 |
 |
DANCE/ELECTRONICA |
|
|
 NEWZ:
Aussies have always been strong challengers for the World DJ Championships and 2004 promises to be no different. Last year Staen 1's title hopes were dashed after a tragic dose of bad luck when a needle broke. Despite the setback, he still placed 9th, showing some of that famous Aussie spirit. So, here we go again: the state titles and Australian final that represent the traditional local lead-up to the world titles. If you consider yourself to be a contender, it's time to study your vinyl, practice your technique and add a little flair. Maybe you'll be the one to dominate the 2004 DMC Technics World DJ Championships in London. The Aussie final - held in Melbourne on the 13th of August - is set to be a huge event, including local live acts and DJs, plus plenty of giveaways and treats for the audience. Make sure you check out the DMC Team Battle, where teams of up to 4 DJs compete against the reigning 3-time champs, Melbourne's Dirty Duo. With J-Red and Selekt in the Dirty Duo team, it's no surprise that the combo finished 4th at last years World final. Without your support, we'll never get that holy grail of hip-hop: the world title. So, check out the dates and venues for the 2004 state titles (click here) and witness the best of Aussie turntablism.
(posted: June 10, 2004)
Following the success of Bionikworld's Preset 101 and Reset 001 releases, the duo will relocate to Europe as French and German labels get set for local releases of their energetic brand of electronic grooves. The act already has the distinction of breaking records in Australia with consecutive appearances in the AIR (independent) charts. Suffice to say, if you'd like to check them out, you'd better be quick and their current string of appearances may be the last chance you'll get until they decide to return to Oz. The lads will make a quick trip to Sydney and Queensland before packing their bags and having a final 'going away party' in their hometown of Melbourne. The bon-voyage will aptly take place on the Victoria Star Cruiser, so get your tickets fast. It should be a hell of a show. For Boinikworld dates, click here. To read a review of Preset 101, click here.
(posted: May 5, 2004)
WHAMMO'S DANCE/ELECTRONICA TOP 10 (MARCH/APRIL 2004)
TOP 10 DANCE/HIP-HOP/ELECTRONIC ALBUMS
1.....HILLTOP HOODS THE CALLING
2.....UBIN STAR LO
3.....HILLTOP HOODS LEFT FOOT, RIGHT FOOT
4.....PURDY FAIRYTALE INSURANCE
5.....VARIOUS ARTISTS ELEFANT COLLECTION VOL 1
6.....1200 TECHNIQUES CONSISTENCY THEORY
7.....BAGGSMEN ELEVEN STAGES
8.....HERMITUDE ALLEYS TO VALLEYS
9.....SALMONELLA DUB ONE DROP EAST
10....RESIN DOGS HI FIDELITY DIRT |
|
|
|
|
|
|
|
|
 BIONIKWORLD
Add to basket. Normally ships within 10 days $20.95 (US $12.95) (UK £7.24)
cd
Preset 101, Bionik World's impressive album, had its fair share of killer tunes and now, heartened by strong reaction to the LP, the Bionik crew hand over their fave tracks to producers like Ransom for remix duties. Party Favours and Filthy re-appear as radio edits before Welcome To Bionikworld gets the benefit Ransom's experience. He drives the catchy rhythm even deeper than original and adds some deft garnishes in the studio to transform the groove into a tough brand of funk. Nick Thayer's mix of Schwingin' is fat-bassed epic with a slice of jazzy sax while Nick Coleman lives up to the hype with his subterranean burst of 4/4 on Party Favours. I can't do the house thang, so I'll decline to judge it but I'd definitely put Filthy in my current Top20 electronic tracks and it's a testament to Bionikworld's 'jack of all trades' approach to think that they can deliver a swag of different sub-genres with quality results. Get used to the eclectic mix. With the resounding success of their Preset 101 album, I'm sure we'll be hearing more from Bionikworld.
