Tag Archives: Various Artists

You Don’t Know Ninja Cuts

As an average punter, I relish the Ninja Cuts series. Ninja Tunes, with its offshoots Big Dada and Counter, is such a huge label with so many different and great artists, it’s impossible to keep up with all of them, unless you’re loaded or can claim records back on tax. This latest release “You Don’t Know” features 50 tunes from the broadest range of Ninja Tune Artists yet, exposing the listener to not only to sounds of the labels’ past, but to its future as well.

Some awesome hiphop graces the album, like Spank Rock, DJ Shadow and RJD2, artists who have done extremely well on other labels. Kentaro features twice on the album, joining Kid Koala as a new resident ninja turntablist. Mike Ladd’s early track Blah Blah Blah is an awesome addition to any hiphop library, as is Brave New World by NMS. The Heavy brings to mind Curtis Mayfield with their track Colleen, one of my favourite tunes across the 3 disc set.

New genre’s are also represented, as Wiley’s No Qualms revox and Mode Selector’s remix of Blazin’ by Ghislain Poirer join The Bug in representing grime slash dubstep sounds. But then then there’s the almost token “weird stuff”. Fink’s Pretty Little Thing and John Matthias’ Evermore are folk-rock tunes, reminiscent of John Butler or Jeff Buckley. Max & Harvey’s Thieves is a bizarre little tune with all the vocals backwards. Clouddead’s Physics of a Unicycle borders on psychopathic, and Homelife’s Seedpod sounds like Salsa music having a fight with a Loony Toons cartoon.

Of course, the album has the names you expect – Coldcut, Cinematic Orchestra, the Herbaliser, Mr Scruff, Amon Tobin, Hexstatic, Bonobo and Roots Manuva. Interestingly though, most of these artists are unreleased tunes or remixes. Hexstatic’s Distorted Minds from their underwhelming When Robots Attack, get the remix treatment from Zero DB, turning it into a grimy dnb track. Coldcut’s wonderful Walk A Mile In My Shoes has the soul sucked out of it by Tiga, who turns it into a groovy yet stark techno track. Susumu Yokota’s minimalist take on The Cinematic Orchestra is sublime. And the Qemist’s remix of Coldcut’s Atomic Moog 2000 turns the already great track into a massive drum and bass dancefloor stomper.

There is much more to this album, but to put it simply this is how compilations should be done. I didn’t like Fink’s album, but I’m going to re-listen to it after hearing the track on here. I don’t usually like Tiga’s take on techno, but I like this remix. I like dnb, and I love the Qemist’s remix of Atomic Moog. You Don’t Know: Ninja Cuts is so much more than simply a “greatest hits” or “best of”, and features such a wide range of music, some of it old, some of it unreleased, and so much of it unexpectedly fantastic that anyone who’s into quality music is sure to get something from getting this compilation.

A Different Shade of Blues – Various Artists

Lately I’ve happened to catch a lot of documentaries on the beginnings of “rock and roll” on TV, and have come to realise that if there was no Blues, there would be no popular music. There would be no rock and roll, no soul, no funk, no hiphop and no dance music. If there were no Blues, with its brash voices and deep rhythms, we’d still be pumping the wind and strings of Heinrich Backofen and Peter Lichtenthal out of our cars, and dropping tabs of ecstasy to the Big Band sounds to bands with names like “Fred Hall’s Swing Thing” and “The Eric Felten Jazz Orchestra”.

Bringing Blues full circle, this compilation of blues inspired beats featuring some of today’s best producers such as RJD2, Amon Tobin, Müm and St Germain. Ranging in style from drum and bass sounds of Phoneheads ‘Maracanenses’ to the more disco styles of St Germain’s ‘Alabama Blues’, from the hiphop beats of Cujo’s (Amon Tobin) ‘Curfew’, to the lounge styles of Dzihan and Kamien’s ‘Dundadeova’, this album has music to suit all moods, and shows that Blues and Soul can be enjoyed whether chillin’ out with the home stereo playing softly, or up front dancing in a club.

This is a beautiful album that will introduce the lovers of dance to the Blues, and lovers of Blues to the dance side of the tracks. Those like me who enjoy hearing blends of styles will absolutely love it! Purists may not like it, and fob it off, but true purists should also be aware that if it weren’t for the early Blues performers experimenting in the early days, there would be no modern music as we know it today.

Perfecto Breaks Volume 2 – Mixed by Rennie Pilgrem

This CD is well mixed, but doesn’t grab me like some of the other breaks compilations I’ve listened to lately. That’s not to say that this is a bad album, by any stretch of the imagination; it’s listenable and enjoyable, but is just “good” as opposed to “amazing”. For example, it’s not as clever as Perfecto Breaks Vol 1, mixed by Lee Coombs, nor is it as “cool” and dance floor orientated as hedonizm by Ellis Dee, but it will have you grooving along for most of the time.

