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You are here -> Music / Albums Friday, 09 January, 2009
PLANETNOTION TELEVISION!
CAMERA-FOLK AND FILM EDITORS WANTED!
Planet Notion is looking for guys and dolls to film and edit features for its new TV channel, PNTV. Accompanying Notion to artist interviews, gigs, fashion shows, festivals and international events, you will be skilled, passionate and full of ideas about how to produce shit-hot video content. Camera-folk will be experienced and ideally have their own equipment, or at least access to equipment, while editors must be able to turn projects around quickly, and with stylistic flare. If you can both film and edit content, we would especially like to hear from you! These casual, unpaid positions would be ideal for those looking to develop their showreels, and to get the chance to travel, film major artists and top events.
 
Please email lucy(at)musichqmedia
(dot)com if you’re interested in getting involved, cheers!
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Electro-Pop
Fast, Cheap and Out of Control
HK119
One Little Indian
Electro-Pop
tags: | hk119 news | hk119 review | hk119 one little indian | hk119 album review | more...

Electro / House / Everything in between
80s 'Electro and House' special!
Various Albums & Various Artists
Southern Fried / NRK / Domino / Stone's Throw
Electro / House / Everything in between
ARMAND VAN HELDEN NEW YORK A MIX ODESSEY 2 SOUTHERN FRIED RECORDS | HOUSE VARIOUS ARTISTS DAVE CLARKE: BACK IN THE BOX NRK | HOUSE VARIOUS ARTISTS DREAMS COME TRUE – COMPILED BY JON SAVAGE DOMINO RECORDS | ELECTRO ARABIAN PRINCE INNOVATIVE LIFE: THE ANTHOLOGY 1984-1989 STONE’S THROW | ELECTRO Think ‘eighties’ and you’ll probably think leg warmers, the Sinclair C5 and men and women wearing blusher like an SAS man wears camouflage face paint. You may even think of the ‘music’ of Page 3 girl-slash-pop star, Sam Fox. At first glance, the 80s era does seem to have produced such levels of abhorrence that the title of ‘the era that taste forgot’ seems rightfully earned, if not a slight undersell. However, beneath the lurid, cheap glare that continues to emit twenty years later, it appears a time of rich musical heritage whose influence continues to reverberate now. The 1980s was the era when electronic music took root across the world and began a chain reaction to what we are immersed in today. The latest instalment in Armand Van Helden’s ‘Mix Odyssey’ series visits 80s hip-house. Upon first listen, it becomes clear that this is not just a compilation. From the mixing style to choice of tracks, Van Helden has proved himself to be someone who loves this era of music, and knows the genre inside out. The level of influence that the Chicago and New York house styles of the 1980s have had on Van Helden is evident in the seven of his own tracks included in the mix, which nestle comfortably against music produced twenty years prior. ‘I’ll House You,’ the 1988 collaboration between the Jungle Brothers and Todd Terry, is a significant inclusion, not only as the Jungle Brothers were the first rap group to enlist the use of a house producer, but as the track itself is regarded as being responsible for bringing hip-house into the mainstream. Like the Jungle Brothers, Queen Latifah and Monie Love, who both feature on the album, were members of Native Tongues, a positive hip hop collective who held close ties to Afrika Bambaataa’s Universal Zulu Nation. Regarded as the godfather of hip hop, Bambaataa is cited as being the first artist to fully embrace sampling, and his 1982 effort, ‘Planet Rock’ (using a hook from Kraftwerk’s ‘Trans Euro Express’) is cited as the first true hip hop record. Contrasting with the heavily produced selection of hip-house put forward by Van Helden is the latest in NRK’s ‘Back In The Box’ series, this time mixed by Dave Clarke. His choice of tracks demonstrates a different area of expertise in the music produced during the late 80s, the selection of pioneering Detroit techno and Chicago house transporting the listener back to a time when warehouse rave meant something, and was not a contrived marketing ploy. The inclusion of T-Coy’s ‘Regret’, the b-side of the first English house record, ‘Cariño’, illustrates his passion for all things techno, that lead to John Peel giving him the moniker of ‘ the Baron of Techno’. Atmospheric