Since Return of the DJ Volume I came out in 1995, the series has chronicled the growing pains of the burgeoning turntablism movement: the formative years, the inevitable masturbatory phase, and finally, the discovery of self, when true growth begins. Volume V showcases this last phase. The ’89 Skratch Gangstaz screen the timely “Director’s Cut,” a hilarious pastiche of pre-gubernatorial Schwarzenegger samples; Ales One and Teeko get downright nasty on “Detonator;” and DJ Marvel offers the cleanest cuts this side of DJ Revolution on “1-8-7.” The real standouts are Noisy Stylus’s utterly enjoyable veggie anthem “Broccoli Wars,” Azzurro and Hashim B’s “Quattro Respirato” (the genre’s first ode to deep-breathing techniques) and DJ JS1’s scathing “Ventilation.”
Kero One Check The Blueprints/The Cycle Repeats
Keep it real. Easy to say, hard to do. Kero One, however, does it to death on this record. Not only does he rhyme and make his own beats, but he does the cuts on “Blueprints” (DJ Seoul Control cuts elsewhere). And he’s a graf head, as he attests on “The Cycle.” The beats are straight outta ’93-jazzy and organic, lots of boom-bap and not the least bit contrived-and Kero’s easy delivery fits the mold perfectly. And that’s real.
DJ Sat-One After Midnite
Jazzy Jeff associate Sat-One-an accomplished graf writer, producer, and, of course, DJ-provides Last Emperor and Pauly Yamz with a mean and moody beat perfectly suited to their verbal invectives and his own staccato scratches on “After Midnite.” On “The Popoff,” Kamachi joins Baby Blak over a happy little organ-driven beat that somehow works with the MCs’ rugged flows. “Skratch Makaniks” is named for and features Sat-One’s crew (Jay Ski, Kwestion and Excel) and showcases their considerable cuts.
Consequence Turn Yaself In
When Consequence got down on Tribe’s Beats, Rhymes & Life, everyone thought he was destined for greatness, but years later, this is his first legitimate solo effort. Although both tracks feature Kanye West beats, “Turn Yaself In” languishes somewhere between soul and hip-hop, while “Yard 2 Yard” finds Cons and Rhymefest spitting pure fire. “Bitch Rider,” produced by J-Blast, is also a knocker, with beefy drums and a nice sitar loop.
Various Artists Coolie Dance Amharic
Amharic, a riddim produced by King Jammy’s son Jammy “Jam II” James, follows in the recent tradition of Eastern-influenced riddims like Diwali and Egyptian, but its intro sounds more Indian than Ethiopian, as do its bhangra-esque drums. As a compilation, Amharic is a ragga microcosm: slackness rules on cuts from Spragga Benz, T.O.K. and Ward 21 (who bigs up SpongeBob Squarepants); drink and ‘dro are tackled by Silver Cat and Taz & Chico. Despite its name, Everton and “Scatta” Burrell’s innovative Coolie Dance riddim doesn’t sound overtly Asian. At 120 bpm and laced with handclaps, it blurs the lines between dancehall and soca. Vybz Cartel, Hawkeye, Ce’cile and Madd Anju hit, but it’s Kiprich’s posthaste patois that works best.
Nick Holder No More Dating DJs
This officially replaces LCD Soundsystem’s “Losing My Edge” as dance music’s best sardonic critique. Why? The poetess Jemeni deadpans, “I’m done with dating rappers, MCs, DJs, producers/I’m looking for a real nice Rogers Cable guy who thinks a Technic is a way to way to make love to me.” And “No, I don’t want to hang out with the other DJ-girlfriends/they’re adapters/automatic after-performance clappers/Preparation H for swollen-ego asshole rappers.” Case closed.
Double Helix Funxtiles
Dancefloor DNA to modify your defective genetic steps, courtesy of Helix’s twisting layers of offbeat ambient-electronics. Harkening back to early-’90s SF and Detroit tech-dance sounds, these three tracks pine for simpler times. Add gorgeous chords and delicate percussion, and you’ve got essential audio art.
Various Artists Global Indie Clubpop
Nothing says “introverted indie kids gone wild” like this compilation sprung from the glam-giddy loins of LA’s Par Avion night. Selections range from harmless bubblegum electropop by Spain’s Galactica to an endearingly queasy nod to French pop by Osaka’s Eel-Fille Unique. Bopping back to the teen scene of 1960s France known as y»-y» while maintaining a robotic pelvic thrust forward, Global Indie Clubpop isn’t as heinous as the title sounds. Discerning shimmy-shakers will find that NYC’s I Am The World Trade Center, LA’s Seksu Roba, and Montreal’s Stars provide spoonfuls of medicine to help the sugar go down.
Mika Right Place, Right Time
Synthetic fun, house headiness, and breakbeat cool are equally at home on Mika’s second full-length for Austria’s Klein. You might even say it’s all quite well-timed and well-placed. Mika marries the familiar with the futuristic, crafting socially lubricating party vibes that flow between bubbly dancecapades and street-level lounge grooves. Breathy, blithe vocals keep a lighthearted air throughout shifts in tempo and mood. Melodic strength takes a backseat to nimble production, but the remake of the Beatles’ “I’m Looking Through You” is so deft in reinvention, it almost slips past recognition.
Telefon Tel Aviv Map of What is Effortless
If glitch is the Mrs. Dash of electronic music, Telefon Tel Aviv is writing the official organic recipes-aphrodisiacs, at that. Following up their debut, Fahrenheit Fair Enough, and remixes for Nine Inch Nails and Eminem, Map oozes with seductive vocal soul and analog synth in the spectral space of orchestral ambience and computer-based percussion. Employing the Loyola University Chamber Orchestra, guest vocalists, and their own multi-instrumentalism, New Orleans natives Joshua Eustis and Kevin Duneman are smooth operators leading listeners into a breakthrough boudoir where IDM and R&B are gettin’ it on.