The first track is Pilgrem’s own remix of Timo Maas Help Me featuring Kelis on vocals. This tune takes some while to get into it, but then cruises along nicely with a rolling bassline that carries the listener into the rest of the CD. Most of the tunes are examples of “tech-breaks”, with a perfect example being BLIM’s Dust, which rolls along but doesn’t really go anywhere until the middle, when the infamous Apache break drops and gets the head moving. From this point on the album seems to pick up the pace, with tunes like Rollin n Controllin by Silencer and the very good U Know Y by Moguai.

Pilgrem remixes most of the tunes on this CD, and you’ll find him adding his own little touches throughout, such as dropping snippets of Goldtrix’s It’s Love (Trippin) during Zero’s Emit/Collect, which he also mixes to great effect with Koma and Bones’ Donkey Spanner. There are also lots of effects and cross mixes that are used very well across the whole album. The album ends on a rather “housey” note with Pilgrem’s Tripped-Out mix of Turning It On by Mara.

The album is enjoyable, and Pilgrem is a damn good DJ, but there’s something about this CD that makes me rate it a little lower than other CD’s I’ve listened to lately. Maybe I’ve been over-saturated with the stuff, and this doesn’t shine as much as I expected it to, but I would say to any fan of breaks to give it a listen and make up their own mind.

Kitsuné Love – Various Artists

It seems that in the current world situation we find ourselves at the moment that the world could do with little more love at the moment, and the French clothing label Kitsuné feel that they are the ones to bring it to us. The album, simply entitled Kitsuné Love, features eleven exclusive tunes that can only be found on this CD. Its aim is to imbue the listener with a newfound sense of love and happiness. Whether is does or not is really up to the listener, but it’s not a typical love compilation, full of soppy tearful ballads sung by 16-20 something girls which is really all about, in Chuck D’s words, “sex for profit”. No, this is a more mature, thoughtful attempt to express love through song.

Featuring artists from Paris to Japan, it’s a mixed bag of tunes that apart from Gonzales interpretation of Daft Punk’s Too Long, the bulk of the music falls into the “house music” genre, with the former being a bland ballad that might appeal to fans but does nothing for me. Most of it is quite funky, and it would fit neatly into the “Chill Out Compilation” category of music. There’s no real stand out tracks, except maybe X by Lacquer, but neither are there any ‘dud’ tunes either.

Not being an incredible admirer of French House hinders my appreciation of this CD, and I’m really not sure if I like it. I certainly don’t hate it, and there’s definitely an audience out there for it, but it’s nothing overly spectacular. It rolls along nice and mellow, being listenable but without being engaging. It is certainly a better compilation than any other “love songs” rubbish out there, which I guess is good but I don’t think it’s charming enough to be anything but background music for most people.

Sub-Urb-An Files Volume 1 – Various Artists

Sometimes you’ll hear an album that is so good that there simply are not enough adjectives to describe it suitably. ‘Sub-Urb-An Files Vol. 1′ is such an album. This is a collection of tunes from Hydrofunk records; the record label set up and run by Resin Dogs’ DJ Katch and Dave Atkins. It’s a showcase of the best in Aussie Hiphop, with a splattering of the finest in UK breaks, dishing up an enormously phat serving of funk that’s so enjoyable that you’ll want to go out and buy the whole back catalogue.

Soul runs rich and deep through this compilation. Mostyn’s Rattle On starts the program, beginning with a cool little electro sound followed by a nice, deep bass, followed by a soulful jazz voice, then joined with some nice, laid back hiphop beats. The soulful beats continue with pure, a 2dogs beat-fest underneath Kowhai’s beautiful aussie hiphop vocals, given a remix by Canadian Tor. An enjoyable surprise for me was the R&B style of Mad Dr X’s Show Me, remixed by 2dogs. Typical of this album, it’s an example of R&B in it’s traditional (and best) form, more reminiscent of Curtis Mayfield and Miles Davis than of the wanna be gangsta crap that’s coming out of the US at the moment. Other highlights are the Timmy P and Isobel gem 3Planets, and Spikey-Tee’s Stand Firm. Usually I would skip these types of tunes, as they’re essentially R&B, but these, like Show Me, are simply so wonderfully composed and arranged that it’s impossible not to enjoy them.

It’s not all soul, as some tunes are so damn right funky that you’ll want to jump up and dance. DJ Foel’s Hey Hey Hey, Double Bassic’s Blunted Stylus, Double ‘R’s Do the Do (2002) are excellent sample filled scratchings of funk, hiphop, and pop culture. The addition of Katalyst’s Another Game seems almost a given considering the amount of talent this guy has, and the overall quality of the whole album. Backed up by the Resin Dogs, another Mad Dr X track, and Funkwig & Denorthwode, and you have one of the funkiest and soulful collection of tunes this side of the 70’s. When Australian produced material is this good, it makes you laugh at the pathetic excuse for music that calls itself R&B and Hiphop that’s coming out of the US at the moment.

