Showing posts with label V2. Show all posts
Showing posts with label V2. Show all posts

Wednesday, March 11, 2020

Underworld - Beaucoup Fish

V2: 1999

Working at my little music shop gave me access to all the hot, new 'electronica' CDs before they were to hit the streets (back when such things as internet leaks were hushed whispers). So when Underworld announced Beaucoup Fish, I was eager to get that within my hands for bragging rights. I was already rather late to the bandwagon, having only given their earlier works a passing interest (yay Hackers overplay!). Born Slippy changed plenty of opinions though, including mine, so with only their prior big singles being my main point of exposure, you can imagine my surprise at how chill this album went. Oh, it's got its bangers too, but overall this was quite the knowledge drop on how diverse the Underworld discography could be.

And I liked it! Yet, as I recall, general impressions weren't quite so keen. Folks didn't hate it or anything, just weren't talking it up to the same degree as Dubnobass or Second Toughest (after Born Slippy was added to it). I quite appreciated hearing something more classy and soulful though, especially when most popular crossover stuff was big boshy beats or trance-pants 'tastic. Yeah yeah, if I dug around, I'd find the goods, but you gotta' remember where I was stuck at the time. For a 'mainstream' 'electronica' 'record', there wasn't much like Beaucoup Fish on the market that year. Like, what else, Leftfield's Rhythm & Stealth? Moby's Play??

What's odd about this album, however, is despite liking it, there's always been this strange mental gap for a chunk of it. The opening clutch of tracks are easily burned into my brain, because half of the live album Everything, Everything uses the same tunes. Yet after King Of Snake, I couldn't recall much of anything until Kittens, and I only instantly recognize that tune thanks to its inclusion on the Wipeout 3 soundtrack. It would always come up on that game's supposed 'random' playlist; that and The Chemical Brothers' Under The Influence. C'mon, Wipeout 3, give me more of the Sasha originals, why don't ya'?

*ahem* The clever chill-out counterpoint to Push Upstairs, Push Downstairs follows, with the frantic, manic, Moaner making for a strong closer. That middle of Beaucoup Fish is a real blank though. It's not that big a deal, mind you, the three songs here the shortest of the bunch. Unfortunately, Winjer's soft pitter-patter rhythms and muted vocoder vocals is quite the comedown following King Of Snake, while Skym is little more than a chance for Karl to get his lonesome croon on. And I'd completely forgotten about Bruce Lee, which sounds like Underworld trying to do a heavy, rocky trip-hop thing? Not the best fit for a band best known for the thumping techno and cool groove.

Ultimately, Beaucoup Fish is a fine capper on The Emerson Years, providing the sort of tunes you'd expect of Underworld of this era while showing hints of future genre explorations from Hyde and Smith. Huh, what a limp way to end a review.

Tuesday, September 5, 2017

The White Stripes - The White Stripes

V2: 1999

For as big a band The White Stripes became, they certainly have humble beginnings. I wonder if they'd have even broken out of Detroit obscurity without a couple lucky breaks. For sure Jack and Meg White had a good sound going for them, but this was the late '90s, you see, and theirs was a sound no one in the world of Corporate Rock had interest in. Maybe if one of the elder statesmen of blues classic rock made a throwback garage album, that would get some buzz, but a couple of kids out of the Motor City? Hell, the music press already had a new hero from that area to fawn over, a white rapper who somehow earned Dr. Dre's blessing. Now that's a story!

This duo may never have had much aspiration for their music beyond dominating their local scene, but boy did they go all out in doing so. Jack White was already a seasoned journeyman playing in various bands, but when his recently married wife Meg had a kick at the tin cans, they realized their musical synergy was better than anything else he'd been working on before. Thus they dubbed themselves The White Stripes, with a peppermint candy theme in their presentation, about as retro a rock look as you could hope to get in the '90s. While working the underground rock stages for about a year, indie label heads noticed the duo had “It”, and were offering them record deals. They signed with Cali-based Sympathy For The Record Industry (they of Chemical Dolls, Love Dolls, The Lazy Cowgirls, Mad Daddys, Loudspeaker, Experimental Audio Research, and The Pooh Sticks) for a debut album.