from start to finish, this subtle yet heady mix of 909 drum patterns and 303 acid trips is a guaranteed joy for present day minimal fans, as well as Clarke devotees. ‘Dreams Come True’ is cultural historian and music journalist (and ex-Hacienda DJ), Jon Savage’s chance to showcase eleven first-wave diamonds, and simultaneously reveal another side of 80s electronica. The selection audibly traverses the Atlantic during the early 80s, pairing Freestyle groundbreakers, The Latin Rascals and Debbie Deb, with Italo Disco from Klein & MBO. Garage Sound is also touched upon through the inclusion of Class Action’s ‘Weekend’, a cover of the 1978 song of the same name by Phreek. Whilst at first listen it could be said to hold similarities to Tom Tom Club’s ‘Wordy Rappinghood’, the strong vocal found in the Larry Levan mixed track reveals it to be more aurally lush than the paired down sound of new-wave. Levan was a prolific producer of the late 1970s and early 80s, and resident DJ at New York club Paradise Garage, which hosted amongst others Grace Jones, Chaka Khan Gwen Guthrie and Jocelyn Brown. O pen only to a select membership, it is said to be the first club to put the DJ as the main attraction. Similarly, its main emphasis on dancing as opposed to social interaction, meant anything danceable was played, from The Clash to Chicago house, an ethos continued in the present day by musical mavericks, 2ManyDJs and Erol Alkan. Despite only releasing two albums in 1982 and 1983, Yazoo remain one of Britain’s most influential electronic acts, and their inclusion by Savage is certainly significant. The duo was made up of Alison Moyet and ex-Depeche Mode member, Vince Clarke (who would later go on to form Erasure). Album opener, ‘Situation’ serves as a perfect reminder that shifts in technology and their application to music were not only being felt in America and Europe, and not just by club music. Whilst at times hollow, and with vocals that seem slightly off-key, ‘Dreams…’ really is an album for 80s aficionados. However, the eloquent and informed sleeve notes from muso-hero Savage give what at first appears as 80s trash a serious edge, and is a useful reference to anyone holding a general interest in the era or the history of electronic music and clubbing culture. Arabian Prince was a founding member of N.W.A, leaving just before the release of their hugely successful second album ‘Straight Outta Compton’, yet noticeably the tracks on this new anthology lean more towards the break-dance friendly electronic hip hop of Grandmaster Flash, than the more violent associations of gangsta rap N.W.A are now synonymous with. The inclusion of the group’s single, ‘Panic Zone’, taken from the 1987 release, ‘N.W.A. And The Posse,’ reveals that hip hop as we know it could have taken on a completely different form, had Prince remained with the group and the harder, rawer style of N.W.A been diluted. Prince’s work post-N.W.A was not commercially successful, and this chapter of hip hop history has on the whole been overlooked. This, however, does not mean that the work of Arabian Prince should be disregarded - ‘Take You Home Girl’ is comparable to Chromeo, whilst ‘Simple Planet’ could easily be mistaken for an offering by Dopplereffekt. Unlike the lyrics found in Van Helden’s selection of hip-house, the words of Arabian Prince are tougher and more about narrative than a call-to-party, showing that a refraction within styles and subgenres ran concurrently to the explosion in technological advances. The creative pioneering enabled by new synthesisers and drum machines has left a legacy which not only continues to inspire artists and producers to this day, but shows no signs of slowing down. AG
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MCing / Hip Hop
Food 4 Da Brain: The Second Serving
Various Artists
Pro1 Music
MCing / Hip Hop
