bass and blips adding up to tracks that feel made for poorly-lit basement clubs on weeknights. The Tokyo-based duo could have stretched themselves a bit further (as on “Afro Generator”), but the album is solid.
Bizzart Ear Drung
Bizzart is that reviewer’s nightmare and dream, an artist who steers far to the left of heavily-trod hip-hop clich»s. On Ear Drung, Bizzart and producer Accident weave jazz, hip-hop, trip-hop, glitch, spoken word and about a dozen other styles into tracks like “Nivek,” with its bird chirps and beautifully woozy vocals, and “Protocol,” which references everything from Requiem for a Dream to Cyndi Lauper. The six years that went into the album are apparent in the details, like the epic sound of the bass and percussion on “Infinite Zero.” Who knows what to call this, except fucking good.
The Living Legends Creative Differences
As hip-hop aficionados already know, this Oakland-originating nine-man crew has successfully embraced one of the keenest approaches to hip-hop: stay indie, be racially inclusive and pursue inventiveness, lyrical flips and musicality. After busting out their own magazine and settling in SoCal, the Legends’ newest album, Creative Differences, features the core nine talents-Sunspot Jonz, Juckyiam PSC, The Grouch, Eligh, Scarub, Aesop, Bicasso, Arata and of course, the charismatic Murs. It’s hard not to admire the sharp lyrical and musical ambition here, from the effortless, clear synchronization of beat and rhyme on “Hold Your Own” to the hardcore Japanese rapping on “How You Take It.” Despite the Legends’ fierce self-reliance and tireless self-promotion, this crew has been poised for commercial success for years-and Creative Differences might just be the thing to let the Cristal flow as easily as their verse.
Intuit Intuit
Thomas Braun and Till Maragnoli’s debut album bubbles over with the kind of smooth, polished production that can’t help but sound like the highbrow tunes softly humming in the sleekest lounges. Such an observation would likely dismay these serious producers, whose compositional ear-like so many other Compost artists-leans towards the deeply moody and uncannily beautiful. Legendary jazz singer Andy Bey lends his soulful, buttery vocals to “Western Sunrise,” while powerhouse Brazilian percussionist Airto Moreira teams up with his wife, Brazilian jazz vocalist Flora Purim, for “Crian¡a Das Ondas.” Check the sweet, ’70s-touched soul of “A Hard Night’s Day,” which droops and sways with an airy, relaxed funk.
Various Artists Jimpster: Selected Remixes 2000-2003
Should’ve called himself Jumpster, ’cause these mixes make you want to leap all around the dancefloor, grinning like an idiot. Whether it’s the classy, bossa sway of John Beltran’s “Felicidad Nova” or the massive bass boom of Sista Widey’s “Inspectah,” Freerange boss Jamie Odell’s take on nu-jazz is anything but nerdy or noodly. It’s not all gravy-songs from Lisa Shaw and Blue Six are a bit too cocktail hour to keep the attention and expose Odell’s perfectionist tendencies-but when Jimpster’s on point, as on the infectious-like-ebola “Asma” by Smadj, his stellar drum programming and glistening hooks can’t be beat.
Trevor Loveys Intastella
You can use Intastella‘s song titles to aptly describe Trevor Lovey’s music: it’s got the fat basslines that “Bounce,” making you wanna shake your “Loose Booty” while crisp but thick drums serve as the “Agitator.” Critical gimmicks aside, Loveys delivers robustly produced house and broken beat that oozes with energy. His skills are no surprise given his track record as half of House of 909 and Switch, the latter of whom delivered last year’s killer “Get Ya Dub On,” but Intastella‘s rubbery brand of funk is still a welcome revelation.
