March 2000The new year kicked off so sedately in music it seemed as though many artists and labels required both January and February to recuperate from the recent millennium merriment. However this "is" the time of year when many labels hold back crucial, ready-to-go releases, certain that their's will be "the key track" at the Winter Music Conference. By now everyone should realize that this contrived and pompous posturing of new releases only dilutes the impact these might have had if the same labels only followed a conscientious, business-like flow with their releases. Tossing all the great tracks that are sure to surface in March into that music-industry kettle may well produce a very tasty gumbo, just don't expect many of the "ingredients" to leave a lingering, distinct flavor on anyone's palette. Nothing could be expressed logically that would prevent those hopefuls from attempting to "tie-their-wagons" to the WMC's elusive star, so good luck to all. "The more ways a man is deluded, the happier he is." -Erasmus MEPHISTO ODYSSEY are once again our own Mephisto Odyssey, I guess there was some kind of "neo-speedcore, death-metal vampire band" registered with the name Deep Red. Let 'em keep it. This column has been following these guys (+ 1 gal) closely over the last few years and with much deserved enthusiasm. Their new release "The Lift EP," through Warner Brothers, is not only going to seriously put their names on "the club map," it will put this project on every turntable 'round the club world. "The Lift" alludes to what we all get from music in the chorus, "when the world gets me down, music lifts me up." I don't want to seem the hypocrite after my somewhat pompous preface to this column, so I'll just say this record is out in March and at some point that little riff is going to be reeling in your brain. "The Lift" is presented here with two divergent mixes. The "Shaky Mix"is on a harder house tip treated with ample amounts of effects, vocoder vocals, and searing metallic percussion, swirled with really sexy sighs and whispers. The underground purists should make note. To all the members of our industry who know they have an "ear," I guarantee you will only need to hear the first few revolutions to nail the "Orpheos Mix" of "The Lift" as an unstoppable monster. This column has never gone out on the prediction limb, but "this music sounds better" than 99.9 percent of the fodder that "I can't get enough" relief from. Although not terribly prolific of late, this is one group that has proven they have kept up on all their club homework including a great deal of extra credit projects. The flip has two great additions, as if it needed any, "House 'N Paris." Yes it is a west coast take on some filtered fun and is paired with "Funk 'N Paris,"a variation of the theme, its tempo is pushed way down to really feature "da funk." RENNIE PILGREM's London based label,TCR emerged in 1993 from the midst of the rubble that had been the distinctive UK "hardcore breakbeat" scene to offer what has been designated "Nu Skool Breakz" -- please note the appropriate spelling for the latest "buzz" word. "Happy hardcore" (the less said the better) and the current "drum & bass" movement were both cut from that same cloth. Pilgrem's concept for TCR brought the tempo down to the house realm and kept most of the vibrant elements from his roots intact. Pilgrem, aka Thursday Club kicked off the label with the now classic "Rock Da House." It was after a trip to Florida in '94 where Pilgrem was exposed to a fertile and thriving breaks/electro/acid house scene that TCR's focus and "backbone" was securely formed. By '99 the label had been exalted to the sphere dominated by Skint, City of Angels, and Botchit & Scarper etc. TCR has released WAVEFORMS by WAVEFORM (aka Mike James) his debut album. James began his career in the trenches engineering and mixing for hardcore labels like Suburban Base and Strickly Underground in the very early '90s. DJ Rap, A-sides, Aston of the Freestylers and DJ Hype are just a few of the notable artists that James has worked with in the studio. Mike also records under the name 9 Nickel (with Kevin Beber) on the relatively new, but highly regarded Marine Parade label. In Waveform guise James has just finished remixing "Earth" for Way Out West, who have been more than just flirting with the Nu Skool Breakz. The mastering, structure and skillful segues of Waveforms' ten tracks are meticulous, there is little that suggests this is a freshmen release. Mike James brings into play a interplay of techno and drum & bass inspired breaks that are all his own. "Drifter" kicks off the set with an-all-too familiar vocal sample, "right about now, the sounds you are about to hear, may be devastatin' to the human ear" -- perhaps a little hackneyed but appropriate. This stripped-down overture is washed with languid keyboards, exceptionally tight percussion that executes compelling