I was thinking that Food 4 Da Brain ‘Second Serving’ would be a really intellectual CD. That it would give me great knowledge and infinite wisdom. In hind-sight, I should have realised that an album that substitutes ‘FOR’ for ‘4’ and ‘THE’ for ‘DA’ wasn’t going to make me the next Bill Gates, Albert Einstein or, um… Trevor Baylis. But screw-it, who cares about intelligent song-lyrics? Who cares if music doesn’t give you a sense of feeling or make your heart skip a beat? Who the fuck cares? Well, actually, um, I do. For those who don’t have a deep respect for meaningful lyrics, here’s an impartial review. Well, as impartial as is humanly possible for me to be. Food 4 Da Brain is a compilation CD featuring 15 tracks by different artists. They include the MC, MCD, who performs the opening track ‘Food4DaBrain Dubplate’; Virus Syndicate performing ‘Neva Argue’; Shameless feat Bruza performing ‘Shame on You’; and many more. It’s as you’d expect. Big loud bass and beats with fast, mindless MCing about “TRYING TO RUN WITH TWO PUNCTURED LUNGS” and “LIFE ON THE STREET” and “DRUGS AND GUNS” as Terra Firma explains on the ‘Git Down’ remix. I guess ‘Invisible’ by Kashmere, Ghost and Verb T is an okay track. Mainly because the irregular, hand-clap beat remix reminded me of being in a K-hole; which is a mildly exciting proposition as I sit here writing this review. However, the best track has to be Deadly Hunta performing ‘Valley of Death’. It starts with a sample of an old song, featuring a female backing vocal by a kinda MoTown artist. In fairness, full credit has to go to KidEight for the production on the track. It’s probably the most mainstream on the album. In a nut-shell, Food 4 Da Brain is an excellent compilation for anyone who has a deep respect for MCing and hip hop. I presume it’s a good compilation anyway. To be perfectly honest, I wouldn't know. The End.
tags: | food 4 da brain | more...
2CD Compilation
Catskills First XI - It's a Celebration B**ch's
Various
Catskills Records
2CD Compilation
Catskills Records began in 1997, with the intention of putting out music that touched them, whilst refusing to be constrained by boundaries. When a record label releases a compilation of all of their singles, or, ‘their favourite moments’, it’s always an interesting proposition. So here we are with the London-to-Brighton-based record label; who after 11 and a half years have got together their little babies in one neat package for us to ponder over, to tantalise us and generally press those musical erogenous zones. A double album is always ambitious, and priding themselves on their own individuality and independence, they have cobbled together an eclectic collection of smooth and sensual aural droplets that flit from one genre to another. This ethos sees them pirouette from lounge-electronica through to rock, dub, hip hop, soul and pop. It tries to be too much for too many people. If you have followed Catskills from the early days, this package will provide all of your favourite tracks in one place, but as an introduction, it edges a little towards overload. The problem we face is that there are several tracks by the same artist; Pepe Deluxe boasts 6 tracks of experimental pop/trip-hop/funk/rock, with Catskills clearly seeing them as the gem in their crown. The musical journey sweeps through the pimp-daddy funk of ‘Salami Fever’ by Pepe Deluxe, moving on to the bass-grooving ‘channel hopping’ of Future Cast. Then to Black Grass, whose soul-funk reggae notches up three moments, and the cheeky britpop punk of The Ripps, attempting to brighten the mood. Hardkandy manage to hit a hat trick (‘Going Home’/’The Good with the Bad’/’Advice’) with Nylon Rhythm Machine, Bushy and Aldo Vanucci all notching up two each. Finland’s Husky Rescue create a couple of standout points with the epic, luscious, experimental pop of ‘Nightless Night,’ ‘Summertime Cowboy’ and ‘New Light Of Tomorrow’. With Hardkandy’s ‘Advice’ and Kidda’s ‘Hey Y’all,’ the second CD is definitely the one to start with, and then work backwards. At 2 hours and 20 minutes the album falls into very serious danger of turning into background music, and with so many tracks by the same artists, it merges into one long road with too many infrequent twists. But there are moments that will touch listeners. The only thing Catskills are guilty of is getting too excitable. It’s like a friend who gives you all of their favourite music all at once, when what you need is a bit at a time to digest it. One CD would have been enough to make you feel full, but two will make your eyes water. Lee Puddefoot
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Rock
Bob Dylan bootleg series vol.8: Tell Tale Signs
Rare and Unreleased material: 1989 - 2006
Columbia Records
Rock