|
|
|
|
 BLEEPIN J SQUAWKINS
Add to basket. Normally ships within 10 days $23.95 (US $14.80) (UK £8.27)
cd
How do you describe Bleepin' J Hawkins without sounding ridiculous? Well, it's not really possible, so let's just call it electro-pop and at least we're in the general vicinity of a decent description. To get even closer to the mark, you only need to consider the title of this disc: Floppydisco. We've all heard loads of sonic celebrations, passionately beseeching music-lovers to return to the 80s, but only recently have these efforts actually reached beyond the fad to produce good music. Floppydisco is definitely among the best of the genre. The power-cheesiness of these songs inspires a giggle but the sounds, arrangements and tunes are seriously fine. I can do without the vocoder and the more trite efforts, but the bed of bass that greeted me at the beginning of Alice Doesn't Know is totally blissful. It simply doesn't get any better than that in the deranged world of Electro. Alice is what the genre should be about: sexy, danceable and a little warped. Sounding like a genetic experiment involving Kraftwerk, Isaac Hayes and Air, Bleepin' J Hawkins treads the thin line between 'experimental' and 'approachable', serving up a cheese platter of lush, bubbly sounds and reviving the electro-pop sensibilities of a bygone era.
|
|
FLIPSIDE - CANDLE RECORDS REMIX ALBUM
|
|
 VARIOUS ARTISTS
Add to basket. Normally ships within 10 days $13.95 (US $8.62) (UK £4.82)
cd
A Candle compilation? I think this may bring me closer to these artists because previously I've only really fallen in love with the music of a few notables like Richard Easton, Jodi Phillis and The Guild League. I'm right; straight from the outset I'm hit with Owen Bolwell's remix of Ruck Rover's Wealth, Fame & Happiness: a killer tune. I also had to completely review my opinion of Anthony Atkinson after hearing his Break In The Weather filtered through the supreme musical mind of J Walker (Machine Translations). In fact, my only criticism of this album is the fact that nowhere does it clearly state that this is a remix album, apart from the title of Flipside. It definitely made me more interested when I discovered the remix credits on the liner notes. And if I get into an artist's music via a remix, so be it; the end result is the same: I like the music. The electronic edges help me to approach acts that are diametrically opposed to me personally. It all just seems too nice and cuddly over there in Candle land, but a few added beats and textures made me feel at home in their warm fuzzy ideology. The more the disc plays, the more I'm lured, feeling uncharacteristically whimsical during Golden Rough's Provenance (Jason Blackwell remix) and even Darren Hanlon, who I'd all but written off, left me stunned, remixed by a producer who is fast becoming the most impressive in the country: Qua. Flipside does more than introduce the Candle roster, it represents the turning point for acoustic and light pop as the music is absorbed by the electronic community, with startling results.
|
|
|
|
 SHAPESHIFTER
Add to basket. Normally ships within 10 days $22.95 (US $14.18) (UK £7.93)
cd
I challenge anyone to stand back at a Shapeshifter gig. In fact, I'm not sure it's possible to be apathetic when these guys hit the stage. People tend to get sucked into the Shapeshifter vortex, sticking to the stage like moon-hungry moths and marvelling at the size of the Kiwis' sound; drum&bass;, dub and deep grooves all played live. That means there's a drummer that looks like he's been stolen from a metal act, thumping skins with the type of intensity that supersedes digital loops, and on the front line you can watch the boys slip into their own trance, occasionally teasing the audience and holding back a massive burst of bubbling bass only to drop it on the crowd and smile as the dance floor melts. It's pure joy and New Zealand's #1 independent act match that intensity on their recordings. First came the album Realtime - in my Top 10 Australasian 'dance' albums, ever - and now they relieve my boredom with another dose of brilliance: Riddim Wise. Beautiful low-key collaborations with Lady 6 and P Digsss put the fear into me; I thought the album would be much lighter than its predecessor. But no, the 5-piece combo deliver some very nasty cuts on Riddim Wise with help of a renowned purveyor of hellish bass: Evan Short (Concord Dawn). Skateland Killa is disgustingly fat; a particularly nasty roller that I'm desperate to hear live and loud, while Been Missing with P Digsss and Long White Cloud with Joe Dukie, are great examples of the other end of the spectrum; a new sound that combines soul and d&b; rhythms. With backgrounds that include jazz and metal, Shapeshifter are a virtual Pandora’s box of creativity and much more than a dance act, but for purists like myself, who frown when the tempo drops, this act delivers some of the finest, darkest, fattest d&b; available in this region. For the last 20 years I've written about every possible style of music and I can objectively state that Shapeshifter, over the last two years, have the distinction of being in Australasia's top 10 acts, regardless of genre.
