The Roots - Illadelph Halflife

DGC: 1996

Getting a few Roots records was inevitable for yours truly, but it was nice to get the full smorgasbord of their catalogue before committing dollars to disc. And while it may seem obvious getting this one to start, I'm sure few would disagree with it either. Having gotten it and enjoyed Illadelph Halflife on its own now, however, I'm strangely at a loss for words of what I want to say about it.

There isn't much else I can touch upon the band itself that everyone in North America (and beyond!) doesn't already know (live hip-hop band, etc.), and I haven't given myself ample time to digest this particular release further. It's like, sure, this was the tastiest item in that smorgasbord, but to truly appreciate it, I need more than just a couple servings of it; really let it marinate on my taste buds. Or I just feel 'ill'-equipped to talk this album up as it deserves at this point. See, there I go, already falling back on bad puns.

I guess an adequate start is why Illadelph Halflife, what makes this album the one I wanted to nab first above all others. Beyond having that irresistible mid-'90s Eastcoast hip-hop aesthetic, I mean. Okay, that's a big reason, hands down. Whether it was getting in the grime of it was the Wu or ample raiding of funk, jazz, and soul records from the likes of DJ Premier and Tribe Called Quest (among many others), it's a sound I really vibe on, and kinda' wish I'd jumped on it a lot sooner than just these past few years. Sure, I had a few obligatory records here and there (Gang Starr, Big L, that one Nas everyone must have), but was missing so many more. Just... so many more.

Still, The Roots are Philly, not New York, which may account for how much soulful their style is. Or maybe it is just that live-band approach to their craft. Which is cool and all, but if I wanted to hear strictly that, I could have nabbed their first two albums (or the live one). Naw, what properly got me hooked in was hearing more of their studio production, which I feel really came into its own with Illadelph Halflife. They'd get more polished and bolder in later records, but here everything's given ample oomph over all their funky, jazzy rhythms and, where warranted, soulful backings (What They Do, No Alibi, No Greater Protector).

Lyrical content, then. After all, this is a hip-hop group, where lyrics are paramount. And honestly, I think that's why I like this record so much, Black Thought, Malik B, and all their guests given plenty of prominence. If anything, the 'musicians' part of Roots is put on a back-burner, far less jam sessions and solos indulged than before. I imagine this was done to help sell them to a wider rap audience not so keen on musical ability beyond what a dope, looping sample provides. I'd say the trick worked.

Res - How I Do

MCA Records: 2001

Another 'out of my element' donation. I've a few of these in the pipeline but that's alright. Some of these artists, I sense they deserve whatever extra shine my little backwater blog can offer. Res wasn't an utter unknown, mind you, something of a staple in the Philly scene since the late '90s, even if she never quite got the same attention as oh-so many others from the region. She actually got her first break providing the chorus on the titular track on GZA's Beneath The Surface, which was enough to at least get the attention of another up-and-comer, producer Martin McKinney.

You've definitely heard his stuff, working with the likes of Drake, John Legend, and The Weeknd, including Starboy, in case you care. Yes, that track, with Daft Punk. Oh, the 'electronic music' connection goes even deeper. Well, maybe not that deep, but I do find it interesting that the lead single for Res' album featured a bunch of clubby remixes from Robbie Rivera, Guiseppe D, Bastone & Burnz, and DJ Encore. Ah, hm, Hed Kandi house and proggy anthems, for a Philly soul singer? Methinks something got twisted in the marketing of this album, which may explain why it did only marginal business for itself.

Honestly though, it could just be the dumb luck of timing, How I Do released when the urban scene was stacked for options. Hell, she was basically going against Destiny's Child's Survivor, Missy Elliot's Miss E... and Alicia Keys' Songs In A Minor. Good luck with that, yo'. No, this album was practically per-ordained to be a slow burner, one rediscovered after the fact, unearthed by connoisseurs of neo-soul a decade or two down the line. Maybe even get enough ground support for a vinyl reissue within our current year. Again, dumb luck of timing.

To my ears, Ms. Ballard has a similar street-soul swagger to her sound reminiscent of Lauren Hill, though as usual, I'm more interested in the musical side of these releases than the actual singing. Opener Golden Boys features grand string sections with a brisk breaks rhythm, while They Say Vision (the original!) goes more loopy with its backing instrumentation, which I guess makes sense why it got all those house remixes. 700 Mile Situation, The Hustler, and I've Known The Garden get real deep in the funky vibes. Ice King gets forlorn. Sittin' Back wouldn't sound out of place cranked from the subs of a lowrider. Let Love almost treads near trip-hop's domain with out-of-tune backing synths – must be that Cure influence. And secret song Say It Anyway (yes, it has one of those) 'rawks' out.

A decent amount of variety, then, though never really pushing any boundaries either. If anything, How I Do sounds like an offshoot of that really famous conglomerate out of Philly, The Roots. Mostly traditionalist, but has enough spunk to stick out for the time it plays. Jeez, Roots and Hill as my obligatory namedrops? What more do you need?

Groove Armada - Goodbye Country (Hello Nightclub)

Jive Electro: 2001

This may technically be Groove Armada's best charting album, but I contend it remains one of their most neglected, if not outright forgotten. Granted, that mostly only applies to North America, but I tells it as I remembers it, which comes with all the localized biases. It isn't so much a case of the music being bad or anything, though the deeper, soulful tunes didn't help it stand out after the peppier breakouts from Vertigo got their name out there. No, it's almost certainly due to the fact it came out the day before 9/11, after which the whole world went into a depressive, paranoid funk. Kinda' hard to get hype to club music after that.

Tom and Andy said they wanted Goodbye Country (Hello Nightclub) to be more upbeat than their previous effort. Can't say I blame them, so quickly getting pigeon-holed into the chill-out scene when their music was getting all the licensing deals. And when Superstylin' dropped, that change of focus seemed evident, the track something of a riff on Bassment Jaxx' brand of radio-friendly speed garage (da' yoots today would call this 'ragga bassline', or something). Now that I've listened to this record, however, it almost feels like an appropriate comedown to post-Millenial malaise.

