Colin Newman – Bastard (swim~)

An aeon after Wire - the seminal '70s guitar outfit - Bruce Gilbert is working with Elastica, but Colin Newman has just released his first solo album in over ten years and is mixing a new, melodic approach to drum & bass and elctronica. 'Sticky' is where it all starts - an edgy, beat-driven wind-down of a track that calms the listener, rather than prepare them for anything that might lay in store. Tracks such as 'May' show just what a boost being an accomplished guitarist can be when it comes to making cutting edge '90s trip-hop. Whereas the first obviously jungle-inspired piece 'Slowfast' (naturally subtitled 'Falling down the stairs with a drum kit'!) is a little naive and best avoided, 'Spiked' adds a funky live bass and drums to for a serious new angle on the genre. But Newman excels in tracks such as 'Without', which continue the thoughtful strands started earlier in the album. While it's easy to spot musical similarities with the artist's other projects - Immersion, wife Malka Spigel and his own Swim~ label being the main ones - this LP does achieve a logical progression. You can chill out and hear an evolution taking place. And the album title is certainly memorable, but how many people will have the nerve to ask for it at the record shop counter? 8/10

Charlemagne Palestine – Godbear (Barooni)

Caution: you should only read this review (and contemplating buying Godbear) if you regularly visit the outer limits and are open to the world of extreme possibilities. Coming out of the Netherlands' Barooni Records, this is one of the most enticing packages of the fortnight: a re-evaluation of Palestine's work from the seventies, which was recorded in the late eighties and finally released in the late nineties. But who on earth is Charlemagne Palestine? Well if the names La Monte Young, Philip Glass or Steve Reich ring any bells, read on. Along with those, Palestine was one of the originators of minimal music, an unplanned, escapist force that pre-dated ambient, unwittingly shaped techno and quietly oversaw everything that has happened since. The minimalists may be heald in high regard in left-field classical circles, but after all it was Glass that worked with S'Express and La Monte Young that challenged the boundaries of jazz before this whole contemporary dance thing started. And now there's Palestine, whose three pieces on this CD are performed purely on his fist love - the Bosendorfer Imperial Grand piano - and are dedicated to his other great passion, teddy bears. But minimalist only means a minimal regards for tradition as there is little time to chill out during the three lengthy pieces here - 'The Lower Depths', Strumming Music' and 'Timbral Assault'. Check this out if you dare. 8/10

Sukia - Contacto Espacial Con El Tercer Sexo (Mo'Wax)

Merging 60s US schlock with mellow 90s dance vibes, Sukia sound like nothing on Earth. But probably something on Mars. Contacto Espacial Con El Tercer Sexo mixes samples from weird B-movie classics into hypnotic grooves performed on Moogs, multi bass orchestras and Wurlitzers. Tracks such as 'The Dream Machine' and 'Feel N' Free' take this surf-style loungecore to it's inevitable, creepy conclusion, whereas other tracks ('Play Colt' and 'Gary Super Macho' being notable high points) are strange sound clashes. Imagine Miles Davis accidentally walking in on a Residents gig (and grooving to it) or the Ninja Tunes collective on a day out to a freak show with the B-52s during their cheesiest heights. Apparently inspired by a Colombian sleaze comic (I can believe it), this is Sukia's debut LP though it sounds like they've been around for years. And they deserve to be around for some time more, thanks not least to some hot home-grown remixes on offer here as bonus tracks. 9/10

Salaryman – Salaryman (City Slang)

