Spring Heel Jack – The Sweetness of the Water (Thirsty Ear Recordings, 2004)
Folks at Thirsty Ear don’t want you to see what’s coming. Another installment in The Blue Series is here to confound preconceived notions. First though, let it be said that Spring Heel Jack (Ashley Wales and John Coxon) is not a duo that sits firmly within one genre. They’ve collaborated with Everything But The Girl and the master spaceman himself, Jason Pierce. So this recording promises at very least, genre bounding. Throw into the mix, Leo Smith and Jah Wobble’s comrade Mark Sanders and the disc already sounds like a bizarre after party in some dark room.
The disc begins in an unassuming manner, free, but ultimately not awe-inspiring. Track two, “Quintet” showcases the talent seeping from every individual participating. The organ sounds raw and disconnected, as if recorded separately and edited in, but helps hold the freedom-music together. Mark Sanders’ excitable drumming changes repeatedly throughout the track to keep every musician moving. Confusing to all but the advanced listener, there are less melodies on this album than tracks. We do find ourselves amidst a few melodies though (“Lata”, “Track One”, “Autumn”), but in a simplified way. What this album does, that Spiritualized and Spacemen 3 do very well, is to take a plain statement and make it exciting. The ritual flights into freedom by Smith and Evan Parker (Sax) serve to inject the music with braun, while the basic concept is held down by the rest of the crew, including the producers. Again, on this Blue Series release, as with El-P, there is less personality displayed by the producer than the instrumentalists. That being said though, this album far surpasses El-P’s effort.
Let’s say I’m a teen-age girl. I wouldn’t let these guys de-flower me, but I’d probably let ‘em finger bang me in the back of their Mini-Cooper.
Daedelus – Of Snowdonia (Plug Research, 2004)
The first time most heard of Daedelus was as a result of the Mush release The Weather. That initial exposure to bizarre beats, put together from myriad sources including kids’ songs and toy instruments, coupled with the rantings of Busdriver and Radioinactive, endeared listeners to the producer. Ignorant of his previous solo work, Invention (2002), Of Snowdonia is a welcome profile raiser.
Apparently, Snowdon is a mountain range in the north of Wales, where the highest point on the island can be found. Now, the invocation of such an area, one that possesses so much serene, natural beauty is obfuscating. If this were a Bert Jansch record or even a hillbilly record with slow and subtle bluegrass melodies tinged with pre-war blues, the reference would be understood, but electronic music and nature, in most minds, do not invoke one another. Not to say that this record lacks organic melodies, it does not. The melodies on “Taking Wing” or “Telling Meaning” are evidence of that. But tracks like “Overdressed” or “Pocket Watch Pulse” are rife with technology. Even the echo on the drum featured in the first track, “Snowed In”, is not a window to nature, but a comment upon the techniques utilized today in electronic music wizardry and studio mastery.
An exceptional effort though. Some may want to compare Daedelus with Scott Herren, but that’s simply unfair. While the two work roughly in the same medium, the results that they both produce are drastically different. Nor is El-P, another producer garnering much attention of late, an apt colleague. Daedelus has no artistic peers, only colleagues.
Keith Hudson – Pick a Dub (Atra, 1974)
Alright chillren, it’s learnin’ time. Another musical biscuit from Jamaica.
Keith Hudson began carrying shit around clubs for the venerable Don Drummond (Skatalites) in the sixties. So, early in his life Hudson had an affinity for music. He eventually became a dentist (oddly enough) and saved his loot. The DDS saved so much skrill from his practice, he started a label and began producing records. Engineering albums for John Holt, Delroy Wilson, Alton Ellis, U-Roy or Dennis Alcapone doesn’t seem too bad for a former Skatlite roadie (were they even called roadies then?). Eventually, Hudson started putting versions (dubs) of hits from Jamaica into album form. That’s where Pick a Dub flies in the face of conventional ska, rock-steady and reggae.
