On this diverse comp from Brooklyn's prolific Statra, you get Alexi Delano's techy, bass-driven jam "Afro Science," Bluelight's densely noisy house kick "The Connection," newcomer Microlife's string-laden minimal epic "Dub Teeth" and Chris J.'s spaciously dubby "Automaten." What else ya want-blood? Read more »
"The Man Who Lived Underground" has a name. It's Weaver, and he's a poor electronics fix-it man drunk with insolent nostalgia who decries modern "upgrades" from his dingy urban catacombs. That's the concept, anyway, via which Freaks Luke Solomon and Justin Harris revolt against dance industry vapidity and set stage for their curiously catchy production. Wrought with machinery effects and amusing audio theater, the tech-house on "The Man Who..." excels through episodes of bleepy motorized tension, plump dirty bass, and chaotic funk. Read more »
Ohio-to-SF transplant King Solomon gets down for his crown on this one. Drop the needle anywhere for warm beats by Fat Jon and PremeOhio and confident rhymes from a seasoned veteran. "Fine Thin Line" should be "Fine Fat Lines" and "Lyrical Substance" provides just that. All hail the king. Read more »
Oh, old school, you hit it right. Original mambo, Afro-Cuban, and other assorted Latin smokers from such pioneers as Willie Bobo and Israel "Cachao" Lopez inspire saucy high heels and unbuttoned collars that stay crisp despite the ever-escalating, hipswaying heat. Aspiring congueros should note the immaculate trombones of Mon Rivera and the Caribbean-flavored pungency of El Super Tumbao's "Bacalo Salao." The classic "Lluvia con Nieve," performed succulently by Rivera, sizzles at the edges. Wipe your mouth, throw your napkin on the table, and find yourself a dance partner. Read more »
Oh, Bill Laswell. So much to answer for. He's loved. He's hated. Lately it seems, mostly the latter. Why? Mostly, for what's seen as a prolific output combined with a lack of quality control. But then, ask yourself who else has collaborated with Fela Kuti, Herbie Hancock, Eddie Def and, erm, Whitney Houston? Read more »
Nhu Golden Era, the second album by Norwegian producer Espen Horne, feels like a warm, smooth lounge record for the modern cocktail-swilling groovemeister. God knows the world doesn't need yet another "lounge" record (a.k.a. generic coffeehouse jazzy downtempo crap) but luckily, the Bobby Hughes Combination has come up with enough innovation and musical talent to buck the usual blandness. Barely. Read more »
Oakland's Edd Dee Pee and Coppa Tone usher in their next chapter with this bit of shimmering, broken thump. "That's My Word" posits a minimal, Afro-futurist manifesto over deep chords and percussion, while the flip's "Face It" technofies things a bit and "Safari" reconfigures drum & bass from dub's bullrushes. This is simply the next phase. Read more »
Review: Various Artists Christophe Monier Presents Rockers' Delight: The Rock Sound of Darkest Paris 1990-1996
News flash: the French aren't all disco-house pogoing robots! Nor are they Air-jocking AM-radio enthusiasts! Read more »
Lucas Rodenbush's follow-up to "The Incidental Tourist" for Garth's glorious Grayhound Recordings evokes the lost era of Epoch 90 and Bizarre Inc. Expect tweaky bleep loops, sharp beats and textured chords that sit nicely between the worlds of house and techno. Read more »
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