Archive for September, 2009

September 27, 2009 0

Anti-Pop Consortium – Fluorescent Black

By in Music Reviews

It’s been six years since Anti-Pop Consortium (APC) split: six years that saw MC Beans concentrate on his solo output, whilst MCs High Priest and M. Sayyid formed Airborn Audio. For those concerned that these separate adventures into digital madness have compromised the group’s individuality, rest assured that they remain as wily and indefinable as before.  Though the endless arsenal of poetry undoubtedly suits the team of verbose, head-swaying rappers who consistently aim to outdo each other, newcomers to this style of ludicrous word play may want to think twice, as getting out-thought by the combined consciousness of APC is commonplace.

Fluorescent Black is comprised of a variety of hip-hop styles: the traditional head nod of Dragunov and Capricorn One sound like they could have been composed by DJ Shadow during his Private Press phase if he had recorded in a steel cave surrounded by armed synthesisers powered by the incorrect voltage. End Game, however, is a flummoxing addition with arrhythmic, stuttering drums and panned vocals that perplex the listener while simulating a space-like, oxygen-less atmosphere with use of heavy reverb. The old school gets a look in on the piano-led Born Electric, but it’s in the mid-section where things really get progressive.

As soon as the heavy, staggered bassline of Superunfrontable kicks in, it’s clear APC have booted up the hyperdrive with destination HEX-PERIMENT firmly locked on the interstellar GPS. Squirling, looping synths compete with creatively programmed 808 drums on Get Lite while the dead vocoder is resurrected to supply not just the hook, but some random burbling on an especially lively The Solution. Timpani, Volcano and C Thru U lead the charge out of the freak zone with Volcano tipping its angled baseball cap to novelty, ringtone rap and glossy R n’ B. Shine signals a return to normality with a nasty, digital, gangster bass progression and lyrical content to match.

Fluorescent Black escapes the boundaries and trappings of traditional hip-hop, living and breathing within its own freely formed genre of the art. Whether the earth is ready for it is another matter entirely, and it’s not like APC should be bothered in the slightest – they’re light years ahead.

Capricorn One – Download it for free

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September 27, 2009 0

Jamie T – Kings and Queens

By in Music Reviews

What’s happened to the youth of today? If they’re not confessing their innermost thoughts on record, they’re embarrassing themselves on X-Factor searching for a quick way to the top of the charts and fame everlasting.

From the current slew of young, indie artists taking their cue from hip-hop and punk to explicitly recount tales of personal experience comes Jamie T’s latest offering. With no messages hidden amidst a murky quagmire of metaphor or synonym, the homogeneous generation of Esser, Lily Allen, Arctic Monkeys, Jack Penate et al seek to exploit their personal development by riding on the back of ‘classic’ sounds while castigating and cashing-in on situations and dreams, shattered or otherwise.

With Dizzee Rascal topping the charts with his fun, faux raps, it would certainly seem that the single-buying public don’t always want to hear about crap shags, running from the law, or broken hearts. Nevertheless, Jamie T, with a voice that sounds like a grown-up Pete Doherty combined with a bit of Billy Bragg, has produced an album that, in terms of originality, has more on offer than many of his contemporaries.

Using tools comparable to those that littered his debut album, (Mercury Prize nominated Panic Prevention), Kings and Queens is similarly scatterbrained in both conception and construction. Never settling on one style, Jamie’s dark side provides menacing production throughout, tying this litany of songs together.

Sticks and Stones is easily the catchiest track here, with its bright chorus hook, “When there’s no-one left to fight, Boys like him dont shine so bright, Soon as I see the dust settle, He’s out on the town tryin’ to find trouble.”  Similarly the curiously named Chaka Demus has a chorus that plays out like an old Motown song. It’s no test to imagine Amy Winehouse (or temporary stand-in, Paloma Faith) re-interpreting it at a festival and replacing the original with their version deep in the public consciousness whilst making millions from it.

Musically, the album generally gains in strength as the album progresses. Starting with the sparse, clanking electronica of 368, the guitar-led Hocus Pocus follows (sounding like the Arctic Monkeys used to); but the apex is visible on Castro Dies and the ’80s inspired Earth, Wind and Fire. Two acoustic tracks (Emily’s Heart and Jilly Armeen) allow Jamie to promote himself as a busking poet, and represents a facet hitherto invisible.

Kings and Queens showcases Jamie T’s affinity for chanted, football-terrace melody and a voracious appetite for rap, but the record is simultaneously let down by a distinct lack of lyrical variety that fears wandering far from personal adventure, nights out and relationships. This fact is amplified by British Intelligence, with its pseudo-political edge and Spider’s Web where our protagonist name-checks Obama, Osama and Gaza before bringing the song back closer to home so he can rap about what he knows: his life in the city.