|
|
DOPPLER SHIFT ELECTRO SELECTIONS
|
|
 VARIOUS ARTISTS
Add to basket. Normally ships within 10 days $25.95 (US $16.04) (UK £8.96)
cd
I don't know where my ‘doppler’ is located but it's definitely shifted since I started listening to this warped set of electro trash. I've been inundated with many electro releases lately, all infused with that 80s Clash sensibility that catches you halfway between laughing and crying; especially if you're old enough to remember its origins and how bad you looked back then. Oh God, it's like opening that photo album; the one you've hidden under the house for fear of reprisal. But Doppler Shift is changing my memory of the music and forcing me to admit that those dinky sounds were valid. These tracks are highly original constructions built on the foundation of electro from years gone by, twisted by a collective of artists that work in isolated environs but draw the ability of label-mates. After all, that's what a collective is all about and Clan Analogue is as well-established as you can get in underground circles. Bleepin J Squarkins has already won me over with his Floppydisco album, so Minerva Moog appeared like an old mate, but others like Victor X-Ray's Radiation, Yes Indeed! were outstanding new discoveries for me. Itch-e & Scratch-e make a welcome return to disc with King Of The Moon and another familiar name, Andy Rantzen, teams up with Ryan Spinoglio to produce Zero 7; a razor-edged slab of technical madness, driven by the most determined rhythm on the compilation; proving that rather than an interesting oddity, Doppler Shift has quite a few tracks that would be an inspiration for any jammed dancefloor. Electroteque impressed me again, this time with Thoughts Of Mutual Understanding, clearly announcing the intentions of the new Clan generation to match the high standards of the collective's pioneers. New electro and glitch have been on the horizon for a long time, but Doppler Shift could signal a shift from underground to mainstream. 200 blondes dancing around their handbags while a DJ plays electro? On second thoughts, I don't think I want that.
|
|
PAINTING MONSTERS ON CLOUDS
|
|
 QUA
Add to basket. Normally ships within 10 days $22.95 (US $14.18) (UK £7.93)
cd
I like to think of Qua aka Cornel Wilczek as more than a songwriter, producer or musician; I think this unique artist manages to present something closer to an aural painting rather than a set of songs. If that's a fair observation it's only fitting that his new album should be called Painting Monsters On Clouds. I'm looking at the inner sleeve, which features beautiful illustrations by Hunch, and I'm noticing the type of acts Qua has chosen to thank; like-minded genre-defying artists like Architecture In Helsinki, Machine Translations and Pretty Boy Crossover to name a few. Like those acts, Qua surgically dissects traditional sounds with the use of digital technology, sometimes bordering on glitch but ensuring an ambient result by infusing every song with his obvious love of dreamy atmos. The cluttered brilliance of Devil Eyes is as compelling as an instrumental can get. It's simple bed of bass and acoustic guitar is like the bare canvas which is then decorated with confident strokes of digital hues - loops and abrasive textures - that create a confusing but alluring result. Wilczek must consider the most beautiful music to be flawed in some way because the more fluid moments of Painting Monsters On Clouds are usually short-lived, being deformed by an unnerving element that exposes a love of top-end glitchy sounds, even if they're simply 'pops' or static. Don't be frightened by technology; as long as artists like Qua exist, you can be safely assured that digital trickery will be absorbed into a psyche that thrives on creating a soothing result. At the halfway mark of 2004, Painting Monsters On Clouds takes the honours for the year's most beautiful album.
