CD REVIEWS

May 1, 2007 12:00 PM

CONSEQUENCE

Don't Quit Your Day Job (G.O.O.D./Columbia)
Cons is a pro
For a while, Consequence's retirement seemed more certain than his full-length. A productive MC from Queens, N.Y., who saw his first bit of shine with A Tribe Called Quest at age 17, Cons has long been squabbling with label troubles and various related industry mishaps. Memorable guest spots and mixtape circuit pair-ups with Clinton Sparks and Kanye West kept Consequence visible, though, and steadily pushing for his debut LP.

With a few needless skits, it's no accident that Don't Quit Your Day Job bears more than one resemblance to West's College Dropout; Kanye is co-executive producer, and G.O.O.D. is his label. But Cons is an uncommonly adept force, drawing some attention from subpar beats by allowing one syllable to linger ceaselessly on the end of each verse line, until he can find no more matches for it. He gets idealism points, too, as “Don't Forget Em” boasts the humble vibe his label boss once knew, packed neatly into a standup bass loop and whistling flutes. Younglord the Truth's funk break is punctured with organ jabs for “Callin Me,” and Cons is sharp and quick — even bad news about your cheatin' girl sounds good from this wordsmith. — Dominic Umile

BASSNECTAR

Underground Communication (Om)
Bass without bounds
On Bassnectar's latest release, there really is no telling how this Bay Area DJ/producer's massive productions will unfold. The only real uniformity from track to track lies in the ever-pulsing rhythm. Beyond that, Bassnectar ignores the parameters of individual genres, as he effortlessly weaves in and out of a slew of electronic-based sounds. Impressively, the guest MCs are able to keep up as heard on “Bomb the Blocks,” in which Persia coolly rides this vibrant concoction of hip-hop, glitch and jungle. One precaution about this LP: Make sure you have the speakers to do it justice. — Max Herman

BATTLES

Mirrored (Warp)
Walk this way
The boys of Battles don't stand around shuffling their feet on the linoleum — they get right to it, opening with the marching-math-rock feel of “Race: In,” complete with a whistle reminiscent of Peter Gabriel's equally insistent “Games Without Frontiers.” This whole collection of songs is something of an atonal walkabout, actually — “Tonto” begins with hazily veering chimes that eventually shift into an Asian-inspired pattern, the aptly named “Snare Hanger” sharpens up the drums while surrounding them with haphazard guitar experiments, and “Bad Trails” offers up a foreboding buzz that's on a path all its own. — Kristi Kates

COPY

Hair Guitar (Audio Dregs)
Synth rock is metal
About 10 seconds into the electro pop album opener “Fist,” you sense that Hair Guitar is a keeper. Copy is Portland's Marius Libman, who makes instrumental 8-bit digital/lo-fi analog jams that follow concise pop-song format while rocking the dancefloor. Fans of synth-hop, Justice and M83 should all be digging this. In most cases, the grouping of drums, a synth bass line and two dueling lead synths could equate to a standard four-member rock band. Although I'd hate to feel the arthritic pain resulting from a guitarist trying to replicate the ripping synth arpeggios of the bouncy and airy “Zipper Problems.” — Markkus Rovito

MATTHEW HERBERT

Score (!K7)
Flashes of the silver screen abound
Herbert is somewhat of a chameleon. Switching personas and styles like an iPod on shuffle is the norm for the UK composer/DJ. On Score, the critic fave offers up a 17-track compilation of pure cinematic bliss. Written for Herbert's European film work, each track has its own unique vision, evoking strong imagery ranging from Spanish flair to electro adventure. Representing seven films and one ballet, much of which was arranged by frequent collaborator Pete Wraight, Score puts a refreshing spin on movie music, even tweaking the classic “Singing in the Rain.” — Jason Jurgens

