CD REVIEWS
Apr 1, 2006 12:00 PM
CARL COX
Second Sign (Koch)
Big guy, big expectations
It's hard not to love Carl Cox. Besides being the big and lovable teddy bear of dance music, Cox is one of the genre's most influential artists. After a long hiatus, Cox recently made a splash with a month-long bus tour that took the DJ across the United States and to smaller cities not usually graced by his live sets. The second wave of the Carl Cox media blitz now arrives with the release of his much-anticipated artist album, Second Sign. On paper, the CD has potential to run away with project of the year. That's because Cox recruited some of dance music's biggest names to help out, including Fatboy Slim, Roni Size, Kevin Saunderson, Misstress Barbara and Josh Wink.
People don't listen to music on paper, however, and through speakers, the record doesn't live up to its potential. There are very good moments, but overall, it comes across more like a collection of tracks rather than a cohesive whole. There's also something off about the crispness of some of the productions. Tracks like the ravey “On Fire” and “Space Calling” sound like they could have been produced way back in '92. With so many advancements in technology over the years, the bar has certainly been raised, and Second Sign doesn't quite make the leap. — Justin Kleinfeld
?UESTLOVE
Babies Makin' Babies 2 (BBE)
Soul for hopeful lonely hearts
On the sequel to his 2002 BBE lovefest, Babies Makin' Babies 2: Misery Strikes Back…No More Babies, Roots drummer ?uestlove caters less to misogynist love-haters than to romantics experiencing temporary setbacks. “Our Love Has Died” by the Ohio Players harnesses unadulterated lost-love grief as only a '70s soul group can, and no breakup mix would be complete without the sweeping organs, pillow-soft strings and intimate soul vocals of Al Green's “How Can You Mend a Broken Heart?” But beware: The syrupy “I'm Sorry” by The Delfonics will gag all those lacking high-cheese tolerances. — Rob Kirby
APATHY
Eastern Philosophy (Babygrande)
If only they cared more
Eastern Philosophy is supposedly the last subsurface release Apathy will ever offer. The record has some excellent spots, like the Chum-produced “1000 Grams” and the darkly Atmospheric “The Winter,” featuring almost-forgotten but still relevant Blue Raspberry of Wu-Tang fame. The clean and evil sounds on this track hold the listener's head in the encompassing dread Apathy describes vividly. But overall, the record suffers from too many crime-oriented tracks and an inconsistent message. It seems that Apathy is straddling commercial and underground worlds without inhabiting either. — Daniel Muessig
BORDER CROSSING
Ominous (Recall)
Northern soul patrol's a-comin'
The Massive Attack comparisons will be inevitable for Border Crossing's mostly sharp debut. The three-piece producer outfit deals hazy brass-laden downtempo and deep soul, with tight Brit guest MC spots over absolutely stunning hip-hop joints. Halifax native Usmaan spits hypnotic verses in between a blunt thud of beats and random cuts by member DJ AJ on “No Go Area.” Meanwhile, London's Jhest piles on more street cred with a party-chant chorus on “The Alias.” A sonically impressive mixed bag of comedown jazz and R&B makes Ominous worth its dreary trip. — Dominic Umile
THE FORTH
Electric Calm v.3 (Global Underground)
Lovely, lush and moody
Dreamy, elegant, rich and textured, Global Underground's Electric Calm v.3 is an amalgamation of moody drums, melodic tapestries and succulent vocal arrangements. Mixed by Andrew Archer and John Elliott, aka The Forth, using a combination of Ableton Live, Cubase and Pioneer CDJs, Electric Calm glows with subtlety and finesse, every track embedding itself into the next. Standouts like Trafik's “Shades” or the delicious midsection in K Roxx's “Live for Never” (mixed in Swain & Collingwood's “Never Be The Same”) may reel you in as a Forth fan for the long haul. — Deana Mayland
