CD REVIEWS

Jun 1, 2004 12:00 PM

N*E*R*D

Fly or Die (Virgin)

Who says that a funk band can't play rock music?

The near-ubiquitous Neptunes have shown that they will try anything at least once, no matter where on the vast seas of potential cheese it might lead them. (Witness the corny yet somehow infectious synth stab that throbs beneath Kelis' hit “Milkshake”). Funk overlord George Clinton proved that cheese can be a good thing, as long as it's delivered with equal parts wacky aplomb and supreme funkiness — a concept taken to heart by latter-day groove scions such as Outkast and The Roots, among others.

Pharrell Williams and Chad Hugo (along with cohort Shay Haley) are uniquely attuned to this thread, and N*E*R*D is the perfect vehicle for it. Whereas their debut In Search Of … served notice that the group was going for an eclectic mix of rock, funk and hip-hop, the songs on Fly or Die are more refined and tongue-in-chic and, for that reason, much more memorable as hooks. From the jazzy chord changes of “Breakout” to the Joe Jackson — esque title track to the insane P-Funk-meets-The-Beatles vibe of “Maybe” (with Lenny Kravitz and The Roots' Ahmir “?uestlove” Thompson) — all this and more collectively make the case that N*E*R*D ain't just for nerds.
— Bill Murphy

AUTOMATO

Automato (Coup de Grace)

Live rap outfit misses the mark

A six-man group from New York, Automato uses live instruments to craft its own skewed brand of hip-hop. The result is definitely unique but doesn't translate to being dope. Assisted by production duo The DFA (The Rapture), some tracks work well, like “The Single,” which flaunts thick bass and chunky drums reminiscent of Germany's Can. But the majority of the LP is unfocused: Sometimes, it's like a college jam band; others, it's a played-out, zany electro group. Automato may well blow up with listeners who dabble in rap, but hardcore hip-hop fans should skip this.
— Brolin Winning

BLOCKHEAD

Music by Cavelight (Ninja Tune)

Shadowboxing instrumentals

It can't be a secret that N.Y. — bred producer Blockhead — who has worked with Aesop Rock, Murs and SA Smash — is a fan of DJ Shadow and, specifically, of his groundbreaking Endtroducing, as Music by Cavelight channels its vibe to a T. Although Music begins with a whimsical schoolyard intro, it then marches headlong into Shadowy territory. Nevertheless, Blockhead incorporates his own stamp with funky bass lines and taunting brass loops (“Carnivores Unite”); Hendrix-inspired guitar licks (“A Better Place”); and oh-so-popular pitched-up, munchkin vocal passages (“Triptych Pt. 1”).
— Erin Hutton

CALI AGENTS

Head of the State (Pockets Linted)

CA rap for all rides

Cali Agents rep Left Coast rap that values stereos over hydraulics. Rasco flexes the most commanding mic presence since Chuck D, and anchored by stark, heavy beats from Architect and others, Planet Asia blazes tracks with cocksure flow. Exploring guitar waters, “Sharp” dives into a lone distorted riff that gets grimy with crisp snare pops, drum thumps and a scratch-collage hook. Organ delay effects and an undeniable chemistry between MCs take center stage on “Cali Nights,” an anthem tailor-made for Golden State touring. As Tupac once said, California knows how to party.
— Rob Kirby

CUT COPY

Bright Like Neon Love (Modular)

The flashy title says it all

Smell the flowers in a garden variety of synthesizers, electric chords and basic backbeats pondered by the latest import from down under. Sonic Youth meets Morrissey for a round of energy drinks — distortion, filtered sounds and angst-laden vocals. “Saturday” speaks affirmative retro with telling signs of '80s pop strains. “Autobahn Music Box” dabbles with hazy vocals that meander off a nonsensical yellow-brick road. “Bright Neon Payphone” twists the formula with a more aggressive approach than predictable tunes. It's loveable background glitz tinged with nostalgic longing.
— Tamara Warren

DJ MARKY & XRS

In Rotation (Innerground)

Brazilian duo marks its d'n'b turf

The drum 'n' bass recipe for São Paulo-based DJ Marky & XRS' In Rotation is by the book, with plenty of sampling, programming and guest vocalists. However, the sounds that made Brazilian d'n'b a global phenom are still here (in samples of Gilberto Gil and Milton Nascimento). On their artist debut, Marky & XRS go backward to move ahead, driving many of their songs with hard-step rhythms that are totally 1996. Yet even with the turbulent rhythms of “Terrapia” and “Rudebwoy,” the duo can't deny its heritage: In Rotation feels as breezy and balmy as a Rio sunset.
— Ken Micallef

DYKEHOUSE

Midrange (Ghostly International)

For gazing at shoes and stars

Bedrooms have long bred the musical toil of boys with aching hearts and throbbing hard-ons. In one such room — outfitted with a Fender Jazzmaster, an iMac, Reason, Nuendo and a cheap Sony mic — Mike Dykehouse has crafted a dream-pop masterpiece on par with Chapterhouse, Moose or Adorable. Synth lines bubble and swirl around guitars with enough chorus and reverb to make any heart burst. With ambient electronic interludes (“Sandy Strip”), a lusty hotel romp (“When You Come”) and even some “sha-la-la-la”s (“Drown Inside of Me”), this is shoegaze's triumphant return.
— Erin Hutton

