Posts Tagged 'album'

Review: Zomby – One Foot Ahead Of The Other EP

Label: Ramp Recordings
Catalog#: RAMP022


A1: One Foot Ahead Of The Other

A2: Helter Skelter

B1: Pumpkinhead’s Revenge

B2: Polka Dot

C1: Godzilla

C2: Expert Tuition

D1: Bubble Bobble

D2: Mescaline Cola

D3: Firefly Finale

Buy here


From ‘Where Were U In ’92?’ to ‘Zomby EP’, Zomby shows his many sides of wonky and straight up Zombyism, as well as combining classical electronic genres and combining them in his own and unique way.

Being a parallell to ketamine and being a centerpoint in the discussion about wonky in general, he shows little interest about what people think – solely by remaining secretative about his identity as well as the absolute disregard to the pinpoints people put on him. One thing that Zomby always keeps up is the freedom he displays with his releases: the extremely unpredictable sound (well, to some extent; you can most surely rely on the sounds from old video games and resemblances) as well as his movements within most of electronic music.

‘One Foot Ahead Of The Other EP’ feels as the album that fits perfectly between his previous excursions. It’s never “too much”, which I could feel with ‘Zomby EP’ on Hyperdub – as well as with ‘Where Were U In ’92’ sometimes. This album feels more narrowed down, in the most positive regard – it feels more evolved and a bit more worked through, as if the idea of the music got a better practical result here.

One thing I really appreciate is that Zomby involves four by four rhythms and illusions, keeping the groove more steady brings in the pressure from four-to-the-floor beats. He manages to squeeze in his own sounds and samples(?) into the rhythms in a excellent way – as he surely always have been doing. It’s nice to feel the fast paced tempo of a 140 bpm techno track getting chopped, ket-ed up, and snorted into a very undefinable and fresh attempt on modern electronic music.

The highlights of the album are these tracks, as well as when Zomby puts things into a more futuristic sense, such as the title track and ‘Godzilla’. I could easily say that all tunes on the album are absolute killers.

You know what you get.

Review: Martyn – Great Lengths

Label: 3024
Catalog#: 3024-005

1. The Only Choice
2. krdl-t-grv
3. right?star!
4. Seventy Four
5. Little Things
6. Vancouver
7. These Words feat. dBridge
8. Bridge
9. Elden St.
10. Far Away
11. Hear Me
12. Is This Insanity? feat. Spaceape
13. Brilliant Orange
14. Natural Selection
15. Secret track???

Martyn’s anticipated album is due in two weeks on the 3024 label, which has a well recieved back catalogue that gets even more solid with this CD.

Martyn has a very defining dubstepXtechno sound, which is at taste with many DJs and fans alike. I personally got a bit tired of that perticular sound after a while, but this album really brings it to a different level. Pushing techno and dubstep into each other with a lot of style and original perception of the two, the sound seems to always come together in a pleasant mix of the energy from the broken beats and uncompromizing sound of techno.

The first track let us know that the 3024 label is the only choice – a track that easily could seem redicilous, but the way Martyn pulls it off it becomes a track that marks the attitude and self confidence that the album indeed has.

Continuing over to ‘krdl-t-grv’ and ‘right?star!’, which probably will be the most frequently played tracks of the album, a harder edge of the sound gets introduced. A sound that first came to the Martyn/3024-world with the fantastic ‘Vancouver’ (which is also on the album). Although I’d settle with the harder edge, Martyn displays a wide arrangement of styles over his own past releases which with all right should be represented on his debut album. The fourth track ‘Seventy Four’ is my least favorite track. It’s alright, just a bit boring. With ‘Little Things’, the dub vibe gets all the focus, making it a interesting piece and a special track. ‘Vancouver’ on the next is just as good as it has always been, placed perfectly on the album.

You can clearly hear a sort of Hyperdub-ish R&B influence on the track ‘These Words’, that features the voice of dBridge from the UK. An effort that I find very interesting and the result is very different. It will take a while to settle with it.

The interlude ‘Bridge’, a track that’s based on an organical piano line and no beats – fits perfectly as a bridge to the last tracks of the CD.

‘Elden St’ is a great track that has a faster paced groove to it that the others, as well as a sound that feels more detailed and processed. Great energy!

The same energy is transformed in ‘Far Away’, which sounds like a hommage to jungle than anything else. After a slowly building intro, a heavy and impressive beat structure gets the space it deserves. The other elements do subtle transformations around this structure which keeps the sound interesting and powerful.

A STL-ish vibe gets fuelled by Martyn on ‘Hear Me’, a track that has a house vibe to it but features drums that pushes it into a stepping groove. Fantastic track. ‘Is This Insanity?’ with The Spaceape, it sounds like it’s recorded in the same session as ‘Hear Me’, but with the spacious ape on the microphone. This is a really tripping track which sounds more like a UK production with a aware sense to it.

The second ambient material of the CD is also placed perfectly. Moving out the darkened sense of the tracks between ‘Bridge’ and ‘Brilliant Orange’, it takes things into a calmer sound. Spacious synths and a melancholic wall of sound brings in another dimension of Martyn’s music.

My favorite tracks:

Elden St.

Far Away

Hear Me

Secret Track? / Unknown? / ??????

Review: 2000 & One – Heritage

Label: 100% Pure
Catalog#: PURE CD 6

1. Burning Dub
2. Honey Bush
3. Spanish Fly
4. Egusi
5. Dat Na Poku
6. State of House
7. Mejiro
8. Wan Poko Moro


Next friday 2000 & One’s new album will be released – which is packed with rough house music that is filled with groove and a lot of Jack.

Reading up on some opinions about the album, people seem a bit divided wether it’s good or bad. I’ve come to the conclusion that the tracks differ from each other, which is probably the reason that it’s caused so many different opinions. Sure, it’s all house music with no frills, but it’s also a wide style of sound that you notice if you listen more carefully. This is why I’ve given it a few listens more than I usually do – hence the review being posted now and not earlier.

To summarize the sound of the album, it’s drenched with 2000 & One’s sound of course, and to be more precise the style he presented with his remix of Chic’s track ‘Jack Is Whack’ and the great Kit Clayton track ‘Grey Amber’. Even though 2000 & One, or Dylan, has gotten a certain sound that you can expect, his album shows a different side of it. With the second track, ‘Honey Bush’, he makes use of brilliant sampling and arrangement, that fuses both funk and calmness together, which is probably the most stand out track on the album.

The funk gets a jetpack with ‘Spanish Fly’, which is fueled by a crazy synthline that goes on for the entire 7+ minutes. Think Radio Slave meets Enrique Iglesias under the supervision of 2000 & One.

From ‘Egusi’ and henceforth, the excellent production skills of man whose been in the music for 20 years gets justice. Pure eye-rollback-jaws-open-6-am-timelessness is fused with the fantastic ‘Egusi’. The track starts off with a unsurprising but steady beat that has absolutely no frills, which would do very well in a transition. Then the synth sweeps in and grabs you instantly before you even notice what the hell happened.

The percussion and beat gets a better focus with ‘Dat Na Poku’, which focuses on a chopped and twisted vocal sample and heavy percussion – most definitely the jack-track of the album. As for the anti-climax of the album, ‘State of House’ comes in, being the worst track of the release. It’s all right, but compared to the rest of the tracks, it just seems to lack the finishing touch of Hermelijn’s.

The album is very well produced, with a lot of attention to Dylan’s sound and attitude. It’s a great album for a producer that makes no bullshit dance floor house – because that’s exactly what this is.

My favorite tracks:

Honey Bush

Dat Na Poku