And, well... it's certainly a debut album from The White Stripes. They already had a deliberately simple sound to begin with, and if their so-called magnum opus of Elephant wasn't breaking the mould by much, then a self-titled debut sure as Shirley ain't either. If anything, it can't help but be as basic as blues rock gets, Jack and Meg still in the process of realizing their full potential. It's certainly a good ol' rowdy time throughout, the production as heavy and thick as you could get in the '90s. At sixteen tracks long, most averaging the two-to-three minute range, The White Stripes supplies a nice variety of hard rockers, bluesy downbeaters, and... um, that's about it. Hey, it's not like the songs last long anyway.

Still, as decent a debut as this album is, it didn't get much attention in the rock world – they were more interested in the output of Limp Bizkit and Creed, dont'cha know. However, an influential UK DJ by the name of John Peel (perhaps you've heard of him?) happened upon the album, taking an instant liking to it. Naturally, his word gave The White Stripes an in with the always savvy British market, while The U.S.... had to wait for a Lego video to finally catch on too. Then they couldn't stop praising this album!

Tuesday, May 10, 2016

The White Stripes - Elephant

V2: 2003

The White Stripes are the greatest rock band of the last twenty years, if you were to ask any long-time follower of that scene. Like, I’m talking long-time, since at least the late ‘60s. In one fell swoop, Jack and Meg obliterated any and all developments, nuances, dalliances, diversion, explorations, and permutations of rock music, bringing the scene back to its simple, garage roots. More punk than punk, more blues than grunge; punting the pretentions of prog, nuking the new wave for some old wave. Um, making metal mobsolete? Help me out here, guys and gals.

Mr. & Ms. White weren’t the only musicians making garage rock, but they were the first to connect with that all-important “yoof” demographic, breaking out of obscurity with a flurry of memorable videos on MTV (and almost single-handily making Lego cool again). Soon after, all manner of garage rock bands entered the airwaves. With a quickly crowding scene, however, come increased demands and expectations on the perceived leaders, to prove they deserve their perch upon the podium of classic rock’s saviors. Whether by circumstance or design, Elephant was destined to be The White Stripes’ Statement Album. They were no longer the plucky upstarts out of Detroit, but a force the world of old rock was hanging their hopes on. Plus, y’know, no pressure from signing on a major label, one offering a vinyl roll-out when the format was practically toast. Nope, no pressure at all. Good thing Jack White’s obsessive enough of an artist to get the job done, then.

Yeah, they smashed it out of the park, Elephant earning all the plaudits, praise, and rock awards. And though it couldn’t sustain the garage rock mini-revolution for much longer (folks getting all up in that Coldplay shi’…), the album’s held up greatly, thanks in huge part to the raw, unvarnished quality the Stripes deliberately utilized. The liner notes proudly proclaims no computers were used in the production, with only vintage analogue gear for the recording process and self-imposed time-frame for studio sessions (ten days!). They wanted this sounding as authentic to the garage bands of the mid-‘60s as possible post-millennium, and damn if they didn’t succeed. Fortunately, they also gave the tracks plenty of heft, such that the raw, grainy distortion and thumping drum kits are rich and full, nothing over-compressed and flat; timeless, and all that. Take that, Red Hot Chili Peppers!

Seven Nation Army was the big hit off here, but I’ve been rather blasé about it all these years. Too monotonous throughout, y’see, though definitely kick-ass lyrics. Nah, I prefer these Stripes when they just rock the f’ out (Black Math; Girl, You Have No Faith In Medicine; Hypnotize), or get right-proper blues heavy and sludgy (There’s No Home For You Here; Ball And Biscuit; I Just Don’t Know What To Do With Myself). And dammit, the acoustic jam with Holly Golightly at the end is just too adorable, in spite of the depressing topic. Country in a nutshell, eh?

Tuesday, December 16, 2014

Moby - Play

V2: 1999

Play is a very important album released by a very important artist at a very important time in electronic music’s history. It set the very important precedent that one need not rely on very important radio play for promotion, but could succeed by licensing the music out to very important movies and very important commercials for maximum exposure. Then you could smugly sit back watching those same very important radio stations crawl back to you now that your very important hit singles have wormed their way into the popular discourse. Take that, Very Important Radio that’s no longer so very important!