This rest of this album, it's just so de-e-e-p, man, hardly the rabble-rousing hedonism promised. Fogma, the clubbiest cut on here, certainly has some funky shuffle going for it, but there's something rather... prog, about its production too, y'know? Raisin' The Stakes opts for some street-level funk-n-hop (Nile Rogers on the guitar, Kriminul on the rap), but it ain't super-hype either. Healing is another 'brisker-than-average' cut, but it's so minimalist, dubby, and de-e-e-p, you'd be forgiven for thinking it an early Swayzak b-side. And that's it for the 'club'. Well, and the opulent funk opener Suntoucher with Jeru Tha Damaja, but even that track settles into a deep, dubby groove two-thirds in (Drifted less so, which I kinda' prefer). So, graciously, six out of twelve tracks, and I'd really only claim three.

Not that I'm disparaging this album for false advertising or something ridiculous like that. If anything, Groove Armada still came correct for what their fanbase expected of them: more soulful, downtempo music, this time with heavier emphasis on the dubbier aspects of it. There's still moments for pastoral arrangements (Litttle By Little, Lazy Moon, Edge Hill) and funkier jams (Drifted, Tuning In (Dub Mix)), all performed in a classier, smoother fashion than similar sounds on Vertigo. Unfortunately, it also doesn't leave quite the same impression for the same reason all highly-competently produced music of this sort does, getting a little lost in the ability to make it over keeping things simple and to the point.

For that reason, I can understand why Goodbye Country (Hello Nightclub) just doesn't get the same name-drops that Vertigo and even later albums do. Or maybe it really is that stupid 9/11 conspiracy after all. If its any consolation, I'm writing this on the eve of potentially saying goodbye to that country altogether!

Justin Timberlake - FutureSex/LoveSounds

Jive: 2006

I assume the request for this album is for more insight into Timbaland productions than ol' Justin here. I'm all for that. Mr. Mosley may occupy a genre lane that I seldom dwell myself, but I cannot deny how influential he was for so many decades. Nor can I deny that, when I did hear some crossover R&B hit, the ones that caught my attention and, dare I say, even liked, had a Timbaland co-sign on it. Yes, going all the way back to Ginuwine's Pony.

If you want my thoughts on Mr. Timberlake, as always I'll point to a Todd In The Shadow video, specifically his Trainwreckords dismantling of Man Of The Woods. Most of my over-arching sentiments are covered there, but here's an additional wrinkle. Even at the height of his popularity, I couldn't help but feel Justin was something of a Great White Hope for the R&B sector. So many American folks wanted him to succeed because they were so desperate for someone like him to succeed. There were plenty of pretty boys mugging in music videos before him, but they were often black or Latin or weirdly European or packaged with a pile of other pretty boys. Finally here was someone who not only freed himself from post Boy Band failure, but excelled in a field few of his ilk had dared to tread. Again, that Timbaland co-sign went a long, long way in the '00s.

FutureSex/Lovesounds is Justin at his peak, and it's arguable this is Timbaland at his peak too. Mr. Mosley's greatest strength was taking contemporary sounds and getting maximal punch from them with minimalist space, and you hear that in spades. Electro house one of the current hot trends? Make the lead single something of a riff on that, SexyBack not only crushing the Top 40 clubs, but even finding its way into the sleazy underground too (seriously, I knew DJs more prone to rinsing out DFA or Ed Banger records having this in their crates).

Funk was seeing a mini-resurgence thanks to Prince's return to Warner Records, and you can definitely hear his influence on many tracks, such that a micro-feud emerged between them. Yeah, sexy never really left, but its undeniable this album helped bring its funky potential back to the forefront after crunk's dominance. Oh, there's a crunk on here, because of course there would be, Three 6 Mafia doing the guest spot.

The things Justin sings about? Well, it's right there in the title, right? Half the tunes are about picking up girls at the clubs and whatnot, the other about bitter breakups. How these land for you probably depends entirely on how you view Mr. Timberlake's cache of pop world good will, which has significantly dwindled in recent years, no doubt. Still, when some of those operatic moments hit, like in What Goes Around... Hard not to get swept in all the melodrama that made FutureSex/LoveSounds one of that year's biggest albums.

Sykonee's 'Sportsing' Surveys: THE ROOTS

Right, The Roots. This took a lot longer than I was planning, and not because this was some impossibly large discography. Oh, I thought there might be more out there than just their mainline records. After all, when you're billed as one of the most successful live hip-hop bands on the planet, you'd expect a tonne of live albums. Only one has seen an official release though, but that's neither here nor there. No, the reason it took me some 2.5 months to complete this survey is because, um... I didn't do much 'sportsing' for over a month there. Look, when one comes down with a heavy case of 'Mopevember', coupled with literally cracking a molar such that I had to get a crown for it, such things tend to throw one's regular physical regiment out of wack.

What's not wack, however, is The Roots. I first come into contact with them when their charming What They Do video was making the rounds, taking the piss out of all the rap music cliches that were prevelent in the '90s (hehe, 'butt cramp'...). Clearly these chaps were on a more 'conscious' level than their peers, but I was still a few years away from truly getting bit by the hip-hop bug. When it finally did, some of their eye-catching items like Phrenology and Game Theory got me more curious, but never did I pull that trigger. I really have no excuse to put them off any longer though, so time to go whole hog on their discography!













That took a few more unexpected turns than I, erm, expected. Like, they started out pretty much as I figured, but even early on, they were throwing curveballs left and right. Them getting thick into the genre daliances, however, really took me surprise, and I love they were willing to do that, especially at the height of their popularity. Or at least, the height of their initial popularity. I sense they've become an altogether different kind of popular now, the kind that even middle America is comfortable with. Seems somewhat antithetical to their original manifesto, but eh, brothers gotta' get paid.

As for what's next for surveying, think I'll be killing two birds with one stone, even if the music I'll be listening to will be only suitable for the most meditative of 'sportsing' activities.

Quantic - An Announcement To Answer

Tru Thoughts: 2006

I've known about Mr. Holland's Quantic project for a very long time now, even if it's only for a single track. It's a humdinger of tune, mind you, Time Is the Enemy capturing those same rugged-yet-blissed trip-hop vibes DJ Shadow made so immaculate on Endtroducing. Not that the bulk of William's music is in similar vein, which may be why I've long put off scoping out any more of his work beyond one song. You know how it goes with expectations, yo'. However, while perusing a Discogs seller's wares, I noticed this particular Qauntic album among their options, and figured now (then) was as good as any time to finally get something from the man, even if I knew nothing about his extended catalogue.

And quite extended it does reach, Mr. Holland releasing music to this day. What I find fascinating about it though, is how he's stuck with the same label through it all, Tru Thoughts. Some folks may know the print as the same one that Bonobo broke out on, indeed he and Quantic among the earliest acts getting the ball rolling for them. However, Simon Green saw, erm, greener pastures in hooking up with Ninja Tune, and while William's sampledelic acid jazz and trip-hop would have also fit snuggly among the Ninja roster, he instead stayed true to Tru.