CHRIS LOWE

Black Life II (The Next Thing Smokin') (Green Streets)
Nothing but flashbacks
If it was up to veteran MC/producer Chris Lowe, hip-hop's golden era would probably never die. On Black Life II, Lowe takes it all the way back to '88 with his funky break beat-centric tracks. The carefree bongo-laced jam “It's My Thing” is a prime example of how he can resurrect the “old New York” sound with party-sparking success. The same can't be said for every cut, yet Lowe's lo-fi beats and unambiguous raps usually make a solid case as to why looking back to the past isn't always a bad thing. The question is: Will Lowe now move forward? — Max Herman

LUSINE

Podgelism (Ghostly International)
Producer gets musical facelift
Lusine (aka Jeff McIlwain) isn't afraid to let someone revamp his sound. Why would he be, when renowned producers from around the globe — including John Tejada, Apparat and Robag Wruhme — translated his music into a smooth collection of danceable and slick remixes? Oddly enough, it's Lusine's own remixes on “Still Frame” and “Falling In” that make for dazzling lounge tracks, each soothing and seamless in their entirety. Podgelism relies on textured melodies, thick lows and precise beats, which are surprisingly cohesive considering the many diverse interpretations. — Jason Jurgens

DUBFIRE

Taipei (Global Underground)
Fiery and fierce
Ali “Dubfire” Shirazinia began mastering Washington, D.C. dancefloors in the late '90s as one-half of electronic kingpins Deep Dish. They won Grammys, issued acclaimed mix CDs and remixed artists as high profile as Madonna and Tina Turner. On a temporary hiatus from Deep Dish, Dubfire's Taipei mix looks toward his recent solo DJ ventures to Southeast Asia. Taipei burns slowly at first, but over the course of two CDs, it edges into a well-chosen playlist with varied, tumultuous beats.

Dubfire's selections peak late on Taipei's disc one, mostly with the onset of the plump bass melody that punches midway through Booka Shade's lovely “In White Rooms”; its synth jabs get harder toward the end, and the host then pushes the beats briefly into Simian Mobile Disco's “Hustler” for a spell. Markus Schulz's remix of Yoshimoto's “Do What U Do” rattles like a huge truck full of dudes firing laser cannons, finishing not unlike his “Without You Near” did in 2005. Following a successful vocal go at a Love and Rockets cover on disc one, Dubfire's own disc two remix of Nic Fanciulli's “Lucky Heather” batters speaker channels with chirps and squeals for more than seven minutes. It's a marathon of freaked, digital disorder. — Dominic Umile

MIDNIGHT MOVIES

Lion the Girl (New Line)
Trio makes trip-inducing rock rhythms
Cinematic in a David Lynch sort of way, Lion the Girl is a strange but addictive trip. The acclaimed L.A. rock foursome crafts a moody and dark album, perfect for those moments of self-reflection. Thick psychedelic riffs and driving bass lines create a hallucinogenic atmosphere, guided by Gena Olivier, who pecks the kisser with her sweet drone. Think Margo Timmins of the Cowboy Junkies on a Stereolab kick. Add to that the delicate keyboard effects of Jason Hammons à la The Doors' Ray Manzarek on “24 Hour Dream,” and you're bound to see something. — Jason Jurgens

NOSTALGIA 77

Everything Under the Sun (Ubiquity)
The new nu-jazz
Ben Lamdin has an excellent ear for brass. His fanfares dive and soar across intricate rhythmic soundscapes, fading for the occasional sax solo or bass tangle before striding back in with swagger and verve. Much of what made The Garden, his previous jazz excursion, so fresh also drives this album forward — the beats, brass and breakdowns shine on songs like “Wildflower” and “Eastwind,” but now he's got a strong foil in vocalist Lizzy Parks. Her sharp, piquant melodies propel this album from head-nodding beat-junkie territory toward a broader market by adding edge and character to Lamdin's deep beats. — Christine Hsieh

