Witchman - Explormenting Beats

Label: Deviant
Catologue Number: DVNT19CD
Format: CD
Date: 1997
Style: Dark Breakbeat
Rating: 8/10
Reviewer: Sidney James

Something strange must have contaminated the waters of Birmingham, something that has left darkness in the hearts of all the musicians whose lips it has past. Beginning with Black Sabbath, via Scorn and Godflesh, the West Midlands City has produced some of the heaviest and darkest music in a whole range of genres. Now Witchman (aka John Roome) has continued this fine tradition in producing one of the most chilling break beat albums in recent years.

What makes Explorimenting Beats more of a revelation is Roome's past musical career. As a one-time member of mediocre Cyber Goths Terminal Power Company, his past showed no real indications of the genius that was to come. The evolution from a being in a band that sounded like Jesus Jones on depressants to a DJ Shadow reared on horror flicks rather than a rare groove is one that truly astounds. Roome has since the release of this album remixed the Creatures and worked with the Orb and as if to give a nod to his roots, produced Ian Astbury of The Cult’s solo album. Showing that he is willing to cut across all genres.

The Witchman sound could be described as a mix of darkly cinematic atmospherics undercut with slamming break beats, nagging strings, deep dub bass lines, sub junglist beats, eerie fxs and twisted samples. Comparisons if any, can be made to bands like The Sabres of Paradise and Scorn for the dark dub, Photek for the drum and bass rhythms and dark omniscience of the fxs and the fore mentioned DJ Shadow and Amon Tobin for the over all construction and playfulness.

Explorimenting Beats begins with the angled Viper Flats, led by a dubbed out piano line and a deep bass and kicking it with the fantastic vocal sample "some new chaos, some new darkness" before the beats rip into the song. The sample line becomes a signature for the whole album. The rest of the song floats around a looped female voice as beats and the fxs almost trip over themselves.

From here onwards the album develops this theme of chaos and darkness, from the Red Snapper on downers of Amok. All jazz double bass and Kid Koalaish turntable manipulations the track sounds like a modern take on the Third Man theme before exploding into more runaway beats and a squelching electronic bass sound.

Other tracks like Stone Def and Order of the Dragon build on dark atmospherics and slower dub bass lines and weighted drums. Imagine Leftfield if they moved away from the dance floor and decided to make music for film noir soundtracks and your half way there. The thing is that Witchman has a way of twisting the sound and constantly introducing the unexpected.

Another indication for where Witchman is coming from is the song Chemical Noir (another film reference?) which sounds like John Carpenter's Halloween music lost inside Lee Scratch Perry's Black Ark studios unable to find the exit as the fires spread. This combination of dub and cinematic forms is
what gives Witchman a unique identity, no one has come close to matching the power of voodoo dub and horror film scores as well before.

Any other times Explorimenting Beats is influenced by more urban elements. From the muted siren that heads Hammerhead to the cityscape sounds of NY 23 with its fragments of jazz piano and horn and it's pirate radio jungle beats. Other tracks like No Place like Chrome blend sampled electric guitar with deep electro bass and hip hop samples all creating to a sense of urban paranoia and suffocation.

Explorimenting Beats is an album that once again proves that most of the grand musical ideas are originating from the electronic leftfield. It is supremely well crafted and constructed, and it’s imagination and innovation is matched by very few other electronic artists. Like the cinematic elements that have influenced Witchman’s music , Explorimenting Beats creates an audio world which sucks you in, only to leave you with a feeling of sweet asphyxiation. File under uneasy listening.

Tool - Undertow

Label: Volcano Entertainments
Catologue Number: CDFMN246
Format: CD
Date: 1993
Style: Alternative Rock / Progressive Metal
Rating: 5/10
Reviewer: Sidney James

Much has been talked about Tool in the rock press, mainly centring on how they are one of the few visionaries left within a conservative rock scene dominated by over hyped nu-metal bands. Most people will probably come in contact with Tool by their ground breaking Aenima album or via Lead singer’s Maynard James Keenan’s vocal contributions to the A Perfect Circle album Mer De Noms. Before the success of Aenima and the growing momentum of support and plaudits Tool released an album by the name of Undertow in 1993. An album, which gives a good indication of where Tool influences were germinated and the future directions, they were about to embark on.

