david m

Staedtizism 2

[ review of: Staedtizism 2 by Various (Staedtizism) (CD Album) ]

Various ?Staedtizism 2? (~scape), like the Click + Cuts compilations, Staedtizism 2 sets out to explore the cut?n?paste of electronic minimal funk and dub. Producers, who have backgrounds ranging from deep house, minimal techno and intelligent dance music, have converged at the same sonic crossroads. The noises at this juncture are characterised with intricate high-end frequencies, a reduction in components, a desire for maximum depth with minimal sounds and the now familiar clicks, cuts, pops & squelches.

The selections are made by Stefan Betke aka Pole on his own label ?~scape?, and centre on the concept of dawn in the city. The press brief explains "...those short periods of transition when the day transforms from dark into light, from silence into noise... seems like the city, just for a moment, has gone offline, to prepare for the things to come". The Staedtizism idea is reset, calmness, rest, and this international group of artists use their very different strategies to bring life to these fundamentals.

Although Stefan Betke himself does not appear on the album, other contributors take up Pole?s dubby abstractions, most notably System on the opening track ?red click?, John Tejada?s wind-howl ?a world so wide? and Bus? bass-less dub jingle ?tamed lion?. However, in contrast to the first volume, this compilation sees a greater number of jazz, soul and funk derived pieces - Jan Jalinek is in a relaxed micro house mood with ?the village vanguard? and Nolte?s futuristic cocktail jazz in ?21st century schizoid man or how to lose your head baby?.

The album?s highlight though is Beige?s beautiful analogue sinewave ballad ?pustkuchen?, perhaps a soundtrack to a brisk cycle through the city at dawn before it has woken. Kit Clayton?s painting between numbers? is a detroit techno update of Dave Brubeck and another highlight in this commendable collection.

Posted by david m at 13:03, 23 Aug 2001

So Soon

[ review of: So Soon by Slag Boom Van Loon (CD Album) ]

'So Soon' is a remix project of last year's Mike Paradinas (µ-siq) and Jochem Paap (Speedy J) collaboration involving some of electronica's established and up-and-coming talents - Boards Of Canada, Pole, Four Tet, Matmos, Coil, Tipper and Paradinas himself.

Highlights in the collection include Matmos's 'Moon Base Alpha' - a proto electrofunk classic, 'Sutedja' from the can-do-no-wrong Four Tet complete with Yabby You's harmodia and Coil's 'Fallen Angels Entering Pandemonium' taking you on a journey from a contaminated industrial wasteland to a place of unspoilt wilderness. Special mention also for Horse Opera's 'Pedals', which sets a haunting sine wave melody against interference clicks and glitches.

Boards of Canada contribute two tracks 'Poppy Seed' and 'Poppy Seed Reprise' which are based around melancholic melodies but sound a bit too relaxation tape for these ears. µ-ziq's dubby 4/4 thud in 'Spc-ch-pn' recalls the best Basic Channel/Chain Reaction tracks but then gets a little too busy to maintain attention. 'Casual' is another archetypal Pole exploration of updated King Tubby, with sparse beats building up tension.

Leafcutter John ('Broccoli') and Tipper ('Butch') add the remaining, perhaps less memorable, remix tracks on this otherwise worthy remix album.
Posted by david m at 13:03, 23 Aug 2001

So Addictive

[ review of: So Addictive by Missy Elliot (CD Album) ]

The production on Missy Elliot's third album does deviate from just using "double beats" (as Missy herself calls them). Timbaland was apparently annoyed (rather than flattered) when every hip-hop of r'n'b producer adopted his micro beat rhythmic style, but 'So Addictive' proves that he's through with the whinging and ready to prove that he isn't a one-trick-pony.

This album sees Timbaland exploring new sounds, some dance-orientated, others more organic and traditional, backing Missy with everything from a 4/4 house groove ('For My People') to an old school disco-funk stomp ('Old School Joint'). In fact, the 4/4 rhythm is used more commonly than the usual syncopated clicks and ticks.

For Missy, this album represents her discovery of ecstasy/club culture and a greater willingness to delve into her sexuality and gender politics. (The promotional interviews and videos clearly show her trying to shed her sexless cartoon image).

Missy raps in a southern drawl over traditional Timbaland beats on the new single 'Lick Shots', Ludacris is brought in to "represent the guys" on 'One Minute Man' and dares to spend too much time thinking about his own fun and failing to dedicate sufficient time to Missy's! 'Slap Slap Slap' sees Missy paired with the audacious Da Brat and Jade over one of many Timbaland productions on here that have some cute casio-synth tinkerings (in an 80s stylee). While '4 My People' has an excellent house groove - which I notice hasn't been taken too kindly to by US rap reviewers.

The albums weaker moments are where Missy and Timbaland look to a Erykah Badu / Jill Scott retro / organic sound - 'X-stasy' and 'Take Away' are examples of the purity ballad that doesn't really suit Missy.

Another minus is all the ecstasy evangelism spouted by Missy, which, to these ears, is a tad quaint (and I'm being generous). 'X-stasy' asks us 'to read between the lines' then proceeds to tell it as it is without cloaking anything in metaphor or innuendo.

So, perhaps, the bad news for people who have only heard the incredible 'Get Ur Freak On' and are expecting more of the same on the album, is that this is by far the best track on here and it sticks out as much on the album as it does on the radio and all the other places I've heard it.

The track seems to have been made specifically to seduce the London's garage massive where its ragga bass mixed with bhangra beats mixed with ethnic shrieks and cheeky lyrics have already led to the inevitable 2-step bootlegs and ragga production rip-offs. Although other tracks on the album fail to match 'Get Ur Freak On' for its sheer innovation, there is plenty of quality on offer here. And of Missy's three albums, this one has the greatest musical variation.
Posted by david m at 00:00, 14 Jun 2001