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Black Dog Unsavoury ProductsSe flere produkter fra AmazonUnsavoury Products sees Parisian beat poet Black Sifichi illuminate the words of the original Dog, the reclusive Ken Downie's Book of Dogma, a tome of all things conspiratorial which takes in everything from the illuminati and Egyptology to musical academia and globalisation. As ex-Dog's Ed Handley and Andy Turner have enjoyed considerable success deconstructing the artificial intelligence movement as Plaid, so Downie drifted further and further into the outer limits of leftfield electronica. Downie and Sifichi prove ideal sonic sparring partners, with growling lyrical cut ups morphing into post-techno audio--the occasional flourish of brilliance drifting from the aural confusion, "Invisible Things" and "Someone at the Office" as irresistible as anything from the seminal Scanners or Bytes albums. It's inspirational. -- Kingsley Marshall Inkl. fragt: Ukendt |
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Cecil Taylor Jumpin' PunkinsSe flere produkter fra AmazonCecil Taylor's Jumpin' Punkins, originally issued on LP in the early 1960s, found the pianist working with a high-powered battery of sidemen which included Clark Terry, Roswell Rudd, Steve Lacy, Archie Shepp and a further who's who of movers and shakers, which makes it all the more intriguing to hear how the pianist provides an astute (sometimes seemingly concessionary) balance between the no-nonsense structures of the tracks by the two Ellingtons and his own impulses. Here, Taylor's improvisational instincts are both benevolently contained and enhanced by this context. If there's any criticism to be made of this disc, it's that the balancing act is perhaps a little more obvious than is ideal--on "Things Ain't What They Used To Be", for example, you can almost hear the pianist trying and failing to submit his own ideas to the band and the tune. However, this expositionary element in itself makes for wonderful listening, and the occasionally trashy piano sound is easily overlooked. --Roger Thomas Inkl. fragt: Ukendt |
Pris 79.56,-
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Ill Nino Revolution RevolucionSe flere produkter fra AmazonOn the evidence of Revolution Revolución, the New-Jersey-based Ill Niño fit very neatly into the Roadrunner label's aesthetic, while still providing enough of a twist on the metal genre to carve out their own niche. While the influence of everything from Korn to Machine Head to Sepultura marches under the banner of their debut album, it's Ill Niño's Latin heritage--many of its members hail originally from South America--that makes this much more than another monochromatic nu-metal effort: the billingual "Nothing's Clear" opens with a battery of punishing percussion and frontman Cristian Machado's phlegm-spattering, pig-throttling vocals, but two minutes in it's ready to break for a surprisingly virtuoso Spanish guitar interlude. Ill Nióo's powerful Sepultura-heavy impact is hardly blunted by such bursts of startling melodicism, though; "No Murder" slips effectively between bursts of gutteral howling and passages of Tool-like anthemics with ease. The closing "With You" is the real surprise, though--a soulful, restrained four-minute long Flamenco love song that might skirt the borders of cheese, but ends Revolution Revolución on a satisfyingly light, and characteristically eclectic note. --Louis Pattison Inkl. fragt: Ukendt |
Pris 79.47,-
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Guru Jazzmatazz Vol.2: the New RealitySe flere produkter fra AmazonBy the time Gang Starr's rapper Guru created the "experimental fusion of hip-hop and jazz" he called Jazzmatazz back in 1993, the idea of blending the two African-American styles had been fairly well explored. But as the first wholly self-conscious genremixing, Jazzmatazz Volume I was at least a decent novelty record. In the two Years that followed, however, jazz rap--from Digable Planets to Buckshot Lefonque to the Roots--grew into a dominant strain of alternative hip-hop. The good news is that 1995's Jazzmatazz II acknowledges the changing times. Guru ups the ante by collecting artists from R&B (Chaka Khan, Mica Paris) and reggae (Ini Kamoze, Patra) in addition to jazz (Ramsey Lewis, Donald Byrd, Freddie Hubbard) and rap (Kool Keith, Big Shug). The concept broadens