The first thing that is noticeable about Undertow is that it is a far more linear album than Aenima. There is none of the strange experimental sutures that link together the longer tracks on Aenima. Also most of the tracks stick to a well-used formula: the slow/ fast dynamic. The moments of experimentation and use of different sounds and tones is also very minimal in their appearances. If anything Undertow sees Tool developing a sound rather than pushing at the limits of rock music. However comparing them to a lot of their co-patriots at the time (Pearl Jam, Soundgarden and the Seattle scenesters) Tool sound highly original and innovative.

So what we have sonically with Undertow is a album that although nods a head in the direction of the then buoyant Grunge scene is different enough to be seen as forging a new musical direction for rock music. What really separates Tool from the other bands at the time was their lack of histrionics. Where as other bands showed a direct lineage to 70’s metal and 80’s underground alt rock and punk, Tool manage to pull these influences in a new direction. However what stops Undertow from being an all out classic is that is all a little bit one dimensional.

What we have with Undertow is an album that gets stuck in a rut. Although it’s not a bad rut it’s one that limits the initial potential of Tool (This was resolved by the time of the release of Aenima). Undertow is therefore marked by a trademark sound all the way through like the name in a stick of rock.

So what is this sound? What we have is a heavy rock sound lead by the drums and bass which create a rhythmic undertow (pun intended) to Tool’s music. Over this we get harsh grinding stattcho guitars and Maynard’s high and rich vocals. We also get much use of the fast/slow dynamic with most tracks following this pattern. The first two tracks Intolerance and Prison Sex are could easily be interchangeable. With only the fact that Prison Sex deals with Maynard’s abuse by his father giving it uniqueness. It’s just a shame that with the rise of nu-metal that this topic has been overused and cheapen.

The album begins to really come alive with Bottom although sticking to bass lead fast /slow formula. However variation is added with echo being added to Maynard’s voice. Add to this a spoken word middle section and a explosion of sound at the end of the song, and you get some idea of the potential that Tool where to show in the future.

Other attempts to mess with the formula see Tool adding a thrash out start to the track of Crawl Away, the use of an eastern sounding chord progression on 40. Also on the title track Undertow, we see Tool using soaring guitars and a fantastic-attacking vocal from Maynard. All which helps push the track in a more progressive direction. The only track that sees Tool really truly escape their approach is the final track Disgustipated. This track sees Tool laying down a heavy tribal rhythm matched with a repeated chant of “This is necessary, Life feeds on Life”. Add to this strange metallic clanging and down tuned guitars. The song then finishes with a swirl of static looped into its self. This acts, as a fantastic link into Aenima when both albums are played back to back and almost seems as a deliberate act by Tool.

Undertow can be seen in a similar light to Radiohead’s Pablo Honey. Both albums are an example of bands that haven’t yet completely shaken off their influences but are trying to achieve something new. Both albums also show the potential of the bands but are limited in radical ideas. However both bands proved with their second albums that they had true and unique visions. Undertow is worth your pennies and a must if you’re a hardcore Tool fan, for the new listener I would recommend Aenima as an introduction to the wonderful and frightening world of Tool.

Tool - Lateralus

Label: Volcano Entertainments
Catologue Number: 9210132CD
Format: CD
Date: 2001
Style: Metal / Progressive
Rating: 8/10
Reviewer: Sidney James

Tool are finally back to save the world from the rise of mediocre Nu-metal bands, or so the music press would have you believe. One thing is for certain Tool do stand head and shoulders clear of the majority of the pack of rabid rock bands breaking through into the mainstream. Tool are not a band happy in following the latest trends in rock music, there’s no concessions to hip hop beats and white boy rap to be found in Tools sounds. Instead Tool plough a musical route uniquely their own, adding a degree more intelligent and innovation to a genre to happy to dum itself down to appeal to the lowest common denominator.

On Lateralus, Tool resume their musical journey which began with the average Undertow (1993) to the sprawling experiment of Aenima (1996). As you may have noticed there is a gap of five years between the release of Aenima and Lateralus. Normally such a gap in time is a worrying sign; for most bands such a period of inactivity normally spells disastrous results. Tool have however managed to use this span of time to regroup and strengthen their music. Leader sing Maynard James Keenan presence in A Perfect Circle and Tapeworm (Trent Reznor’s on hold side project) may have caused rumours of Tool’s demise, but Lateralus proves that Tool are back stronger than ever.