In an era where careers are defined by the follow up single or how many votes you can trumpet up from the Saturday night couch brigade, it’s a testament to the true creative power of Dylan that this is his 8th, eighth, official bootleg record in a catalogue which includes over 30, thirty, Studio albums, and countless more unofficial bootlegs, live recordings and collections. But you kinda know what you’ll get from a Dylan album: music and words. Which sounds obvious unless you have an understanding of what Dylan has accomplished. With so many guises and ‘reinventions’, the only thing you need to ask yourself is which axe he’s strapped on this time to plough through the would-be’s and deliver the killer chops and couplets on this mainly acoustic collection of 26 songs, including two versions of Mississippi and a bluesy piano demo of Dignity. But why would you bother to buy another box set of outtakes, live cuts, unreleased snippets and canned tracks, which essentially mines the depths of albums from Oh Mercy (1989) to Modern Times (2005) via Time Out of Mind and World Gone Wrong, plus soundtracks and a few covers such as 32-20 Blues by Robert Johnson and Cocaine, made infamous in Dylan’s Greenwich Village days by Dave Van Ronk? Well maybe it’s the unveiling of the creative process you’re buying into, like watching the brush strokes of Cezanne mid-thought. But that’s what the geeks amongst us love, and our inquisitiveness is quenched with alternate takes and unpolished lyrics, like watching the extras on a DVD, you kinda feel a little closer to the inner circle. But is Dylan important now? Is what he has to say worth listening to anymore? Well, as the ‘poet of a generation’, the bard is still speaking to/of/connecting with the baby boomers, except now the parochial psychedelic smoke rings he blew up their arses are exchanged for the immediacy of a man now in his 60s rather than of the 60s; of knocking on, rather than perceiving the doors of heaven. This collection allows a tiny peak under the old, time etched mask and worn, phlegmy vocal chords; at the so called ‘trilogy’ of albums which define the late, old, slower Dylan. Gone are the swirling, shifting, rocking riffs and the rhymes rolling off the tongue that defined his other trilogy, to be replaced with an older, empirical understanding. Most of the Time, for example, sees the protagonist ‘halfway content’ most of the time; or standing tall in the face of adversity, not even caring if he ‘sees her again’, most of the time. It’s a different voice than the one used to rally the troops, no matter how reluctantly, in the 60s. So, where before he may have got you protesting, or dancing, or praying or rueing love, here the weight of world beyond our control appears to have finally rested; resided to holding the ashes of a burnt out youth in wet hands, like the interim period between your first hit of acid and going back to your class. But what about the music? Spread over two CDs, three if you have a spare £110, one hundred and ten quid, the first feels more coherent, like a proper album. Like the natural heir to Time out of Mind, one of his true classic albums. As if he shook the weight of being Dylan the persona and remembered Dylan the poet song writer. Cant Wait is almost unrecognisable from the Time Out of Mind version, as is Dignity, although the opening lines are still as ridiculous as the last are awesome. Again the anticipated (in some circles at least) nasally Red River Shore, with its lines: “Some of us scare ourselves to death in the dark to see angels fly. I never wanted any of them wanting me, ‘cept the girl from the red river shore. The frozen smile upon my face fits me like a glove, but I cant escape from the memory of the one that I’ll always adore, or those nights I laid in the arms of the girl from”, etc, etc is perfect fodder for Dylanologists or dreamers alike. Musically, the juxtaposition of Dreamin of You - with its 90s drum pattern and swirling soundscapes, plucked through with a geetar line - sitting next to the ancient sound of the desert parched Huck’s Tune , sums up this anthology. Is he poet genius or word harlequin? What cannot be disputed is his mastery with writing tunes. However, that will always depend on the freedom of your ears, and this album may not garner him new fans; but when preaching to the converted it’s hard not to find the rough diamonds in this glistening field of demos. Paul Crompton
tags: | bob dylan | more...