to bring together makers of all black music. At best, the songs reflect this more robust brew: "Watch What You Say," for instance, blends Khan's dynamic blue improvisational singing and Branford Marsalis's subdued saxophone phrases with Guru's rap and DJ Premier's unorthodox track of video game sound effects. The bad news, though, is that Volume II fails in precisely the same places Volume I did. First, Guru still raps with fine tone but little gift for either rhythm or rhyme. In a monotone he self- righteously calls himself "The Lifesaver" but offers only vague solutions like "deal with reality and try to keep focus" to innercity turmoil. Second, except for Khan's vocals and perhaps Lewis' piano solo on "Respect the Architect," the style meshes never get a chance to rise out of the same tried hip-hop form. --Roni Sarig Inkl. fragt: Ukendt |
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Moby PlaySe flere produkter fra AmazonThe great iconoclast of techno returns with a smooth, sacred and exhilarating record. Play's concoction of breakbeat rhythms, ambient mixology and inspired blues and gospel samples cry out across musical genres and histories, imparting a time-tested wisdom to beat-driven ears. Moby's devout faith--in both God and his own musical whims--give this approach a sort of legitimacy that another, less sincere artist would never have. That sincerity reverberates through the beats and instrumental eclecticism like a pulse. The soulful refrains and proclamations in "Find My Baby" and "Natural Blues" somehow nestle between straight-up dance-floor rave-ups ("Bodyrock") and melt-in-your-mouth ambience ("Inside") with an effortless grace. Moby reaches across his turntables and finds something pure--almost organic. In fact, the album feels more natural than techno is ever supposed to feel, more spiritual than DJs are supposed to be able to muster and more alive than it has any right to be. Check out the spellbinding compilation Natural Blues to hear the original source material from blues and spiritual singers such as Etta James, Vera Hall and BB King. -- Matthew Cooke Inkl. fragt: Ukendt |
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Busted BustedSe flere produkter fra AmazonConceivably, laddish London-based pop pin-ups Busted (or Charlie, James and Mattie as our daughters-with-attitude would have it) are what evil, plan-hatching marketing men ought to have in mind if they decided the music world needed to be taken over by a milk-toothed, mind-yer-"p"s-and-"q"s version of Blink 182. However, worrisome mums (or should that be "moms"--after all, car boots are "trunks", arses are "asses" and boyfriends get "dissed" not chucked in Busted's transatlantic teen-world) will find the lack of lyrical references to farting and fornication somewhat moralistically reassuring, although the peeping Tom confessions of hit single "What I Go to School For" and sexual fantasies about Britney ("I'll make you feel good inside") suggest that Busted's under-the-mattress porno stashes have yet to be dispensed with. Looking beyond the half-baked bad-boy image and linguistic schizophrenia, what you have here is three young guys with talent, tunes (they write their own, y'know), a decidedly English cheekiness, angry (well, perhaps slightly more cross than usual) guitars and--when they get it right--a hilariously understated way of conveying the calamity of a teenage social life ("I asked you to dance at the disco ... but you said no"). If only they could ditch the soppy ballad stuff and be done with it. --Kevin Maidment Inkl. fragt: Ukendt |
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Jimi Hendrix BluesSe flere produkter fra AmazonAfter the disorganised and often unlistenable Alan Douglas-produced reissues in the 1970s and '80s, MCA has been releasing the vast Hendrix archives in an intelligent and methodical manner. Blues is a perfect example, making the case that--on top of everything else--Jimi Hendrix was one fine blues guitarist. Combining the fluid lines of B.B. King with the spikiness of Hubert Sumlin and the crying tone of Elmore James with his usual synapse-frying intensity, Hendrix manages to both honour the music tradition while remaining uniquely himself. These studio outtakes and warm-ups (plus one previously released track, the magnificent "Hear My Train a Comin'") include a playful "Mannish Boy", the slow burn of "Once I Had A Woman" and a metallic "Bleeding Heart". --Steven Mirkin Inkl. fragt: Ukendt |