But maybe Quantic felt some sort of tug and allure for that label, as the opening track in An Announcement To Answer, Absence Heard, Presence Felt, features the mournful strings of a traditional Oriental ditty, while a little soul-jazz rhythm grooves along and a sample name-drops New York City. And you know who else is known for such music? That's right, The RZA, who's chop-socky stylings also harken to Orientalism, which included a fascination for ninjas! Oh come on, even I'm not so stupid to make so strained a link as that, am I?

Anyhow, the second titular cut is an electro swing jam before electro swing ever got coined as something folks would call such loopy, jazzy tunes, but long after acid jazz was still in use. Sabor could too, but has too many Latin jazz influences to ever be considered electro swing, truly the whitest of all the jazz-dance genres.

Oh yeah, the Latin influences definitely dominate this album, even more than the New York City ones. In fact, Lord Discogs lists An Announcement To Answer as among the most collected records of descarga, something of a freeform jam variant of Cuban jazz. I assume this isn't a highly collected genre of music, mostly because much of it was made during the '50s through the '70s, so finding vintage vinyl of the stuff is rather rare. Figures a plunderphonic chap like Quantic would have ample amounts to craft an album out of, though he does bring in proper musicians too.

Still, this is a surprisingly brisk album, clocking in at under forty minutes. Methinks I'll need more than this to satisfy my Quantic interest longterm.

Jessy Lanza - All The Time

Hyperdub: 2020

While I'm far from a Hyperdub disciple, they are a label I confidently return to whenever I'm interested in hearing something outside my comfort zone. And anytime Burial so much as sneezes, it's enough to get the Hyperdub, erm, hype-train going again, such that I'll gander over to their Bandcamp for a look-see. I must have been feeling particularly saucy on my last visit, indulging in a couple items so far off my usual lane, I may as well have completely changed highways, one of which being this here All The Time from Jessy Lanza.

I've crossed paths with Ms. Lanza before, as she had a few tunes on that Hyperdub 10th anniversary box-set I covered a few years back. More specifically, she featured in Hyperdub 10.2 - aka: the R&B CD. She apparently failed to make enough of an impression for me to mention her in that write-up, but to be fair, she was surrounded by the likes of Burial, Cooly G, and Ghostface Killah in that track list. I did generally like her tunes, just there were so many other dope cuts that were quicker in catching my ear, is all. Not so when I last browsed through Hyperdub's latest clutch of releases, Jessy's sweet croon instantly luring me in for a closer listen. Or maybe it was just that simple, syrupy funk rhythm in Lick In Heaven doing the trick. Could be, could be.

I guess I should get into who Jessy Lanza is. I wish I had more to say than what a standard wiki or Discoggian bio offers, but I don't. I'm diving into this artist about as fresh and raw as can be, which is part of the fun in of itself. Can't grow old and stale settling on the familiar, gotta' get out there and hear other music and newer musicians. Even if said musician has been in the game for over a decade now, it's still new to me, dammit! If you need some background, here's the short-short version: classically trained, took a liking to jazz and R&B, gained plenty of plaudits in the nascent neo-soul movement of the 2010s, fusing her influences with UK garage and synth-pop sensibilities.

And that's basically what we have with All The Time. Music arrangements are mostly sparse, letting the bass bubble about simple electro and footwork rhythms. Jessy uses plenty of multi-tracking on her voice with various pitch changes and dub effects. It's nothing fancy on the surface, but has plenty of depth the more you peel back the layers. It all rather sounds as though she's performing solo at a club that's just emptied out after last call, a strangely isolated vibe for such seemingly chipper music. Which makes some sense as part of this album was written during pandemic lock-downs, Jessy moving cross-continent due to life circumstances. Those are some very lonely roads throughout the mid-west at the best of times. Can only imagine how desolate it got when most folks weren't vacationing.

Sykonee's 'Sportsing' Surveys: NORMAN COOK

The man, the myth, the legend: Norman Cook. Everyone knows at least a couple songs out of his catalogue, whether they want to or not. To this day, I'll hear Praise You on a grocery store speaker, or Right Here, Right Now at a sporting event. What about the rest, though? With a career spanning some forty years, surely he's done more to be known for other than tunes like The Rockafeller Skank.

Some, yes, but I realized my own knowledge of these various bands, productions, and projects was severely lacking. Heck, I only have two of his Fatboy Slim albums as it is - well, if you consider a 'kiddie clean version' a proper copy of Halfway Between The Gutter And The Stars. Digging through Mr. Cook's extended discography, however, yields plenty of material to sift through, more than enough to satisfy my survey requirements. Sounds about right to finally know the rest of the Norman Cook story, as Paul Harvey might say. (he'd never say that ...don't know if Paul Havery would even know what a Fatboy Slim is)













Well, that was a lot more music than I was expecting, especially so in the acid jazz lane. And yet, I still feel like I only scratched the surface, so much of Norman's career defined by DJing accomplishments as much as anything he did in the production booth. Wish I could say much of it inspired me to nab a few more items proper-like, but it does appear I already got the cream of the crop.

That one dusted, think it's about time I tackle a band that, while maybe not be the best for 'sportsing' to, has been on the perifery of my curiosity: Stereolab! I've a feeling it'll be a rather... challenging outing, especially coming off the 'what you hear is what you get' simplism of Norman Cook.

Gorillaz - Song Machine, Season One: Strange Timez (Proper Review)

Parlaphone: 2020

Strange days indeed. The global pandemic almost may have benefited the Gorillaz project, at least with regards to the Song Machine cycle. Being forced to strip back all the indulgent studio time and guest collaborators made this album a far leaner outing than the bloated Humanz. Even better, with no pressure to go on tour in support of a new record in the foreseeable future, Damon and Jamie could primarily focus on other multi-media aspects of the band, in particular music video and animations.

Because let's face it: for as much as we enjoy Gorillaz music, it's the videos and such that truly grab our imagination. Trouble is animation is expensive, and with more money being allotted for studio production and tours, this aspect of the project sometimes gets shuffled to the side-line. Again, just look at the Humanz roll-out for proof, only one video of significant note released in support of that record.