|
|
REFASHIONED 2 - BRITISH AIRWAVES
|
|
 VARIOUS ARTISTS
Add to basket. Normally ships within 10 days $27.95 (US $17.28) (UK £9.66)
cd
The 80s obsession continues. I don't know why everyone's so keen on revisiting that decade. I was a teenager in the 80s and I can assure you, it was crap. Nevertheless, here we are, with inner cities inhabited by attractive women donning humiliating mullets and blokes having a good old-fashioned Aussie go at wearing eye shadow. So be it. Something good must come from all this and Refashioned 2 may be one of the first fruits of our electro-clash labours. This is a collection of the UK's finest hits of the 80s era, all remade with a modicum of taste and respect, by Australian electronic producers. The original artists include The Cure, Eurhythmics, The Police and Culture Club, to name a few. Acts like 5000 Fingers Of Dr T, Deepchild, Jeff Dread and Telafonica have chosen choice tracks, ripped them apart and reassembled them with equal doses of humour and respect. There are a few shockers, but at least they inspire a giggle, while the successful interpretations are quite impressive, Yum Cha's reworking of Japan's Ghosts being an instant hit with me. The more subtle interpretations leave a lasting impression and Majella O'Shea's take on The Man With The Child In His Eyes is a truly beautiful rehash of the Kate Bush classic. Deepchild create deep dub on Racist Friend (Special AKA) while one of Sydney's pioneering local dub producers, Jeff Dread, makes full use of some tasty brass on One In Ten (UB40). Other worthy contributors include Snorkel (Do You Really Want To Hurt Me?), Gotye (Just Can't Get Enough) and Don Meers (Forbidden Colours). Refashined 2 - British Airwaves boasts some of the finest electronic producers from our vast pool of local talent and once again the Creative Vibes label has proved its renowned ability to piece together an eclectic and challenging compilation that proudly displays that talent.
|
|
|
|
 ENS
Add to basket. Normally ships within 10 days $27.95 (US $17.28) (UK £9.66)
cd
Ben Fairweather aka Ens weaves jazzy analogue sounds through the darkness of digital loops with such fluid style that the mash of the electronic with the organic becomes seamless. Warp And Weft, quite simply put, is a thoroughly hypnotic take on the soundtrack-styled electronica emerging from Australia at the moment. Hollywood noir meets syncopated rhythms without clashing; instead, the mixture creates a sound that is never abrasive, but also never fails to be compelling. Wandering rhythmic studies in mood, like Perspective, suggest a wealth of experience in front of computer monitors, but Ens' greatest trump card is a natural flair for atmos and the ability to arrange well-balanced compositions like a live jazz combo. The term 'digital jazz' is accurate but doesn't quite cover the depth of mood displayed on Sideways Up and the blue feeling suggested by Tranquilaise. This isn't one of those albums that inspires a hefty review. Suffice to say that if you're looking for a mood-enhancing collection of beautiful light electronic sounds with a dash of jazz, you can't possibly get any better than Warp And Weft.
