Muph & Plutonic – …And Then Tomorrow Came

I once had a discussion with hiphop heads about Aussie hiphop, where they claimed they didn’t think Australians should get ‘serious’ and rap about ‘issues and shit’. And my answer to that was why the hell not?

Hiphop is simply a way for people to express themselves, and is now a worldwide phenomenon that now reaches beyond the ghetto of America. Sure, Aussie hiphop should never focus on gatts and bullets, as gun culture isn’t a big part of Australian life, and it can seem a bit disingenuous for someone to be busting rhymes about being poor, because Australian’s have a pretty good way of life.

But that doesn’t mean Australia is all beats, battles and BBQs though. Although we are indeed the lucky country, we face issues such as violence, drug and alcohol abuse, and poverty here. Why should someone be prevented from expressing themselves if these issues have touched their lives?

This is not to imply that Muph and Plutonic’s latest …And Then Tomorrow Came sees the party rocking duo go all emo on us, crying into an empty cup about missed opportunities. It’s a reflective and introspective album, an honest look at life and where they are at and realising it’s not “heaps good” as one may suspect, but even so it never comes across as “oh woe is me, I need to slit my wrist” that so many other bands have done in the past *cough* Silverchair *cough*

Issues such as alcoholism and drugs are touched in a couple of tunes. Balloon Heads featuring Kye talks about the over inflated egos of pill poppers amongst others, and Beautiful Ugly explores the ecstasy and agony of escapism through alcohol, and yet it is backed by an upbeat 60s go-go type track which belies the serious nature of the topic.

Yesterday’s Basement and Wrong deal with issues of the heart, without being too soppy and overly emotional. Filthy Rich talks about how even though they’re not rich, they’re still happy. Don’t Worry About Nothing, featuring Jess Harlen’s wonderful soul infused vocals, tells us to if we’re going to worry, make it about something worthwhile.

I don’t think this album heralds a watershed moment in Aussie hiphop exactly, but it is a sign that it is developing and maturing well, and that Aussie hiphop artists are able to focus and discuss topics other than who’s got the biggest BBQ in their backyard without facing scorn and ridicule.

Stereo MCs – Double Bubble

Sometimes I think it’s bad for a fan of a particular group to review their latest CD. Fans have high and often unreasonable expectations of the group. Take a look at the Stone Roses for example. The Second Coming is a much better album in terms of the musicianship of the Manchester lads, but fans derided it when it came out because it wasn’t like their first album.

And I think the Stereo MCs suffer from the same syndrome. Many people dismiss them, thinking nothing they ever do will be as good as Connected. However, although there’s nothing here that quite reaches the excellence of their first major singles, after spending time listening to the album; I have to admit that musically it’s a much better album.

They launch the album with Get On It, a super funky disco throwback and continue in an upbeat, semi-retro mode throughout most of the album. Karoke and Gringo are a couple of the “tougher” songs, with harsher beats and heavy rhymes. Soul Girl is another great soulful disco track, whereas Pictures is quite a touching, reflective tune.

The Stereo MCs will always sound like they’re stuck in the 90s just because of Nick Hallam’s voice, but the production on the album is very modern – it’s not quite electro, it’s not quite triphop, it’s got a retro feel but doesn’t ever go dip into the retro cheese. A great example of this is Hot Blood, which sounds similar to the Eurythmics Sweet Dreams, but not enough to make you cringe.

In a lot of ways it reminds me of the Nextmen and Dub Pistols – easy going UK hiphop with a dancefloor vibe, that can be listened to in clubs, cars and cafes without ever offending anyone’s sensibilities too much. And like the Nextmen and Dub Pistols latest albums, Double Bubble by the Stereo MCs has great production and a great overall sound.

The Music of Grand Theft Auto IV

From being blamed for turning kids into cab driver killing monsters, causing the rise of stabbing deaths in the UK, causing the rise of Molotov cocktail bombings in the USA, and more generally, the fall of civil society as we know it, the Grand Theft Auto videogame series has come under a lot of criticism from a wide variety of sources.