HALOU
Wholeness and Separation (Vertebrae)
Trip-hop like it's 1994
While rumors of a new Portishead album elicit more cynicism than interest now, Halou has swept in with an impressive third album. Far from mere scene imitators, this trip-hop trio relies more on live instrumentation than many of its counterparts. Full string sections wash against chopped samples and droning guitar, as Rebecca Coseboom's vocals soar overtop with an ethereal allure. The guitar-driven “Stone Fruit” borders on new wave while the downtempo bass/beats of “The Ratio of Freckles to Stars” sounds more akin to jazz. Halou is a band with roots but also with branches. — David C. Obenour
HIS NAME IS ALIVE
Detrola (Reincarnate)
HNIA sheds another skin
After hearing some dozen or so albums and EPs over 15 years, fans of HNIA have come to expect the unexpected from producer and omni-instrumentalist Warn Defever. This time around, he embraces some of the lo-fi rock, electro and punk styles that got him started, along with the dark, soulful threads that run through his more recent work (such as 2000's exquisite Someday My Blues Will Cover the Earth). Lovetta Pippen returns to lend her breathy pipes to the synth-jazz sojourn “Seven Minutes,” while singers Andrea FM and Erika Hoffmann shimmer throughout with avant-pop energy. — Bill Murphy
MADLIB
Beat Konducta, Vol. 1-2: Movie Scenes (Stones Throw)
Basement beats go big-screen
When Madlib gets into full-blown beat-conductor stance and raises the wand into ready position, long-vaulted samples awaken and claw their way to the surface — cellar dust and all — and the film score begins. “The Comeback” sets Beat Konducta, Vol. 1-2: Movie Scenes off with basement beats and vintage '70s-strut soul vibe, and each instrumental strives to build on the previous one with a new movie-scene mood. “The Comeup (Come Down)” rides two freewheeling samples that treat the ears to the sound of life when it's easy, before slamming up against the where's-my-money menace of “Two Timer (The Pimp)” and its precision bass line. The beats, previously vinyl-only, are undeniably dope and stand sure-footedly on their own, but movie scenes? Movie scenes, they are not.
With 35 tracks clocking in at around two minutes or less, Madlib covers a lot of ground in a short amount of time. Bangers abound, like the piano bounce of “Tape Hiss (Dirty)” and the grimy bass-drum-and-handclap mix of “Open (Space),” but sequencewise, the order is mostly irrelevant. Madlib obeys the records in the crates and the beat conductor in his brain, and the resulting soundtrack is straight stream-of-consciousness classic. — Rob Kirby
JAZZE PHA & CEE-LO GREEN
Happy Hour (Sho'Nuff/Capitol)
Throwback soul meets modern times
Hip-hop heavyweights Jazze Pha and Cee-Lo Green have come together to release an eclectic mix of sounds fit for grown folks. On Happy Hour's title track, the two ATLiens crank out a predictable yet enjoyably mellow club joint with island-flavored percussions and acoustic guitar. Taking a cue from the soundscapes of the '70s blaxploitation era, songs such as “Man of the Hour” fuse soul with reggae-influenced bass lines and mellow synth parts riding throughout the tracks. All in all, Jazze and Cee-Lo create a soulful joyride that doesn't disappoint. — Anthony Roberts
NOBODY & MCM
Tree Colored See (Mush)
Hazy folk of unexpected depth