|
|
|
|
 TALI
Add to basket. Normally ships within 10 days $23.95 (US $14.80) (UK £8.27)
cd
If you can handle hearing lyrics over high quality drum & bass production, add Tali's Lyric On My Lip to your short list. She's the Kiwi signed to Roni Size's Full Cycle label and if you don't know that name, it's time to sign up at your local tech college for Drum&Bass; 1:01. Suffice to say, if Roni is willing to produce this young New Zealander, plenty of people will be willing to give this album a spin. Roni's production is subtle and respects Tali's obvious lyrical talents; talents that run the full gamut from soulful crooning to syncopated rhymes that show a real flair for timing. My personal tastes are rarely defied by a performer, but I found myself especially liking Airport Lounge, a more melancholy effort, despite my usual repugnance for drum&bass; love songs. While Tali's voice softens the mix, the production resists temptation to sink further into Bukem-like handbag D&B; instead it remains very direct, spacious and tight; like the tough Take A Look, with keys that reminded me of early Massive Attack. Following the impressive multi-syllable onslaught of Satirie Stylez, the tracklisting is divided by the mostly instrumental Pressure Release, a nicely positioned break from Tali's vocals that prepares the listener for the big finish. Lyric On My Lip will attract the attention of radio with its darker bass and catchy hook, but Soul Star and Don't Blame Me prove that Tali's voice sounds just as impressive over more tribal and dub-oriented efforts. With the single Blazin featuring many of the genre's stars, let's hope it attracts enough attention to guide potential fans to the LP, Lyric On My Lip, which could further enforce the notion that drum&bass; has enough melody to find a more universal appeal.
|
|
|
|
 OUVI MELHOR
Add to basket. Normally ships within 10 days $23.95 (US $14.80) (UK £8.27)
cd
This release is confusing the s**t out of me. It's a very frustrating dilemma I find myself in. I'd like to destroy certain elements of it, I'd like to remix it and I'd also like shake the producers' hands. Firstly, if you've been sitting in a home studio for a couple of years, carefully crafting beats and sounds, wouldn't you give your work to an objective professional for the final mix? It's essential. Secondly, it takes a concerted effort to make live tracks (like vocals) blend in with digital trickery, otherwise the added tracks just sit on top of the rest of the ensemble like a loud hat. So what we have here is a collection of beautiful sounds - quite eerie and atmospheric - with minimal, unobtrusive beats that complement rather than dominate. Then a host of soulful female vocalists are added to the mix, wonderfully contradicting the dark foundations. It sounds great in theory, but the two major elements simply don't coherently gel, partly due to production, partly due to some forced performances that would better suit a House track. Anymore represents one of the moments when it works. The vocals, rather than sounding like a misplaced House recording, suit the moody synths and minimal beats to perfection. There are some beautiful sounds on the album and instrumentals like iiSd prove that Ouvi Melhor have spent an eternity tweaking sounds and obsessively crafting tracks. Readers who love hearing gals singing over beats will love the variety of contributors including Bonnie Gilham, Yvie Jones, Aimee Nash and Kristie Clemow. All these girls can belt out a tune (or whisper a tune, as is often the case on this album). So, to be objective, I'll say Odiumosis is a worthy contribution to the modern trend of breaking down barriers between sub-genres. But it simply ain't for me.
|
|
|
|
 THE RECTIFIERS
Add to basket. Normally ships within 10 days $18.95 (US $11.72) (UK £6.55)
cd
The Rectifiers released their complex but subtle masterpiece, Wear The Weight Of The Resting Sky, in 2003 to critical acclaim. But that wasn't enough for their label, Sensory Projects, which promptly farmed out tracks to electronic wizards, the Symbiotic Collective, for reworkings of the cinematic Rectifiers tracks. The result was always going to be a high-standard release but this set of 9 tracks not only transforms the originals, but also shows respect for the alt-country origins, retaining enough of the source to keep the songs recognisable. From A 3rd Dek's film noir reworking, Between These Pieces (originally This Peace Between Us) to the lounging An Egg Rolling Down A Hill by Guitarkus (featuring Ptero_Stylus), the only real themes that bind the album are slow hip-hop beats and breaks; a love of bent sounds; and, of course, the musical source (The Rectifier). Paso Bionic's Rusty Dawn Reprise (remix of A Quiet Life) is like a walk through the subconscious mind of a child, complete with elements of both dreams and nightmares, constantly shifting from the beautiful to the surreal. It's my personal favourite, but if you like to lean left when it comes to electronic tracks, you'll enjoy other artists like Pitch Bureau, Dengar, Terminal Sound System and Beatrix; all valuable contributors to Ants Farm Aphids, the Symbiotic mob's outstanding album from 2003. Sure, they may be insane, but these pioneering beat merchants do The Rectifiers justice on the Levy EP.
