Crossfade Grimoire

5.1.3: The rest of the story (RIP Paul Harvey…for my sanity’s sake)
Current mood:  lethargic
Category: Music

CROSSFADE GRIMOIRE

5.1.3: The Rest….of the Story

GLOBAL

BLY
(2008)
Por un manana     5.0
Estoy tembleando   4.75
Desempleando      4.9
Nunca lo es tarde 4.75
BLY      4.5
(2006)
Y Sin Mirar Codigo Postal   4.9

Alejandro de la Parra Solomon, alias BLY, may be virtually unknown to places where Spanish-language television isn’t common, but to those familiar with Televisa, particularly its soap operas, Solomon is practically a household name in some circles, much like Howard Shore and Danny Elfman are immediately recognizable to British and American film buffs. It has to be said that while the UK has “EastEnders”, “Coronation Street”, and “Footballers’ Wives” and the US has legendary soaps like “Days of Our Lives”, “General Hospital”, “Dallas”, and “Dynasty”, neither country has anything on the almost fanatical popularity of a hit Televisa/Univision/GEMS soap.
The point? Solomon’s resume as a television composer is almost equally legendary: Codigo Postal, Trece Mierdos, Destilando amor, themes for news shows Noticieros Televisa and Televisa Deportes, to name but a few of the shows he has written over 870 songs for. The above tracks, with the exception of “y sin mirar” mark his entry into popular music in both Mexico and the US.
“BLY” is his entry into American R&B/pop and while it has some nice moments, particularly in its understanding of darker electronica and Eurodance conventions, this is not Alejandro’s strong suit. While sounding like a Mexico D.F. version of Seal, the track’s rapping is not a good idea at all and the dance mix, which is a little too close to Haddaway and Will To Power, needs an overhaul.
Better, by far, are the rest of these tracks, which are quality (and I mean, PRIME quality) Spanish pop and rock. Say what you want about that genre; nearly all of the stars in that format have, at bare minimum, great voices. “Por un manana” is the best of the bunch. Sounding like a Mike and the Mechanics release channeled through expert mainstream pop production, the track is more UK/American in tone than “BLY” is, without even trying.
“Estoy” trades anthemic voice for tremulous tenor and veers from crafted pop/rock for contemporary Broadway construction with a solid rock foundaton. A midsong injection of electronica adds diversirty and flavor, and is as top-flight, production wise, as any major-label US release.
“Nunca” (”it’s never too late”) is uptempo dance-rock with widely varied influneces: Tool in the guitar track, Pink Floyd in the arrangement. There’s also a good synthesis of alternative and mainstream rock in the vocals.
“Desempleando” and “Codigo” are the most Spanish-inflected of the bunch, the latter functioning as theme for the 2006 series of the same name. “Desempleando” uses a mix of hip-hop and tango rhythms with lush jazzy changes to highlight BLY’s beautiful tenor, an instrument worthy of comparison to Johnny Mathis, if not Stevie Wonder, in terms of flawless delivery. The jazz base feels like a modern Jobim tune but with an electronica underpinning. “Codigo” is typical of modern soap operas in that area of the world. Beautiful arrangements, multitracked vocals, and excellent songwriting make this theme a stunning opening/closing theme. Now..if we can just get “Desperate Housewives” or “Sex and the City” to get something decent to listen to…
HARDSTYLE

Derb
(2001)
DERB 5.6
in Africa 5.5
(2006)
second trip                                                       5.3
Satisfaktion 6.35

At first, these ratings may look suspiciously high. In fact, these amazing hardstyle/hard house tracks cover a period of about 4 years of output. This is just a selection of German DJ/artist Kai Winter’s recorded output, and it is uniformly excellent. Fans may recognize his work with remizing Space Frog’s classic anthem, “Follow Me”, his work under the name Derb, or as Kan Cold in the project Hennes&Cold. Regardless, he is a talent that needs more than just European exposure.
“Derb” was originally released on Jan. 22, 2001, as it is one of the featured tracks in 2005 Sensation Black’s acclaimed Megamix segment as well as a clip of his “Follow Me” remix. “Derb” is one of those frighteningly simple yet irresistably catchy techno dance hits you can never quite get out of your head. The lead synth riff is classic, the mix is simple but perfectly suited to the groove, and it’s one of the best and biggest European dance hits of the last decade.
If  “second” and “Africa” aren’t as inspired, they make up for it in diversity and production. “Second” features hooky hardstyle/hard house stylings with a generous injection of trance. The track has a great 70’s feel running through it and its midsong mix is varied and great to listen and to move your ass to. The highlight, though, is the song’s second drop, which is solid modern technorave at its finest. “Africa” trades retro 70’s stylings and simple riffage for a rhythmic african vocal chant over pounding bass. Similar to “Derb”, “Africa” is relentless techno but with propulsive acid techno touches that hark back to van Helden’s days of glory. A throbbing but slightly deranged midsong break and a return to the song’s driven beginning mark this one as an instant hit.
“Satisfaktion”, however, is Winter’s current masterpiece (current meaning it’s sort of new, with a release of Nov. 2006) as Derb. The song (an awesome and trippy experience in headphones) takes a standard and repetitious vocal and percussion loop and then jacks it up like vintage Art of Noise. After a bit of ace and weird editing, the song reveals itself as an awesome piece of ass-shaking techno. Returns to the vox/perc loop and to the foundation rocking meat of the song are skilled and varied, and while i can see why “Derb” was a huge hit, I cant understand why everyone with a pair of headphones and a CD player doesnt know this song cold. Epic techno from a great artist.