One of the more realistic criticisms aimed at the latest iteration, GTA IV, was its poor showing in the music department. Previous iterations of the game sported what can only be classed as “epic soundtracks”, with Vice City covering the neon coated 80s and San Andreas representing the toughest 90s music. Maybe because GTA IV is set in the 00s and music just fucking sucks nowadays, I can’t help but to somewhat agree with the criticism of the game, and even more so this compilation album.

Playing GTA IV, I enjoyed the soundtrack, and its fake radio stations did what most real radio stations fail to do these days – introduce the listener to a lot of new music. I really enjoyed Massive B, the Dancehall radio station, 104.1 The Classics with DJ Premier mixing old school hiphop, Tuff Gong, the all Bob Marley radio station, and the funk of both Fusion FM and IF99.

However, what is missing from these radio stations is the absolute classics that juxtaposed the violent action with the often inappropriate music. There isn’t a single moment in GTA IV where I remember a song with a mission, although I can clearly recall doing a driveby to Spandau Ballet’s Gold in GTA Vice City, and I giggle with the memory of it every time I hear it on the radio now.

This compilation is even poorer, offering us only one song from each station, and it’s rarely the best. The haunting theme song Soviet Connection by Michael Hunter starts off the album, but honestly, it’s probably the best song on here. Damian Marley’s mash up of Bob Marley & the Wailers classic Stand Up Jamrock, and The Rapture’s No Sex For Ben are also stand out tunes.

But the selection from Massive B Munga No Fraid A is one of the more forgettable dancehall tunes. Vibe Radio Station’s selection, which in game has Pony by Ginuwine and Just Be Good To Me by the SOS Band, is a complete waste of a song by a two bit nobody, CJ’s I Want You.
There are a couple of songs that were made for, or at least launched in, GTA IV, and these include Nas’ War Is Necessary, which in my mind is Nas far from his best. However, Seryoga a Russian hiphop artist has Liberty City: The Invasion, which is quite a good track, and it’s refreshing to hear a different take on hiphop.

Another thing missing is the crazy announcers and hilariously sarcastic advertisements. Juliette Luis, Karl Lagerfeld and Iggy Pop feature as announcers in the games, but their funny comments, and the black ads between songs have been completely left off this compilation, meaning in addition to being some of the poorest music from the game, it lacks the biggest and most iconic draw of the game soundtrack. Hopefully Rockstar do the game justice by releasing a box set like they did with Vice City and San Andreas, otherwise I think there will be more violence caused by GTA fans as they snap the CDs they’ve been ripped off by.

Missill – Targets

Missill is a French DJ/Producer whose Mash Up album last year was a refreshing take on the 2Many DJs mash up style mix CDs, as it wasn’t full of horrible 80s cheese or obscure covers of shitty songs. Targets is her debut artist album, and I think it’s fair to say that it’s a solid release, but suffers from a lack of variety in sound.

There are some very good songs on here. Forward with Dynamite MC and Choose To Care featuring Blurum 13 are great hiphop / breaks tunes. Ill with Junior Red gives us a dancehall vibe, and Kema feat Yethz is a Brazilian inspired breakbeat rap. Dark Moon featuring DJ Netik is a dark breaks track featuring heavy guitars and slamming beats.

The problem is, other tracks on the album sound too much like those first few tracks. Toxick sounds almost exactly like Choose To Care. The sounds used on the tune are incredibly similar, and the flow of the rhymes is almost identical. There is an over familiarity within her own music that can be heard in tunes like Glitch, Kabrake and Get Busted. To me it kind of sounds more like her tunes are a remix of her own material than freshly composed tracks.

Also, all the later tunes on the album sound like turn of the century Plump DJs or Stanton Warriors. There’s nothing wrong with that, personally I much prefer that sound to the often cheesy pap they’re making now, but at the same time that sound is pretty dated, even though it’s only 8 years old.

I think the Mash Up album may have pre-empted the greatness of the Targets artist album, and created a greater sense of expectation of greatness. However, despite these minor issues, it’s a solid release, and I look forward to seeing what Missill comes up with in the future.