Low-mono samples, Theremin, telephones, live TV snippets. These are just some of the low-tech elements used in creating the funky trip-hop muzak of Salaryman. Whereas most bands are striving to use the most high-tech and expensive equipment on the market, Salaryman are the sort of band you find recording tracks in old TV repair shops. And the finished result is intended for purely "basement" listening. Funky live drumming is mixed with keyboard jamming and there's a live feel throughout tracks like 'New Centurions' and the more hard-core 'Burning at the Stakes'. They're at their most accessible with tracks like 'Voids' and Superclusters' (full of epic big-beat histrionics) and 'Rather' (set for the 12" and remix treatment later this year). But the thing that makes this album - and band - unique is something which is more than extra instrument (in fact more like a fifth element). Through all seven tracks Salaryman use TV samples, recorded live and in one-take. Whatever was on TV during the recording process has become part of the finished product. This works to great effect on tracks like 'Inca Picnic' and 'Hummous' and takes the music into a whole new dimension. As the band recently told DJ, "The TV broadcasts ensure not only that each of our performances will be unique but also that each performance will contain an element that someone out of the performance arena will be able to participate in." So if you cant find this album in the shops, try the Innovations catalogue. 7/10

Red Light District - Red Light District London (Rising High)

The first in a series of five releases dedicated to the world's red light disctricts begins with London. Part 1 is a sleezy puslating techno track, Part 2 is split on a knife edge between the comic and the intimidating. It's all got a seedy air to it, but being totally instrumental some vocal samples/effects (however cliched) would have been fun!

Various - Chinese Whispers (Sprawl)

In the last breath of the millennium, it's beginning to become clear that DJs have become the curators of modern music and with that remixers are the most important artists. At least that was the view from the likes of DJ Spooky and Brian Eno at last year's Hypersymposium at the South Bank's 'Now You See It' festival. Perhaps the proof (hit the roof) of the pudding will be in the listening to Chinese Whispers from the Sprawl collective. Here a host of celebs from the Sprawl club (bang down the door) have spent a whole year remixing mixes of each other.

This is a compilation reminiscent of Endlessnessism, which appeared last year on Sweden's Dot Records and actually billed itself as "the musical equivalent of Chinese whispers or an Olympic relay race". On this compilation, Si Begg, Subtropic, T-Power, Stereolab, Sons Of Silence, Bedouin Ascent, Ultramarine, Mike Paradinas and Slang are all in evidence. But is it actually music? Well the mix from Slang certainly is - very mixable and down to earth. Mike Paradinas turns in something as confidently mad as you would expect, as do Ultramarine. T-Power's track is truly experimental and, like Si Begg's, beat-based yet always pushing the envelope.such albums of thought and theme plugged into one mixed-up melting pot of beginning, middle and end really be the future? Total recycling! The musical equivalent of what we do with air and water every day. Fingers crossed Chinese Whispers itself becomes an on-going project - here's to Volume 2. 10/10

Fridge - Eph (Go Beat)

Fridge have promised much since their bizarre debut album, Ceefax and certain improvements to their sound are instantly obvious on Eph. They've gone from recording tracks in minutes in their front room to extending the recording process in the more salubrious environment of a recently built home studio in London's swinging Clerkenwell (also home to Mixmaster Morris). The resulting vibes are more like beaten-up Bond epics ('Ark') than the made-for-TV specials of Ceefax.

'Meum' is very much back to their roots. Tumbling acoustic drums and scrambled guitars, but with now with an added thematic resonance. Eph also has a rather old fashioned air in that it's only forty two minutes long and their latest single 'Kinoshita Terasaka' isn’t included. Which is a pity as it was a blinder. Perhaps they'll save it for another compilation, a la last years self-explanatory 'Sevens And Twelves' CD set. Other stand-out tracks include the one minute wonder of 'Tuum' and the lush 'Yttrium'.

And if you're into this LP, make a point of checking out Four Tet's recent long player, Dialogue (Output) released a couple of months ago as an off-shoot project from Fridge's Kieran Hebden. 6.5/10

Anne Dudley - Ancient And Modern (Echo)

One half of the Art of Noise takes time off from her self-confessed hack actibities of TV soundtracks and session string arrangements for this beautiful orchestral soundscape. New arrangements and compositions rub shoulders with traditional classical pieces. Overall Dudley avoids any musical references to AoN (which is where her egyptian opus with Jaz Coleman fell down for me). This has a pure and captivating edge that will keep you listening for the duration.