THE SEA AND CAKE

Everybody (Thrill Jockey)
Chi-towners keep it easy, breezy
After a four-year break, The Sea and Cake return to their trademark sound of dreamlike pop tunes that often drift precariously through whimsical jam sessions. But don't go putting on any Birkenstocks; these rock-based jams are for the indie scensters. Structured sessions float on an impulse, and lyrics stay light and poetic. Everybody explores a sonic, meditative landscape that is often stripped down to the bare essentials then redefined through delicate jams (“Exact to Me” and “Left On”), floating bass lines and vocalist Sam Prekop's breathy, whisperlike vocals. — Jason Jurgens

EMILIE SIMON

March of the Empress (Milan Records)
Penguins inspire chill music
The only thing cuter than a baby penguin is a stunningly beautiful French girl who is inspired to compose music about them. Emilie Simon's March of the Empress — the original soundtrack to the hit film March of the Penguins — is full of electronic sounds mirroring frozen landscapes, dripping water and cracking ice. Digital and nature meet harmoniously but reveal a chilly, sometimes haunting experience (kind of like the movie), especially on the track “Antarctic.” Oohs and ahhs over Björk-like rolling drums create an instrumental masterpiece. It sounds cold in here. — Jason Jurgens

SPANK ROCK

Fabriclive 33 (Fabric)
It's time to par-tay
The best mixes in Fabric's long-running series are those created by artists who look to fashion a block-party vibe. Spank Rock compiles music from multiple generations and genres in search of the ultimate party soundtrack. Although it begins with Kurtis Blow's classic “The Breaks,” Spank Rock does a good job of avoiding most of the other obvious tracks. The genres converge in a way that Yellow, Tangerine Dream and The Romantics rub shoulders with newbies like Uffie, Para One and Simian Mobile Disco. While Fabriclive 33 is a fun mix, it never stands out above its predecessors. — Justin Kleinfeld

STARS OF THE LID

And Their Refinement of the Decline (Kranky)
Refined and relaxed
Stars of the Lid's meditative orchestral sound for the sprawling, lengthy And Their Refinement of the Decline was born in L.A.- and Belgium-based studios. Temperate shifts in each momentous entry make differentiating one track from the next somewhat difficult, but its wordless beauty is subtle and generous. Cellos fill out quietly and slowly on “Even if You're Never Awake,” and “December Hunting for Vegetarian Fuckface” meets its raucous moniker with one ceaseless drone before introducing new harmonies from the string section. Uniform, but quite grand. — Dominic Umile

TELEFON TEL AVIV

Remixes Compiled (Hefty)
Sit. Stay. Listen.
Resting quietly under the mixing board, waiting for just the right moment to give you a friendly nudge, Telefon Tel Aviv's collection of remixes is like a new breed of pup — innovative, yet familiar. Seven years' worth of tracks share space here, opening with a nearly unrecognizable Nine Inch Nails remix (“Even Deeper”), which also happens to be the first track that the Telefon duo — Joshua Eustis and Charles Cooper — ever produced together. The placid click-clacking of “Even Deeper” sets the tone for a host of other equally mellow takes that make for a cohesive, unleashed listen all the way through. And there are more than a few audio treats to bark over: “A Genuine Display” (Midwest Product) is turned into a gently traipsing, evocative refrain, while Apparat's “Komponent” unleashes matter-of-fact vocals onto a pad of strangely soothing and bristly synth tones. Strings supply a change-up in the set's overall feel via Oliver Nelson's “Stolen Moments,” John Hughes' “Got Me Lost/Driving in L.A.” is given the perfect glazed-over-after-45-minutes-on-the-405 feel (complete with pseudo-abstract car sounds), and Phil Ranelin's “Time Is Running Out” ticks out far too early. — Kristi Kates