Being produced so early in the seventies, this album by Hudson helps to define the basic principals of dub. Pick a Dub was originally released in 1974 on Hudsons’ own label Atra, but was re-released by Blood & Fire in 1994. While Lee Perry’s Return of Django was released in 1969, his classic Super Ape albums didn’t come out until 1976 and 1980 respectively. So, the production techniques of Hudson on Pick a Dub were not influential in general but specifically in the case of Perry. Pulling in and dropping tracks from each song became the norm. The concentrated orchestration of drum and cymbal echoes alone must have taken Hudson a great deal of time. But, even more interesting are the melodies. While there are a number of very basic reggae guitar lines on here, there are a few (“Michel Talbot Affair” and “Depth Charge”) that are so lush, it sounds as if they came from Detroit.
For those of you accustomed to the Lee Perry method of insano-dub, you won’t find that here. Hudson is not quite that adventurous. Each track sports a solid drum and bass section of Ashton and Carlton Barrett with various melodic accompaniment by Augustus Pablo and the Soul Syndicate.
“Pick a Dub”, the title track comes first. A nice melodica courtesy of Augustus Pablo fades in and out over drum and bass provided by the Barrett brothers. A jubilant Big Youth chants towards the end and gives the track a plenary sound, not found on all the selections.
The track that sounds soul-derived is “Michael Talbot Affair”. More melody than rhythm this time. With a horn melody mirrored by lead guitar line, the Soul Syndicate delivers what their name promises. This could be the theme song of any 70’s blaxploitation film. A more solid melody by the rhythm guitar, gives the lead guitar and organ more room to intertwine with the track. As always, Hudson pulls out the melody to display the drum and bass half way through, creating different movements in the track from a single idea.
The middle of the album consists of basic dubs. Since we get to hear all of this 30 years after the moment of innovation, the simplicity is stifling and can cause the listener to lose interest, but at the time that this record was produced, there wasn’t a flock to herd this with.
Like a number of other tracks on this slab, the deftly played and syncopated drum and bass of “1-2 Dubwise” gets the showcase. Occasional support from a tasty dense echo laden guitar line livens up the space, but nothing more than solid dub.
There are two consecutive tracks (“Satia” and “Black Right”), which are versions of the Abyssinians songs “Declaration of Rights” and “Satta Massanga”. “Black Right” is transformed into one of the most listenable versions on this slab.
The most intriguing aspect of “I’m Alright”, one of the last tracks Hudson offers here, is the fact that the lyrics constitute an Eastern belief of prior to offering advice to others, perfect yourself, your life. The lazy rhythm doesn’t hurt the delivery; it just floats out of the speakers, languidly resting upon the lobes and into the brain.
There are some hints of Keith Hudsons’ future religious righteousness on this slab (“Black Right”, “Dreaded Than”), but not too much. Major labels would try to whore this man out shortly after this album was released, turn him into another Marley. But Boo to that.
El-P – High Water (Thirsty Ear, 2004)
If you haven’t heard of Thirsty Ear Recordings, now, you have. These folks sport releases from Anti-Pop Consortium, Exene Cervenka, Gun Club and Jah Wobble amongst other formidable talents. And here on this brand-spanking new slab, the folks at Thirsty Ear, The Blue Series Continuum (house band for the Blue Series) and El Producto mash-up some styles on a release that is singularly loaded with talent and unrelentingly frustrating.
Compared to the Anti-Pop record that was recorded with Matthew Shipp, which was equally divided between jazz and hip-hop, the El-P release leans almost totally towards jazz. Indelible shadows of El-P are all over this record, but nothing that boldly announces his presence as a jazz technician. I’m sure that was not the idea, but it would have proved, perhaps, to be a bit more exhilarating. Basically, I was fooled. I waited. On each track, I decide that at any moment a heavy snare and kick would sound. But, that was not to be. A hip-hop beat, if you will, never came.
“Sunrise Over Brklyn” maybe on some turntables out there as the first single. There’re some hints of El-P’s production “noise” in the background, but not enough. The event becomes rather tiresome, steadily evoking dawn. Some sections are nice and discordant, but sounds more un-organized then free (ala-Ornette Coleman).
The title, “Get Yur Hand Off My Shoulder Pig”, is reminiscent of “Don’t Call Me Nigger, Whitey”. Does it promise that funk? There’s a drum roll, as if they plan to introduce something new, then El-P steps in for some production and the band breaks into the funkiest beat on the record. The sad dissonance of Roy Campbell (trumpet) and Steve Swell (trombone) push against the exuberant beat. Two moods colliding. This is what was expected not only of El-P but also of the Blue Series Continuum band. It all simmers down and fades away to chatter.