Home Grown Vol 1 mixed by DJ Flagrant

Starting off with an intro in which ol’ KRudd tells us “Australia has turned a new page”, Home Grown Volume 1 launches into a cornucopia of great Aussie hiphop from the nation’s best MCs, brilliantly mixed by Melbourne’s DJ Flagrant.

Flagrant’s selection of old and new shows just how diverse Aussie hiphop can be. The Homegrown Anthem that begins the CD is one of the newer tunes, and features Phrase, Nfa, Illy, M-Phazes and Flagrant, and showcases the new school of production. The production is tight, comparable to the USA hiphop masters, and the rhymes are delivered well by all the MCs.

Katalyst provides a re-edited version of All That You’ve Got featuring new verse from Hau, Nfa and RU.CL, whilst Foreign Heights’ Get Yours and 2 Dogs team up with BVA for Fire In The Belly are as funky as all hell. 13th Son, The Optimen and Axe Aklins provide deeper, more contemplative angles to Aussie hiphop. There’s even a bit of hardcore, with Def Wish Cast’s A.U.S.T and Autism’s Make Room.

But my favourite hiphop is about beats and bbqs and getting rowdy, and to my mind represents the true Aussie spirit. Funkoars’ You Know It, Downside’s El Questro, Reason’s A Good Sport and Mass MC’s BBQ Song featuring Thorn all have that great Aussie party vibe. The lyrics are spat with tongue planted firmly in the cheek, and the dope production makes you wanna jump up and shake your ass.

Flagrant doesn’t sit back and let the records just play, either. He gets down to business, scratching and beat juggling throughout, giving you a sense of him as a DJ beyond the track selection. The album is a great snapshot of Aussie Hiphop, and for those who don’t know too much about it to those who are absolute hiphop nuts, this album is a “must buy”.

Sid Meier’s Civilization: Revolutions

Sid Meier’s Civilization series is one of the greatest PC series of all time. The deep and complex game takes time, patience and understanding to play and master, and the task of getting Civilizations to a console has proved difficult if not impossible in the past. The idea of taking one of the best, deepest and most popular strategy games and getting it to play well on a console has require a complete rethink and rebuild of the game. Although “built from the ground up for consoles” has almost become a cliché of games reviewing, Civilization: Revolutions is one game that encapsulates this term, and succeeds in living up to its goals of providing a Civilization experience on a console.

But let’s get something out of the way – this is definitely Civilization Lite. Many people may look down their noses at it because of this, but I like to think of it as the difference between driving and automatic and manual car. One is more complex to drive than the other, but unless you’re a really dedicated car fan, it doesn’t really matter because both types of cars are complex feats of engineering, both will get you from A to B, and in both you need to concentrate on the road ahead.

Civ: Rev is like an automatic car. Its complexity has been stripped back making the ride a little more enjoyable and easy for those who want it to be, and making it much easier for learners with less gears and pedals to mess with. Those who have never played a Civ game before will appreciate the controls and take to them as easy as someone takes to controls in any console game.

The game is still turn based and on a grid layout, and playing it there is always that feeling of “just one more turn” that Civ is notorious for. However, because things have been streamlined, a turn doesn’t take as long. For example, you don’t set your workers to build a road – you have to open the city screen and spend gold, and they’re built automatically and in that turn. You can then activate inactive armies and move them from city to city, to defend or attack.

Whilst it may not as intuitive as a mouse and keyboard, the control set up works incredibly well. You move around the world using the left thumb stick, and when you move over a selectable icon, such as troops, it will change and allow you to select them, for example. Simple things like mapping the left bumper to zoom to the city nearest the cursor. Build City for Settlers, Go To City for Caravans and Spies are mapped to the Y button, and for military troops A maps to “Go To” and X to “Defend”. The Back Button calls in your advisors so you can make changes to taxes, technology and government.

These controls are really a stroke of genius, because it quickly becomes second nature to a player and makes the game whip along at a faster pace that traditional Civ games. When you have a bunch on troops in a group, you can select between them with the up and down on a d-pad, and when you have 3 types of the same troops together, you can form an Army with a press of a Y button. Armies in Civ:Rev become tougher to overcome, and are very important in the early game.

