June 2000"Major label" might seem an unlikely nomenclature to encounter in an "underground" music column. Yet it's gotten to the point where something has to be done about these people at WARNER BROTHERS RECORDS. During the 90s a great deal of well-constructed, safe music was produced, with little to challenge our sensibilities and few artists testing the status quo. The musical renaissance we called the 80s was the unequivocal opposite -- it was a decade when many major labels would "jump on the alternative bandwagon." Then afterward the path was cleared, the road was paved, and the ride became predictably smooth. Above and beyond the other majors was the intrepid leader, Warner Brothers, with its unique, incredibly gifted A&R department and the extraordinary roster of artists they sired. These innovative "talent scouts" seemed to have had a complete and free reign to follow their gut instincts. It would be impossible to deny or fully define the incredible impact these talented people had on contemporary music during that vibrant decade. The music produced by these fledgling artists established a base of innovation that continues to influence the music enjoyed today. It is now the year 2000 and time again to acknowledge and commend Warner Brothers for the exceptional work they've accomplished to propel contemporary music into the future. Warner's is educating the masses by bringing them up to speed with the current crop of innovative, adventuresome artists and their music of today. This has happened to some extent on the label's established imprints, Warner Brothers Records and Reprise Records. F111 Records is the newest addition to Warner's arsenal and is most definitely equipped for domination (find more on F111 later in this column). There are many incomparable new thoroughbreds to be found in the recently revitalized, musical stable at the WB. The SF/Bay Area's own MEPHISTO ODYSSEY is positioned on the brink of recognition as significant vanguards to a new wave of contemporary music. Most street level civilians are unaware that a new musical revolution has been brewing. The vital, creative energy required to fuel such a movement is generated by those dwelling in the underground or at least left of center. In the early 90s, Mikael Johnston and Orpheos Dejournette (the founders of Mephisto Odyssey) realized they were part of a silent, massive group of disgruntled musicians. All shared a mutual discontent with the direction "rock" followed after the 80s; a void had appeared where their passion for music once resided. This frustration drove Johnston until he found his "prayers" answered by purchasing a computer and discovering a new world of possibilities. Johnston and Dejournette set up their first studio and their first effort as Mephisto Odyssey, "Dream of the Black Dahlia," was released. After many self-released single projects City Of Angels picked up the group's debut album, "Catching the Skinny." Then the group became dormant while the duo pursued side projects. Orpheos released solo material and Mikael formed an alliance with Barrie Eves, who runs a record store in Berkeley. Mephisto Odyssey was reborn as a trio with renewed enthusiasm and dedication to writing new material. During this same period Perry Farrell was spending a great deal of time in the Bay Area immersed not just in his new passion for the "rave circuit" scene but in an equal passion for dance music. Relenting to the demanding pressure from his fans (and the need to promote a new "Best Of..." album), Farrell was reuniting Jane's Addiction for a tour. Mephisto Odyssey were asked to re-mix "So What!" Not only was this the first, officially sanctioned re-mix of a Jane's Addiction song, this was Mephisto's "big break." Following the astounding success of "Jane's Addiction vs Mephisto Odyssey," their creative talent and potential was apparent to the Warner Brothers crew and contracts were promptly signed. The group's Warner Brothers debut album, "The Deep Red Connection," represents the beginning of a beautiful relationship and a new direction for their music. The first impression one may have of this album is the amazing array of styles. Each track may even appear disconnected and intentionally autonomous. Once the listener can truly experience this wildly diverse album the intent will be revealed as will an unmistakable quality threaded throughout that is the essence of Mephisto Odyssey. "Some Kind of Freak" opens the set with an aphorism that nails San Francisco --"everybody's a freak, everybody I know is into something, I can dig it!" "Freak..." is structured with a framework of up-tempo, west-coast-styled chemical beats interlaced with multiple layers of insanely catchy sound effects, all anchored by a thick, vulcanized bass line. MC Big Sauce lives near Johnston and he approached him one day when he heard the tracks laid down for "I'm the Man." This progressive-urban inspired piece was originally intended to be sung by the front man for a local punk band. MC Big Sauce was extremely persuasive and the guys gave him the opportunity to make it work and work it he did. The song is atypically up-tempo for a rap song, but there isn't anything typical on this album. They collaborated on the rhyme and the outcome is a positive, political message presented with a classic, universal