Rock / Hard Rock
Black Ice
AC/DC
Columbia Records
Rock / Hard Rock
We live in strange times, very strange times. Hip-hop has taken Rock’s mantel. Kids walk the streets in hooded tops, clad in enough gold jewellery (earrings, chains, necklaces, teeth, knuckle-dusters, rings) to make Mr. T choke on his breakfast bagel. And that’s not all. Now the youths are wielding flick-knives that could cut your balls off in 1.2 seconds and your cock off in 0.8. They’re like mini gangster rappers of all races and creeds, oozing the whole “F**K YOU” attitude and with no fear for no one. Ma and Pa are trying out page 106 of the karma sutra, whilst little Jimmy cuts grandpa a new arsehole and steals his pension fund. So with AC/DC back with new album Black Ice , their first release in 8 years, you’d be forgiven for thinking that old fashioned rock by an old fashioned rock band, ain’t exactly gonna sell like hot arse in a massage parlour. Thing is, AC/DC have released an album keeping to the golden rules that made them a worldwide success in the first place. Black Ice rocks your socks off, harder and faster than a bull to your chest - if the ketchup had plopped out your burger and splattered on your clean, white shirt. From the get go, you know what you’re getting; it’s the kind of rock to ride your big bastard bike to or cruise to when you’re feeling like king of the road; wind in your hair, girl sucking you off and a six-pack in your glove compartment. Opener Rock N Roll Train is basic AC/DC fodder, with steady drum-beats and backing vocals broken around the two-and-a-half minute mark by a subliminal Angus Young guitar solo. This theme continues throughout, with Wheels demonstrating just how far to the limit Young can push his guitar and Rock N Roll Dream incorporating a text-book slide-guitar riff that’ll have the rock faithful pissing their pants with glee. Brian Johnson’s vocals are as note-perfect, albeit in their own distinct way, as they were when he first joined the band in 1980. Black Ice is (as of writing) number one in 29 countries worldwide, 28 years after AC/DC released their first album. It's an album that should appeal to the old faithful whilst introducing new audiences to the not so subtle delights of pure rock N roll. Plus it might just have shed its load over Hip-Hops crown and sceptre; evidence if evidence need be, that the times they are a-changin.
tags: | ac/dc | more...
House/Minimal/Dance
Steve Bug presents Bugnology 3
Various Artists
Poker Flat Recordings
House/Minimal/Dance
This is the third installment of Steve Bug’s genre defining legacy, Bugnology; and with each comp so far marking a milestone for Minimal, this is no exception. As usual, Bug has created a mix that seemingly blends a wide array of house vibes, under the minimal banner, to great effect. All chopped, looped and stretched to ensure we get the “smoothest” mix possible, the whole CD flows through a great selection of edits and exclusives. Loads of names to drop here: from Adultnapper, Peace Division, Damian Schwartz, to the monster collaboration between King Roc and Secretsundaze head honcho, Giles Smith, named Two Armadillos. Other highlights include Lee Jones’ ‘Weisses Kaninchen’, a stripped back slice of deep funked tech-house. Elsewhere, Sven UK & Andomat 3000’s ‘O Moresi’, slams down the horns and percussion to shake up any dance floor this side of Berlin . So wird's gemacht! It’s as essential and cutting edge as you’d expect from a Steve Bug mix, showing off his ability to mix in a wide array of sounds and make it accessible; without the eclectic tag.