Whereas bands like The Clash and The Jam that so heavily influence these musicians have had a discernible global impact, the limitation that hinders these young pretenders from making era-defining music simply stems from their reliance on recycling the past to make music for an ever-changing present utilising a common, finite, yet broadly limited commentary. Where’s the future in that? Only time will tell, but in the meantime it’s fair to say that Jamie T has earned his place in the transient tree of pop.

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September 24, 2009 1

Unsigned #1

By in Unsigned


I get requests each week from unsigned bands asking me to listen to, or download, their MP3s before heading over to youtube to watch their video. I often do and I’m happy to offer a critical ear or constructive advice.

What I cannot do, so PLEASE STOP ASKING, is get your band reviewed on Drowned in Sound. DiS do not review unsigned material. If you’ve spent any length of time on the site this year, then you will know that.

So with that in mind, here’s lesson #1:

DO YOUR RESEARCH.

Seems a bit harsh, doesn’t it? Well, tough. If you’re going to go cold calling booking agents, PR, labels, managers etc. then the first thing question you should ask is, “Is this (insert person / organisation here) suitable for my music / band?”

Yes, they may all be waiting for the next big thing, and you might be it, but you need to check these simple things before sending out CDRs willy-nilly, wasting your time, money and opportunity. Think and target your approach, strategically!

So, if your band make fierce drum n’ bass or grime, would you send your CD in for review to Mojo? I should hope not. Stick to what you know; who you know; and the people that influence the genre you work in. If you want your stuff reviewed by a website online, my recommendation is God Is In The TV. Also, the friendly and funny podcasting of Bren and Sophie Jones is worth submitting to: check out This Reality Podcast (100,000 subscribers).

This is the first of many posts I’ll be writing to try to create some kind of guide to the tricky world of the unsigned, and I will also include some reviews of stuff people have sent – just bear with me as it takes a while.

And, please, no opera CDs…

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September 22, 2009 4

Learning to live with Epilepsy – Part 2

By in Health

Two months after my last seizure, I met with a consultant at St George’s Hospital who kindly informed me, in no uncertain terms, that I have epilepsy. It may be that my seizures are rare, intermittent etc. but they are, nevertheless, of significance. I don’t really know why I would want to share this publicly, but it seems to be the best way to express how I feel. And I don’t particularly know how I feel. I have more tests to go through: a 40 minute MRI, and a deeply attractive ECG (see pic), but today confirms what I suspected: that I must make some permanent lifestyle alterations.

I’ve not really had a drink since the seizure, choosing to stay at home and play X-Box instead. It’s cheaper, and less painful. It also means I piss less and spend less time ranting about the world and how it conspires against me and my drinking partner(s).

My consultant sensed I was ‘reluctant’ to take her suggested course of Tegretol (Carbamazepine). I really don’t want to put something like that in my body for two years, to then come off it. My seizures only occur once every four during intensely stressful times, so this would seem a pretty pointless exercise. After a little research on the ‘net, I found this potential side-effect she neglected to mention: “There may be a small increased risk of suicidal thoughts and behaviour in people taking antiepileptic medicines such as carbamazepine for any condition.” Nice.

For those of you who have experience of, or are interested in, the complications of epilepsy, the starting point of my seizures would appear to come from the temporal lobe before spreading to the rest of the brain. This is helpfully referred to as a ‘short-circuit’ in the brain, which serves to explain the physical reactions that follow. Prior to a seizure, there is an aura. This, in my experience, is a feeling of heightened perception pertinent to the part of the brain the seizure is occuring. Therefore, with me, it’s around words and sounds. It’s an unusual and disturbing sensation, but intriguing. Apparently, it’s also common to experience Déjà vu at a significant level, but this can be at any time – not just before a seizure. Obviously, déjà vu is not reserved strictly for epileptics, otherwise Tony Scott would probably not have made his disaster of a film in 2006.

The biggest decision for me was ceasing to try to make a living from music. My main driving force for almost 20 years  now, I can no longer justify or sustain that dream and all the intense feelings that come with it. It’s not that I don’t want to do it; it’s just that it never worked out for me. Still, there are other things in life – like Batman : Arkham Asylum.

No boozing, no drugs, and no driving (banned for a year). The partying was winding down for me anyway, with my last drug binge some way behind me now. As a 34-year old, I have to admit that physical and psychological health is now of primary focus. Perhaps it always should have been, but then – that’s part of the joy of being young and testing your limits.

Now it’s on to phase two. And all delivered in a confessional, easy-to-read blog. How terribly modern.