Though LA-based producer Nobody hinted at a propensity toward lighthearted Cali-pop with Pacific Drift, as Nobody & Mystic Chords of Melody, he clearly revels in spare, unfettered harmony on Tree Colored See. Relying on sample-heavy artistry (thanks to his instrumental hip-hop chops), he fixes subtle folk melodies with a dreamy psychedelic bent that adds dimension to the languorous vocals of Christopher Gunst (Beachwood Sparks) and Jen Cohen (Aislers Set). Lovely stuff, with just enough percussive edge in “Feet Upon the Sand” and “Broaden a New Sound” to tilt the songs just left of center. — Christine Hsieh
GARY NUMAN
Jagged (Metropolis)
Envisioning a new dystopia
Formula and disposability became the double whammy that broke the spell of '80s Brit synth pop — and along with it, the careers of many of its creators. For Gary Numan, the last decade has seen him reborn not just as an influential icon (fans include Trent Reznor and Marilyn Manson) but as a producer and songwriter of serious depth. Jagged is a dark, machine-driven masterpiece, by turns hypnotic (on the Arabic-sounding “Pressure”), heavy (the Led Zeppelin-esque “Haunted”) or downright harrowing (“Jagged”) — quite a long way from the ice-pop innocence of “Are ‘Friends’ Electric?” and “Cars.” — Bill Murphy
PAUL OAKENFOLD
A Lively Mind (Maverick)
Arena-ready house for the masses
Rolling heavy with guests such as Grandmaster Flash and Pharrell, the veteran house DJ never skimps on bass, beats or star power on Mind. Aspiring stadium-shaker “Switch On” teams squealing rock guitar and sinister bass over high-octane house beats, and “Save the Last Trance” flips the trip switch for eight minutes of kinetic frenzy. Even lead single “Faster Kill Pussycat” screams with undeniable velocity like an 18-wheeler bent on revenge, despite the dubious casting of actress Brittany Murphy in the role of lead vocalist. Great, here comes another actress' solo-album debut. — Rob Kirby
PLACEBO
Meds (Astralwerks)
A prime fix for the analog jones
It would have been easy for Placebo to plug back into the wall of reverb-drenched sound and overdriven electronics that served them so well on 2003's Sleeping with Ghosts; for their fifth studio album, though, they decided to use effects sparingly and rely on group dynamics to set the mood. Guided by the wispy tenor of singer Brian Molko and the mixing touch of Flood (U2, Smashing Pumpkins, Downtown), Meds taps a largely live-in-the-studio vibe with all the tube-filtered thickness of a rock classic, from the sci-fi psychedelics of “Space Monkey” to the glam anthem “One of a Kind.” — Bill Murphy
SHAKEYFACE
Bicycle Day Boogaloo (It's Bananas)
Free, easy, abstract beats
The faraway blips and sharp-elbowed beats on Bicycle Day Boogaloo swing through a great expanse of musical territory in the tradition of Coldcut, Daedelus, et al. Synching guttural bass with crystalline beats and fractured breaks, Shakeyface creates an unusual melee of surprises. He starts sweetly with lolling melodies and dulcet strums, but when the bass kicks in — watch out. “Whatever You Say” sounds like a mad French disco underwater, and “A Certain Way With Things” makes limpid keys and hip-hop beats sound like perfect partners. Odd juxtapositions, but charming nonetheless. — Christine Hsieh
MASSIVE ATTACK
Collected (Virgin)
A marvelous massive collection
Massive Attack is one of the most beloved acts of the last 15 years. It's not because they helped usher in the trip-hop, downtempo or whatever-you-call-it genres or because they provided a springboard for Tricky; it's because they created electronic based music that hits straight at the gut. Collected is a two-disc compilation featuring tracks from the act's four studio albums, plus B-sides and rarities. The tracks aren't sequenced in chronological order, and the different flavors of Massive Attack are allowed to rub up against each other (only a problem if you're looking for continuous mood flow).