|
|
|
|
 TALI
Add to basket. Normally ships within 10 days $4.95 (US $3.06) (UK £1.71)
cd single
You simply don't find a place on the roster of Full Cycle without rockin’ and after witnessing New Zealand's Tali live, I can confirm that her inclusion among the highbrow company on the afore-mentioned label is well justified. With the exception of Tali's tendency to constantly remind her crowd who she is, her set was extremely slick and professional. She seems ambitious and with the skills she displays on stage, who can blame her for aiming high? This sparse representation of exact vocal stylings serves its purpose, framing Tali's performance while still being hard enough to rock a dance floor. Trust Dillinja to up the anti on the more relentless drum&bass; reworking of Blazin'; it certainly raised my eyebrows. That's the great thing for Tali, the fact that her label-mates can lend a helping hand and add their respectable names to the credits. She certainly deserves to have great music behind her and you don't get much better than Shy FX & T Power, deservedly in vogue at the moment. Their remix adds some lovely rumbling bass and energy, leaving the original version for dead despite its initial appeal. There are high hopes for Tali on the international scene and this single will do nothing to deter the trust of her high-profile label.
|
|
|
|
 OFFCUTS
Add to basket. Normally ships within 10 days $23.95 (US $14.80) (UK £8.27)
cd
The Homestyle and Paper Bag/Plastic Bag EPs have laid the foundations and now, with Thrift Shop Boutique, Offcutts' ideas can finally be presented as a long-player, somehow packaged together cohesively despite duo's obvious disrespect for genre-related pigeonholes. Really, it shouldn't work, but what could have been disjointed set of compositions, ends up being my favourite album so far this year. A few electronic elements in the production of the lament Papillion D Amour and the pensive Frigid, link the songs to a dose of deep grooves from Homestyle: Gravel Rash, Kitchen Bay and Back To The Music. Those Homestyle tracks are some of the finest and most charismatic songs produced among the electronic music community in the last couple of years. Endearing vocals drift over bubbling bass lines and solid beats to produce something quite magical. A few of the tracks on Thrift Shop Boutique didn't resonate with me originally when they appeared on EPs, but now make sense in an LP format. One of them is Break It, featured on a TV ad and thoroughly rotated on radio; another is Hips, which was the track that first attracted the attention of Australian media. Luckily, for fans of Offcutts, it isn't all a well-presented rehash; you'll find a few fresh tracks to make this CD a worthwhile inclusion to collections. She Said We Could Make It? is a stand-out, but its traditional flavour also shows how diverse the act's repertoire can get, a far-cry from the shadowy groove of my favourite, Mushroom Cloud (Mouthbox Mix). Offcutts can inspire some varied reactions, including laughter, sadness and more than a touch of confusion, but listening to the richly diverse Thrift Shop Boutique, you quickly reach the conclusion that everything is intentional. Despite a few dubious vocal and lyrical moments, this LP is an early highlight for 2004 and as time rolls on, it may be remembered as an historic moment for a rising star of the local scene.
|
|
|
|
 PURDY
Add to basket. Normally ships within 10 days $22.95 (US $14.18) (UK £7.93)
cd
'Fairytale' is the operative word as Kevin Purdy, through songs like Sleep Well and The Secret Smile In The Camel Girl's Eyes, lures the listener from reality to visit the mystic recesses of the artist's imagination. Fairytale Insurance joins a long list of Australian releases over the last year that could easily find a home on a major film soundtrack. The production, as you would expect from a veteran of Australia's electronic musical fraternity, is slick with exception of a few muggy sampled narratives, but those samples are effective enough to be forgiven on what, generally, is 99% perfection. After dabbling with collaborations, sporadically releasing a few well-received solo efforts and continuing with his love of turntables, Kevin Purdy has learnt to craft slick music and tweak choice sounds, but this album attempts to do more than just sound sweet; it also offers vivid scenes, designed by Purdy as he successfully creates some clever escapism, sometimes offering a Spaghetti Western (The Grip), a Mystery (Here Come The Specials) or Thriller (Harry's Day); in fact he seems to cover most film genres with the atmospheres created on Fairytale Insurance. It may not be 'dance music' but this album reminds us that electronic music has made the transition from clubs to home stereos.