Perfecto Breaks – Mixed by Lee Coombs

Lee Coombs needs no introduction to the breaks fans out there. This man has, along with Adam Freeland, DJ Hyper and Tayo, taken the remains of the broken bigbeat sound and moulded them into the newest, sexiest sound to come out of England. This Perfecto mix showcases Coombs incredible mixing ability, taking tunes and re-editing and remixing them to form his own defining style of “tribal beats” through his various remixes and tunes, scattered amongst some excellent tune by dance music’s greatest producers.

The beats starts stomping right from the beginning with Coombs’ remix of Lamb, which integrates seamlessly with 2 Men On A Trip, a collaboration between Coombs and Meat Katie, an awesome acidic tribal beat fest. Then the rather New Order / Electronic sounding tune No Ticket No Run by Santos surprises the listener by throwing guitars into the mix. Coombs then throws his weight behind Danny Sullivan and Kemist’s Snake Charmer, with an eerily familiar sample I can’t quite place running through it.

The mix takes a marked change into the techno sound, with record label mates Soul of Man’s Dirty Waltzer, along with Coombs’ own tune Tekno Meltdown. The addition of Joey Beltram’s rave classic Energy Flash reworked with samples and beats synonymous to Coombs produces a wonderful aural explanation of the term “future retro”, so commonly associated with Coombs’ style of breaks. But it doesn’t stop there; as Rollin, another of Coombs’ tunes, is brilliantly combined with Moby’s classic rave hit I Feel It. The fantastic tribal beats pound perfectly over the lyrical reminders of the golden age of rave music, when Moby produced music that wasn’t derivative tripe.

Yet another classic tune, Jam the Mace by House Syndicate, follows in the Coombs style, brilliantly overlaid with the “ecstasy” sample of Energy Flash. “Look ahead while the crowd is pumping” the lyric waxes, while the beats wane into the housier sounds of Joe Smooth and Djum Djum that finish off the mix superbly. This is one of those CD’s that truly cross the boundaries of contemporary dance music, and leave you comfortable in the knowledge that there’s still DJ’s out there who want to push the envelope further.

Vibes on a Summers Day’s Tenth Anniversary Double CD – Various Artists

A celebration of the event that sadly has missed Adelaide since a catastrophic rainstorm destroyed thousands of dollars worth of equipment in 1998, the ‘Vibes on a Summers Day’s Tenth Anniversary’ double CD features many of the acts that have been featured at the festival over the last ten years, plus many of their favourite tunes. It’s light, varied, fun, and groovy, without being pretentious, capturing the essence of the event and the vibe of the Australian summer.

The first disc starts with Ian Pooley’s Bay of Plenty. This spicy house track sets the mood perfectly, with it’s soulful sax riff and salsa driven beats, followed by Xpress 2’s Lazy, featuring David Byrne from Talking Heads. This is getting a lot of airplay on Triple J and Fresh FM, and it’s very infectious. A few track later take a detour from the smooth funk, in the form of Propellerheads Take California, and this is neatly followed by a head bobbing, foot tapping set of breakbeat fun, rounded off by the classic Groove is in the Heart. Returning to the funk, we find the likes of Moloko, Jamiroquai and Jestofunk finishing off the first CD.

Unlike the first CD, the second doesn’t flow as well musically. It seems a little more disjointed. The first CD could almost be mixed, rolling along from one tune to the next, while the second definitely sounds like tunes simply thrown together. While personally I would have liked the second CD to feature some of the more heavier breakbeat sounds the festival has featured, such as Bentley Rhythms Ace, Adam Freeland, or the hiphop styling of The Herbaliser and Roots Manuva, the second CD continues much in the same way as the first – mellow but funky and groovy.

Mo’Horizons start the CD off with a simple but cool little tune Yes Baby. The Freestyler’s with their biggest hit Told You So, featuring the wonderful voice of Petra Jean Phillipson, follow this. After that is Stereo MC’s connected, which, while an excellent tune, seems out of place between the soul funk 60’s throwback of Told You So and the 70’s sounding funk of Wicked Beat Sound System’s Brand New Day. Without meaning to sound dismissive, the rest of the CD sounds like an Ibiza “chill out” album. It has a much better tune selection than the aforementioned CD formats – Tio Electrico and MJ Cole’s tracks are good, but seem out of place amongst the more housier elements of EON or even Rae & Christians All I Ask.

The variety is pretty indicative of the overall feel of Vibes on a Summers Day – an assortment of different, groovy, funky, danceable music, but leaving the heavier hiphop and breaks off means an essential element of Vibes is missing, leaving this huge fan of these events just a little disappointed. I can get beyond that to say this is a great double album that takes me back to the great times I had at Vibes and if you’ve never been to Vibes, it is a great double CD of excellent summer chill tunes that is better value musically than the flock of “chill” albums available at the moment.