Rotations, December 2008

Dec 1, 2008 12:00 PM

	MATTHEW DEAR Body Language 7 (Get Physical) Style in sharp relief Whether he's behind turntables or a microphone, Matthew Dear has become a dance-music figurehead for good reason. His varied work exudes a cool professionalism, especially during his foray as frontman for the Asa Breed project, bending (never breaking) techno grooves in exciting ways. But his contribution to Get Physical's mix series finds him digging deep into his aesthetic — slipping between percolating opening beats, streamlined funk and scraped, slightly disorienting corkscrew rhythms — without getting too fiery. Dear's track selection, alterations and transitions are seamless. But the mix's narrative arc isn't quite as exciting; it's more of a slight curve. About 15 minutes in, as the music begins a progression from Kid Sublime through Martinez's “Retrospective” to a Radio Slave mix of Mlle Caro & Franck Garcia's “Dead Souls,” a slight house kick starts up, laced with wisps of sound, steam and fleeting echoes. Voices hover throughout, from cheers and exotic dialog to the manic refrain of “Doctor of Romance,” playing spatial tricks throughout. By the time the exclusive Dear track — the warm-toned “Free to Ask” — kicks in, it's clear he's brought his style into full focus. — Patrick Sisson
	DJ BABU The Dilated Junkie Presents Duck Season Vol. 3 (Nature Sounds) Beat hunting is now in season On his third installment, turntablist/producer DJ Babu juggles classic soul samples, nibble scratching and cartoon sound bites. From the shotgun blasts of “DS3 Intro” to the final duck quacks on the outro “Ahead of My Time,” Vol. 3 explodes with banging buckshot beats and fiery lyrical triggers pulled by MF Doom, M.O.P., Guilty Simpson and others. An unlikely merge of soulful horns and video-game blips on “Fan Mail” takes the track to righteous heights. Vol. 3 is a seamless clinic on mixtape marksmanship that, like volumes 1 and 2, redefines the mixtape experience. — Chris Catania
	BLUE SKY BLACK DEATH Slow Burning Lights (Babygrande) Leaving the boom-bap behind On Slow Burning Lights, instrumental act Blue Sky Black Death doesn't completely stray from its trademark cinematic touches but do ditch hip-hop in favor of a shoegaze aesthetic with the aid of vocalist Yes Alexander. This duo, composed of Kingston and Young God, offer a gentler style that's still in the experimental stages, but there's some superalluring radio-ready singles here, such as the breezy guitar and synth-driven “Tokyo Underground.” BSBD's work is more textured than ever, and with Alexander's ethereal vocals cruising along, you've got a great combination. — Max Herman
	CLP (CHRIS DE LUCA VS. PHON.O) Supercontinental (Shitkatapult) Glitch-hop for the party-hearty set German producers Chris de Luca (formerly of Funkstörung) and Phon.o are the latest to try to capture the electro-hop heat of indie dance clubs. They pack this CD with dirty ghetto-tech funk and sexy electro textures, creating a grimy, noisy atmosphere. Themes of lyrical prowess and party stamina abound among the contributors, most of whom, save for Zion-I (“Rockin' Wiz Us”), Mochipet (“Club Thang”) and Yo! Majesty (“Party Hardy”), are relatively unknown MySpace prospects. However, an overabundance of guests makes Supercontinental a boisterous and overcrowded affair. — Mosi Reeves
	B. FLEISCHMANN Angst Is Not a Weltanschauung! (Morr) Less can be Morr Sounding more gray and weathered, B. Fleischmann brings a somber, introspective vibe to an already quiet corner of electronic pop. From the quivering beats, shy horns and clean lyrics of vocal duet “In Trains” to the crisp beats of “The Market,” this CD showcases stoic, uncluttered arrangements. But the album's big coup — “Phones, Machines and King Kong,” a reworking of a Daniel Johnston ode to misunderstood love — reveals some limitations. The placid tones and ramshackle beats Fleischmann adds to Johnston's lyrics are strong but can't strengthen the original song's singular emotion. — Patrick Sisson

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