October 2001Well-conceived, skillfully produced, truly entertaining albums are a rarity. When one is considering the full album releases from the underground sector, the odds become increasingly stacked up against finding releases that can fill the bill. CHARLES WEBSTER, SPACER (aka Luke Gordon) and STEWART WALKER all have new albums that are as good as they are diverse from one another. Between these three the differences are enormous. CHARLES WEBSTER's Born On The 24th Of July, on Strata Recordings, is his first album using his own name. Born in Matlock, England, Webster realized his passion for music in his teens; he began by playing with various Sheffield electronic based bands in the 80s. In the early 90s, Webster broke onto the scene with three now classic releases as SINE. Many of us still pull "I Like It Deep" or "Deep Anxiety" out of our crates. Soon after releasing "Belgium" as MEGATONK in 1992, Webster found himself here in San Francisco with his first record label and a splendid new production alias, LOVE FROM SAN FRANCISCO. The six elemental singles on the label would be basic to the foundation of the San Francisco soulful house sound that thrives today. In 1995 Charles Webster was back in the UK where he founded the Remote label. The 90s saw Webster coming a long way and in 1999 he released the album All Systems Gone on Pagan UK under probably his best known moniker PRESENCE. This album (previously reviewed in this column) was a culmination of his efforts from the 90s and produced three top singles in the UK and a top ten Billboard single. Born On The 24th Of July takes in Webster's many musical passions and was inspired by respected songwriters such as Rickie Lee Jones, Natalie Merchant, and Marvin Gaye. This album was conceived and written with a proper song writing perspective. "I'm not inspired by modern (music), electronica - I find a lot of my inspiration comes from (somewhat) older stuff," states Webster. "I write my music around a few chords, more like a traditional songwriter, rather than just turning the machines on and seeing what comes out." This established house music producer has taken on a new role with Born On The 24th Of July by introducing a uniquely personal, emotionally rich album. Webster has concocted an extremely fresh fusion of technological textures and soundscapes coupled with organic instrumentation through a refined sensibility in his production and stunning song writing. You'll find this album sits neatly somewhere between Blue Lines by Massive Attack and anything by Drowning Not Waving, This Mortal Coil or Ultramarine's 1992 album Every Man And Woman Is A Star. These comparisons are not made to delegate this outstanding album to the current influx of retro inspired music but rather to loving attention to detail and meaning in simple music and song. One crucial element essential to what makes a proper album is the thoughtful arrangement of the songs. Often, what might have been a successful, listenable album is delegated to a mere collection of songs by bad segues. The songs on Born On The 24th Of July are regarded as a whole with the same attention to concept and detail as each song is individually. This album is presented as two suites with a reprise. The first suite includes the first four songs. The mood is sedated yet enticing, downtempo but charged with understated energy. All the lyrics found here are universal and true to life, not too down or too happy with themes to which we all can relate. Webster and the vocalists involved collaborated on writing the eloquent lyrics. This involved conjoining makes for a pleasing, diverse depth for each song. "Sweet Butterfly," co-written with vocalist Del St. Joseph, is a luscious power love ballad. "You bring me inspiration in a world of depression," begins the song and is a gentle invitation to romance. There are equal amounts of skilled acoustic guitar and tech-effects. St. Joseph's sensuous vocals get a unique treatment that makes for an interesting blending with the music and sound elements. "Ready," co-written with our own Terra Deva, comes off like a song Prince would write for one of his protégés in 2001 if he hadn't lost the plot. For those unfamiliar with Terra Deva's alluring vocal stylings, you are in for a treat. "Ready" is a sexy, gentle offering that boldly and successfully broaches the sentimental. "Be No-One," co-written with vocalist Mark Sheridan, is a moody, mostly instrumental soundscape with well-placed, opiated sax work throughout. "The Gift Of Freedom," co-written with Lisa Lindley-Jones, is a thought provoking, jazzy-lounge affair. "One day you will understand the gift of freedom, that's when you'll really bloom / don't just contemplate, put it into action / make your ideas and dreams come true," sings Lindley-Jones in a Peggy Lee for 2K style, a truly uplifting encouraging theme for anyone. The second movement or suite of songs kicks off with "Fox Soup," vocals by co-writer Xan. This one pumps it up a few notches to the near club zone and is driven by complex broken beats accented with effective simply stated piano and guitar. "Your Life," co-written with vocalist Mark Sheridan, was previously released on Peacefrog UK. This is the first song found here that reflects what most will recognize as the "Charles Webster sound," beautifully constructed house with meaningful lyrics soulfully performed. This track will most likely reappear with more mixes sometime in the near future. "Forget The Past," co-written with Massive Attack's Sara Jay, is extremely deep, hypnotic house. Sara Jay's vocals are dramatically delivered, giving the piece a cinematic tone. "I Understand You," co-written with vocalist Del St. Joseph, is an infectiously dubby house track virtually ready for the clubs. Here Webster's classic simple elements come together and become something more than the sum of its parts. "I'm Falling," also with Del St. Joseph, is another song club-ready to go and is a stand out with a pumping club sound and lyrics that seem created for all those big sound systems. "Put Your Hurt Aside," co-written with Steve Edwards (Cassius, Basement Jaxx), is almost a techno lullaby and befittingly closes out this stunning release and completes the journey through the simply divine complexities of Charles Webster's musical world. Absolutely essential! Luke Gordon's, aka SPACER, The Beamer on Pussyfoot/Palm Pictures is his third album and an extreme departure from his previous two releases. For those unfamiliar with Spacer's prior albums, Atlas Earth and Sensory Man, they were beautiful, successful experiments that help to define the Pussyfoot sound. Gordon's previous work dwelled mainly in the murky, intellectual and art-rock world of music which, although critically acclaimed, kept his audience limited to the daring. It has been some years since Gordon has released any original material. He has spent time in the studio with outstanding post-production work for the likes of DJ Krush, Major Force, U.N.K.L.E. and the incomparable Howie B. Gordon has attributed his recent inspiration from DJing out live. "I wanted to make an album that I could play in clubs," he admits. "In a lot of ways it's come from my development as a DJ. Since I've been playing out more, it's becoming one of the biggest buzzes for me." This testimonial proves true with the ten tracks found on The Beamer, as they are all club ready if the DJ and club are prepared. There are elements here pulled from a vast assortment of sounds: techno, house, jazz, trip hop, trance and ambient. The album is also well segued, making for a good listen at home if you need something a little more invigorating. Included on this disc is a novel, quasi-animated video of the title track "The Beamer." STEWART WALKER hasn't really been around that long. His first singles appeared after 1997 and in 2000 he released an album on Tresor with the urbane title Stabiles, inspired by Alexander Calder's innovative series of sculptures. Reclamation: 1997-1999 is Walker's first release on his own label Persona. This collection bows in with ten tracks of heady sonic minimalism that roams partly in the techno territory of Detroit and partly in the universe of the laptop wunderkind like Kit Clayton. This new sound in techno departs the dance club scenario and enters the private sector of home listening for a clear, intellectual experience not unlike what was experienced in the pioneering electronic days of the early 70s. Send review material to: |