Lateralus begins with ‘The Grudge’. A track grounded in low end rhythmic funk and subdued electronic pulses and swirls. The song slowly builds with layer upon layer of structure being added, firstly the drums added a tribal weight to the track, then the cut off guitar riffs cut in , bringing with them Maynard’s unique voice. The song then chains itself to an ever evolving dynamic (a typical Tool ploy) moving almost mathematically from slow to fast and back again. The song then explodes into a controlled violent collapse towards the end. Even though the song clocks in around the eight minute mark it still maintains itself for the duration. ‘The Grudge’ sets a precedence for the whole of Lateralus and that is of the epic song, the majority of the songs of the album weight in over six minutes. Some could claim this was verging on prog rock style indulgence, sure this would be a fair enough claim if Tool’s music was over elaborate but instead it stripped down to the bare essentials, no fat just pure muscle.

The next two tracks ‘Eon Blue Apocalypse’ and ‘The Patient’ blend into each other so smoothly that I was unaware they were two separate tracks until I checked the CD counter and found out I was mysteriously on track four. ‘Eon Blue Apocalypse’ acts as an atmospheric intro to ‘The Patient’ all fragile guitar lines, subtle bass and drifting electronic sounds. ’The Patient’ then erupts from this gentle stillness with heavy riffing and a low end bass drawl. The song then builds and falls like waves slamming into a beach as small guitar breaks spiral in and out like flotsam carried within.

What follows is like the uneasy silence after the storm, the track ’Mantra’ is full of electronic drones and cut up eldritch voices that act like sutures joining ’The Patient” to the next epic track ’Schism’. ’Schism’ is another mammoth song, marked by clever use of rhythm and counter rhythms. The song seems to tumble through a library of different beats as guitars are reduced to soaring repetive chords, which suddenly attack with immense power only to disappear within the blinking of an eye. Tool manage to keep pulling off the trick of sucking the listener in an undulating vortex of sound.

Following the pattern set by the rest of the album, the next two tracks ‘Parabol’ and “Parabola” are part of the same beast. ‘Parabol’ is another slow atmospheric track, all echoing cymbal crashes and twanging guitar lines which creates a mystical feeling. Then ‘Parabola’ begins with weighty guitars that sound like they are tearing apart the sky. Tool couple this to more dynamic twists and turns and Maynard’s soaring vocals creating a listening experience that sounds like a modern take upon the best of Black Sabbath and Led Zeppelin. Just as your think you’ve sussed the song it ends by transforming itself back into the quiet moments of ‘Parabol’

One thing to say about Lateralus is that it doesn’t contain many (if any) potential singles. The nearest we get is ‘Ticks and Leeches’ which could be a release if it wasn’t for it’s length. The track begins with more tribal rhythms, this time laced with feedback laden guitars. Maynard’s vocals move from a scream to a sigh in the length of a verse. The lyrics seem to be an attack on the parasites in the world and in particular the music industry, especially the people who want to shape Tool in their own image. I could be wrong but the line “I hope your choking, I hope you choke on this” is delivered with such venom, you don’t want to be at the receiving end of it.

As seems common place at the moment, the album moves onto the title track. ‘Lateralus’ itself stretches well past the ten minute mark. It also follows the now (un)familiar Tool formula of building on rhythm and dynamics. Again it’s a good track but it’s hard to separate it from all the other epics that appear on the album.

The next two tracks ‘Dislocation’ and ‘Reflection’ see Tool slip on their experimenting heads again. Both tracks see the use of Middle Eastern melodies and percussion. ‘Dislocation’ is a quieter number, all trippy beats and eastern string sounds. I strong psychedelic number that sees Tool experimenting in a highly successful way. The lyrics “Watch the weather change” fit perfectly the metamorphosis of Tool’s direction.

‘Reflection’ starts with a liquid drum sound, phased electronics and stuttering guitar riffs. Middle Eastern strings are then added to the brew adding another layer of complexity. Maynard’s vocals are also placed through a variety of effects and at one point sound like they are being sucked backwards. ‘Reflection’ sits perfectly with ’Dislocation’ as stunning pieces of psychedelic influenced metal for the new millennium.