Combat is done by simply selecting and moving your troop onto the tile of the opposing troop. In the early stages of the game, most conflict will be against barbarians, who are a little weaker than regular AI troops. You can also capture their cities and units after doing battle, and they’ll often reveal the locations of ancient artefacts which you can capture and significantly boost your civilisation in a number of ways. However, opponent civilisations are often equal if not greater than yours, and attacking them outright can lead to an early demise.

Troops are given an attack and defence rating, and it’s simply a matter of who has the biggest strength. Terrain also gives bonuses and defences to troops, so it pays to know where are the best places to attack and defend. A group of hills will give 50% attacking bonus to them if they’re attacking onto flat land, although a river will subtract 50% if it lies between attacker and defender. This does mean, however, that a tank can effectively be destroyed by an archer, which seems ridiculous but it is a feature of the entire Civ series.

As troops survive battles, they get bonuses to their strength in certain areas. Some bonuses give you the ability to heal, whilst others help you defend your cities better. Others help you see the strength of opponent troops and cities, whilst others give you bonuses to attack cities or when on hills or in forests. Win enough battles, and a military leader will lead your troops, providing a significant boost when attacking. What is great about these bonuses is the units are differentiated by their bonus both in name and appearance. For example, a “Ninja Catapult” is a catapult that has the Infiltration bonus, and will have camouflage on its icon.

Further complexity in the game comes from how you manage your cities. The location of your city as well as the buildings in it will determine how much a near by square will produce. For example, harbours will double food production on sea squares, so that city will produce 2 apples for every fish tile near your city instead of one. City production is simpler– instead of clicking on the map to change the production of a nearby square, you just change your workers from the default to what you want; production, culture, food, science or wealth. Although you can set all your cities to the default – balanced production – as you play the game for longer you realise the complexity of having one city producing more gold and another producing more science to offset a high tax / low technology level so you can, for example, build more roads. You may have an enemy city near by, so you increase the culture so that city becomes part of your empire.

Building Wonders and researching tech before other players will allow Great People to be born. These can be tasked to help your cities either at once or over time, and also aid in the cultural victory. Victory conditions come in 4 flavors – Domination, Cultural, Technological and Economic. Domination is achieved by capturing all enemy capitals. Technological is by learning all the necessary techs to get into space. Economic is amassing 20,000 gold and building the World Bank, and Cultural is done by amassing 20 great people, wonders and culturally flipped cities and building the United Nations.

But be warned – although the game is rather easy on the first few difficulties, it does ramp up, and you will see the AI trying to do the same things as you are, and often at a faster rate. That’s if they’re not outright hostile to you because you’re not giving in to their demands. Like the traditional Civ games, your opponent Civs will pop up and ask you for aid in the form of technology if you’re more advanced than them, or simply threaten you if they think they’re superior, but unlike the tradition versions, they will nearly always become aggressive towards you at some point, and not be as open to negotiation. They will also tend to gang up on you and you can quickly find yourself fighting on 2 or more fronts if you’re not careful.

Online, the game pretty much plays exactly the same. Turns can take slightly longer to play out as you wait for other players, but for all intents and purposes the game is exactly the same. In the few games I played, the players all agreed to destroy the AI first before fighting against each other, and I ended up playing until 2 in the morning! You can rush your armies and try and wipe out the others quickly, but you’ll find yourself at a disadvantage if the opponents decide to gang up on you.

Although the game is less complex and games occur more quickly, there are a few negatives in that. The world map is much smaller, perhaps too small, and can be completely uncovered rather early on in the game. Both your and other civilisation cities appear will be in closer proximity, and you can’t share world maps. There’s no way to customise the maps either, so after a while they do kind of feel all the same. The scenarios, which in the traditional version tried to recreate real world conflicts, are missing that, and are pretty uninspiring. The difficulty, as mentioned before, is quite laughable on the easier difficulties, but King and above is pretty tough.

