November 2001The last DMA column deadline was 11 September 2001. It was fortunate that our work is due early in the morning because it's doubtful many of us could have immediately buckled down to the serious work of music review. During the first days and weeks after that fateful day any sort of journalist would have to consider the next words they would put on paper. Even if the assignments were not directly related to current events one would still have to consider the relevance of what he or she would write. Music during a time of international peril is very important and relevant. Obviously, music offers a mental escape, especially in a club -- on the dancefloor -- with others. Music reassures and gives everyone, everywhere the impression of normalcy. Normal may seem like the wrong term to use in our present state, however, we cannot compare normal now to what it used to be. It has been almost a month to the day of "the WTC event." I had begun to feel that new sense of normal come over me, this column would be written, and now the first major attacks on Afganistan have clouded my sensibilities. This action was expected and warranted, but that doesn't mean one can be fully prepared for the effect. The play of emotions is new and disconcerting. How long will this first wave of retribution be? How soon before the counterattack? How many more innocent victims? Another crucial consideration is the way our intrinsic freedoms have been put in jeopardy. There are the palpable restrictions that we all welcome: tightened airport security, limiting visas to this country, etc. However, we should all be disturbed by major broadcasting companies who feel the need to censor music! Of course each radio station has their individual programming and play lists, but there have been several lists of "questionable" music issued. Common sense can decree what songs to play and what not to play. Most of the songs listed were by heavy metal bands like Rage Against The Machine whose full repertoire was banned -- how wrong is that? Artists from Bruce "All American" Springsteen, Elton John, and Dave Matthews to U2, Alanis Morissette, and the Beatles were listed. I really do not believe anyone would object to hearing "Obla Di, Obla Da" because it contained the initials of a terrorist. The radio wasn't the only broadcast entity involved. Television networks pulled many understandably objectionable movies and programs for that time. But it is difficult to understand how one could show two weeks of solid mayhem over and over, then feel the need to bleep a character on "The 70s Show" saying the word explode after a bit about firecrackers. No one bleeped any part of the national anthem which is full of "bombs bursting" and "rockets red glare" and they shouldn't. It is perhaps lucky that dance music is either below or above the radar of those senseless media moguls, because it remained unscathed by any sort of censor. What did affect all new music was its availability. Nuthin' went nowhere for most of the month of September, leaving little in the stores or in the reviewers' mail boxes. There are two labels that deserve an honorable mention. First, Big Beat / Atlantic for a timely re-issue of FULL INTENTION's 1996 hit cover of Paul Juvets "America (I Love America)". This could be seen as overly enterprising during this time if it weren't for the huge and unprecedented demand for this record. Way to go. Second, San Francisco's own Six Degrees deserves praise for boldly releasing the newest installment of their "Travels" series, "ARABIAN TRAVELS." We have all seen the results of misguided hate in the last month focused towards people of Arabic descent or towards people of color deemed to be of Arabic descent. The United States is the melting pot. After Timothy McVeigh committed his acts of terror there weren't groups pointing fingers at every white guy with a buzz cut. To quote Six Degrees label president Bob Duskis: "The theory of Six Degrees of Separation postulates that everyone on the planet is connected. We started Six Degrees Records with the conviction that just as we are all connected as people; there are strong common threads running through music from everywhere around the world. Music has always had the power to bridge differences, transcend national boundaries and to heal and inspire." Visionary words that could never ring more true. "Arabian Travels" keeps the label's ball of world-inspired music rolling nicely. All ten tracks incorporate the essence of authentic Middle Eastern and North African music together with the best of contemporary electronica. There are several well-known, established proponents of this intriguing fusion found on this collection. BANCO DE GAIA present "Sakarya," named after a town in Turkey devastated by earthquake. The Vienna-based DZIHAN & KAMIEN offer "Just You & I," a sweeping cinematic sample fest utilizing a Cairo film soundtrack. DISSIDENTEN, founded in Berlin in 1980, have always led the way in this unique musical genre. SHANTEL remixes one of the group's classic songs, "Telephone Arab," staying well within this vibrant group's original vision. Dissidenten also turns out one of the most invigorating and inspiring live shows; if the opportunity ever comes up do not miss them. KARSH KALE featuring Hassan Hakmoun & Ustad Sultan Khan present the rousing "Indus Railway" -- six minutes of tabla-driven progressive house. DAHMANE EL HARRACHI gives us the shuffling "Ya Rayah," the Sonar Remix. "Blue Turban" by San Francisco's own ARABIC BREAKBEATS garners inspiration from the mystical Sufis and drives it with thick cyber-beats. Of equal interest is EKOVA with the Moroccan-flavored "Sabura" remixed by Max Pashm and ACID QUEEN featuring Egyptian Musical Club, who bring the desert to your system with a sunset soundscape permeating the music with dog howls and cricket chirps. When all the exotic musical elements and vocals come into play with the variety of "on location" found sounds you will truly be transported to a different world. This set wraps up with EUPHORIA "1001 Dreams" remixed by Garry Hughes. Hughes has worked with Art of Noise, Garbage, and Sly & Robbie. Hughes brings an element of classic dub and pure fantasy to this track that will float you away into the cosmos of Scheherezade. Do yourself a favor and embrace all of the cultures of the world; make all music your own, especially music that comes from the souls of musicians who intend no boundaries or politics. Tresor out of Berlin is unquestionably the number one proponent of techno on the planet today. If there is any genre of music that is truly universal, techno is it. NEIL LANDSTRUMM "She Took a Bullet Meant For Me" is eleven tracks of manic musical mayhem. Most are quality straightforward bangers. There are exceptions such as the futuristic downtempo urban sound of "Mute Hop Robo Cop" and the electro styling of the title track "She Took A Bullet Meant For Me," which includes mad vocals and chants of the title throughout. Then there are some sweet experimental outings such as "Something Different" and "Wax Melts Me." Also, new from Tresor is the exuberantly experimental "Unknown Possibility Vol. 2" by Japanese wunderkind FUMIYA TANAKA. All nine selections are variations, or movements of the track simply named "Drive" that manage to fill 74:10 on the CD. This is for fans of the minimal and sometimes edgy. You would want to keep this close by your Plastikman collection for when you're in "that mood." It's been a while since we have heard from SAW RECORDINGS, and now they hit us with three big ones. All three are keeping it minimal and edgy, just how we like it. First up is the label's main man, SATOSHI TOMIIE with "Virus." Tomiie has progressed deeper, darker, and harder, but always keeping his sensibilities within the realm of his ardent followers. This one should find its way to peak of many sets. From the "twisted" and familiar MOOGROOVE comes "Mirage." You'll be tempted to play this one right after "Virus" -- I do. With Tomiie's remix showcasing his recent ability with the hard and fast this is the track to go for. Lastly, we have the sixth Saw release by JAS "The Carnival House EP." You might as well make this a triplet and play all three of these releases together, they are primed for the peak! In closing I would like to recommend the sophomore release from NOR ELLE "Slapstick" on the German imprint Mole Listening Pearls. This is a side project from Norman Feller who most of you will know from his most successful side project TERRY LEE BROWN JR. This is electronic music as lush, intricate, and dreamy as it gets. "Slapstick," (the name is an outright contradiction to the music within) is a "timeless piece of rhythmic audio sculpture" that will mesmerize and keep you gratefully horizontal. Send review material to: |