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September 22, 2009 2

Music PR Errors #1

By in Musical Murmurings

Annoying

Take a look at that picture. Can you see why that note might be patronising? Am I really that negative a person? Is it a warning? Why tell me how I should try to feel about a record? Why put a Security Seal on it? The CD is already ‘Unique and Traceable’, so what’s the need for the big, red sticker? So you’ve ‘done a lot with this guy’, I don’t care. I care about the content of the CD, and not your long-standing relationship. Have we not got a relationship? Not any more, I’m just another address for you to send your anti-piracy warnings out to.

If you’ve not grasped it by now, then this is simply the quickest route to getting a record binned. If you can’t be gracious enough to to concede that I might be able to divulge my thoughts coherently about your artist’s record, then don’t send it.

Don’t ever send me (and, might I suggest – anyone) anything like this ever again.

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September 19, 2009 0

Roc Raida

By in Musical Murmurings

If you’ve ever seen the film Scratch, you’ve seen Roc Raida. An integral part of turntablist crew The X-Ecutioners, he also won the 1995 DMC Championships: an era I personally believe represents the epitomy of scratching. Ironically, it wasn’t the scratch he was really known for, but his development of the beat juggle.

Busta Rhymes announced Roc’s passing on Twitter today. He had a back operation, and tragically never really recovered due to complictions.

RIP Roc Raida.

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September 14, 2009 0

Gift of Gab – Escape 2 Mars

By in Music Reviews

Travelling back light years across the galaxy, Blackalicious frontman Gift of Gab is set to drop his second solo album from outer space. Following on from 2004’s 4th Dimensional Rocketships Going Up, this similarly conceived foray into space fantasy revolves not around planets per se, but circles the abuse of mother earth by those she granted existence. An environmental hip-hop album, you ask? Not just environmental, but also a little hippyish too. As Gab himself says, “We might have to escape to Mars or somewhere else if we keep taking the planet we live on for granted.” Quite.

Not alone in his quest, Del tha Funkee Homosapien and Rhymesayer Brother Ali appear on the jazzed out Dreamin’, one of the album’s highlights. The beats provided by DNAEBEATS are spacious enough to allow Gab plenty of room to manoeuvre and deliver a fairly intense variety of flows. From the unremitting double time verses that clutter title track Escape 2 Mars, to the staccato stutter of Latin-inspired El Gifto Magnifico; DNAEBEATS even manages to slot in some ‘80s-inspired electro-doom on Electric Waterfalls whilst Gab preaches against the excess wealth of the West gained at the expense of the poor and sick. Refreshing, but simultaneously annoying and a mite patronising.

Compared to many emcees, Gab has provided something of an anomaly amongst 2009’s slew of aggrandizing hip-hop albums. Though by no means revolutionary, and somewhat miserly in content coming in at only 40 minutes for 11 tracks, this is still a positive and mostly enjoyable addition to Gab’s solo career. Just don’t expect it to replace your Blackalicious records or to convince you to pick up a passport to the red planet.

El Gifto Magnifico

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September 13, 2009 2

Snow Patrol – Late Night Tales

By in Music Reviews

Stadium stalwarts Snow Patrol are the latest artist to add the most favourable aspects of their record collection to the burgeoning Late Night Tales series.  Attempting to bring about a lulling calm with their selection of ‘choons’, Gary Lightbody and Tom Simpson take to the wheels of steel to produce a selection of relaxed electronic and acoustic meanderings that may be the perfect remedy to a hard day’s night should any fans of the band return home to find their extensive collection of Snow Patrol albums inappropriate for that precise moment. With the duo appearing to have little experience in either turntable proficiency or DJing in general, the listener should expect to find a somewhat crudely assembled and moribund mix.

Though successfully beat-matching Captain Beefheart (‘Observatory Crest), A Tribe Called Quest (‘Midnight’), DJ Food (‘Dark Lady’) and King Biscuit Time (‘I Walk The Earth), none of these individual moods are matched, which makes for a disparate listen. Unfortunately, things take a turn for the worse as tracks are merely started up as the previous track ends, making this sound like it could have been put together by an eleven-year-old armed with a tape deck who’s been granted access to his father’s record collection. In fairness, that’s offensive to many eleven-year-olds: they probably know their way around a digital sequencer better than any member of Snow Patrol and have never seen a tape deck.

It’s not that the mix is a complete failure: the transition between Arthur Russell (That’s us / Wild Compilation) and Jim Noir (Eanie Meany) is well judged and yet, for a band that survive on their sense of melody and harmony, segueing into the jarring discord of School of Seven Bells (Half Asleep) is bewildering to say the least.