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Sia Healing Is DifficultSe flere produkter fra AmazonAustralia is not known as the home of genre defining R&B artists. Which is probably why Australian born Sia (pronounced See-ah) has managed, in her debut album Healing Is Difficult, to avoid all the usual cliché's, generic soul diva hang-ups and slickly sanitised production, and come up with the most imaginative set of tunes since Lauryn Hill's Miseducation. Not that she sounds anything like Hill, but her melding of hip-hop beats, stripped down funk grooves and enchanting melodies is just as sublime. Her captivating and quirky voice aside, Sia's natural talent lies in her flea market, mix and match attitude; marrying the rootsy beats; and jazz grooves that underpin tracks with things that shouldn't fit--Branford Marsalis styled soprano sax flurries ("Drink to Get Drunk"), the majestic orchestral march of Prokofiev's Romeo & Juliet ("Single Taken For Granted") and lilting reggae/dub grooves ("Get Me", "Insidiously" and "Fear"). Over these stray sounds she slides her supremely sexy vocals, reeling off shopping lists of emotions, fears and relationships that are as humorous as they are touching, as childish as they are wise and as innocent as they are darkly twisted. It's a bizarrely brilliant mix--from a bizarrely brilliant imagination--that puts Sia and her inspired debut in an R&B class of its own. -- Dan Gennoe Inkl. fragt: Ukendt |
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![Jeff Golub Out of the Blue [Us Import]](http://img.kelkoo.com/dk/small/655/980/31224175896130757703638807432258980655.jpg) |
Jeff Golub Out of the Blue [Us Import]Se flere produkter fra AmazonGuitarist Jeff Golub's three previous CDs, released under the name Avenue Blue, have infused the smooth-jazz format with a much needed shot of soul. Out of the Blue ups the ante a notch by injecting more rock elements. "Indiana Moon" could be an Eric Clapton track sans vocals. Clapton's occasional drummer, Steve Ferrone, adds to the illusion and (with Tony Levin, bass and stick) to the real rhythm section that separates Golub's work from the lifeless programming of some of his "happy jazz" companions. "Manteca" recalls a Santana samba--but throughout the tune, it's more Jimi Hendrix than either Eric or Carlos. "Wanna Funk?" and "Groanin'" offer ripping solos more pleasing to guitar fans than to "wave" programmers. Golub's said that he wants "to play like Al Green sings," and it's his touch that makes him distinctive. If Out of the Blue's smooth, modern ballad arrangements result in him sounding at times closer to Luther Vandross than to the earthier Green, that's still a fine voice to reach for. --Michael Ross Inkl. fragt: Ukendt |
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The Fall Fall Heads RollSe flere produkter fra AmazonForty-two line ups in some twenty eight years--but with gurning, prose-churning champion of invective jabberwocky Mark E Smith remaining constant at the helm--heads have indeed rolled within the ranks of interloping non-conformists The Fall. There has been, however, no loss of the band's conceptual objectivity. Heads Will Roll throws The Fall's idiot-savant oevre into sharper focus at a time when the band's profile--in the wake of the death of long term advocate John Peel--has never been higher. Cynics, therefore, may view the single release of a cover of Roy Woods' psych-pop classic "I Can Hear The Grass Grow" as commercial exploitation but Fall fans, as ever, will surely view any lofty chart placings as either entirely incidental or just another Mark E Smith double-bluff masterstroke. On the balance of probability The Fall fans are probably right; Smith's chatter of asbestos powered rifles, Bo Diddly, Heathrow airport, rubbish receptacles and Harold Shipman still marks The Fall out as rambling outsiders, although such is The Fall's extending influence that the band's organised garage-punk sound is now less of a shock than Smith's verbose spluttering. Brilliant but as cryptic as ever, Fall fans will chose their own favourite tracks. Will it be the rasping, solo JJ Burnel-style insistence of "Blindness", the nagging chant-along of "Pacifying Joint" or the punk police siren guitar of "Assume"? Or maybe the Gypsy Kings jam of "Early Days Of Channel Fuehrer"? Infuriatingly baffling. Who'd have it any other way? -- Kevin Maidment Inkl. fragt: Ukendt |