Some deep groanin at the boards by El-P on “Intrigue in the House of India”. It’s mostly a show for the piano and the accented drum beat. Campbell gets minimal space to stretch out. Frantic drums and El-P’s gloomy drone introduce an overtly electronic section. Paydirt. Maybe.
What I waited for wasn’t what I wanted. But, I think this is what El-P hears when he walks down the street. I’m definitely interested, but I’m confused. So, that’s good. Maybe.
V/A – You Don’t Know the Half (Halftooth Records, 2004)
Hip-Hop is organized in a very curious fashion when compared to rock and or roll. As opposed to steadfast groups, hip-hop leans towards collectives and label groups to lend more freedom to the creation of music. Anticon, Def Jux, 7Heads all have releases with mix matched lineups, groups trading producers and vice versa to attain new sounds and identities. Maybe Kool Keith/Doc Oc/The Black Elvis best exemplifies this metamorphosis from release to release.
Anyway, I got this new slab from Halftooth Records outta NYC, looked at the cover and had no idea what to expect. Saw some names I recognized (J-Live, Wordsworth, Asheru and Talib Kweli) and some I did not (Oddisee, Kenn Star, Phonte and Big Pooh).
It turns out that this is the first outing for HalfTooth Records. It’s a compilation, don’t be saddened yet though, there are some tracks on here worth wading through the mire for. Nineteen tracks are turned in here, about half of them being produced by Oddisee for Reagle Beagle Productions (if you don’t get it watch Nick at Nite for a while). From sheerly the standard of listenablity, Oddissee is the rapper/producer that comes out of this whole deal sounding like a star. It’s hard to deny the ability of this gentleman based solely upon his beats and production, but coupled with his rhyming, he seems primed for greater exposure then all the boroughs combined can provide. All this does not mean that the comp is in anyway groundbreaking or even overtly thought provoking, just solid.
On the forth track, “Long Time Comin’ (Makin’ Moves)”, a nicely layered Oddisee beat persists throughout. The first listen to the record made me think this was the best track, possibly due to the Mos Def invoking of Phonte. It sounds good though. Derivative, but personalized. The subject matter, reconstituted, but not un-listenable.
“Yes Yall” combines (like Voltron) the production talents of the aforementioned Oddisee with his rapping talents. Very simply, he wants everyone to support the music/movement. There maybe somewhat of an annoying-sing-song-chorus, but overall, solid and indicative of the talent that this man possesses (Also see the track “Brother”).
Outta the whole album, the most unique track is probably “Here We Go Again”. Wordsworth became familiar to listeners on The Lyricist Lounge as half of Punch n Words. On this new slab, Words might have the steadiest flow when compared to his peers. I hear a little bit of Aceylone and the Digable Planets. Either way, he’s been around too long to be ignored.
Easily the best couplet on the entire slab comes from Asheru: “If it wasn’t for a mic check/I wouldn’t have a check at all.” The first single is called “IF”. There’s a little social commentary , Asheru, Talib Kweli and an interesting gentlemen named Kenn Starr (that’s comedy). Nice keyboard melody to boot.
Compilations, unlike full-length albums, rarely possess any kind of coherence. The flow from track to track on this album is lacking, while the tracks are mostly above average, the consistency and production (flow of the slab) could make it a little better. The instrumentals on here are all superb. The final track, “IshLab Outro”, would have been more effective if at the beginning of the slab. Also the two-tasty-Oddissee-interludes would have done a little better to be spaced out. Not a bad start to a label. Actually, it’s pretty damned good. Definitely watch for Oddissee to come back again and again and again.
Sex Mob – Dime Grind Palace (Ropeadope, 2003)
Steven Bernstein, slide trumpeter and leader of Sex Mob, has a history so long that the review may not fit in here. Bernstein has appeared on recordings with DJ Logic, Lou Reed and MMW. Needless to say, the gentlemen’s credentials are in order. His latest group, Sex Mob is an acoustic quintet that makes a surprisingly large sound. The noises that the band explores on “Dime Grind Palace” are all over the place and some of the result is simply a mind fuck.