In treating Song Machine as an episodic venture, however, you were basically guaranteed a video with each song this time out. Whether an elaborate 'lore' builder with The Lost Chord, a simple loop session with Aries, or 'Roger Rabbit'ing their way about Kong Studio with guest musicians (Momentary Bliss, Pac-Man), it definitely felt like you were getting your dollar's worth. Oh, wait, watching the vids was free on YouTube. Erm, I mean, it definitely felt like you were getting rewarded for sticking with this fickle project even during the less-than-great times.

And even with all that, holy Hell, but does Song Machine ever come loaded with ear-worms! You could always count on a number of them per album, but even the best Gorillaz records will have a few tunes that could be left aside. Not so here, every song a winner. Well, okay, I could maybe leave Friday 13th off, but that's more because I'm not much a fan of mumble rappers, and Octavian doesn't do much to convince me otherwise. At least The Pink Phantom has Elton John's big, boisterous voice on hand to counter 6LACK's mumbling. Everything else though – from rowdy rockers (Strange Timez, Momentary Bliss, The Valley Of The Pagans) to electro boppers (Pac-Man) to soulful poppers (The Lost Chord, Désolé, Dead Butterflies), and all else between, Song Machine's got all you could want from a Gorillaz album.

It's funny though, because there's a hint Song Machine could have had some of the same issues as Humanz. The bonus disc includes half a dozen nifty tunes, mostly on the hip-hop side of things, but definitely don't quite fit the vibe of the main album. Which is how bonus tracks should be treated, the b-sides that are here for your enjoyment without sullying the flow of the main feature. Somehow though, I sense had this been Humanz-era Gorillaz, they would have tried to force them in, once again bloating an album beyond what was necessary. Song Machine is perfectly paced at its eleven tracks, once again showing smart restraint in the final product.

Gorillaz - Song Machine, Season One: Strange Timez (Kayfabe Review)

Parlaphone: 2020

Last time I talked up Gorillaz, I lamented we'd never seen a truly collaborative effort from this group. Yeah, they've all been present for a number of albums (their self-titled debut, Demon Days ...Humanz, if only barely), but generally speaking, one or two members are the driving force behind a given record, leaving the others to simply contribute their requisite parts in support. No, what I wanted to hear is a Gorillaz album where everyone - 2-D, Noodle, Russel, and yes, Murdoc – all have equal share in the writing process. Given the chaotic nature of this band, it seemed it'd take nothing less than an Act Of God for such a thing to happen. Or, in a pinch, a global pandemic.

Details are hazy what the initial ideas for Song Machine were going to be – something to do with a music device Noodle acquired. Regardless, the lockdowns in the following year essentially isolated the band within the new Kong Studio. Never mind their corporeal nature likely wouldn't be an issue in dealing with meat-space viruses, they stood in solidarity with society at large.

With nothing better to do than hang out together making music, that's basically all they did. No ideas for a specific album concept or contractual obligation, just jam away and see what sprung forth in a given session. That isn't to say some didn't have other things on their mind while holed up at Kong – you just know Murdoc would look for any opportunity to get out of house, especially having just gotten out of prison the previous year. Overall though, Song Machine, Season One: Strange Timez is possibly the band's most satisfying album in... gosh, a decade? However long it's been since Plastic Beach, at least.

Again, it's all about bringing every member's influences and interests under one big tent. Gorillaz have always been adventurous in their genre fusions, but you can generally tell who's doing the most production in a given project. 2-D likes his electro pop, Russel likes his American hip-hop, house, and soul, Noodle likes her esoteric indulgences, while Murdoc likes his punk and bass-driven rock. Indeed, there are songs on here you can tell who's influence is felt. Peter Hook on Aries? Oh, that's gotta' be a Murdoc get. ScHoolboy Q on Pac-Man? Russel, absolutely. Beck on The Valley Of The Pagans? Seems like the sort of musician Noodle would have on dial. And of course Elton John and Stuart Pot have talked collab' at some point.

Yet as mentioned, no one song feels like someone's taking a back seat in the writing process, everyone part and parcel in some way. Maybe that's why, for the first time in Gorillaz history, the album's unofficial song-writing credits goes to 'Gorillaz'.

According to lore, Murdoc and Russel did Humanz and the self-titled, Noodle did Demon Days, Mr. Niccals did Plastic Beach, while 2-D did The Fall and The Now Now. Song Machine though? Everyone! And it's all the greater for it.

La Luz - La Luz

Hardly Art: 2021

It feels weird being invested in a contemporary rock band. Heck, any rock band, come to think of it. Yeah, I've done discography dives on many, but almost none have intrigued me enough to scope out their full catalogues, much less keep tabs on every new release. Like, here I was, on the edge of my seat, wondering whatever would La Luz do about the departure of drummer Marian Li Pino? Oh, that pandemic thingy put a hold on all that anyway, so don't have to worry about it just yet.

So La Luz was on hiatus, lead singer and guitarist Shana Cleveland whiling the downtime doing some solo work. When I heard the group had finally reconvened after such a long absence, I was honest and truly excited to hear how they were going to move forward, especially who the drummer would be. Holy cow, I'm excited about a rock band's new drummer! What a strange sensation this is!

Then I was thrown for a complete loop and a half when I heard it was Adrian Younge. Wait... waitwaitwait! That Adrian Younge? The ultra-talented funk-n-soul jazz musician? The one who produced those fantastic Ghostface Killah and Souls Of Mischief albums? That Adrian Younge!? How on Earth did he get involved working with an all-lady psychedelic surf rock band? This is a 'Worlds Colliding!' pairing I never would have dreamed of, yet here it is, within my hands, La Luz' latest, self-titled album with the two least expected genres of music merging together. Well, unless you count 'psychedelia' as a bit of glue.

And while this is unmistakably a La Luz album, Mr. Younge's influence definitely is felt, especially on the rhythmic end of things. I don't think I've ever heard Lena Simon's bass playing given such prominence before, and there's no mistaking those drum tones as anything other than an Adrian Younge joint. Incidentally, these were performed by Riley Geare, the drummer for an indie psych-rock band called Unknown Mortal Orchestra, and a definite dude (that much beard gives it away). I assume he just happened to be in the neighbourhood when Adrian and Luz went into the studio to record this album, as he's not listed as the group's official new drummer on Wikipedia, she currently being Audrey Johnson. Aww, just missed the recording sessions, I guess.

Meanwhile, it's clear keyboardist Alice Sandahl was encouraged to 'jazz' up her playing, and I'm all for it. This includes adding more instruments to her arsenal, such as Mellotron, harpsichord, and... cowbell? Heck, you should see the amount of extra instruments Shana brought in: steel guitar, 12-string guitar, sitar. In typical Younge fashion, no instrument is left off the table!