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60s/Folk/Rock/Psychedelic
Cold Fact
Rodriguez
Light in the Attic
60s/Folk/Rock/Psychedelic
I ain’t nothing but a failed writer. I ain’t nothing but a failed musician. I ain’t nothing but a god-darn, good for nothing, shit-shoveling construction worker. I ain’t nothing but… a cult icon in South Africa? It must have come as quite a shock to 60s folk musician, Sixto Rodriguez, when he heard that his 1969 debut LP, Cold Fact, had made him one of the biggest names in South Africa. A decade ago Rodriguez was discovered by a fan working on a Detroit building site, having called a halt to his career at the turn of the 70s and taking on a string of menial, life-sucking, shit-steaming jobs. His rebellious anti-establishment views, all too evident on Cold Fact, as well as diatribes on poverty and lost-love, became a beacon of hope for the South African people amid the political and religious persecution afflicting their country. There, Rodriguez went platinum but received very little royalties because, well, he didn’t have a clue just how huge he was. And yet his name was spoken in countries as diverse as Australia and Rhodesia, where rumours abounded that he’d “BURNT TO DEATH ON STAGE, MAN”; was a “WASHED UP DEAD JUNKIE, MAN”; was “IN A MENTAL INSTITUTE” because “HE’S ONE CRAZY CAT, MAN”; and so on and so forth… Of course none of these rumours were true. And so, following his find on a Detroit building site and a sell-out tour of South Africa and blah blah blah, this brings us to a new chapter, nay a reopened one, as Cold Fact is re-released for new audiences to gorge on. Lucky, lucky you. Cold Fact is a magical mystery tour, echoing Love’s ‘AHHH! IT’S THE END OF THE 60s’ theme and ‘THE WORLD’S NO LONGER FULL OF FLOWERS, MAN’ scenario. And the great thing about Cold Fact’s social context, lyrically, is that it could just as easily be applied to ’08 as it was to the oh-so famous ’69. What, with knife crime on the up and the credit crunch and all that bloody woe! Everywhere, everywhere, everywhere woe! Opener, Sugar Man, sounds like the back-burner of an acid trip with its hazy vocals, lazy guitars and warped synth-sounds; not to mention the recurring druggy theme of “jumpers, coke, sweet mary jane”. As opening tracks go, it’s a mighty fine introduction to Rodriguez, and Cold Fact’s pretty much uphill from there. Particular highlights include ‘Only Good for Conversation’, with Dennis Coffey’s electronic guitar as staggering as that on The Doors’ ‘Five to One’ solo and Rodriguez’s lyrics delivered with a love-lorn, love-torn bite. Establishment Blues does what it says on the tin, a lament against the establishment and the state of America circa ’69, Rodriguez’s free-styling delivered with the panache you’d associate with a mid-60s Dylan. In fact, the subject of each and every song on the album makes one view the world around them in all its gritty realism; it makes you realize that life ain’t a bed of roses, baby. And for an album 39 years old to ring that Cold Fact home says more than this grotty hack could ever dream of. You should give this album a chance. You won’t regret it… Cold Fact is out now on Light in the Attic Records .
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House
15 Years of Paradise
Various
King Street Sounds
House
To celebrate their 15th year in business, US label, King Street, has invited 15 A-listers to choose their favourite King Street moment. Some of the choices are inspired, such as Joey Negro picking the piano haven of Kimara Lovelace’s Only You . Others are blatant self indulgences, like David Morales picking his remix of Urban Soul; which, in fairness, is a cracking remix in a true Morales dubbed-out style. Joe T Vanelli gets the accolade for the most obvious choice, selecting Most Precious Love , which despite its commercial success, still causes mayhem on any dancefloor, be it credible or not. However, for me, the highlight of the double CD comes from Tony Humphries, with a choice of 95 North’s Find A Way To Believe . On an album dominated by vocal tracks, which King Street is pretty much famed for, the incessant groove of skippy hats and dirty beats, layered over a filtered disco loop, makes it the standout cut. The downside to the album is that a few tracks sound a little dated in today’s market, though that’s a situation retrospective compilations may always find themselves in. Although this may not be to everyone’s taste, with electro currently being championed by most, if you’re after a brief history of one of the leading US dance labels, you need look no further. Words: Curtis Zack King Street Sounds Present 15 Years Of Paradise (2CD) is available NOW!