appeal. "Krak" is one of several quirky interludes that are well thought out musical garnishes and help give this album a truly unique feeling. "Sexy Dancer" is slated as the first single that will be remixed and promoted to the clubs. The original album version is club ready and will be on the single along with the group's new dub mix and a reinterpretation by H-Foundations Hipp-E. The new H-Foundation, "Da Sounds of Now," on Moody Recordings will give you a taste of the direction taken with "Sexy Dancer." Think late-night, tech builder employing a powerful, up-tempo Chicago-styled 4/4 beat. Again there is a great deal of attention to subtle detail that includes a catchy synth melody and multitudes of surround sound effects, including an effective use of Indi 500-style race cars zooming around and around, which should be enough to fracture any dance floor. "I Breathe You" features Hafdis of Gus Gus on vocals. This song is a deep interlude with down-tempo, plodding beats that complement Hafdis' seductive delivery of some abstract lyrics. "Jump" and "Killa" feature the MC talent of NYC's Jamalski followed by "Soundman Connection" with Mad Lion picking up the mic. As you might imagine these three tracks incorporate reggae-based vocals; that is the only thing they have in common. "Jump" knocks off an impressive, smooth slice of "jump up" drum & bass. The beautifully complex rhythm is produced with notably, skillful use of their percussion. The group's collaboration with Jamalski gives this song both sense and credibility. The lyric is ultimately accessible with its message on the positive love tip -- this is San Francisco. "Killa" is certainly a high point of this set. It has rhythm and more rhythm that demand control of your feet and butt. There are plenty of early 90s themes throughout, with droning keyboards to keep it spacey and trippy and cinematic effects that will keep you glued to every layer and sequence. Eerie doodling offers a contrast in sound, but not in mood. "Soundman Connection" is a classic take on dub that is an effective counterpoint in this trio of songs. "Track 909" is a short interlude paying homage to one of our favorite instruments. "Crash" features Static X on vocals. There is a sensitive quality revealed here that contrasts nicely with the expected, adenoid-ripping, testosterone bellow. This track also has a battle of the "axes" between Mikael and Static X. This powerful offering will hit it big on the "rock" and "alternative" radio stations. "Reach" is club ready and once again features Hafdis on vocals. This track highlights some very effective, near eastern-inspired tribal drumming and when coupled with a repetitive, rubbery bassline it evokes a whirling dervish trance state. "Red Drumz" is an industrial-toned, military drum track that insidiously weaves plaintive, gothic (Cure-ish, Abecedarians) tinged guitar work throughout, obscurely satisfying. The track finishes up by stripping down with a Kraftwerkian, "Tour de France"-inspired passage. "Wish," featuring Paula Fraser of Tarnation, winds up this great set. "Wish" is a simply gorgeous, timeless love song that exposes the vulnerable and sensitive underbelly of Mephisto Odyssey. An absolutely essential release! In 1998 DJDB departed Sm:)e Records to co-found a new label, F111 Records with music veteran Andrew Goldstone, formerly of Astralwerks. F111 Records was developed as an "electronic" music imprint within Warner Brothers Records, but the label has been so much more than this dry terminology conveys and it has accomplished much more for its parent company than just selling some 12" records. This imprint has restored a multitude of street credibility to Warner Brothers and revived faith in the label's ability to discover and nurture "new music" from unique new artists. Major labels can afford to take risks on daring and different musical talent, but that doesn't imply they'll feel obligated to do so. Yet if you take the big, historical music picture into account, investment in the future will always pay off, one way or the other. Here are some of F111's highlights from the last year: Moloko "Sing It Back" (one of the year's best), Videodrone "Faceplant," the fabulous Ondar "Tuva Groove," the classy Shaboom "Sweet Sensation," the wonderfully de-constructed Filter "Take a Picture", JNX "My Style (with Jason Jinx)," Exist Dance's Tom Chasteen "Freedom" (an unexpected departure), the slickly-signed Green Velvet "Flash" (with crucial mixes from Danny Teneglia and man of the moment Timo Maas), and the newest offering, the quirky styling of Japan's Cibo Matto (with Derrick Carter mixing up "Moonchild" into two essential mixes). The last item, from the newly re-hipped Warner Bros, is offered through the stylish Kinetic Records imprint. DJ DAN "Put That Record Back On" is the follow up to his monster "DJ Dan presents Needle Damage, That Zipper Track." Was there a European mix compilation without this record? I don't think so. This is the first part of two records. The first includes DJ Dan's own sick and twisted, techno-disco version with a distinct sound that is sure to please and work those funky floors. H-Foundation, DJ Hipp-E and Halo, turn in a slightly restrained mix that will appeal to those working a Detroit or Chicago tech sound. An excellent release. Send review material to: |