The music and sound of the original are as great as in Civ IV, and if anything the fight animations are much better on the console. Seeing your knights’ whomp an enemy’s archers is great, as each blow is played out, and it’s hilarious to see a tank get taken down by a phalanx battalion. The models of your advisors are fully 3D and react to one another, as well as opponents who may interrupt your advice sessions. It’s funny to see the barbarians get freaked out by your science advisor. Something I have noticed, however, is all the opponent female leaders are rather busty. Sure, Cleopatra is meant to be one of the most beautiful women to ever live, but Catherine the Great was known as such for her service to Russia, not her impressive rack. Although there is something endearing about her flirtish little wave as she leaves the screen.

Conclusion:
Civ: Rev is a great game, and I think most people will have a great time with this game, both online and offline. For the uninitiated, this is a fantastic introduction to the Civilization series and the concepts therein. Traditional Civ fans may be a little disappointed by the level of depth, but those like me who find they don’t have time for day long sessions will really enjoy the quick turns and fast action. The only people who may be disappointed with this game are a Civ IV fan who likes the depth and complexity involved in that game, but they should probably stick with Civ IV and it’s add ons on the PC anyway.

Pros:
Fantastic, intuitive interface
Great graphics and music
Deep and intelligent gameplay
Translate to online play brilliantly.

Cons:
Maps may be a little small
Scenarios are no where near as exciting as traditional Civ games.
May not be deep enough to those used to the series.
Score: 85/100

Midfield General – General Disarray

At the height of the Big Beat craze, one label stood taller than the rest – Skint. Boasting names like Fatboy Slim and X-Press 2, the label produced some of the most successful cross-over music in the business. Damian Harris, one of the owners of Skint, also produced music under the name Midfield General, and had some minor hits on his hands.

However, as the music press turned on Big Beat, deriding it as cheese, Harris became a little more reclusive with his works, opting to produce others works rather than his own. This lead to him becoming executive producer of Justice, and yet another huge cross-over success.

Unfortunately, even though he seems to have magic with other people, his own work never seems to have that mass appeal. And I don’t think this is going to change with General Disarray. There are some really great tunes here, but they’re all just a little too left of centre to really catch the general public’s ears. Disco Sirens with its housey vocals and disco bassline is probably the closest that he’ll get to commercial success. Love Thy Self and On The Road are sure to please the electro lovers out there, and be played in many dancefloor sets.

But it is the left field tracks like Teddy Bear – a spoken word piece over music about a disabled boy talking to truckers on a CB Radio, and Seed Distribution by The Might Boosh’s Noel Fielding, which is as warped as Noel Fielding can be, shows where Harris has gone in the last few years. He hasn’t lost the real essence of big beat, which went beyond the cheese and commerciality and actually explored what could be done with electronic music.

Daedelus – Love to Make Music To

Frankly, I think it really is hard these days to make cutting edge in music without it sounding like utter wank and making a miserable excuse for music. This is partly because so many mainstream groups are now mashing styles, blending musical influences, and melding different genres, the only way to stand out and be cutting edge is make music that only appeals to about four people. Daedelus’ fifth album bucks this trend, however, and is weirdly wonderful and pushing boundaries where boundaries are not meant to exist.

Because here on Love To Make Music To, Daedelus does indeed succeed in not only making music that sits at the cutting edge, but is damn listenable too. Daedelus uses common sounds to all his compositions which make them recognisable as Daedelus tunes, but the album’s tunes defy any genre you might want to put them in.

The opener Fair Weather Friends is a fun little tune that’s also featured on other Ninja Tunes compilations, and if I was pushed to give it a genre, I’d have to say 80s movie theme song. Make It So is an great electro pop tune, but Twist the Kids with Aussie rapper N-Fa is as alternative as you can make hiphop with it still being hiphop. Hrs: Mins: Secs is a clash of sounds, sounding more like Aphex Twin than anything else. Touchtone is a Spank Rock style hiphop track. My Beau is an 80s inspired RnB tune. Bass Init is a broken beat ode to bass.

Yes, the album is weird, and not all of the tunes will appeal to all the listeners, but this is not uncommon for any of the Ninja Tune artists really. But the one thing about Daedelus is his tunes really stand out. It’s guaranteed some of the tunes will really grab you, and you’ll catch yourself humming a bar or two, thinking about this line or that sample for weeks after first hearing it.