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Siobhan Donaghy Revolution in MeSe flere produkter fra AmazonSiobhan Donaghy's decision to quit the Sugababes just before they became the coolest of household names may have been spectacularly ill timed, but Revolution in Me suggests that her departure was inevitable. While her former band mates, along with Siobhan's replacement Heidi, have gone on to make chart-eating pop sexy again, Donaghy's debut album is an altogether more complex, sophisticated and eccentric vision. As a clue to where she's coming from, it's worth remembering that she--along with All Saints/Massive Attack producer Cameron McVey--wrote the first Sugababes single: the effortlessly sultry "Overload" came with the most unlikely of pop add-ons, a surf guitar solo. With McVey again as her writing partner, Donaghy combines in Revolution in Me the left-of-centre genius of "Overload" with the emotional outpourings of an older, wiser and clearly bruised artist. "Overrated" and "Twist of Fate" are the bitter and twisted singles, all churning guitars and jaded cynicism. "Nothing but Song" is a deceptively sweet go-to-hell anthem, "Little Bits" simmers with anger and "Man Without Friends" rolls along lost and dejected until the spirit-rousing chorus erupts at the end. And while none of her songs are catchy in the traditional sense, the purring "As You Like It" and "XY" (with its cartoon glockenspiel) are mercilessly addictive. --Dan Gennoe Inkl. fragt: Ukendt |
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Various Artists The Love Album - ClassicsSe flere produkter fra AmazonIf music be the food of love, then record companies must think it's a good idea to stuff our faces full of it hence The Love Album Classics, one of many that seem to surface around early February. We're talking about love songs of course, the stirring, heartfelt tunes that score countless relationships while soundtracking a million subsequent break ups. This middle of the road collection holds few surprises, peddling out a fairly innocuous stream of cupid's favourites. If you want love's tried and tested, then look no further. Nicole Kidman and Robbie William's sugary take on "Something Stupid" says it all really, sitting dreamily next to hardy perennials like Sinead O' Connor's tear-stained "Nothing Compares 2 U", school disco favourite "True" and the histrionic "Without You" from Nilsson. There's a few gems amongst the dross, though, with smoochers from Al Green, Bill Withers and Bobby Gentry's defiant weepie, "I'll Never Fall In Love Again". Prescient advice perhaps. -- Paul Tierney Inkl. fragt: Ukendt |
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![Various Artists Deep Concentration Vol.3 [VINYL]](http://img.kelkoo.com/dk/small/145/609/64728653676903695879084313333790609145.jpg) |
Various Artists Deep Concentration Vol.3 [VINYL]Se flere produkter fra AmazonContinuing its mission to prove once and for all that pigeon holes are a pointless thing when beats--break, electro or drum & bass--are involved, the Deep Concentration series comes up with another 15 exclusive rhythm tracks for its third collection. With Ming & FS's mash of ultra cool jazz vibes, soul strains, vocal cut-ups and warp speed jungle blasts, and the deep hip-hop of several time DMC World Mixing Champion DJ Cash Money, it makes a convincing argument. More than an outlandish display of deck dexterity and vinyl junkie back-slapping, this is a celebration of hip-hop culture and a homage to the power of a groove. As stunning as the finger-blurring scratch tricks are, it's the old-school bounce and rare-groove selections of People Under The Stairs' "Afternoon Connection" that wins the prize, proving once again that turntablism is an art form. All the while, the collection strips the glamour and slick production that has watered down hip-hop, taking it back to where it all began: returning to the party vibe, reminding one and all just why this music was so exciting in the first place. --Dan Gennoe Inkl. fragt: Ukendt |