DJ VADIM

The Soundcatcher (BBE)
Say hello to Mr. Tremendous
A whimsical spoken intro sets the tone for the latest set o' surprises from Vadim. The set begins with a warm electro-reggae groove on “Fear” (with the help of Jamaican singers Emo and Syrys), but it's not destined to stay there — no, friends, Mr. Tremendous has far more than that in mind. Chill out with poetess Sena on “Talk to Me,” take a dubby stroll through “Manchester,” indulge in some classic rap for the dancefloor with “Got to Rock” and listen, children, as “Like the Wind” turns Deuce Eclipse into a modern-day snake charmer. It's eclectic, it's capricious and it works. — Kristi Kates

VARIOUS ARTISTS

Ed Rec Vol. 2 (Vice)
More French bangers
It's been mere months since French label Ed Banger dealt electro magnificence on Ed Rec Vol. 1 from acts like SebAstian and Justice. Ed Rec Vol. 2 delivers in “Eagle Eyez,” Mr. Flash's quick, elegant contribution of twinkling piano and mild woodwind loops; and in Justice's “Phantom,” another excellent, muddily distorted floor stomper that expands in each subsequent synth burst. With this brilliance intact, why is numb MC Uffie's invite repeatedly renewed? A sinkhole in this otherwise exciting collection, Uffie's slow-witted, antirhythmic verses make Fergie sound like Rakim. — Dominic Umile

VARIOUS ARTISTS

Get Into the Loop Vol. 1 (Playloop)
Classic rave sounds reanimated
For its first CD, MP3 label Playloop mixed a few new bits with its top releases for a collection with many flavors. With Kezner's guitar-washed downtempo, Microstar's deep house, Tattoo Detectives' peak hour bangers and a bit of proto-trance from Locality, it's a diverse assemblage tied together by the mid-'90s rave sounds and structures found throughout. There are time-stretched samples on TD's “il salto fuori” and Nigel Richards' aptly named “Acid Reflux,” and label boss Justin Paul shows a range of retro styles, including the tech-house edge of “Red Shift.” — Noah Levine

VARIOUS ARTISTS

Sunkissed (Smalltown Supersound)
Heating up in Scandinavia
Sunkissed is Norway's long-running dance club with resident DJs — G-Ha and Olanskii — who are as good as the international big-name talent they bring in. Sunkissed is their first compilation, put together by the club's residents. Representing Norwegian dance flavor, they start as far back as the '80s with “Original Material” from Mental Overdrive. The next step is “God Kveld” from Bjørn Torske and then forward to the present with the varied styles of 120 Days and Serena Maneesh. Sunkissed proves you don't have to have English as your mother tongue to crank out a floor-storming tune. — Lily Moayeri

VON SÜDENFED

Tromatic Reflexxions (Domino)
A playground of sound
Garage, meet nightclub. Nightclub, meet garage. Do they play nice together? You bet — with members spawned from the likes of Mouse on Mars (Jan St. Werner, Andi Toma) and The Fall (Mark E. Smith), there's enough energetic, gritty groovin' going on here to make fast friends out of both genres. Agitated late-'60s keyboards enhance “The Rhinohead,” itchy robot beats and discordant vocals fill up “Serious Brainskin,” and “That Sound Wiped” uses unapologetic electro-bleeps over disco drums. Smith's off-the-cuff rambles add a little subterfuge to this new land of concrete and day-glo linoleum. — Kristi Kates

WAX TAILOR

Hope & Sorrow (Decon)
Genres collide in French banger
In a sense, this sophomore effort by French musician/DJ Wax Tailor would've been the perfect album for the dawn of the millennium. Listening to Hope, one can hear an amalgamation of The Avalanches' obscure samples and schizophrenia (“Radio Broadcast”), Portishead's love of spy movies (“Once Upon a Past”) and creaky soul 45s favored by early DJ Shadow (“The Tune”). But Hope goes well beyond pastiche, as its creative blend of funk, soul, hip-hop and downtempo never overwhelms and sounds better than any planned compilation out there. Achetéz ça maintenant! — Jason Newman

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