Which unsurprisingly leaves La Luz a fair bit more funky than some might expect, but never to the loss of a general dream pop and psychedelic soul vibe. The core essence of a La Luz record is here, just with a lot more studio indulgence than past outings.

The Bug ft. Dis Fig - In Blue

Hyperdub: 2020

“New Bug, who Dis?”

Sorry, sorry, couldn't resist that one. This isn't even all that new of a Bug album anymore, though I can't help but feel it quickly went by the wayside, especially in the wake of Fire coming out the following year. It certainly isn't much like Kevin Martin's Ninja Tune releases, none of the aggro dancehall and grime raps present. If anything, In Blue has more in common with his other Hyperdub records, the Roger Robinson collaboration King Midas Sound. I'm far from the only person to make that association, though I do wonder if this album started as a King Midas Sound project before morphing into this. Kevin and Roger had taken their work into almost dark ambient pastures by this point though, so a different approach and collaborator was probably called for if Mr. Martin wanted a return to the more soulful side of his muse.

As for who Dis Fig is, she doesn't have much Discoggian data, a smattering of singles and a tape album the extent of her solo work. Known as Felicia Chen on her travel papers, she does appear to have some presence on the Soundcloud DJ circuit, with a contribution to FACT Magazine her highest profile gig. There's definitely an aggro, industrialist approach to her sound, oftentimes coupled with ethereal whispers and tense ambient interludes, keeping you on edge for when the aural assault resumes. Seems like a perfect match-up with Mr. Martin's own brand of industrial dub and dancehall grit. Oh, what's this, a global pandemic has put everyone on lockdown? With nothing better to do, seems time was about right to get that collaboration rollin'.

And if the tunnel artwork wasn't enough, first proper tune Come gets right to work in setting the tone of In Blue. Muted echoes, rumbling bass reverberating off concrete walls, an omnipresent dub wail like wind through confined industrial zones - it's all quite familiar Bug music, though rather muted and suppressed compared to his Ninja Tune outings. All the while Ms. Chen softly croons along, though only provides verses to about half the tracks, sometimes with nothing more than a dubbed-out wail piercing Kevin's grimey murk. Some tunes barely feature her at all, such as the gutter bounce of In 2 U or the diesel-train chugging of Forever. It does leave me to wonder if Dis Fig did any music production for this album. Like, The Bug's work is largely prevalent, but surely a couple of those endless echoes are more than Ms. Chen's soft vocals.

In Blue definitely is a seductive album for those who like their bass music on the ethereal side of things. It's a bit samey throughout though, as though you're travelling through an unending monochrome tunnel. Again, I'm sure that was the intent, and Bug plus Fig pull it off well. It just unfortunately kind of melts into the background after a while. Might have been better served as a couple EPs instead.

Bob Marley - Chant Down Babylon

Island Def Jam Music Group: 1999

Posthumous albums from an artist's archives certainly were nothing new, but as Bob Marley's passing was almost two decades old by this point, I'm sure everything from his catalogue had been thoroughly unearthed. Heck, even the Remix Album had been done (thanks, Bill Laswell!), so what other avenue could be explored in further capitalizing on Marley's music? Like, it's such a shame he died so long ago, before he might have had a chance to collaborate with artists inspired by his words and works. If only we had the will, the ability, the technology, to make such a thing possible. Sadly, time travelling and necromancy remain elusive. Eh, there's another way, with studio recordings? What sorcery is this?

I can't remember if this was much of a thing yet – the 'duet' albums featuring 2Pac and Biggie certainly hadn't hit the market yet – but nor do I want to claim this was the first. I also can't recall if there was any controversy surrounding this, if cries of 'desecrating the dead' or whatever floated about. For sure those responsible for producing Chant Down Babylon did so with the Marley estate's blessing, sons Stephen and Damian on hand in the studio. While they may not have as big a profile as brother Ziggy, they still remain a prominent fixture in the reggae family's legacy. The project was in good hands, in other words, no scummy cash-grab vibes going on.

Intentions were positive then, but might the merging of classic reggae singing and (then) modern hip-hop still not work, Bob's voice merely tacked on while others got the spotlight? Considering I still have this CD, and quite often play it when I'm in the mood for some smooth Marely jams with a hip-hop edge, I'd say Chant Down Babylon pulled it off quite well indeed. Yeah, it's still mighty difficult ignoring the critical part of your brain reminding you that Bob isn't really singing in the studio with the likes of Eryakah Badu and Lauryn Hill, but boy they sure sound good together regardless.

Honestly, the only times things sound a little forced is when there's a rap involved. Marley will come in, singing a classic like Concrete Jungle or Survival with some beefier beats, then suddenly, here's Rakim or Chuck D dropping a few bars in support. It's not a deal breaker or anything, and some of these pairings are damn good (MC Lyte on Jammin'; Krayzie Bone on Rebel Music, though undoubtedly helped by his sing-rap style). Others though, don't work quite as well. Busta Rhymes in particular sounds strangely out of place, and having Aerosmith leads Steven Tyler and Joe Perry on this project is a real head-scratcher.

In the end though, Chant Down Babylon remains Bob Marley's show. Hearing him crooning along side Guru or The Roots on strong reggae-hop beats is just a tasty treat. Stick with the originals if you must, but this record is a worthy companion piece to his legacy.

Tom Tom Club - The Good The Bad And The Funky

Rykodisc: 2000

Tom Tom Club, then. A band that succeeded in spite of factors pointing to, at best, a quirky footnote in the Talking Heads tale. Succeed they did though, where to this day (well, pre-COVID at least), Tina Weymouth and Chris Frantz continued to tour, well into their '60s. Wait, an aging legacy band, with summery music influenced by the Caribbean? Are we sure we're not dealing with a Jimmy Buffet project?

Oh hell, no! How dare I even imply such a connection. Tom Tom Club are forever funky purveyors of Jamaican jam, New York City groove, and disco soul, whereas Jimmy Buffet is... all the opposite of that. Someone just screamed, probably.

I'll get into details regarding Tom Tom Club's creation and influence when I cover their self-titled debut, so let's fast-forward nearly two decades from there, all the way into The Year 2000. Tina and Chris mostly kept the Tom Tom band around as something to do whenever David Byrne would go gallivanting his solo career, which was quite often as the years went on. Eventually David officially disbanded Talking Heads, and though the remaining band members tried carrying on as The Heads, it failed in capturing the same energy without their eccentric lead singer on hand. So, back to Tom Tom Club Tina and Chris went, with a tour that turned out remarkably well after the disappointing Heads experiment. They were so energized by this tour that they hit the studio again, The Good The Bad And The Funky the result. It would be their last album of original material.