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Hip-Hop
WLIB AM: King of the Wigflip
Madlib
BBE
Hip-Hop
Madlib is a weird one; one minute he’s producing a certified banger for the likes of MF DOOM or Talib Kweli, the next he’s producing something that sounds like someone banging pots and pans. Add to this his Quasimoto albums and Bollywood album, and you start to wonder what BBE were thinking when they lined-up Madlib to complete their beat generation series. Giving Madlib the opportunity to make music exactly how he wanted it, with no restrictions, was a brave move, and when he came back with an album called WLIB AM: King of the Wigflip, BBE must have been thinking, in true Pharcyde-style, “Ohhhhh shit.” They need not have worried though, because WLIB AM: King of the Wigflip is brilliant. Nothing sounds better than a hungry emcee destroying a Madlib beat, and Guilty Simpson, Prince Po, Murs and MED shine on this album. The album also has two of the best hip-hop tracks of the year on it – Gamble on Ya Boy, featuring Defari, is a classic west coast bounce, which is strangely addictive, while I Want it Back, featuring Madlib’s younger brother, Oh No, is as epic a sounding song as you’re likely to hear - calling for the return of quality hip-hop. Occasionally Madlib lets the pace slip with Beat Konducta instrumentals, something that would sound better on a separate album, like he and J Dilla have done before. These tracks feel like a bit of an anticlimax to surrounding tracks, but they don’t majorly affect the overall quality of the album. His music may sometimes sound as mad as a hatter, but that’s Madlib’s genius, and like Picasso, Madlib now has a masterpiece to his name. James Descombes
tags: | madlib | more...
Hip Hop
The Metaphorcast
Reain AKA Wha's His Face
Stand Alone Recordings
Hip Hop
Reain AKA Wha’s His Face is renowned as one of London’s finest battle MCs. Being a stranger to the scene, Planet Notion attempted to look it up on wikipedia. Unfortunately, we couldn’t find that much information on the whole shebang, but we presume it’s when two MC’s go head to head in an attempt to out-rhyme each other or something. Kind of like when intellectuals try to outdo other intellectuals with their knowledge of slow-growing plants native to the south-westerly region of Withernsea. Anyway, Reain demonstrates his MCing skills from the get-go on debut album The Metaphorcast - diving in and grabbing the listener’s attention like a rabid pit-bull to a dangling schlong. The intro witnesses the hip hop artist freestyling about battles on the streets and rather than being an egotistical “I’m the fucking greatest, bow down and kiss my arse until your lips bleed” lament, it represents Reain’s passion for battle MCing and the respect he has for his peers. It’s refreshing in the hip hop scene that a guy can come along and MC about something other than shooting some home-boy in a Lambeth COOP because he flogged you an eighth of Oregano or a gram of Bicarbonate of Soda. And here’s the thing: The Metaphorcast is clearly a bit of a change for Reain. One would assume that going from the ad-lib MCing of battle and being thrust into carrying across an eleven-tracker alone, is a pretty heavy load to carry. But, in fairness, Reain carries it across mighty well. The beats are head-shaking, shoulder-shuffling gold and even the Hip Hop haters are likely to be drawn in by tracks like ‘Carnival’, a fun and frolicking breaks-tinged ode to the Notting Hill Carnival or, um, something along those lines. Other tracks, like Beauty, represent the album’s sublime production skills, with a fantastic lyrical account of what Reain finds beautiful. Soppy? Sure. But mighty emotional and a track the knife-wielding MC and Hip Hop wannabes should take note of. So there we have it. The Metaphorcast may be a wee bit patchy in parts, but overall it’s a mighty fine debut. The Metaphorcast is available now on Stand Alone Recordings. To visit Reain AKA Wha’s His Face’s MySpace page, CLICK HERE .
tags: | reain | more...