The Scourge of the Earth - My Pastie Weighs a Ton (Warner ESP)

The Black Dog is the sort of artist that, just as you are wondering what they're doing or where they've been, come back at you with the – always surprising - answers. Last time it was a set of remixes of Lalo Schrifrin's Bullitt theme. Yes, the 60's movie, recently used in the Ford Puma ad.. Now we are presented with a collaboration with Israeli vocal sculptress Ofra Haza, with a raft of remixes from Lazonby, Terminalhead, Scanner and an obscure genius masquerading under the pseudonym of The Scourge Of The Earth. I think I'll raise a few eyebrows when I "exclusively" reveal that said Scourge is the latest trading name of none other than The KLF's Jimmy Cauty. And it's a classic return to form - screaming babies, warplanes, tanks, bombs and all!

But Who Exactly is the Black Dog? They are very keen on "dis/information" so it's difficult to sort the wood from the trees. Black Dog definitely has nothing to do with the classic breakbeat diva track of the same name by D*Note. Or Plaid, the breakaway group who are currently enslaved to touring with Orbital. Or the grizzly action adventure film of the same name starring Patrick Swayze and Meatloaf. Oh no. Black Dog definitely IS behind the breakthrough elctronique albums, Bytes, The Temple Of Transparent Balls, Spanners and Music For Adverts (And Short Films). And the Dog is certainly behind obscure leftfield remixes of the likes of Bjork, Blondie, Neds Atomic Dustbin, the Moody Boys and U.N.C.L.E.. Or maybe it’s the other way round...

As for Babylon, the music is like nothing I've heard before. Egyptian downbeat, anyone? Ofra Haza's vocalisings, frankly, haven't changed much since Paid in Full. But at least here they're used in a fresh way, so maximum points to the Dog and "nul" points to Mystery Year favorites the Sisters of Mercy, whose Temple Of Love track with Ofra is pastiche Goth-rock. Regardless of all the celeb remixes on offer, the original shines through as the first pre-millennial single to raid the 20th century for emotion from every continent.

Scanner's remix is very standard - but shouldn’t be overlooked. Scanner's The Garden Is Full Of Metal album from last year was a gem. A multimedia ambient tribute to his friend Derek Jarman. For maximum DJ cool, skip to the Terminalhead mix, with which Nick Warren recently opened his set at Cream. Peter Lazonby is also in the mix on this CD and apparently described his interpretation as "my best work to date", although you should be the judge of that.

'Babylon' is a rare confusing epic. If the Jimmy Cauty remix can make it stand out into the mainstream, there’s a shock in store for all the ears out there glued to 1FM.

The Black Dog – Babylon (warner.esp)

The Black Dog is the sort of artist that, just as you are wondering what they're doing or where they've been, come back at you with the – always surprising - answers. Last time it was a set of remixes of Lalo Schrifrin's Bullitt (from the 60's movie, as used in the Ford Puma ad.). Now we are presented with a collaboration with Israeli vocal sculptress Ofra Haza, with a raft of remixes from Lazonby, Terminalhead, Scanner and an obscure genius masquerading under the pseudonym of The Scourge Of The Earth. I think I'll raise a few eyebrows when I "exclusively" reveal that said Scourge is the latest trading name of none other than The KLF's Jimmy Cauty. And it's a classic return to form - screaming babies, warplanes, tanks, bombs and all!

As for Babylon, the music is like nothing I've heard before. Egyptian downbeat, anyone? Ofra Haza's vocalisings, frankly, haven't changed much since Paid in Full. But at least here they're used in a fresh way, so maximum points to the Dog (and "nul" points to Mystery Year favourites the Sisters of Mercy). Scanner's remix is very standard, so skip straight for the Terminalhead mix – with which Nick Warren recently opened his set at Cream! Peter Lazonby has apparently described his interpretation as "my best work to date", although you should be the judge of that.