Snow Patrol’s Late Night Tales threatens pace in its final third with a contribution from Holy Ghost! (Hold On) before the duo decide to follow it with Super Furry Animals’ ambient Download. Lacking any sense of adventure whatsoever, this seems to be the only way to include their exclusive acoustic rendition of INXS’ New Sensation.

An ignominious addition to the series, Snow Patrol should stick to what they do best and continue to charm the pants off Live Nation whilst leaving the art of DJing well alone, because there’s little demonstrable knowledge of it to be found here.

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September 13, 2009 1

Nneka – No Longer At Ease

By in Music Reviews

‘But no longer at ease here, in the old dispensation,
With an alien people clutching their gods.
I should be glad of another death.’

T.S. Eliot – Journey of the Magi.

Nigerian author Chinua Achebe referenced this poem for his 1960 novel ‘No Longer At Ease’, which tells the tale of an African villager unable to adapt to the ways of the Western world. Incidentally, the prequel to that book is entitled ‘Things Fall Apart’, and is the inspiration for The Roots’ award-winning 1999 album of the same name.

Possibly seeking to create something as iconic as Things Fall Apart, Nigerian-German Nneka’s musical might comes from producer DJ Farhot who deserves credit for building the superb backing and beats that Nneka uses to didactically sermonise from.

Nneka Egbuna’s political view of the laws governing her world is deeply immature and serves only to sap any joy that could otherwise be acquired from this, her second record. That in itself is a deeply unfortunate fact as there is much to like here: the dub-reggae feel of the cheerily titled Death; the pop immediacy of Heartbeat; the descending, jazzy chord progression and crackly hip-hop beat on Mind vs Heart; the shimmering chorus hook on Walking, and so on.

Influenced by jazz, reggae and hip-hop, the album boils down to a diverse ‘soul’ record. Nneka’s voice is listenable and her rapping ability is above average. Comparable to Lauryn Hill, Erykah Badu and Neneh Cherry, it is Nneka’s thoughts that are her own worst enemy.

Much of what is said here can be surmised by the uneducated, adolescent scream, “This sucks!” and there is never any inclination to believe that Nneka has lived any of the experience retold. Streets Lack Love is perhaps the most patronising example of this:

“This goes out to you, people of the streets, no it is not easy to survive in this world, where there is no love, where this no heart, things we said we are, things we can never be.”

Not only does this not make sense, but does Nneka sincerely believe that  ‘people in the street’ are picking up No Longer At Ease saying “Yeah, she represents me.” Maybe they’ll hear the song on the radio of the passing taxi carrying Nneka to her next venue where she will sit with her rider of Evian whilst those ‘people in the street’ bop to the fleeting memory of a snippet of the song written just for them, etched as it is on their consciousness with little more than chalk.

As if that wasn’t bad enough, she blames the suffering of the Nigerian people on Shell, Chevron, NNPC and wags a finger at the non-action of European and Nigerian Governments in such a lacklustre manner, anyone would think that she would be lucky to have got a GCSE in politics, never mind a degree in anthropology! While no-one can deny the global problems that desperately need addressing, the manner with which they are delivered on No Longer At Ease and the paranoid beliefs that drive Nneka are utterly naïve.

An artist speaks from their own truth – from experience. One of the inlay pictures to this album sees Nneka dressed in West African attire, carrying an acoustic guitar under her arm, walking on dusty earth and looking sorrowfully out into a concrete street. Behind her is a woman carrying a shopping bag in one hand and a large, plastic container of what one assumes to be water in the other. One look at Nneka’s feet and, wait, are they Nike trainers she’s wearing?

Hand me my K’naan albums.

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September 9, 2009 0

BLK JKS – After Robots

By in Music Reviews

Following the release of electric debut EP ‘Mystery’ earlier this year, music industry hawks have been craning their necks to catch a whiff of what these four South African prog-rockers have been cooking. With a live reputation enhanced by Tshepang Ramoba’s intoxicating and intricate drumming, it’s disappointing to discover his talents doused in reverb and pushed to the back of this occasionally beautiful, but primarily psychedelic album in favour of incidental noise.

Nevertheless, infected with positively chaotic vibes, ‘Molalatadi’ and superior ‘Banna Ba Modimo’ feature a Hypnotic Brass Ensemble on sparkling form. Creating oppressively haunting atmospheres on the ethereal ‘Cursor’ and acoustic ‘Standby’, the band incorporate the blisteringly complex rhythms and language of their native South Africa across ‘After Robots’ to paint a muddled portrait that belies their ferocious live show.

   

  Get 3 songs: Banna Ba Modimo, Standby, Lakeside

Dig it? Dig deeper: TV on the Radio, Tinariwen, The Mars Volta

*Published in Clash Magazine, pg 109, October 2009.

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