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Weather Report Mysterious TravellerSe flere produkter fra AmazonA quarter-century on, Weather Report's music has dated in a way that Miles Davis' best fusion efforts haven't. That's especially true of the albums the band made beginning with Mysterious Traveller (1974), at which point it began looking more to technological advances to further its sound than the creative brain trust of keyboardist Joe Zawinul and saxophonist Wayne Shorter. Shorter largely fades into the background here as Zawinul tests out his battery of ARPs and Moogs and Echoplex-equipped electric piano against a busy battery of percussionists. Still, there's a lot of good music on the album, which is issued here in 24-bit digitally remastered form. "Blackthorn Rose" is a piano (and melodica) and soprano sax duet of lovesome beauty while the phase-shifting "Nubian Sundance" generates excitement through its orchestrated effects, complex rhythmic scheme and simulated crowd explosions. New to the evolving Weather Report is bassist Alphonso Johnson, who lends a funkier and more musical touch than his sacked (and highly overrated) predecessor, Miroslav Vitous. -- Lloyd Sachs Inkl. fragt: Ukendt |
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Jefferson Airplane Surrealistic PillowSe flere produkter fra AmazonWhen she joined the Jefferson Airplane in 1966 as replacement for original vocalist Signe Anderson, Grace Slick brought with her two songs she'd performed in her previous band, the Great Society: "Somebody to Love" and "White Rabbit". Featured on this classic 1967 album, they became US Top 10 hits and helped establish both the San Francisco and the emerging counterculture they celebrated. With Jorma Kaukonen's sinewy guitar, Jack Casady's probing bass and Spencer Dryden's inventive drumming swirling around Slick and co-vocalists Marty Balin and Paul Kantner on songs like "She Has Funny Cars" and "3/5 of a Mile in 10 Seconds", Surrealistic Pillow virtually defined the communal spirit of Summer of Love hippiedom. --Billy Altman Inkl. fragt: Ukendt |
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John Coltrane SpiritualSe flere produkter fra AmazonJohn Coltrane's plaintive tenor saxophone tone and total engagement with his material could make any slow ballad sound like a prayer, so Spiritual, a set of nominally devotional numbers recorded between 1961 and 1967, doesn't shed any new light on his art. But it holds your attention, even if Coltrane's holy numbers tend to be as slow or stately as hymns (and sometimes catchier: "Dear Lord" could pass for some unjustly forgotten ballad). The first movement of A Love Supreme was an inevitable choice, for Coltrane and bassist Jimmy Garrison's mantra-like repetitions, and for the saxophonist's speaking-in-tongues falsetto. (Garrison, the only sideman who appears on all tracks, is the CD's secret hero, whether adding punchy beats to the bottom end or flamenco-strumming through an intro.) On Coltrane's albums or gigs, spirituals often functioned as change-ups, a chance to catch one's breath before the next fast or frenetic number. They still sound most striking in relief, but assembled in one place, their power accumulates. --Kevin Whitehead Inkl. fragt: Ukendt |
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Various Artists The Million Dollar HotelSe flere produkter fra AmazonThe soundtrack to a Wim Wenders joint is often as creative and satisfying as the movie itself (see Until the End of the World and Wings of Desire), serving not only as a companion to the film but as a standalone work of art. The Million Dollar Hotel is no exception, indeed it ups the ante. The film is based on a story conceived and written in part by U2's Bono, and his influence is all over the score. U2 contribute three stunning songs, most notably a collaboration with Daniel Lanois: "The Ground Beneath Her Feet", a soaring pop ballad with lyrics penned by writer Salman Rushdie that stands among the best U2 cuts ever recorded. In addition, Bono joins the all-star "Million Dollar Band" (comprising Mr Fly himself, Daniel Lanois, Bill Frisell, Brian Eno and others) for a host of great tracks, including the ethereal groove of "Never Let Me Go". And if that isn't enough, The Million Dollar Hotel also features a duet between Brad Mehldau and Frisell ("Tom Tom's Room"), a surprisingly smoky cover of Lou Reed's "Satellite of Love" by model-actress-chanteuse Milla Jovovich and a raved-up, Americanised, Spanish-language version of the Sex Pistol's "Anarchy in the UK" ("Anarchy in the USA") sung by Tito Larriva with the Million Dollar Band. Despite such a wide-ranging host of contributors, Bono's sure hand keeps the album within the same emotional spectrum, coloured by a kind of melancholic longing and a wistful wonder, resulting in one of the best and most original soundtracks ever recorded. -- Tod Nelson Inkl. fragt: Ukendt |
