September 1999MP3, is that really a scary word? Is it even really a word? Does it really generate music or is it just a virtual cyber experience? The answer to all three questions is yes. It's only scary to the labels, large and small, who fear loss of control of their music commodities. MP3 is a term that describes a file format first developed in 1992, enabling download and playback of audio/visual clips on personal computers. There probably has not been so much unwarranted fear and loathing centered on an idea since man had to decide whether to remain shivering in the cold or risk drawing near the fire. At that prehistoric event those first men couldn't conceive of how to control fire but the advantages were apparent, so they took the plunge, moved by the confidence and hope that somehow fire would be a tool and not a bane. The only way the established music industry can have any sort of control of MP3 is by using and embracing it. I have yet to see anyone point out that in all the years of prerecorded music, from the first Edison wax cylinders to CDs, MP3 is the first format that is virtually incapable of replacing any of its predecessors. This technology can only enhance what is already available. And anyway, well before MP3 could be financially viable new technologies may surpass it. (Case in point is the RIAA-established specifications for the industry-wide "secure" standard SDMI or Secure Digital Music Initiative -- useless because the technology is being established as a "free be" by the amateurs.) In the meantime how could any label pass up this promotional goldmine? All labels, both major and independent, should have free tracks (edited possibly, with full versions on the commercial release) from all their artists available as downloadable MP3 files, giving the listeners a tease of something good and and an inducement to buy the package. Remember, when radio started giving away music via the airwaves consumers did not buy less music -- they bought a whole lot more. The labels do not need to devise the best way to hawk their wares via the internet, they should give it away. The commerce of the music industry will continue as it has been. (The only damage I see to our industry via the internet is the corrosion to established music store retailers, chains and mom & pops. The cutthroat, high-volume music sites land gladly in the red just to sell in quantity ... it's destructive.) Additionally, the labels can include downloadable versions of artists' videos and not just sound. This should all be a "no brainer," promotion directly to the consumers with none of the politics or morals of radio/MTV to decide what should be programmed to the consumers. Many have written on how MP3 may reshape the way music is made. I see it as further enabling the artists' freedom to create music, and that even applies to artists in the major label stables. If you look at the overall MP3 picture it's not really about music, it's about the novelty of a new media. Prove it to yourself. Go to any one of the sites and see the huge lists of unknown artists making their music available for free. You'll soon discover why it's all free. There is a vast number of unremarkable three-minute offerings that can take 15 or 20 minutes to download before that fact is established. When everybody has had a good taste of that experience, the pure novelty of MP3 will start to wear thin. I see many manufacturers jumping in too deep to produce the portable players that will be the "mini-disc" of tomorrow, and which won't be able to play SDMI. If you want to experience the future in music pick up BREAKBEAT ERA "Ultra Obscene" XL/1500 Records. Breakbeat Era is the brainchild of the best-selling, highly acclaimed drum & bass producer RONI SIZE, who's joined by DJ Die, vocalist Leonie Laws, and a powerful four-piece band. Finally we have an approach to drum & bass that does not just "have" vocals, but is vocal-driven with a rock construction that incorporates the lyrics into each composition. Size's "New Forms" from last year hinted at this concept. Laws' gutsy, jazz-inspired styling are a seemly match to Size and Die's intricate and beef-y productions. There are a generous fifteen dramatic selections to choose from, but the tracks are sequenced to demand play straight through, making this a true album. The use of daring cinematic breakdowns, multi-layering of effects, live and up-front instrumentation, a plethora of rhythm structures and moody, abstruse lyrics compose the vital elements involved in "Ultra Obscene." New levels of appreciation come out with every listen. A few of the key tracks are: "Control Freak," with beautiful guitar chords strumming through, title track "Ultra Obscene," with sexy, syncopated vocals pecking at the lyrics and sharp jazzy stabs, a "Bulletproof" that Shirley Bassey couldn't do better, band namesake "Breakbeat Era," with stand-up bass, high-hat and snare in a harmony with Leonie that's timeless with a 30s jazz-era tone, and "Sex Change," which jumps out with frantic electric guitar feedback, urgent bass and twisted lyrics spat out by Laws. "Rancid," "Time 4 Breaks," "Animal Machine," and "Our Disease" stand out as well. LTJ BUKEM is from every level a contemporary to Roni Size and they complement each other beautifully. PROGRESSION SESSIONS 4 is a mixed selection from Bukem's label Good Looking Records' stable of artists, featuring MC Conrad's vocal styling. This project is available in a double-CD that has this fine set in vocal- and instrumental-only versions. Bukem offers his established, captivating urban flavor to offset Size's new, jazz-rock approach. The whole piece rolls through with selections by Big Bud, Seba, Rantoul, Moonchild, Psyne, my personal favorite Makoto, and a unreleased LTJ Bukem "Ruffin'" that will be featured on his highly anticipated solo album slated for released this coming fall. A recent rash of releases verge on nostalgia for the "good ol' 80s." LES RYTHMES DIGITALES "Sometimes" on Wall Of Sound UK is a prime example of what may be the beginning of 80s-mania. "Sometimes" has intriguing vocal hooks from 80s icon Nik Kershaw, with Junior Sanchez turning in a pumping 4/4 groove. The sound of this release is uncharacteristic for both Les Rythmes Digitales (usually cinematic trip-hop) and Junior Sanchez (usually hard/deep house). Think early Human League meets prime Yazoo channeling Heaven 17 on a Dead Or Alive bender. With all these classic cheese elements it sounds like it would be some horrible abomination, but there are insidious twists in the structure and vocals that ensure a progressive and contemporary outcome. GREEN VELVET "Coitus" is remixed and released on the Belgian label Music Man. This one is based around a classic Moroder/Summer "I Feel Love" sample that also fueled many of the 80s-subsequent dance floor stormers. If you would like the essence of Front 242/Nitzer Ebb to relive your corner of the 80s look no further than TAKKYU ISHOINO's "Anna Letmein Letmeout" on Exceptional Records, UK. One half of Denki Groove, Ishino is Japan's leading techno craftsman and an international top-ten DJ. Rounding out this '99 wave of 80s is the DOPE SMUGGLAZ new release "Double Double Dutch" b/w "88-99" on Perfecto. This take on Malcolm Maclaren's "Double Dutch Bus" gets the Dope Smugglaz over-the-top, big beat party makeover. Keeping the themes and vocals from the original the Dope Smugglaz catapult this 80s classic into '99 with the most insane breakdowns you will ever encounter -- essential. Shara Nelson (Massive Attack), fresh from a recent appearance on the Presence album, provides her succulent vocal talents for "Isla Negra" by CUBA on 4AD UK. The Groove Armada remixes the track with all the deepness of MAW or Black Science Orchestra, showcasing Nelson's exquisite voice the way it should be. The INFLUENCE label out of England has taken a reassuring turn for the better with their current three ballsy releases, "You Love Me Right" by VELASQUEZ, "Play On" by The Deal and "The Beat Goes On" by house maven Crispin J Glover. Velasquez has the lovely vocals of Annette Taylor, with massive tribal energy provided by a Colour System production. The Deal loop twisted funky bass synths with the vibes of a jazzy xylophone and deep spoken vocals that inspire one to listen to the inner voice. They structure it with a tight Chicago style and soulful trackiness. Crispin J Glover's offering has his usual elements of a disco, jazzed houser but boosted tremendously by loads of live percussion. The male chorus drones out the title "...and the beat goes on," setting a pleasingly moody tone. Send review material to: |