Sorry, had to get that bit of silliness out of my system. I know it goes without saying that Moby’s Play stunned everyone with how commercially successful it became, but it holds especially true for many ravers who’d been following him since the beginning of his career (or at least after hearing Go). Though he'd always been a little erratic with his muse, most figured he'd all but left electronic music following Animal Rights, seduced by the vigor of protest punk rock in lieu of his growing social conscience. Maybe he'd make another techno album down the road under his Voodoo Child alias, or something ambient leaning should he get the reigns to a film score, but not much else that could interest his old audience.

And it went when Play first dropped, many unsure what to make of all the ragtime and blues samples littered about. While his past indulgences with gospel were charming enough, tracks like Honey, Find My Baby, Run On, and Natural Blues gave us a Moby gleefully exploring American roots music not seen since... well, ever, at least where electronic music was concerned. These weren't simple historical raids for catchy or quirky loops; rather, he honored their legacy, providing little more than serviceable contemporary dance rhythms and his distinct piano, strings and pad flourishes. Everyone agreed it was different, yet uniquely Moby; a defining moment in electronic music's history though? Hardly. Just another indication the Moby brand, once a darling of American rave, had fallen further off from scene relevance. I mean, listen to those squeaky-clean 'rocktronica' cuts Bodyrock and South Side - no way those will catch on with the underground.

Silly underground, there's more to music than you. But okay, if you’re really forlorn for the Moby of old, there are a few tunes that play to his melancholy strengths, including the dreamy Porcelain and surprisingly uptempo Machete. Most of the vintage Mobes is found in the back end of Play though, with haunting ambience (Inside, My Weakness) rubbing shoulders with downtempo takes on his newfound blues infatuation (Everloving, The Sky Is Broken).

Though I doubt anyone reading this blog hasn’t come within earshot of at least a few tracks off Play, it is worth your while to hear the album in full if you haven’t yet. Its simple charm makes for a surprisingly difficult LP to turn off.

Things I've Talked About

...txt 10 Records 16 Bit Lolita's 1963 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2 Play Records 2 Unlimited 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 2019 2020 2021 2022 2023 20xx Update 2562 3 Loop Music 302 Acid 36 3FORCE 3six Recordings 4AD 6 x 6 Records 75 Ark 7L & Esoteric 808 State A Perfect Circle A Positive Life A-Wave a.r.t.less A&M Records A&R Records Abandoned Communities Abasi Above and Beyond abstract AC/DC Ace Trace Ace Tracks Playlists Ace Ventura acid acid house acid jazz acid techno acoustic Acroplane Recordings Adam Beyer Adam Ellis Adam Freeland Adham Shaikh ADNY Adrian Younge adult contemporary Advanced UFO Phantom Aegri Somnia AEI Music Aes Dana Afgin Afrika Bambaataa Afro-house Afterhours Agoria Aidan Casserly Aira Mitsuki Airwaves Ajana Records Ajna AK1200 Akshan album Aldrin Alex Smoke Alex Theory Alice In Chains Alien Community Alien Project Alio Die All Saints Alpha Wave Movement Alphabet Zoo Alphaxone Altar Records Alter Ego alternative rock Alucidnation Ambelion Ambidextrous ambient ambient dub ambient techno Ambient World Ambientium Ametsub Amon Amarth Amon Tobin Amplexus Anabolic Frolic Anatolya Andrea Parker Andrew Heath Androcell Anduin Andy C anecdotes Aniplex Anjunabeats Annibale Records Anodize Another Fine Day Antendex anthem house Anthony Paul Kerby Anthony Rother Anti-Social Network Anzio Green Aoide Aphasia Records Aphex Twin Apócrýphos Apollo Apollo 440 Apple Records April Records Aqua Aquarellist Aquascape Aquasky Aquila Arcade Architects Of Existence Archives Arcturus arena rock Arista Armada Armin van Buuren Arpatle Artifact303 Arts & Crafts ASC Ashtech Asia Asian Dub Foundation Astral Engineering Astral Projection Astral Waves Astralwerks AstroPilot AstroPilot Music Asura Asylum Records ATB ATCO Records Atlantic Atlantis atmospheric jungle Atom Heart Atomic Hooligan Atomine Elektrine Atrium Carceri Attic Attoya Audiobulb Records Audion AuroraX Autechre Autistici Autumn Of Communion Auxilary Auxiliary Avantgarde Avatar Records Aveparthe Avicii Axiom Axs Axtone Records Aythar B.G. 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