Heh, no, it didn't deep-six their careers or anything like that – again, continual tours. I think, however, they simply felt there was nothing left to prove, a legacy intact, a back-catalogue that more than justified itself without needing more added. Not to mention the unfortunate 2001 death of singer Charles Pettigrew, whom been added as an official member of Tom Tom Club during this time, likely left a sombre after-effect on the project.

*whew* That's a mouthful, but how's the music on tGtBatF? It's certainly good, nothing really bad, and definitely funky. Reggae dub and ska generally dominates throughout, with a couple nods to disco and soul in songs like Who Feelin' It, Holy Water, and Let There Be Love. It's all well produced with touches of quirk keeping things on a carefree vibe. Something keeps nagging me though, wondering who exactly this music is for. Tom Tom Club fans obviously, but was there any intent of reaching beyond that audience? There isn't much here that would lure a newer audience, no matter how many wicki-wicki scratches or funky dubs they throw in.

Except for instrumental Lesbians By The Lake. I almost did a double-take, thinking it some long-lost Gorillaz g-side. Which may not be too far from the truth, as Dan The Automator provided a rub on Happiness Can't Buy Money. Returning the favour, Tina sang backing vocals on 19-2000. It's a small world after all.

Various - Disco Kandi 05.04

Hed Kandi: 2004

Right, don't need to get deep into this one. I've talked plenty about Hed Kandi, its various compilation series, the rise, the buy-out, the fall, the continued existence. Heck, I've already dabbled in their disco series twice now, so no need to get more detailed about something as self-explanatory as this.

Eh, before I talk the music, you want to know where Disco Kandi 05.04 falls on the grand timescale of Hed Kandi's lifespan? Oh, somewhere in the middle. I think this was one of the last before Ministry Of Sound came along, doing away with the numerical titles after. Disco Kandi became just another yearly DJ mix series, the first track of this new direction a remix of Fedde Le Grand's Put Your Hands Up For Detroit. As if you needed a more perfect example of Hed Kandi's brand losing the plot under the Ministry's 'guidance'.

Not that everything was flying high while still under Mark Doyle's supervision. Even here, one can sense a bit of struggle in filling out two CDs worth of up-front disco leaning house music. Change was unavoidable by the year 2004, most producers chasing that lucrative 'electro' craze, leaving things like 'funk' and 'soul' behind. There were hold-outs, of course, with many regular Kandi contributors featured across these two CDs. The days of finding hot up-and-comers were long gone though, few future hits makers found on Disco Kandi 05.04.

As always, disc one gives us the mid-tempo garage, exuberant Latin, and soulful side of house, with names like StoneBridge, Basement Jaxx, Funkstar De Luxe, and Joey Negro (as The Sunburst Band here) keeping things in familiar Hed Kandi territory. There's also that Axwell kid doing a remix on Mambana's Felicidad, but is more of a standard, loopy French house rub and anything 'Swedish'. The only track I recognize from elsewhere is Seamus Haji's go with Belezamusica's Running Away, though I can't help but think this is a remix of a cover? There's a fair bit of that going on between these two discs.

Oh yes, we get a couple of such tracks on CD2 (the late-night option), including Mr. Haji having his own go with Last Night A DJ Saved My Life. There's also Soul Central doing rather generic cover of Strings Of Life, a tune that I'll never understand the appeal of (those 'strings' always sound like ass). King Britt is here with a decent little acid boogie number in I Can't Wait (Milk & Sugar on the rub). Armand van Helden is still trying to ride that French house thing with My My My. And gosh, is that a touch of the space disco in opener Solaris from DJ Gregory? Sure sounds like it to me.

Overall, Disco Kandi 05.04 doesn't offer much that you wouldn't have heard before. It's just more of the same from the Hed Kandi brand, but as a slice of fluffy, funky house on a rainy day, it'll do the trick.

The Chemical Brothers - Brothers Gonna Work It Out

Virgin: 1998

The Chemical Brothers became known as producers elite so swiftly into their careers, their humble DJing roots were almost entirely forgotten by Dig Your Own Hole. For sure the heady-heads remembered the dodgy 'Dust Brothers' era, but as the '90s came closer to closure, the millions of new fans Ed and Ted had gained remained in the dark of their past influences. Sensing a chance to perhaps educate all these fresh faces attending their concerts, Misters Simons and Rowlands released this DJ mix between albums, a massive mash-up of the tunes that were rinsed out 'back in the day' with a bunch of b-sides and remixes of their current big beat hitters.

I'm not sure if it entirely worked. Oh, the set is great, with plenty of wonderful moments highlighting all that made folks fall sway to the Chem'Bros' charms. I just don't think many of them knew exactly what they were getting. “Is this their new album or not?” they'd ask me in that little music shop I worked at. And I'd reply, “Eh, not really. It's a DJ mix.” After a moment's blank stare, I'd add, “It's not a new album.” Said customer of straw would then move on, leaving Brothers Gonna Work It Out collecting dust, brother. At least, that's how it went down in my backwater corner of Canadaland. I'm sure it sold gangbusters in Great Britain, as most Chemical Brothers merch did.

If there's anything that hampered this CD's general success, it was the fact there are only five indexed tracks. Eagle eye'd spotters may notice twenty-three listed tunes on the back, making this one of those mixes, where bits and pieces are spliced into hefty portions for maximum punch. Like, that mash of Freestyle's robo-vocals Don't Stop The Rock and Metro L.A.'s acid stomp To A Nation Rockin'... I can't hear one without the other anymore! Sure, it'd be handy to skip to specific spots on this CD, but that'd ruin its proper flow, now wouldn't it?

Other highlights? How about The Micronauts' utterly mental, over-driven remix of Block Rockin' Beats, practically right out the gate? It's almost too much awesome too soon, and one of the reasons I really can't ever go back to the original version, so tame in comparison. That, along with The Jazz being featured here, it's small wonder The 'Nauts had so much momentum going for them at the time. Fusing them with some juicy acid care of Sidewinder doesn't hurt either. Elsewhere, '70s funk and psychedelic soul get their looks in, while acid techno and big Meat Beat lock horns.

