After listening to our heavily copy-protected version of Madvillainy, it appears that the belated MF Doom and Madlib collabo has weathered the storm. Uploaded onto the Web last year by a gang of dastardly file-swappers, Madvillainy‘s premature ejaculation cost Stones Throw and everyone involved a shitload of cash, not to mention pissed-off fans who had a firm 2003 release date in mind. Yet with all the bullshit and all the soap-opera plot twists, Madvillain’s album has emerged more beautifully twisted than ever. Soaked in esoteric TV theme songs, clever anti-hero wordology, and beats so good you understand why they were shared on Napster, Madvillainy is a Pumping Iron-style flex of the duo’s considerable mental muscle. With the exception of “Shadows of Tomorrow” (featuring Lord Quas), Madlib strictly mans the decks, while the half-man/half-amazing Doom/Vaughn persona tests the limits of verbal abstraction. Yeah, this is a nice album. Bootleggers should throw down a 20 for the cover art alone.
Nostalgia 77 Songs For My Funeral
Why anybody would feel the urge to write music to be played following his or her demise is beyond me. Despite the morbid premise of this collection, though, Songs For My Funeral contains some jovially sparkling jazz-hoppers. “Rain Walk” sees regal strings dominate proceedings, as a pouting bass and abrupt keys cater to their every need. “Metamorphosis” lets a crazy, jazzed-up trumpet run amok alongside drummed-up percussion; and “The Beginning” surprisingly ends proceedings, with whooping vocal shouts, tooting bugles and conversational scratches. A bizarre but appealing record that sometimes approaches deathly good.
Fat Jon Lightweight Heavy
The ample beat constructer with a knack for manipulating emotions brings forth his third collection of solo compositions, following collaborations with beat merchants such as J Rawls and abstract electronic demi-god Pole. Lightweight Heavy merges the hopped-up swagger of blunted beats with ear-pleasing and beautiful melodies. “Talk To Me” sees tender keys and strings combine under earnest vocals, while “Everywhere” is a choppy percussive outing, with relaxed, somber word play and languid atmospheres. “Synopsis” has a happier vibe, courtesy of purring bass, dreamy keystrokes and airy brass. Lightweight Heavy is a commendable album full of slow-stepping, melody-rich cuts, steeped in instrumental hip-hop’s teapot.
Various Artists Break Reform:New Perspectives
Break Reform showed us the humanity of raw UK street soul with their debut LP, Fractures. New Perspectives lovingly revisits cuts from that collection, while offering up previously unavailable dubs and remixes. “What Do You Do” philosophizes over what should be gotten out of life, while angular, but relaxed, beats tussle with calming keys. Meanwhile, Nwachukwu’s remix of “When It Came” is a startling and bold overhaul, with fizzing synths, passionate keys and vocals that cry out for answers. Although not as essential as Fractures, this collection should still be high up on the shopping list for any lover of untamed emotion.
Various Artists Receiving Data-Ah, It’s Coming
Covering a great deal of ground, Receiving Data is an enlightening selection of neuro-muscular stimulation from one of Germany’s leading techno lights. “After Shock” marks the return of dance music veteran Baby Ford, who battles valiantly through an outer space shot through with synths and bass tremors. Sten’s “Faces” sounds like the calls of a lost astronaut, with an infectious acidic bassline playing against sharpened synths and clockwork keys that back bold sci-fi strings. Elsewhere, K. Lakizz & Trike contribute “Suppress,” a somber affair where shoegazing bass meets fragile percussion. This one’s up there with the likes of Tresor and friends.
Various Artists Detroit Soul
Detroit’s last major musical upheaval happened in the ’80s, as techno originators Derrick May, Juan Atkins and crew expressed soul through melodic subtleties, which reacted with the machine-driven elements of their music. Today, there’s a new soul revolution afoot in Detroit, with artists delivering startling instrumental tracks and riveting falsetto cuts that emotionally nod towards the city’s musical forebears-think Smokey, Marvin and ’60s Motown. The Detroit Soul compilation represents the best of this city’s emerging raw talent. Anita Wright, one of only a few female vocalists on the disc, delivers “Untitled,” a delicious ode to the heart-warming feeling of being in love. Athletic Mic League’s “The Loveliest” is a gorgeous half-spoken/half-rapped number dominated by optimistic brass hooks, while Ayro’s “Burning Brightly” further stokes the fire with Rhodes keys, fluid synths and vocals that just won’t let go. From Cobra to Dwele to the Jaylib collaboration, Detroit Soul makes no missteps in marking the new wave of young Motor City soul.
Kiln Sunbox
Sunbox, by Michigan-based three-piece Kiln, is a delectable album of fizzing, popping, gently breathing electronica, its dulcet melodies offset by soft burbles, clicks and shuffles that envelope the listener in a haze of synthetic noise. From the broad, sweeping opener (“Royal Peppermint Forest”) through the crackling, minimalist beats of “Season,” Sunbox succeeds in luring the listener into an unobtrusive yet ultimately engaging aural environment. As Ghostly International continues to expand their range, it’s refreshing to see them remain firmly entrenched in underground sounds.
Fibla Lent
Lent is the Catalan word for slow, but you’d be forgiven for thinking Barcelona’s Vicent Fibla was referring to the fasting period before Easter. The music here is ascetic, particularly the quiet step-click of “Eucapt Sand” and the dark, cinematic tones of “Making The Most of It,” where bass tones drone mournfully like chanting monks. Perhaps this isn’t surprising, coming from an artist who’s recorded for Sub Rosa, Benbecula and Couchblip, but it still leaves you wondering how many nostalgic, subdued, boldly Autechre-influenced beep ‘n’ click albums one can stand to have in the collection.
Hearts Of Darknesses Music For Drunk Driving
I want to like this CD, with its jauntily drawn cover of dinosaur skeletons frolicking on a bright-colored tundra and being dive-bombed by dead pterodactyls. And let it not be said that I don’t like the idea of mutant gabber sutured together with dance punk, glitch and sampler noise. But to be perfectly honest with you, listening to Music For Drunk Driving‘s 24 tracks-more like minute-long soundbites, really-is like having someone shove hot pokers in your ears while pulling off your toenails one by one. In other words, it’s full of sounds that only a stegosaurus in a k-hole could love.
Romanowski Steady Rocking (Inna Jamaican Stylee)
San Francisco renaissance man Romanowski parlays a love of dub and roots reggae into a tasty little nine-tracker of saxy breaks that’s sure to occupy a spot in the DJ box of hip-hop and downtempo party rockers throughout the Bay and beyond. Standouts are the steady ska lope of “Speaking Of” (including a separate, deliciously snappy, dub version) and the flute-happy downtown Jamaica funk of “Romjack Steady,” sure to put a swing in your step and a crease in your tam.