'Babylon' is as frighteningly pioneering as the mystical civilisation that inspired it. The Black Dog continues to confuse and entertain in equal measures. 9/10

Low Res - Approximate Love Boat (Plug Research)

Low Res is Milwaukee-based (via Hollywood and Tokyo) Danny Zelomky. Previously appearing as Crank on a Plug Research compilation, you may have also spotted Juan Atkins' Low Res collaborations on R&S and Metroplex. Approximate Love Boat, Zelomky's debut LP is 14 tracks of black-and-white suspense film electronica. The whole thing is a concept album based around the story of an abortive trip into space to collect sounds and substances from the planet Love Boat. But when our hero's computer crashed they had to recreate what they found - what we have here - an "Approximate Love Boat".

Convinced?

Nothing is more freaky than the track 'Sinister Ice Cream Truck' which, along with 'GeneK' and 'Field Holler', reminds me of the brilliant debut last year from City Slang's 8 Frozen Modules. Hiss, crackle, humm, beat and pulses - mixed in with dark tempo downbeat are the key elements that unite both of those albums. There is madness too – and, in tracks like Wag, Evansence (Reprise) and Anestheme, the Juan Atkins connections becomes crystal clear. 7/10


This review also published in: DJ magazine

Scanner - Sound for Spaces (Sub Rosa)

Las time I reviewed a Scanner LP I gave it 10/10. Not because I thought I'd discovered the future of music (as Thomas H Green suggested in his recent review of Neil Landstrumm), but because it was one of those LPs that we always strive to find in the shops - the sort that you have doubts about, bring back home anyway, but then turn out to love every single track. Is Scanner's new LP equally awesome? I can't give you the answer to that as this is not exactly a new LP. Sound for Spaces is a collection of Scanner's best unreleased works, running in reverse chronological order from 1997 back to 1984. There are certainly some brilliant tracks here - 'Documenta X' is the sort of ambient music that gives your bass bins some serious trouble.

The sleeve notes make for fascinating reading. Tracks from sound symposiums, ANAT (Australian Network for Art and Technology), the European Broadcasting Union and Video Positive 95 show just how active Robin Rimbaud has been outside of his album work. Although most of the pieces have been created with the public in mind, it's surprising how much personal feeling lay behind these tracks. 'Invisible Choirs' (ambience that sounds like a five minute root through the inner workings of an immense cathedral organ, complete with pulses of light and percussion bouncing around inside), for example is a very personal homage to a friend that passed away.

Compilations that run in reverse chronological order are rare but work really well. Another that springs to mind is Die Krupps' Past Forward. Especially as when you reach the end of this LP (or rather the beginning) you find that Scanners tracks from over ten years ago are well worth a listen. Call me retro but I still love the feel of randomised reel-to-reel tape loops. This compilation could actually be Scanner's most complete work to date. 8/10


This review also published in: DJ magazine

Various - Offering Vol. 2 (Studio K7)

This might be the coolest compilation you'll find for summer listening. The label that bought you the legendary X-Mix video compilations (now into their fifteenth year, believe it or not!), the Freestyle Files and Electro Boogieists from around the planet are back with more juice which, like the opener from Terranova, opens up a whole world of European drum & bass. The perfect summer cocktail.

Alongside archive tracks, Offering 2 showcases some new-found talents, like the band Khao, whose debut LP appeared on K7 last year. Their 'No Compromise' - featured here remixed by Smith & Mighty - sounds worryingly like a ruffed-up version of Culture Beat (seriously!) but fortunately their other contribution (a William Orbit meets Zion Train-style rant) is much more on the mark. As if to redeem themselves, Smith & Mighty turn in their own track - a rollicking 12" mix from the brilliant K7 imprint DJ Kicks series which has seen input from the likes of Stacey Pullen and Claude Young, who both went on to release stand-out albums on Elypsia last year.