|
|
DEFOCUS LOW RES PRODUCTIONS
|
|
 VARIOUS ARTISTS
Add to basket. Normally ships within 10 days $27.95 (US $17.28) (UK £9.66)
cd
If there's line drawn between 'approachable' and 'experimental' electronic music, the Clan Analogue collective are balancing on it. Some of the Clan's acts commit to one side or the other, but generally they're like-minded acts that push boundaries without destroying them. Established acts like Pretty Boy Crossover, Deep Child and Disco Stu provide stability in a long tracklisting of emerging talent. Parlour's No Title is an early highlight and sets the scene for some cerebral takes on existing genres, but generally the rule of thumb is: glitch meets ambience. DeForce reminds us that half our electronic community is labouring over a hot laptop, agonising over blips and blurps. The Clan call this 'low resolution', which certainly suits the majority of acts on their roster. I'm a big fan of Clan Analogue acts and it's good to see new talent raising their hands for a bit of exposure, especially Two4K and Able Child, who will assist me greatly as I write a horror novel. It's certainly not all dark but personally, I enjoy the Clan acts who take Darth Vader's lead and turn to the dark side. I can't imagine Australian music without Clan Analogue - they're a pillar of the electronic production community- and with DeForce they prove that the collective increases their depth of talent with each new release.
|
|
|
|
 MUSIC VS PHYSICS
Add to basket. Normally ships within 10 days $22.95 (US $14.18) (UK £7.93)
cd
The influence of DJ Shadow has been prominent in underground releases like The Sensory Projects compilation, Ants Farm Aphids, but here we see the full evolution, combined with other notable influences like Kid Koala to arrive at jazzed-up shot at truly cinematic scapes of deeper instrumental beats. A glitch mentality to scratching, similar to Smog, gives an unlikely unnerving relief amid hypnotic, dark layers and loops. It's clear, with an opening track like Main Title Sequence, that Music Vs Physics are striving for escapism. Given that, Underscore easily reaches its goal, helping create an atmosphere by using bizarre garnishes like cocktail music and gospel vocals out of their traditional context. Beats are minimal but solid, avoiding a tag of 'electronica' and still remaining true to a hip-hop philosophy. This is what Mo Wax was all about when no house was without one of their compilations, but Music Vs Physics manage to give the genre a well-overdue tweak and create music for the mind. The trio can easily be aligned with friends, Curse OV Dialect, sharing the same love for stuttering rhythms and that childhood imagery that seems at once a nightmare and strangely familiar at the same time.
|
|
|
|
 UBIN
Add to basket. Normally ships within 10 days $27.95 (US $17.28) (UK £9.66)
cd
Star-Lo is well outside the range of my radar (being quite light in feel), but it's instantly obvious that Ubin have meticulously crafted one of the best-sounding electronic releases of the last 12months. I longed for something a bit harder, I'll admit it, but with the exception of a couple of saccharine pop attempts, I warmed to the eclectic nature of Star-Lo. I can't do the high-energy cheese even though I know it's slick and humorous in that 80s-influenced trashy kind of way. Instead I'm diggin the atmospheric tunes like the brilliant opener Redroom; and the jazzy tracks like Biseaux. The pioneering feature of Star-Lo is the influence of glitch on this duo and the effect it has when applied in a more approachable way than the traditional teeth-grinding version; like manic rhythms that make sense after repetition and actually have some bass. Personally, Summertime gets my vote as the standout track and that may have a lot to do with some digestible vocals that don't go over the top. Star-Lo is one of those albums that you love with the exception of a couple of tracks you loathe. Having said that, 11 out of 13 ain't a bad score.