rhythm patterns working in beautiful harmony with the large, sensuous bass lines. "Drifter" is the first single pulled from this album. "Breakers in Space" takes on some "sci-fi" elements via creepy yet perky organ chord structure that makes a befitting interlude that glides the listener nicely into "What's That Sound?" This third track pleads "what's that sound, did you hear that thump? Can you hear me?" while subtle sirens and whooshes slice through your head. The funky drums instigate a momentum that is quickly picked up by the thick reversed wah of the distinct Nu Skool Breakz bass lines. "D-Tox" pushes a process that introduces the Nu Skool Breakz elements into a melodic midrange. Full and rounded percussion is enhanced with massive bass overtones that truly dominate. "King of the Beat" looks back and evokes some choice old school elements that may have you reminisce but is never nostalgic. "Landscapes" is the only track that could be truly deemed a vocal offering with the highly respected MC EQ on the microphone. The rhyme here is far removed from anything found on our shores, intelligent and thought provoking, "Who is indigenous to THIS landscape...," exquisite, albeit hip poetry for 2000. A Orson Wells-like vocal introduces "Escape" with a 50s-sounding commercial "want to get away from it all? Escape!" This is an ethereal lounge-y affair that wouldn't be out of place used to back a real "class-y" car or airlines advertisement -- I mean this only in the best sense. "New Frontier" is a lush showcase for Mikey James' trademark rolling beats that neatly supports the momentum of this set. "Deep Dubz" was a single prior to this project, but is a most welcome addition."Soul Music" is my pick from Waveforms, ominous with a straightforward commentary on electronica. "If you were to make a machine, a computer, let's say, a machine has no soul. Music is the language of the soul." James puts the cap on any argument that disputes the quality of electronic music with these finely honed and sensitive compositions. JAMES HARDWAY aka David Harrow -- perhaps neither of these names "ring-a-bell" -- has just released his third drum & bass structured album, "A Positive Sweat." In order to recall who David Harrow is allow me to shake some cobwebs for the DMA readers with just a list of names; Anne Clark, Jah Wobble (Invaders of the Heart), Adrian Sherwood (On-U Crew & Soundsystem), Genesis P. Orridge/PTV (we all love your new look Gen), Lee "Scratch" Perry, Andrew Weatherall/Technova and Billy Rae Martin ("Your Lovin' Arms"). These names map out the aesthetic journey Harrow traveled to find James Hardway. Along the way Harrow also scored the soundtrack for "Sex Lives in LA," a Jochann Hick film. Hick was introduced to Harrow by LA performance artist Ron Atley and David still writes all the music for Atley's work. "A Positive Sweat" has a cinematic approach that lures the listener into its obscure scenarios. This is not dance music and it wasn't meant to be, even with an undeniable structure based on rhythm and percussion. James Hardway's creative process is the key to the outcome. The band has protracted, freeform jam sessions, apparently without any prescribed guidelines. It is obvious that this group is in synch with each other musically and emotionally -- jazz either you understand or you never will. The post-production work takes on a unique technique; they only sample the original music they have produced and these samples (and some are ten minutes long) are then enhanced. Some quiet interludes have the most pleasant sampling of nature, birds, wind etc, that somehow enforce the analog attitude. Amanda Ghost's gutsy, soulful vocals are alluring focal points within this album, the first single release "Grow" along with "Pulling Weeds," "Sleep Tonight" and "Lament" are equalling captivating. The lyrics motivated by melancholy coupled with captivating female vocals give an impression that Harrow has perfected the ultimate hybrid, Billy Rae Martin channelling Ann Clark in a seedy, sub-level jazz club in the 21st century Speaking of legendary musicians with endurance, YELLO are back with "Squeeze Please," the first single culled from "Motion Picture" on Mercury/Universal (EU), the duo's nineth album of original material. Squeeze Please" has a variety of treatments, the standouts being the club funky "Sounds of Life" mixes and the down-tempo chunky, almost Nu Skool Breakz "De Phazz mix, brilliantly executed by newcomer Pit Blaumgartner. Yello's previous album release, "Pocket Universe," was never released in this country. That project was a conceptual departure for Yello, with all songs melding from one to the other with the use of ambient interludes, an overall artful work. It is a superb piece still worth finding. "Motion Picture" has the uniquely Yello characteristics we have grown to love and expect introduced into a fresh 2000 framework. Send review material to: |