Folk/Rock/Pop
Roses Kings Castles
Roses Kings Castles
The Sycamore Club
Folk/Rock/Pop
I am the music man, I come far away and I can play: Pretty much sod all; a claim I couldn’t lay on ‘That Drummer From Babyshambles.’ Planet Notion refers of course to Adam Ficek and his first solo album, released under the guise Roses Kings Castles. The album sees Ficek take up the mantel of singer, strummer and everything in between, spread across ten tracks of melodious-folk and sweet-pop. It’s an indication of Ficek’s ability away from the media storm of Babyshambles and frontman Pete Doherty; an indication that there’s more to Ficek than his Other Band. The question is: How much more? Firstly, a gentle strumming relative to the folk revival is continual throughout the album, accompanying Ficek’s whispering vocals; the lyrics ranging from longing and deep to occasionally comical. Secondly, there’s no escaping the influence of Babyshambles, particularly on tracks such as ‘Horses’ with its Dohertyesque (sic) harmonica breaks. Thirdly, if you’re after the rock-tinged sound you’d expect from the drummer of one of Britain’s most infamous bands, you’ll be bitterly disappointed. Roses Kings Castles is a completely different ball game altogether; a softer, more whimsical affair. Think a Pete Doherty acoustic-solo, minus the scuzzy lyrics and with the kind of musical accompaniment a baby would happily doze off to, and you’re someway there. You see, Roses Kings Castles’ music is a wee bit wet, kinda like Ficek the solo artist is around the ears. Don’t get us wrong, Roses Kings Castles shows occasional glimpses of magic, especially when delving into subtle undertones of soul and psychedelica, most notably on the psych-tinged ‘Fool’s Revenge’ - one of the finest tracks on the album. But as a whole, Ficek’s side-project is a bit too chirpy. I guess if you want ‘nice’ music for ‘nice’ people. Adam Ficek is your man. If you’re a miserable twat like Planet Notion, it probably won’t cut the mustard. DD Roses Kings Castles is released on Adam Ficek’s record label, The Sycamore Club, October 6th.
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Soul/Funk/Roots Reggae
Calypsoul 70: Caribbean Soul 1969 - 1979
Various Artists
Universal Music
Soul/Funk/Roots Reggae
People who say: “Went to the Caribbean for two weeks,” usually follow it up with: “It was amazing” and garner the kind of reaction you’d get if you told people aliens had turned your cat into a Rice Krispie Square. Everyone wants to go to the Caribbean because (A) it looks great, and (B) it means you’ve probably reached the pinnacle of the financial pyramid. Unfortunately not all of us have reached that pinnacle; in fact a lot of us are still stuck at the bottom with all the Geckos and Camel dung. Enter ‘Calypsoul 70’, an album that brings the soul and flavour of the Caribbean direct to YOU! albeit without tasty cocktails, sandy beaches, and really happy locals. In a nutshell, Calypsoul 70 is a compilation encapsulating the broad-spectrum of Caribbean sounds; we’re talking traditional steel bands, roots reggae, and the more recent influences of disco, funk, and soul. This here hack wouldn’t normally purchase an album called Calypsoul 70; it sounds like one of those 20p flat cola drinks they used to sell in the school canteen – bringing bad memories flooding back like a savage No.2 following the flush of badly blocked toilet. Thing is, Calypsoul 70 is so damn cheerful that I couldn’t help shaking imaginary maracas and wiggling my butt-cheeks like a pair of fighting ferrets. Sure, some tracks, like Biosis Now’s ‘Independent Bahamas’, start to grate at the four-minute mark when they go all 80s cop show, but who gives a damn when you’ve got wonderfully uplifting tunes like opener ‘The Little You Say’? Calypsoul 70 may not be the perfect compilation, but it’s guaranteed to bring a little ray of sunshine to your life; even if you do live in a shitty flat in Yarm, where rain’s as common as Chlamydia and people greet you with a grunt. Dangerous Dave Calypsoul 70 (Caribbean Soul: 1969 – 1979) is released on September 2nd.
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