‘Triad’ then brings the album to it’s logical conclusion combining the best moments of the previous two tracks with the rhythmic assaults of the earlier tracks. A perfect ending to the album, which can not be spoilt by the strange alien conspiracy sampling noise experiment of ‘Fraaip De Oiad’ that closes the album.

Lateralus is probably going to be one of the benchmark rock albums of the year. It also provides that metal doesn’t have to be about down tuned guitars and adolescent rage. Tool prove that ideas and ambition are far more important than the size of your trousers or how down with the kids you are. If you want to be impressed by the power and innovation of rock music look no further than Lateralus.

Snog - Dear Valued Customer

Label: Machinery
Catologue Number: MA14-2
Format: CD
Date: 1995
Style: Techno-Industrial
Rating: 8/10
Reviewer: Sidney James

Originally released back in 1995, Dear Valued Customer was Snog’s second album and clearly showed that they were miles ahead of the third generation of Industrialists who were set to dominate the dance floors in the latter half of that decade.

Like fellow Aussie Tom Ellard, Snog main man David Thrusell has developed a sound that is identifiably his own. Be in the rich film soundtrack inspired noir of his Soma project, his noisy Techno as Black lung or the John Barry-esqe film score to the movie The Hard Word. Consistently high levels of song writing mark all of them and composition, something, which is mainly unheard of in the murky world of Industrial dance, where the four to the floor beat, and the distorted vocal are King.

With Dear Valued Customer we see Thrussel at a crossroads. The cut and paste electronica of the debut album Lies Inc has been replaced with a harder techno inspired sound which nods in the direction of Black Lung (which was born when Thrussel decided to release the Hey Christian God E.P.) as well as the twanging cowboy guitar soundtracks of Soma’s Hollow Earth.

However unlike these two side projects the main focus in Snog is Thrussel’s vocals and anti-capitalist lyrics. Both of which may put a lot of people off, firstly because a lot of people don’t like their politics and music to mix and also because Thrussel’s voice can grate on first listen with its nasal pitch.

Those who are not put off by this combination are in for a real treat though as “Dear Valued Customer” is a tour de force of electronic music. Covering everything from the banging techno of “Cliché” and “Langley, Virgina” to the rich electro of the Vangelis sampling “Empires” to the short bursts of dark ambience of “The Yuppie Shall Inherit to the Earth.” All of it is immaculately constructed and has not dated since its release. Nothing is wasted and the sampling is skilfully blended into, rather than being something stuck in as an after thought.

After “Dear Valued Customer”, Thrussel took Snog on an industrial country trip, and took its hard-hitting techno sounds into darker and noisier routes with Black Lung. Dear Valued Customer was the springboard that really launched Thrussel as one of the key players in the last days of the Industrial music revolution. Its just a shame that so few joined him on his quest and decided to take the easy route of making goth friendly club music.

Rammstein - Mutter

Label: Motor Music
Catologue Number: 549639-2
Format: CD
Date: 2001
Style: Industrial/ Metal
Rating: 6/10
Reviewer: Sidney James

Nothing like a bit of controversy is there? Well Rammstein have caused a great deal within their musical journey. Accused of being Nazis (which the band has always denied), staging shows full of stimulated sex and pyrotechnics and selling a neat 4 million albums in the good ol’ USA . Not bad for a band that sings in German and produce music that makes that other so called heavy bands sound like a fart lost in a hurricane.

So after the triumph of the kinky sex ridden Sehnsucht the German Industrial ubermensch decide to release a concept album based around the Oedipus complex called Mutter and no this doesn’t mean Rammstein have suddenly turned into a prog rock band. Instead we get an album that continues Rammstein’s Panzer like conquest of the Industrial rock scene.

Like it’s processors Mutter is an album that heavily borrows form earlier (and far less successful ) German Industrial bands like Die Krupps and Oomph! However unoriginal Rammstein maybe they still manage to both get away with obvious plagiarisms and produce something that is uniquely Rammstein. In fact it could be said that Rammstein are the German Oasis, instead of a rewriting of The Beatles and Slade back catalogue we get a reconstruct of the bands who pioneered the German Industrial scene. Like Oasis, Rammstein manage to blatantly steal too create something new and exciting out of the wreckage.