FRAGILE STATE

Voices From the Dust Bowl (Bar de Lune)

Changing the chill-out landscape

For some, Fragile State evokes the orchestral style of British film composer John Barry — best known for the James Bond theme — but the duo's undulating, atmospheric sound owes more to '70s psychedelic soul, ethnic trance and electronic sci-fi music. Neil Cowley brings his recent stint on keyboards with Zero 7 to the funky syncopation of “Overcurrent” and the opening “Four-Four-Four,” which recall the bouncy grooves of State's debut, The Facts and the Dreams, while the string-heavy “Paper Smile” is a pure stroke of ethereal ambience.
— Bill Murphy

GRANDADBOB

Waltzes for Weirdoes (Lax)

A funky, chill house creeper

Grandadbob is subtle and punked-out, the kind of music that sounds instantly familiar, but the more you listen, the more beautiful and rich it becomes. With an eclectic array of tunes — from the funky “Your Mama,” the Lamb-tinged “Open Mouthed” and the Cassius-like “This is It” to the trip-hoppy “Killed by Sweets” and the Pac-Man-bleeps-meet-Blondie meltdown in “Anger Thy Neighbor” — Waltzes is slinky and sexy. It wanders through the metaphors of the '70s and '80s, all the while injecting a thoroughly heartfelt, sassy twist. This is the perfect album for a balmy afternoon.
— Deana Morgan

TWO LONE SWORDSMEN

From the Double Gone Chapel (Warp)

British techno pioneer and partner rediscover their voice

One of electronic music's originals, Andrew Weatherall, along with partner Keith Tenniswood, return with their third album under the Two Lone Swordsmen moniker, From the Double Gone Chapel. On Double Gone, the two have decided to humanize the sounds, with Tenniswood bringing in gritty, tangible instruments and Weatherall singing (yes, that's right). Having more in common with the goth sounds of Bauhaus and Sisters of Mercy than their fellow techno and electro producers, the dark and ominous tone of Double Gone nevertheless hints at a positive undercurrent.

On tracks such as “Sex Beat” and “Driving With My Gears in Reverse,” Weatherall busts out with the confidence of Love and Rockets' Daniel Ash while Tenniswood offers a marching but melodic lurking bass line that walks the length of Double Gone. This new direction goes a long way in gelling the two's multitude of influences from punk to dub in a far more coherent fashion than could ever be accomplished with a strictly electronic album. The segue into this delightfully seedy sound, however, might knock some longstanding fans for a loop.
— Lily Moayeri

CRAIG RICHARDS

Fabric 15: Tyrant (Fabric)

London's calling. Pick up!

Few clubs foster experimentation like Fabric, and few DJs maneuver that freedom like Craig Richards. Dismissing mainstream fodder in favor of more minimal fare, Richards packed these two discs with producers as notable as they are unknown, creating an illogical and innovative mix. Chugging like a train on a slow-motion ride between sanity and psychosis, the bass line in M.I.A.'s “River” feeds the tension in Jeremy Caulfield's “Face the Flames” while bleeping dub and crackling techno make this aural acid trip as close as you can get to Fabric without a flight.
— Genevieve Powers

ROBOTS IN DISGUISE

Robots in Disguise (Recall)

Electro tongues' refreshing sounds

Electro is over, but true talent never goes out of style. Sue Denim and Dee Plume are cheeky vocalists, and although their music (programmed/produced by Sneaker Pimps' Chris Corner) organizes streamlined synth pop around common electro, the songs entertain much more than the style. The opening track, “Boys,” with its early New Order — esque bass, speaks of “skinny hips” and “sex: we like, we like.” It's a bull's-eye '80s flashback that paves the way for aromatic tracks recalling The Cure and Sahara Hotnights. This foul-mouthed sister act has a future.
— Ken Micallef

SLUM VILLAGE

Detroit Deli (Capitol/Barak)

Select cuts slice deep from Detroit

SV is back with tasty hip hop-offerings. Although member changes are constant, T-3's flavorful consonants connect the dots. Detroit Deli is a filling third-course album with love — or at least lust — for ladies and the requisite amount of grit. Elzhi's flow is easy on the ears, blending seamlessly with T-3's staccato. Ol' Dirty Bastard adds the “Dirty” element, indeed. “Selfish” — featuring everyone's favorite, Kanye West — has cool, smooth vocals and a snazzy hook. Melanie and Dwele implant soul stirrings while MC Breed brings the rough and tumble in guest spots.
— Tamara Warren

ARMIN VAN BUUREN

A State of Trance 2004 (Ultra)

AVB warms things up for summer

These days, when so much trance sounds like so much trance, it can be mission impossible to distinguish among DJs, but van Buuren's style is distinctly his own, and it's loud and clear on A State of Trance. Full of hyperbolic synths, this album takes you through a musical amusement park but avoids the cheese; van Buuren gives the listener a fun ride while educating and challenging. If nothing else, burn-down-the-floor summer anthems such as Mono's “Rise,” Airwave's “Lady Blue” and Oceanlab's “Satellite” make this compilation well worth the sticker price.
— Steven Noble

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