Yes, there's plenty of bedlam on Brothers Gonna Work It Out, but it also feels like they end the party too soon, the final stretch getting on that Private Psychedelic Reel vibe without playing the actual tune (which would be redundant coming off Dig Your Own Hole anyway). I suppose it works for a nice comedown, but this was a party I could have enjoyed 'till dawn's early light.

Nav Bhinder & Patrick Dream - Bombay One

Bombay Records: 2001

Every so often, by luck, pluck, or dumb happenstance, you stumble upon the perfect CD for the perfect time. It resonates with you far more than it probably should, or possibly could with anyone else, save those that were within your sphere for that one perfect moment. There were better deep house mixes before. There were better deep house mixes after. Heck, there likely were better deep house mixes released that same day. But for a small contingent of 'jaded ravers' eking out an existence in the hinterlands of Canada, Bombay One was the deepest, most soulful set we'd heard that summer of 2001, and it was good.

But enough anecdotal evidence of why this little CD might be worth your ears, should you happen across it in your western wanderings. What exactly is Bombay One, and does it hold up nearly two decades on? I'd say 'yes' to the latter, though almost entirely based on the strength of the tunes alone, the mixing mostly functional at best. Nav and Patrick do a couple clever blends, if you consider mixing different mixes of the same track together clever, and considering the praise Sasha & Digweed earned for doing so, many do. There's also a tonne of Miguel Graça tracks, six out of eleven within the CD, plus a remix, which... Okay, this is a showcase of Bombay Records, and he was their most prolific producer to that point, but no room for Roy Davis Jr.?

Despite the name, Bombay Records is not based in India, but rather Vancouver, and was helmed by a UK transplant who lived in the west coast Canadian city at the time, Nav Bhinder. And yes, he is of Indian descent, did the name give it away? For a deep house label out of Vancouver, it had a modest little run of success throughout the '00s, though kinda' petered out once the '10s took over. Their last bout of activity was over half a decade ago now, so it's safe to say the Bombay Records tale is over. In that period of time, their releases included items from such deep house vets like Derrick Carter, Fred Everything, Roy Davis Jr., Chris Brann (of Wamdue Project fame), and... Tim Fuller? I feel like Tim Fuller was a name of some prominence, though Lord Discogs suggests otherwise.

Anyhow, as mentioned, Bombay One is all about promoting the label's 'tropic soul' vibe, and if a pile of Miguel Graça tracks and Fred Everything remixes is means of doing so, then so be it. I certainly feel like I'm lounging about some humid resort listening to this, deep house that's groovy enough to bop your head to, but not so much that you gotta' hit that dancefloor and sweat to death. Palm trees above, a mellow buzz from that tropical beverage in hand, an ambience that whatever ills are in the world, in this moment they don't matter. For in this moment, listening to Bombay One, the moment is good.

Bonobo - Black Sands

Ninja Tune: 2010

Migration may have been Bonobo's deliberate attempt at having crossover success, but Black Sands may remain his most popular album. Never mind this one is owned by over twelve-thousand members of Discogs' community, well outpacing Migration's 'mere' eight-thousand. On a track-by-track basis, Spotify's streaming numbers puts Black Sands' songs properly above Migration's, though the King Bonobo cut goes to The North Borders' Cirrus. All that pre-hype as a lead single in the follow-up to Black Sands no doubt helped its cause. Of course, this all could be explained by the fact Black Sands has a seven year head start on Migration to rack up such numbers, but I prefer going with the theory that Black Sands is a better overall album.

For sure it's an album in transition. The first clutch of Bonobo records mostly stuck to that traditional Ninja Tune-y trip-hop vibe that was so prevalent in the early '00s. They were good enough to gain a dedicated following, but not enough to branch beyond that. By the late '00s, however, it was abundantly clear change was afoot in UK downtempo-land: trip-hop was finally on the way out, jazzy urban soul and future garage was in. Simon Green had already explored some of the former on Days To Come, and 2010 was as good as any year to start dabbling in the latter. Just in time to hit those lucrative festival circuits playing nothing but the latter!

Actually, there isn't that much more of it here, Black Sands offering a wide variety of old and new Bonobo. For sure the album hits you right out the gate in Kiara with the wonky rhythm and chirpy chiptune bleeps while a Far East string melody plays along, but follow-up Kong is pure vintage Ninja Tune hop-step, steady-cool groove. Then Eyesdown gets in on that skippity-shuffle beat while Andreya Triana croons along, while El Toro has fun with acid jazz. Wait, really? Yah, really. Call it 'electro swing' if you must, but we all know what it really is.

The genre hopping/fusions continue throughout Black Sands, each track hitting upon their own unique vibe, the album never losing its way for the ride. Did I mention a lot of this is done with instrumentation performed by Bonobo himself? Yeah, there's a number of featured guests, especially on El Toro and the titular finale. Yet tunes are arranged such that it kinda'-sorta' still sounds like sample-based downtempo music, with subtle electronic gimmickry enhancing the studio sessions. Heck, on the aforementioned titular finale, a big ol' cinematic jazz outing with contributions from Jack Baker (drums), Mike Lesirge (flute and clarinet), Mike Simmonds (violin), Alan Hardiman (trombone) and Ryan Jacob (trumpet), Mr. Green also plays guitar, piano, double bass, xylophone, mandolin, and harmonium. Ahh, the wonders of multi-track recording.

Does this mean that Black Sands has converted me to the Bonobo Brotherhood? Well, it got me checking out more of his earlier output, which is all any artist can hope for from late adopters.

Various - Balance 015: Will Saul

EQ Recordings: 2009

Won't deny, I had low thoughts about this one when I first saw it advertised a decade ago. I generally liked the Balance series to that point, but Joris Voorn's contribution had me wondering whether things were taking a turn for the over-indulgent, hipster-baiting path. Glancing at the tracklist didn't allay my suspicions either, what with inclusions from Ricardo Villalobos' Minimoonstar, Hercules & Love Affair, Seth 'he so crazy!' Troxler, and that new-fangled 'dubstep' the kids wouldn't shut up about, b'gar. Throw in a cover shot that has Mr. Saul looking like he's posing for Craft Beers Monthly (“This Issue, The 20 Best New IPAs From Mercer Island You MUST Try!”), and yeah, my totally sad first impression wasn't good.

But Will Saul's 3CD set for Balance is good. Real damn good. Ignore what Late 2009 Sykonee thinks. He was getting disillusioned about things anyway.