Mutter begins with a strong indication of Rammstein’s purpose and direction with the track Mein Herz Brennt . After a short spoken intro dominated by the low rumbling voice of lead singer Til Lindemann, the song kicks in with heavy grinding bass and a strong 4/4 rhythm . This builds to a chorus dominated by low end guitar riffs and eastern sounding strings. Tills vocals perfectly matching the thundering drums and pulsating electronic bass.

Next up we have Links 234 a song that shows Rammstein at their most direct and corrosive. Following a short intro of a sampled rally, the song erupts into life with fast paced heavy guitars and Til’s low Teutonic vocals. Subtle Wagnerian choral samples are added in the background (recalling Oomph’s Ice Coffin) adding a more complex liar to the track. Imagine Metallica strip of all superfluous guitar work whilst jamming with Beethoven and your halfway there.

The next song Sonne was the first single off the album and has a video that must be seen (A Snow White and the Seven Dwarfs scenario) It begins with a count to ten in German before the heavy guitar riffs crash in again . Again we have the presence of sampled voices in the background, this time a beautiful drifting female vocal. The song again builds towards a strong chorus as all the elements in the song rise to the occasion.

What is it with German bands and the words Ich Will, I must have at least 3 albums with a song which feature these words in the title, and Rammstein make it one more. The song itself is perhaps the strongest on the album and sees Rammstein finally producing a truly original song. The track is dominated by a strong techno pulse that leads the song as the grinding guitars and the choral samples build themselves around the throbbing electronic rhythm.

There is always one problem that I face when attempting to review German bands and that is my German is extremely poor, so when in the middle of Feuer Frei I hear Til sing ’Bang Bang’ I can’t but help chuckle to myself. For some reason I keep thinking of dodgy Eurovision songs, even though the electronic sweeps and speeding guitars make the song sound like the only prize it’s going to win will be plucked deep from the burning embers of Hell.

If Feuer Frei makes me think about Satan’s Eurovision entry then the title track Mutter has a even stranger effect on me. It makes be fill like I’m trapped in a soft rock gig. Why? Because the song is a completely overblown epic , laced with cheesy guitar solos and overwrought keyboards. Mutter may have been Rammstein’s centre piece to the album but comes over as an Industrialised 80’s power ballad.

After the misadventure of Mutter, Rammstein soon hit form again with the Speilhur. The track begins with a nursery rhyme like keyboard riff, before guitars bounce over a undulating techno rhythm and a pulsating low end bass. Child like voices appear at the chorus creating an unsettling feel to the song which is helped by the return of the opening keyboard refrain towards the end of the track.

The next couple of tracks Zwitter and Rein Rous follow the Rammstein formula of heavy riffing, strong drums and choral samples but don’t really add anything to the whole overall formula. Both songs neither fail or really leave a lasting impression. More filler than succulent morsels.

However the final tracks Adios and Nebel prove that Rammstein are capable of pulling the add trick out of the hat. Adios begins with a gentle acoustic guitar and piano intro before a guitar riff that Motorhead could call their own takes over. Add to this same vocal sample as use in the Happy Monday’s Hallelujah and a strange brew is indeed created. Nebel on the other hand is a slow lament build around shimmering electronics and stunningly beautiful strings that prove that even when Rammstein hold back the reins they are able of producing music of power.

Mutter may put many people off because of the German lyrics and the alien nature of the music to the average listener. But given a few listens there is a lot of subtlety and beauty amongst the harsh Germanic beats and guitars. It will defiantly appeal to any one who likes their music powerful and weighty but at the same time acts a perfect Teutonic to the mass of Rap rock that it cluttering up the charts and the alternative dance floors.

Radiohead - Amnesiac

Label: Parlophone
Catologue Number: CDFHEIT45101
Format: CD
Date: 2001
Style: Alternative Rock/ Electronica
Rating: 7/10
Reviewer: Sidney James

Radiohead's Kid A split fans and critics in half. One side embraced it more experimental approach, whilst the other side was shocked and disgusted that Radiohead had failed to delivery O.K Computer part two. One thing for sure those who were not taken in by Radiohead's new approach on Kid A and going to find very little on Amnesiac that will change their minds that Radiohead have completely lost the plot. Those who saw Kid A as a brave step into new territories where anything is sonically possible will embrace Amnesiac with open hands and minds.