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Portishead PortisheadSe flere produkter fra AmazonWith Dummy, their 1994 debut, Portishead not only created a classic of turntable-derived soul, but defined their sound so exhaustively as to spawn a host of imitators. So what to do for a follow-up? As it happened, the answer was simple--refine the template. This self-titled album simply ups the ante on everything that made their debut so special: the brooding sense of menace, that deep streak of romantic fatalism. Much is made of the cinematic quality of Portishead's music--and indeed, many of these tracks sound like they should be accompanying some existentialist spy flick from the mid-1960s. But ultimately, it's singer Beth Gibbons that's their greatest asset: her vocals gliding effortlessly from the furious ("Cowboys") to the forlorn ("Mourning Air"); from the exuberant ("All Mine") to the exhausted ("Only You")--and all set to the group's most ambitious and expansive arrangements to date. A majestic, damaged and frequently terrifying masterpiece. --Andrew McGuire Inkl. fragt: Ukendt |
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Tommy Castro PainkillerSe flere produkter fra AmazonIs Tommy Castro a soul man in a blues rocker's body, or vice versa? He doesn't seem to care--and neither should we, when the results of that dichotomy are as frisky and enjoyable as Painkiller. A better-than-average singer and guitarist, Castro has been hampered in the past by inconsistent material and the sense that he hadn't quite come to grips with his love of the Stax and Chess catalogs. Bringing in other songwriters has vastly improved the material on this collection, with eight original tunes co-written by Castro and veteran tunesmiths such as Gary Nicholson, Stephen Bruton, Bonnie Hayes, and Jimmy Hall. Castro sounds loose and comfortable hammering into riff-rockers such as "Love Don't Care" and Stones-styled material on the order of "I Roll When I Rock," both augmented by a horn section that adds dollops of R&B to the proceedings. Coco Montoya duets and adds typically sizzling guitar on a rollicking cover of Albert Collins's "A Good Fool Is Hard to Find," and Angela Strehli ups the heat for a soul-drenched take on Freddie King's "If You Believe (In What You Do)." Castro shifts into Tyrone Davis mode on "It's That Time Again," credited as an original but almost a rewrite of Davis's signature "Can I Change My Mind." The Al Green/Hi sound of "Lonesome and Then Some" brings out the best in Castro's Delbert McClinton-inflected vocals, and burns when he tears into a taut lead-guitar line. Call him a soul-drenched blues rocker if you must, but on Painkiller Tommy Castro successfully finds the sweet spot between his various influences and balances them like the pro he is. --Hal Horowitz Inkl. fragt: Ukendt |
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Rich Mullins The Jesus RecordSe flere produkter fra AmazonThis double album contains two discs, ostensibly two versions of the same record. The first disc contains Mullins's crude demos of 9 of the 10 songs on the album, recorded on a battery-powered box only a few days before his untimely death. Even with the abundance of tape noise, pops, clicks, and bum notes, Mullins's skill as a performer and passion for this material shines clearly through. The second disc contains the same songs, fully produced by Rich's band, the Ragamuffins, with special guests Amy Grant, Michael W. Smith, Ashley Cleveland, and Phil Keaggy. These performances feel haunted as well, trying to be faithful to Mullins's vision as a performer and folk/ethnic musicologist without resorting to grave robbing. Pennywhistles, accordians, and upright bass strike a jagged edge against the polished sheen of orchestras and children's choirs. The guest vocalists make Mullins's songs their own, while the Ragamuffin-sung tunes naturally carry more of the spirit of his own recordings. --Brad S. Caviness Inkl. fragt: Ukendt |
Pris 128.23,-
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