January 2003This is not my year end column. This is not my wrap-up of 2002. This is not a recap of the previous 12 months. This is my first column of 2003. There won't be any predictions on the future; I certainly do not want to tempt fate. This coming year should be one of shared optimism for everything and everyone. This coming year should be one of positive fortitude applied to all our actions. Recessions are transitory, but it still takes a mutual shift in our consciousness to make that transition happen. Our musical history has shown that trying economic situations and uneasy political climates foster more vibrant and revolutionary artists and music. This kind of music is generally thought of as a 60s phenomenon, but take a look around - the time is right. FREAKS' The Man Who Lived Underground on their own UK label Music For Freaks proves there can still be something unique in contemporary club music. Picture The Mothers of Invention channeling P-Funk through the Was Brothers' (Was not Was) mixing board, all with that MFF twisted house attitude. The Freaks' previous two albums, 2000's The Beat Diaries and last years' Meanwhile Back At The Disco were both full of meaty left field club offerings that spawned many great singles that remain in many DJs' crates as staples of the most worthy sets. The Man Who Lived Underground has the same club potential but takes on a new pissed off stance that fuels the songs here and sharpens their edge. Justin Harris and Luke Solomon (aka Freaks) have been producing their own special brand of "quirky" dance music since the mid 90s and have managed to keep their goals true. Never satisfied with the state of club music, these guys are always out on that limb. "Dance music is heading for a big crash, there's a real backlash against it," spits Luke, barely bothering to conceal his disgust. "There's a new generation of kids that refuse to listen to it, preferring instead to get into this re-hashed Strokes/White Stripes rock that's all been done before and then there's the older generations who are trying to relive their past and listening to electro-pop. Music should be constantly about pushing forward and breaking boundaries." This shouldn't lead you to believe that these guys have given up on house music. Their venting is just based on an "obsessive love for the sonic and social possibilities of dance music." Justin adds: "There's great music out there very, but few (are) playing it." The Freaks aggravation comes not from just the content of the general house releases, but their quality. Luke Solomon (along with Derrick Carter) runs the venerable and every reliable Classic Recordings and in 1999 Harris and Solomon launched MFF label proving that they still have "some faith" in house music. The Man Who Lived Underground, like all their releases, is pure mastery in production with great attention to all details. With all the "in-your-face" themes found here, subtlety abounds. This album is both amusing and an earnest journey through "the underground" of dance music. This release is in thrall to a multitude of musical templates without being obligated to just one. "People assume deep house has to be fixed, that it has to be deep, moody and all about keys," argues Luke. "Well, it doesn't; it's more about hedonism and escapism and something you can listen to. We're linking the roots of deep house to early acid house." It may well be the case that the Freaks are "linking deep house to early acid house," but the 17 songs here go much further than that. The complexities of sounds and influences are almost too numerous to list. These elements are all applied to the Freaks' unique club sensibility centered around precise programming, intricate rhythms and kicking beats. The Freaks irreverence also applies to the length of many of their songs, from 1:30, frequently, to nearly 6:00. Sometimes these extremely short songs are sonic interludes that either help carries the flow of this passionately segued album to songs that really only need that short time (1:30 to 2:30) to convey their message, like the electro "Telefunken," the Zappa-esque "Hang Up Your Hang Ups," "Switching Channels" snagging a bit of Bootsy, the Basement Jaxx capping "What's the Point" and the torchy "Time," featuring long time collaborator STELLA ATTAR's superb vocals. "Washing Machine" (not a cover) is the lead track, "watchin' my dry" is the chant that has been in all our heads. The funk exudes from this song in a mangled Freaks fashion that intensifies the effect. Many songs, like "Washing Machine" with its laundromat sound effects, seem to be composed, cut and paste, with what seems to be found sounds/vocals. The crunchy bass of "Creeps" presents a very skillful take on the 80s "electro-klash" sound, while "80s Throwback" is a knock at 80s revivalists presented in a sort of jazzy house mode with scat styled vocals dissing this and "dat." Gotta love the internal contradictions. The first single, "Where Were You When The Lights Went Out," remixed by Tiefswarz, will be the most accessible, featuring Attar's lovely, haunting vocals. Complex rhythm and sensual bass lines are also crucial elements. The lyrics on "Angry" harkens to Prince's first album after leaving Warner Bros. Following the theme, "Love Hate" presents a solid bass line with edgy beats. Every selection on this album is a little gem. "Fix It," "Nyce & Slo," "Time" and the set's closer "Blam (the new jam)" are all equally notable. "There's a lot of people who are ready for something (new)," states Luke, "I'm not saying we're it, but at least we're part of it." I should say so, a big part of it. This is destined to be the album of the year. ON-U SOUND had a second heyday in the early to mid 90s and the DUB SYNDICATE fronted that revival. Murder Tone is a collection of previously released material. The important factor here is that all seventeen tracks have been fully remastered! What could be better than to have what is already acknowledged as genius productions remastered with today's technology? The answer is nothing; this album is brilliant. This head trip features the musicians: Errol "Flabba" Holt, Skip McDonald, Dwight Pinkley, Dalton Brownie, Bingy Bunny, Carton Ogilvie and Talvin Singh. Guest vocalists Bim Sherman, Lee "Scratch" Perry, Andy Fairley and Voice Of Authority. All tracks were produced by Style Scott, Lee "Scratch" Perry and of course, the indomitable ADRIAN SHERWOOD. For those who know. Send review material to: |