Besides, my ignorant thoughts were mostly due to ignorance of who Will Saul is. I assume he's a fairly big deal in the UK, though I hadn't heard of him before, and haven't heard much of him since. Has a couple labels behind his belt. Recently released his second album. Look, I've limited word count here, and I'd rather spend it discussing these CDs over Mr. Saul's biography.

And what a lovely assortment of CDs we have here. We're deep in Balance's 'No Genres Off Limits!' era, and with three discs to indulge himself, Will indulges himself indeed. Instead of making each CD strict genre exercises though, Mr. Saul works a general theme while dedicating significant chunks of his sets to specific styles. CD1 gets in on that deep house and space disco vibe, with a tasty acid and Chicago closer. CD2 is the more (then) conventional set of the three, sticking to trendy, minimalist tech-house before taking a slight detour into Detroit's back alleys. Then, in a total tonal shift, Will finishes the set out with future garage (still called 'dubstep' back then). Yeah, that's probably just as trendy, but I like this stuff, so it coo'.

Opening CD3 with reggae dub though? Oh... oh my! Who in the history of Balance has done that? Okay, Jimmy Van M, kinda', but that was just one song, whereas Will spends eight. Some of it is modern 'reggae dub', sure (re: dubstep that actually honours its Jamaican roots), but as found elsewhere across Balance 015, he mixes these (then) contemporary styles with vintage stuff quite nicely. Things move on from there into funk and soul (old and new, including Wolf + Lamb), plus garage and house, with mostly (then) new stuff trying to sound like way old stuff. The retro was in full swing by the late '00s, absolutely.

So yeah, I quite like Will Saul's CD3 here, and even enjoy CD1 despite not having quite as much to say about it. CD2 feels quite of its time though, but is fine for what it offers. Plus, very little of Minimoonstar was used. I LOL'd.

Various - Backspin: A Six Degrees Ten Year Anniversary Project (Original TC Review)

Six Degrees: 2007

(2019 Update:
I wonder if 2007 Sykonee would have been so critical of gatekeeping if he'd known that electronic music would blow up to the degree it did half a decade later? My larger point in the pre-amble ramble was pop music needn't be so shunned by the techno underground, but considering the sort of obnoxious bilge that did break through into America - not to mention the usual slop constantly hitting it high in European charts - my wish for a little more acceptance of popular sounds shouldn't have been taken upon a monkey's paw. And was kind of a moot point anyway where this compilation was concerned. Yeah, the original artists being covered here were generally chart toppers, but the selected songs for covering were hardly their biggest hits. Heck, some of them may not have charted at all.

Also, I'd love to see this concept revisited. Would be interesting to see what the current generation of wordly musicians consider their influences of the past three decades.)


IN BRIEF: The old is new again.

Before I start, I feel I should warn you the following review contains musical philosophizing. If you haven’t the time to indulge in my pseudo-intellectual rambling, then here’s the bottom line regarding this release: it’s good. Really good. Check it out. You won’t regret it!

Alright then? Let’s get into it.

Electronic music, for the most part, is typically regarded as non-mainstream. Aside from brief bursts of trendy pop dance hitting the airwaves, most of it is only enjoyed by a select few (in America, anyway). As a result, a sense of pretentiousness has been bred in its fans. The pursuit of underground purity permeates many scenes, even those who could very easily have crossed over had some events been different. This has led to an outright dismissal of anything with a hint of pop. The assumption is if it’s catchy, it must have been manufactured for a wider audience, thus no longer credible within the realms of the indie. What a load of bull.

Granted, a great deal of pop music is manufactured, with the sole intention of placing in the charts as high on street date as possible. But believing every song that does is ridiculous. Fact is plenty of musicians can hit upon a good song the general public enjoys and, with just the right amount of promotion, become a hit. In this age of Everything-Available-All-The-Time, a single spreading through the internet can secure success far better and credibly than thousands of PR dollars pumped into the industry.

Alas, the gut reaction of scensters to ignore good songs that become popular persists. So here’s an intriguing question: what if these popular songs hadn’t made it, and had initially been performed by obscure indie names like Ojos de Brujo or The Real Tuesday Weld? Would such folk enjoy them in that context then?

Okay, okay. This isn’t really the premise behind Six Degrees Records' new compilation. In actual fact, Backspin is a ten year anniversary project for the eclectic label. However, rather than rounding up a bunch of their biggest hits, Six Degrees instead got members of their roster to do covers of their influential songs. But in doing so, it does raise that question, doesn’t it?

Well, maybe not. Perhaps I was the only one to even think of it. It was something that crossed my mind when I saw songs on here originally written by names like Abba and The Beach Boys. Credible names to a degree, sure, but frankly often dismissed by the underground.

Anyhoo, that’s all beside the point. What matters here is whether these cover versions are worth your attention. In a word, yes.

In more than a word, the mark of a good cover is to take a familiar song and make it your own while still honoring what made the original an enduring tune to begin with. And here Backspin certainly succeeds.

Many of the producers here stick to the original arrangements for the most part, but often throwing their own sound into the mix. So Bob Marely’s Get Up Stand Up turns into a fun bit of latin music courtesy of Ojos de Brujo, Herbie Hancock’s Rockit gets organically jazz-housed up by dZihan & Kamien, and MIDIval PunditZ crank the orchestral arrangements up on Led Zeppelin’s Four Sticks.

Elsewhere though, songs are given completely different re-imaginings. For instance, who’d have ever thought the ABBA italo-ballad The Day Before You Came could have been interpreted as a kind of smokey lounge tune sung by a guy probably wearing a beret? The Real Tuesday Weld did.

Of course, there are plenty of other examples I could dwell on, but part of the fun in this compilation is discovering what surprises these musicians throw at you. Here’s a few tidbits that caught my interest:

- Shrift’s take on God Only Knows really turns this tune into a weepy. The original was so bouncy that I had never even considered the lyrics could be this depressing.

- Toby Marks (Banco de Gaia) seems to still be having fun with his vocoder.

- Spirits In The Material World has notoriously been known to be a difficult song to cover, as the arrangements are deceptively complicated. Good on Karsh Kale to have a go.

- Los Mocosos’ cumbia go at The Bed’s Too Big Without You is a hoot!

So a wrap up then? Backspin is a lot of fun, period. While the wide range of musical types may not be everyone’s cup of tea, the fact they wrap familiar pop in these unique styles should keep even the least adventurous intrigued. Seek it out and get reacquainted with old standbys.

Written by Sykonee for TranceCritic.com, 2007 All rights reserved