Those looking for a tripped out and blissful vibe should check the glorious “Unfinished Sympathy,” “Protection,” “Karmacoma” and “Teardrop.” If you drift toward the dark of night, then check out “Inertia Creeps,” RisingSon” and “Angel.” The Hip-Hop massive is also represented with the stunning “I Against I” featuring Mos Def, an amazing track pulled from the otherwise unspectacular Blade 2 soundtrack. The lone new track — “Live With Me” featuring Terry Callier — is a welcome return to Massive Attack's soulful days and offers a peak into the direction of the new artist album, due out in 2007. — Justin Kleinfeld
SLY AND THE FAMILY STONE
Different Strokes by Different Folks (Epic/Legacy)
50 ways to remix your icon
A remix CD featuring the canon of soul funk genius Sylvester Stewart should have an actual remix or two, right? Unfortunately, most of the tracks on Different Strokes are either simplistic cover versions (John Legend and Joss Stone, “Family Affair”) or reasons to “put your hands in the air” (Will.I.Am, “Dance to the Music”). Thankfully, The Roots and Moby downplay egos by uplifting Sly's original music. Moby cuts up “Love City” in a million tight slivers, and The Roots amplify “Star” for a deeply textural treat. Big Boi and Cee-Lo Green also do Sly proud. — Ken Micallef
SOUL POSITION
Things Go Better with RJ and Al (Rhymesayers)
Indie-rap righteous
Blueprint and RJD2 inhabit a world where wack MCs and beats threaten at every turn. Strictly a one-MC/one-producer operation, they rail against radio-rap conformity with every breath and beat, lest the wackness contaminate them unawares. RJD2 switches it up between punchy horns (“Hand-Me-Downs”) and bare-bones piano (“I Need My Minutes”), as Blueprint bemoans the state of hip-hop and fools wasting his cell-phone minutes. But the boom-bap and brag of “The Extra Mile” prove that even indie dudes indulge in some rap-star swagger. — Rob Kirby
SWAYZAK
Route de la Slack (!K7)
Minimalists with a big package
Swayzak is an act that produces music that can be categorized only as beautiful, and as a result, the group has found fans all over the musical map. It's hard to resist Swayzak's debut LP Snowboarding in Argentina, and with every successive release, the duo's loyal following grows. With minimal house once again at a premium, it's time for Route de la Slack, a compilation of Swayzak's best remixes and rarities. Here we get gorgeous synth-stroked minimal house remixes of artists including Theorem, George Sarah and Mighty Math, which all serve as a reminder for how good Swayzak really is. — Justin Kleinfeld
TANYA MORGAN
Moonlighting (Loud Minority)
Ms. Morgan cusses and raps
Tanya Morgan isn't a new R&B chanteuse; it's a fiery Brooklyn/Cincinnati three-piece hip-hop unit, boasting '90s-era soul-sampler beats and Little Brother — esque flow. Producer Brickbeats' canvas on “Ode to Tanya” sounds raw, even with crackling string loops and warm keys. On the comical “Rough U Up,” gangsta theater gets it where it hurts: in its bland jock stance and thuggy, played-out bass lines. And MCs Donwill and Ilyas kill some house-tinged beats on the single “Take the L,” derailing competition over a smoky synth buzz. With Moonlighting, Ms. Morgan got it goin' on. — Dominic Umile
VARIOUS ARTISTS
Idol Tryouts Two (Ghostly)
Boy, girl and bird are back!
In 2003, the Idol Tryouts compilation introduced Ghostly, featuring techno-sensible artists such as Matthew Dear and James Cotton, who typify the label's niche-genre. Vol. Two sees those artists explore post-rock: Kill Memory Crash develops its petulant industrial sound on the club crasher “Press + Burn,” while Benoit Pioulard passes for a synthy Elliott Smith on “The Depths & The Seashore.” The two-disc set also includes ambient, breakbeat and tribal tracks from artists including Aeroc and Kiln — not a soundtrack for club nights but perfect for cruising at dawn hours later. — Stacey Dugan
VARIOUS ARTISTS
Soul Sides (Zealous)
A little blog love
Pop culture/music journalist Oliver Wang's MP3 blog jukebox is a religious experience. These unearthed soul rarities seal up happy hour (Clarence Reid's “Master Piece”) as well as Sunday morns (Ann Sexton's “You're Gonna Miss Me”). Donnie Hathaway's live go at Lennon's “Jealous Guy” swaps whistling for a heart-stopping climax of saloon piano, call-and-answer guitar licks and soaring backups. In its either fairly known goodness or completely left-field obscurity, Sides benefits listeners and the Rhythm and Blues Foundation charity, where some proceeds from the release will go. — Dominic Umile
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