There are some middle-of-the-road tracks, like Shantal's 'Tell Me Why Is It Oh So Hard To Be Oh So Lovely' and some tripped-out beats from Sample OS. But even these are worth checking out and keep you entranced enough to get into K7 stuff like Impulse's two contributions here - one of which is brilliant ('Wall of Pressure'), the other of which is awful ('Wall of Deceit')! 7/10

The Mike Douglas Show with John Lennon & Yoko Ono (Rhino Records)

This has to be the ultimate evening-in for Lennon and Beatles heads. In fact, with over six hours of footage in this delicious new box set, it's more of a barricade yourself in the living room for a weekend scenario. In '70s heyday, the Mike Douglas Show was the talk show to be seen on. And for one week only he was joined every night by two special co-hosts: Mr & Mrs Lennon. Needless to say, they bought with them not only some classic (and little-heard) tracks to air, but also a weird assortment of guests, comedians, activists and fruitcakes from the seventies New York underground.

Did it really change the course of television history? Well John & Yoko put together a bill that even today would make pretty breakthrough viewing on prime time TV. Like student activist Ralph Nader, yippie Jerry Rubin, comedian George Carlin, a macrobiotic cook, a biofeedback therapist and various others. You'll also the art work of Yoko getting a platform - interactive and multimedia pieces which predated anything we have now by a good thirty years.

Oh and there's some pretty good music too. There's not enough room to list each and every rare performance you get to see. But on-stage antics with Chuck Berry (John's all-time hero), a film cameo from Andy Warhol and the Plastic Ono Band in full effect should be enough to get most bedroom rock historians' hearts beating.


This review also published in: The Times

Hell - Munich Machine (Disko B)

Munich Machine is the new LP from DJ Helmut Geier and sounds like US electro meeting the more curious edges of Deutsche technology. With Kraftwerk videos popping up regularly on MTV Europe's Chill Out Zone recently, perhaps the time is right for the Europeans to invade the more credible UK dancefloors as well as the cheesefloors.

Having released a staggering 30 singles across a 20 year DJ carrer, this is surprisingly only Hell's second album. Try it and you'll hear industrial beats mashed up with a power drill across camp Barry Manilow samples. Skip a track to find euro-vocoder narratives mixed with beats and pulses that sound more Detroit than Munich.

The style and presentation of Hell very much reminds me of Kirlian's brilliant debut LP of last year, also on the Disko B label. But Munich Machine sounds more like a danced up version of the Fun Lovin’ Criminals without the big sell out factor. The Kirlian and FLC similarities end with choice chunks of throbbing Germanic trance that compromise tracks like 'Suicide Commando' and 'Jack The House'. On the other hand 'Copa' and 'Warm Leatherette' (yes, a cover of the Grace Jones classic!) could be chart hits in the making. Stardust ('Music Sounds Better With You') has given fresh hope to the 97% of dance artists that do not have major label backing. DJ Hell: more please!

Various - Spunk Jazz (iLL)

Don't be mislead by the "Jazz" part of this album's title - this compilation is an explosive fusion of drum & bass and industrial (drill & bass?) that's mad, bad and dangerous to know.

'Hate Me', the opening track from Animals On Wheels, leaves nothing to the imagination. Carrying on from where Future Sound Of London ('We Have Explosive'-style) left off, 'Hate Me' brings to mind images of musicians creating tracks by propelling oil drums off the roof of a building onto the passing traffic. But that belies the immense precision in what sounds like Throbbing Gristle covering drum & bass (only a centipede could tap its feet to this...). If you can take the pace, this album is full of gems of an emerging breed of cut-up dance. Bubbah's Tuma, Value Ape impress and I want to see Hoarse Operator score the next Star Wars movie. Now that's what I call space-age.

The only mellow moments come from Milky Boy (on loan from Bovinyl) and Si Begg (one third of No Future with Christian Vogel and Neil Landstrumm). His 'You're On Your Own' brings things back into more chartered electronica territory. I'd love to find a club that spun this sort of vinyl, but for home listeners the CD version has the bonus of another mental cut Animals On Wheels. Also look out for Paddington Breaks, whose 'Wet Wang' is the first drill & bass classic. With 'Spunk Jazz' as the debut release from the new iLL label, this could be the beginning of a very disturbed life. 7/10


This review also published in: DJ magazine