DubXanne – The Police in Dub

The Police are, without a doubt, one of the most influential rock bands of the 20th Century, selling over 50 million albums worldwide, and, along with the Clash helped introduce the sounds of Jamaican dub reggae to a wider audience by adopting the riddims and pacing into their own works. So it seems fitting that 30 years after they formed, DubXanne takes their tunes and rework them into a dub reggae sound for a new generation.

Of course, this has been done before – The Easy Star Allstar’s Dub Side of the Moon and Radiodread gave Pink Floyd and Radiohead respectively the dub treatment, and I suspect that some of the Easy Star Allstars had their hand in this record too, although the exact line up of DubXanne is a mystery. Like those other two releases, there are some outstanding reworks, and a couple which miss the target. And, maybe it’s because the dub structure is already there in the original material, or maybe it because I prefer the Police as a band, I’m yet to determine, but out of the three I think DubXanne works the best.

Walking on the Dub (Walking on the Moon) kicks the album off and the etherealness of the original is retained and amplified to create a much more psychedelic experience. Dubxanne (Roxanne) features Eased from Berlin outfit Seeed, and his deep voice provides a really great antithesis to the original Sting whine. Whenever I listened to Message in a Bottle I used to think of a cold, bleak English Coast island, but Message in a Dub featuring Earl 16 brings a warmer, West Indies feel to the song. Spirits in a Dubworld (Spirits in a Material World) has given greater meaning thanks to Benjamin Zaphaniah’s new lyrics.

Being dub, many tracks have the lyrics totally stripped, with only a few phrases being sung and echoed instead of the entire song sung. It is here where the misses strike. Driven to Dub (Driven to Tears) and Dub on the Night (Bring on the Night) both seem a little bit “K-Tel”, but this is only because of the brilliance of the other instrumentals like Regatta De Dub (Regatta De Blanc) and Can’t Stand Losing Dub (Can’t Stand Losing You).

Overall, despite the misses, this album is brilliant. This could have been a quick and nasty knock off, produced to cash in on the Police’s reformation, but the effort that DubXanne have gone into to make the tracks into dub masterpieces, as well as the obvious love of the original material, makes this album truly great.

Tectonic Plates

What is it about commercial dubstep compilations? Sure, I’m not the hugest dubset fan, but I’ve enjoyed many set from locals such as Jayar in Adelaide and Same0 in Melbourne, to international luminaries such as Benga, who delivered one of the performances of last year in my humble opinion. I’ve downloaded and grooved away to sets containing Lex’d, Digital Mystiks, and Skream before. And I really tried to enjoy this compilation of dubstep, but unfortunately I found that Tectonic Plates just isn’t overly likable. It’s too slow, plodding, minimal and repetitive to really get much enjoyment from.

I have to admit that the mix CD grew on me over time. I instantly disliked the slow pacing and the dull repetitiveness at first. After a few listens in the comfort of home on my loud system, I grew to like it a little more. However, the dull start of Cyrus’ Indian Stomp and slow pacing that follows it for over half the album is really hard to get into for someone who isn’t already the hugest dubstep fan. I think it’s the minimalistic approach to this compilation that really gets on my goat. It’s just too simple, too repetitive, and that makes it boring to me.

Individually, the tunes aren’t too bad, and as the disc comes in mixed and unmixed form, I guess the package isn’t a total waste. The real well known names deliver the best tracks – Loefah & Skream’s Fearless, Skream’s Bahl Fwd, and Vex’d Third Choice all being the stand out tunes. Armour’s Iron Man is pretty banging, and Nightmares by Hijak would be one of my favourites. There is some double up of tune across the two discs, but the unmixed CD gets a bigger “thumbs up” from me, but it’s still a very small thumb..

If you’re a debstep fan and into the really minimal side of the genre, then you’ll probably love Tectonic Plates, but if you’re new to the sound or just a casual listener, then there are much better sets available, and you’ll just have to hunt them down yourself, because I’m yet to find a commercial release outside of the big named artist albums that really takes my fancy.

Gigs & Mixes from the 2020s. Writing from the 2000s.