The rumours surrounding Amnesiac were mainly centred on the fact that it was going to be the logical follow up to OK Computer with Radiohead switching the emphasis back towards a more guitar orientated sound. Kid A was seen by many as a hiccup and a means in which Radiohead would cleanse themselves of their experimental bent. I can now report that the rumours were misguiding as Amnesiac sees Radiohead continuing their journey into experimentation with only the smallest concessions to the sounds they produced on OK Computer. Guitars are scarce in their appearance with the concentration again placed on more electronic and computer generated sound.

Amnesiac begins with the sound of metallic percussion and a deep electronic bass line of 'Packt like Sardines in a crushd tin box'. These elements are soon met by a groundswell of electronics and minimal shredded guitar riffs, which surge around the tripping beats. The song initially comes across like a cacophony of uncontrolled discordance and a peculiar tonal melody. Thom Yorke's vocals however are clean of any processing a skate over the beats and electronic like the last lament of a fallen angel. The lyrics are centred on the simple repeated lines "I'm as reasonable man, Get off my case". A snide attack on those who have attacked Thom's alleged strangeness, perhaps? 'Packt' recalls the beats and melodies of Autechre and the Aphex Twin and works as a strange and compelling intro to the album.

Things become easier to place with recent single 'Pyramid Song'. The song is lead by a sombre piano and sweeping strings whilst Thom this time sings of "Black eyed angels". A strange off kilter beat is then added which adds a complex rhythmic flow to the song. The song is closer to Thom Yorke's
collaboration with Unkle on the track 'Rabbit in my headlights' than any previous Radiohead tracks. The song succeeds in being experimental and accessible at the same time, and it's easy to see why it was released as the first single from the album.

Time for stranger spelling again. Radiohead have definitely been reading the same book of strange words that most Warp artists seem to dip into. ‘Pulk/Pull revolving doors' also sounds like it should be on Warp as well. It begins with harsh Aphex Twin like beats and a weird alien sounding vocoded voice. Soon they are joined by tinny cut up jazzy electronics and piano. The song is an experiment in a kind of stark minimalism, with no real structure apart from the harsh industrial strength beats.

Just as you think, Radiohead have completely forgotten about guitars, 'You and whose army?' arrives sounding like a forgotten extract from the musical score of a David Lynch film. The song has been well reported as being an attack on Tony Blair and the Thom's lyrics confirm this with mentions of cronies and betrayal. The track itself has a strange jazzy blues atmosphere with Thom's dubbed out vocals meeting another sombre piano line and echoed drum rolls.

More guitars appear on the next track 'I might be wrong'. The song begins with electronic drones and rim shot hip-hop beats before the U2esqe guitars enter the affray along with a booming electronic bass. The strangest thing about the track is that the instruments and vocals sound like they are being played in separate rooms. Thom's vocals especially seem to be working on a separate level form the rest of the track. Somehow this separation seems to work and the various levels seem to blend into each other towards the end of the song.

Radiohead then decided to metamorphose their sound again with 'Knives out' which could be a long lost OK Computer number. The track is full of the chiming guitars that formed the basis of that album and will definitely acts a solace in the experimentation for those who prefer Radiohead's more straight forward approach. The track however stands out like a sore thumb in context with the rest of the album.

'Morning Bell/Amnesiac' has again it's roots in the Radiohead of OK Computer, but mixed with the more experimental side of Kid A. Piano and acoustic guitar are gently plucked and stroked, while a floating electronic refrain beckons in the background. The song is high of atmosphere but low on dynamic even Thom's call of "Release me" support the fact that the song is really going no where.

Things again mutate with 'Dollars and Cents' which sounds like a film score from a classic 60's/70'S spy movie. The song is lead by a throbbing bass line and a slow drum beat, on which lush orchestral sweeps soar over. The song builds to a high where all the instrumental elements build to a peak before falling away again, leaving only the gorgeous strings and beats.

Next track 'Hunting Bears' is highly forgettable in that it contains no more than wind blowing and a lone electric guitar sending out chord spasms. All a bit pointless, really.

Then it's back to the sound of new Radiohead again with 'Like Spinning plates'. Once more we have Warp style glitches and beats this time with added sucked backwards sounds (similar to The Beatles Tomorrow Never Knows) and a strange Kraftwerkian vocal loop. Thom’s vocals are massively distorted making any words unidentifiable. The over all effect is to create a very alien sounding ambience where electronic sweeps battle with a jittering rhythm.