|
|
|
|
 THE BIRD
Add to basket. Normally ships within 10 days $27.95 (US $17.28) (UK £9.66)
cd
It's releases like this that make me proud of the unique approach Australian acts have developed in the broad genre of 'dance' music. The Bird, Baggsmen, DB Chills, Nu Breed: all of these acts tackle their beats with a truly live approach. It's hard to ascertain the exact reason for this philosophy. It could be the traditional infatuation Australian punters have when it comes to entertainment or the fact that many of Australia's electronic music combos have been forced to play venues that traditionally would be a forum for rock, but regardless of the root, these blossoming acts consistently out-gun highly regarded overseas peers and Audible Inventions delivers a 'coming of age' for Sydney's finest. The Bird mix it up on their new blunt, gliding through ambient hip-hop that should please any Shadow fan, drum&bass; that could rock the most discerning purist and moments of pure fantasia custom-built for day-dreamers. The majority of tracks are laid on a bed of deep and intelligent dub, driven by sharp and dynamic beats. It's a sparse offering in regards to sounds, cleverly spaced and never cluttered, sonically brilliant without any trace of self-indulgence. Audible Inventions suggests that The Bird's interest in eastern sounds is now more than an infatuation, it seems to be a direction and future target sound; yet another major ingredient to flavour the stylised sounds of one of Sydney's most respected live beat combos.
|
|
|
|
 SPOD
Add to basket. Normally ships within 10 days $22.95 (US $14.18) (UK £7.93)
cd
Can it be true? Is this the future of music? It's a frightening thought but this extraordinary solo artist's tongue-in-cheek fusion of harsh electronic sounds and cock-rock is brilliant satire while also teetering on the edge of critical acclaim. Like a cross between T-Rex and Peaches, this pink-clad, self-made sex symbol struts on stage, flanked by dancers; an act born from guest slots between the performances of local rock acts. It's got to be one of the most extreme and gutsy acts on the scene at the moment and after initial confusion in the industry, the media are leading the way and finally getting the joke. With production assistance from Decoder Ring's JohnBoy Rock, Spod's debut, Taste The Radness is...well, I guess you'd have to say that it's ‘totally rad’.
|
|
|
|
 RESIN DOGS
Add to basket. Normally ships within 10 days $27.95 (US $17.28) (UK £9.66)
cd
Lovers of fine beats and breaks have been eagerly anticipating the release of Hi Fidelity Dirt all year. 'Anticipated' is the right word; we've all expected a superb effort from Australia's finest funk collective. Having had the pleasure of enjoying the Dogs' hospitality in the great brown city of Brisbane, one memory is still fresh: that record collection. These guys are swimming in great tunes and the waters run deep. Hi Fidelity Dirt is a chunky batch of slick sounds and expert arrangements and after Introdogtion, Sidesplitter lays down a huge slab of instrumental funk in true Resinistic style: the rolling bass, bursts of brass, dirty loops...it's all good. Good Buddha's vocals on the previous single Take Off prove that Aussies can rap in an Australian accent without sounding like they're on day-leave from the local prison and the combination of two acts at their peak makes for an early highlight on an impressive tracklisting. The legendary Pharcyde add an international feel on Shut Yo Mouth and remind us of the precise, upbeat lyrical stylings that made them superstars of hip hop. The Resin Dogs have plenty of ammo when it comes to collaborations and the ragga-infused Gunshot Dub allows Spikey T to loosen his vocal chords while Absract Rude is back for more Resin on Rebel (you may remember his subterranean vocals from Set It Off in 2002). The scope on this LP is vast and R&B;, Latin and Ragga influences creep into the mix without inspiring jeers; the Resin Dogs would have to collaborate with Sophie Monk before they started losing their well-earned cred. Hang on...Resin Dogs with Sophie Monk? That's brilliant. I should be working in A&R.;
|
|
|
|
|
|
|
|
|
|
|
|
