Carl Craig
Onsumothasheeat
[Shadow]
Rating: 7.7
Founder of the Detroit Festival of Electronic Music and formerly the mack
daddy of techno, Carl Craig, has answered the siren call of inevitability
and has released a mix album on Shadow As longtime readers of Pitchfork
will recognize, we're only too happy to pour scorn on sad-sack labels, and few
have had sad-sackier pasts than Shadow. Actually, Cleopatra have long worn
the sad-sack crown, but Vitamin's foisting of The Electronic Tribute to
Radiohead rivals even that label's madcap ventures into digitally stored
effluent. These stultifying acts of barbarism have pushed Shadow well into
the sphere of the acceptable.
As does Carl Craig's mix album. Despite the apparent handicap of having the
Shadow roster to pull from, Craig makes Onsumothasheeat an enjoyable
study in future funk and electro-jazz. Sometimes we don't even notice that
he's dropping in some of his own label's material. The Shadow tracks he mixes
showcase the adventurous A&R; policy the label has been adhering to. Indeed,
the reason for Shadow's recent sweet perfume is their willingness to license
underground tunes from boutique labels. Chief amongst these is Jamie Odell's
Freerange label, a compilation of which Shadow recently released under the
title Scrambled.
Craig takes a couple of scoops from the Freerange catalog, beginning
Onsumothasheeat with "Wild Light" by Jamie Odell's alter ego,
Jimpster. Between LB's (aka Atom Heart) datacore versions of James Brown's
"Superbad" and Prince's "The Future," Craig slides the psychedelic soul-jazz
of Marasma's "I Have Got Garlic Hanging on My Front Door" and Goo's giddy
deck-cutting "The O.G." Craig's sequencing skills and innate musicality
ensure that what sounds jarring on paper flows more plausibly than an
Internet gay porn rumor about Tom Cruise.
The second half of Onsumothasheeat takes a beatfreakier route--
Reginald Craig's "Second Wind" is jacking techno hijacked by instrumentally
violent daycare infants, whose frenzy slips into the cello-baiting and
vibes-thrashing Japanese jazz of Shinju Gumi's "Hide and Seek." Then follows
the definitive Detroit dub'n'drum'n'bass'n'Joe Zainwul jazz concoction,
"Landscaping" (it's tougher than Craig's own "Bug in the Bassbin"). The track
lulls us with its subdued skronk until the pills kick in and we're careening
around, our synapses zapped in a battery of rimshots, echoed sub-bass, and
flashbacking vibes washes.
Nothing could follow "Landscaping," but Shadow's flat-footed Droid sure try.
Their contribution, "Poly Bell," was snipped from their NYC D-N-B album.
The juxtaposition confirms what I already knew from subjecting myself to their
record: Droid's Hot Pockets variant on Jon Hassell's treated trumpet and
Grooverider's beats plain sucks! Hey! I don't care if the sweeping
ambitronics and pedestrian I-think-this-is-what-a-Robbie Shakespeare-bassline-sounds-like
are all performed live. So's me laying a turd. And that, my friends, also
ain't worth recording. So after Droid embarrass themselves for seven minutes,
Craig gives us the three minutes of Sneakster's Ethan Allen electro-dub track,
"Twisted," to settle ourselves before concluding with Marasma's fusion
phantasmagoria, "The Bed and the Window."
By virtue of Craig's precise selecting skills, Onsumothasheeat
desultorily skips over the big-room clichés that far too many DJs mix into
their discs-- no "exclusive" (read: previously rejected) remixes of Moby's
"Porcelain"; no grand-standing anthems to distract you. Though he does toss
in a couple of sub-par tracks, on balance Craig deserves loony praise, since
Onsumothasheeat divines unsuspected depth and artistry within vague
recesses of the Shadow.
-Paul Cooper