The album closes with ’Life in a Glasshouse’ which sees Radiohead combining their take on electronica with 30’s style Jazz. The song builds from simple electronic pulses which are soon joined by a lone trumpet (courtesy of Humphrey Littlejohn) and then a whole laid back Jazz group. The song for me seems to be a modern update on the classic Jazz standard ‘Gloomy Sunday’ something that fit’s the Radiohead persona to a tee.

With Amnesiac, Radiohead have again pushed at the boundaries of what is expected from them. Amnesiac is an experimental album that proves that Radiohead are far away from their humble Indie beginnings. They’re now closer to bands such as Tortoise and Autechre than Shed 7 and Muse, which depending on your musical preferences is either a good or bad thing. One things is for certain if you didn’t like Kid A there’s nothing (apart from ’Knives out’ maybe) that will make you thing that Radiohead have disappeared up their own back sides. However if you want a challenging and rewarding listen than Amnesiac will be right up you street.

Rae & Christian - Sleepwalking

Label: Studio !K7
Catologue Number: !K7096CD
Format: CD
Date: 2000
Style: Breaks / Downtempo / Soul
Rating: 5/10
Reviewer: Sidney James

I've only previously encountered Rae and Christian as remixes for the likes of Moby , Lamb and Red Snapper. Their remixes had never really annoyed me or made me stop and catch my breath. They were one of those bands that I would have easily passed up upon, with neither having a negative or positive opinion. Sleepwalking doesn't do anything to change this.

First up the background. Rae and Christian alongside their multiple remixing duties, also run Manchester based record label Grand Central (A label I always remember getting confused with the Beastie Boys Grand Royal records). They have also released one album prior to ‘Sleepwalking’ the highly acclaimed ‘Northern Sulphuric Soul’ an album I had read about but never heard. Rae and Christian consist of DJ Mark Rae and beat merchant and lyricist Steve Christian. Hence explaining their name, shame I always prefer the origins of band names to be a bit more clouded in rumour and half truths.

So down the music on ‘Sleepwalking’ . The first thing that you notice is that the majority of the music on ‘Sleepwalking’ is done in collaboration with a galaxy of guest artists including Hip Hoppers The Pharcyde, Soul legend Bobby Womack and the Portuguese singer Tania Maria. This means that Rae and Christian take a back seat for most of the album steering the production around their collaborators.

This leads to an album which has a very diverse sound, ranging from the soulfully smoking (Rae and Christian’s collaborations with Mr Womack) to the more upbeat work with The Pharcyde. However the bulk of the album works on a very relaxed almost laid backed vibe. Close to the more down tempo work of Massive Attack. The song ‘Not Just Anybody’ could have easily appeared on Protection. Unlike Massive Attack , Rae and Christian’s work lacks the darker side which gives Massive Attack that extra edge.

For me it is the instrumental tracks that really stand out, proving that Rae and Christian are capable of producing interesting music without relying on the presence of other artists. The track ‘Trailing in the wake’ a song lead by a strong drum line and atmospheric sounds and strings. Quiet surprising as it started off as a remix of a Manic Street Preachers song. The other outstanding instrumental is ‘Ready to Roll’ which matches Isaac Hayes style funk with an eerie vocal sample and solid break beats. Creating a Shaft goes wandering through a haunted house kind of vibe.

The album over all leaves me with two over all impressions. The first is a feeling of drifting away from the hustle and bustle of a normal boring working week . The song Val Viver A Vida with it’s Portuguese vocals in particular has my mind transporting itself to Mediterranean beaches and warm summer nights, something necessary on a cold March evening. The second is of that Rae and Christian have let themselves become too heavily lead by their guest artists. Sure use guest vocalists but don’t let their sound dominate your own, especially when you’ve got an obvious talent of your own.

Sleepwalking seems the most apt title for the album as it t works greatly as an album to chill out to. Rae and Christian’s production is also superb, with fantastic layering of rhythm and melody. However the album is a bit too nice for my liking, my preference is for something a little harder and darker. Sleepwalking will appeal to those who like a smooth groove and it has defiantly got a lot more soul than most of the stuff we are fed as being soulful.