The most interesting aspect of “Dime Grind Palace” is the undertaking of a song broken into movements and dispersed throughout the program. Translation 1, 4, 2 and 3 offer a departure from the upbeat, Ornette Coleman inspired riffing and features John Kruth on mandolin. Each section boasts spacey textures, percussion and the mandolin sliding up and down the neck, not so much playing a predetermined riff, but playing a feeling. Due to the fact that these interludes stray in scope from the other tracks serves to deconstruct The Album as a concept. With these dispersed interludes the gents of Sex Mob are giving the listener a rest from the frantic pace and funk of other tracks like “Conk Buster” or “Mothra”. When a band works to push structures that exist, the gesture generally serves to exhibit creativity, something this group possesses in abundance. But, everything on here isn’t perfect, unfortunately. “Norbert’s Weiner”, while pushing ahead of the norm leaves one feeling drained. Not a bad song, just not up to spec. This isn’t buy or die, but check ‘em out.
Dan Melchior – Fire Breathing Clones on Cellular Phones (Plastic Records, 2006)
After relative success with labels like In The Red, Melchior chooses to release Fire Breathing Clones… on the smaller and less well known Plastic Records. There are moments on this latest release from the Shepperton, England native that suggest that he may well be on the verge of indie stardom. At other times, like on “Dirty Ice Cream”, Melchior incorporates a great deal of production noise, which ultimately removes his trademark of sounding like he’s in a garbage can. A garbage can, though, with terrifically interesting lyrics and blues rip offs.
The saxophone that is present on a good deal of the album at once bolsters the arrangements as well as making them a bit more interesting as on the dirgey “(Just Plain) Goodbye”. Occasionally, when Melchoir utilizes just an acoustic guitar and his vocals, his songs are reminiscent of solo Syd Barrett. At other times he finger picks his acoustic to startling affect, the closer, “Lady RM” for example. This is certainly not the most raucous recording that Melchoir has been involved with, but that still shouldn’t discourage the devotees.
The Nu Mutants – Fire Starter (Self Released, 2005)
It’s hard to dislike a group that so obviously has their heart in the right place. Nu Mutants seems to be a collective made up of friends and associates from the Toledo area that are rather critical of the current climate of hip-hop. To call this particular EP reflexive would be an understatement. The first track, featuring the rant by Natural, takes the form of a press conference on ‘The State of Hip Hop’ and utilizes the idea that if hip-hop were a state, he “would govern that shit.” Chyna Black is featured on the next track, which also exhibits some very poor mixing, leaving the vocals sounding ridiculously high in comparison to the beat, which itself is somewhat cheese related. Spoken word can get tedious, as this album exhibits again and again but at-least Jesus Bayano makes some poignant statements like comparing religion to gangs. Imani Lateef, while having the most ethnic sounding name, has the least interesting track and leads into the “Outro” consisting of a group of people warbling over a simple and quite boring beat. Only in dreams can I comment positively upon this slab, which is unfortunate due to the effort that no doubt was poured into it. But, maybe I just have bad taste. Who knows?
Michael Columbia – These Are Colored Bars (Alabaster, 2004)
Michael Columbia is not a person, although you may have read other reviews that affectionately refer to “him” or “he”. In fact Michael Columbia is a duo consisting of David McDonnell and Dylan Ryan (who is a candidate for the best named man in the universe). Other musicians appear sporadically throughout this offering, but really the stars of this effort are the horns of McDonnell. Each track is based around a rather funky and krauty sounding drum beat (“Baseball Museum”, “Mr. Bulgia”, “Unknown Shape”), but without the horns coming in, the songs would become labor some to get through. “Hobart” displays not just this notion concerning the horns, but adds some skronk. Not just normal notes, but the equivalent to guitar feedback. Even though McDonnell doesn’t get down on every track, the horns are still indispensable on “Mouse”, “Dupress” and “Thanks to You Jeremy”. Two points of contention here though. First, even with the sax, there are issues that arise in any instrumental music. How can attention and interest be maintained? The sax and clarinet answer that question most often, but there is still something intangible lacking. Secondly, and more egregious, the rare appearance of vocals on “Special Export” and the closing track, “Buzz Aldrin”, are more than disagreeable. No other major complaints. Unfortunately, I can only recommend this one to people who live in Chicago and know these fellows, are relatives of the band or really love funky drumming. I guess that’s probably enough people for the record to make a profit though. And really, even art is a business.