[Edited for shockingly wrong release date errors, 5/11/08- SM]

DJ Nolche
(2008)
Ain’t No Colours of the Dust 5.95
(n/a)
Indian Hardstyler                                        4.6
Pictures of You (remixed)                             1.9

DJ Nolche may be one of the youngest entrants onto the hardstyle scene (at age 15..age may be incorrect. stay tuned) and like all promising young artists before him, his current output is peppered with supreme achievement and well-meaning but worthless experimentation.
The “remix” of “Pictures of You”, calling it for what it is, is tape-speed experimentation and vocal track pitch-altering, and while it’s surprisingly consistent considering the DJ’s age, it is crap and wickedly unpleasant to listen to. A little background in Todd Rundgren’s voice experiments or Brian Eno’s electronic manipulations would greatly benefit Nolche, and while I’m interested in his more avant-garde experiments, this one needs to hit the dustbin.
“Indian” takes raga and submerges it into funky hard house/techno stylings with more than a little success. It is fairly standard as some hardstyle can be, but a funky ending and solid production make it a good dance tune. He really shines, though, on “Colours”, a fantastic extended mix that puts some of his older hardstyle brothers and sisters in the dust.
“Colours” is nothing short of a superior-to-classic mix, to the point where you cannot tell what is Nolche’s mixing layers/segues and what is the original 12″ from the original artist. At nearly 10 minutes, most if not all of the major styles of the present are covered: Luna’s aggressive/nontonal technoslam, Technoboy’s effortless and propulsive hard techno, Daniele Mondello’s minimal and pounding Italian hardstyle, even the epic screech-and-roar of the Prophet and Deepack. This mix is truly the cat’s ass, and anyone the least bit interested in hardstyle or European hard house needs to hear this ASAP. As the most current track from this young but talented DJ, the future looks ace!

Express Viviana
(2008)
Tzunami [Express Viviana remix]          4.6

Italy’s Express Viviana is one of the most sought-after DJ’s in her field and frequent collaborator of Italian hardstyle master, Daniele Mondello, which is no surprise, since their work together is uniformly excellent. They are also one of the few, if not only, husband-and-wife hardstyle collaborators in the business.
The original version of this tune (Daniele Mondello vs. Express VIviana- Tzunami Original Mix) was featured last issue, and Viviana’s remix of the tune, while not earth-shaking, is solid and brutaly heavy. Her recasting of the tune includes hard-assed rhythm section, even harder than the original, and prime acid-synth madness on top. The result, in effect, isn’t that dissimilar from some Atari Teenage Riot remixes, in terms of pure heaviness. The tune breaks out into a true hardtrance anthem and while it is not as intense as either she or Mondello can be in a live setting, it’s a good mix that is guaranteed to shake you ragged.

Daniele Mondello vs. Express Viviana
The Boss                4.75

While not as awesome as the former’s “Eliminate” or the latter’s classic live set at Club Piramida (on youtube.com), this collaborative tune is a better-than-usual hardstyle tune. It has all the hallmarks of classic European hard house: synthesizer madness in the form of a killer riff, headsplitting bass and snare at a breakneck pace, and production/mix that gives you the distinct feeling that the tune is a little drugged-out. “Boss” scores high in all areas and adds some quality trance patterns into the mix (so to speak) that are recognizable yet original. Prime usage of EQ and envelope modifications also make it a stand-out in the sea of hardstyle releases currently making the rounds.

RAP/FREESTYLE/HIP-HOP

Louis Brains
(2008)
life                           4.25
freestyle                   4.25
hippocritic oath        4.8
(n/a)
Greetings                                    n/a
A New Year’s Resolution (intro) 4.1

These tracks represent not only a good formative effort by the Middletown, CT freestyler, but in the case of “oath”, tastes of great work to come. “Greetings” is one of those spoken tracks that typically open a CD, and while I didn’t rate it, it’s amusing, if a little too cocky for its own good. (Cant wait for the response I’ll get for that comment…)
“New Yeats” is a short clip, not really a track, more of a demo. It has a nice, laid-back feel to it with pretty intense and intelligent freestyling, though, and I’d really be interested in hearing the full version when it’s available.
Louis’ current 2008 work represent a solid, in-progress style development and hint at innovations to come. “life” casts tinkly Rhodes piano jazz into a cool jazz/hip-hop groove. The freestyle is street-smart and real, and the track has a nice Luscious Jackson feel to it. “freestyle” is self-explanatory, for those who might have been fooled by the title. Interesting track effects (cheesy TV commercial, good old-skool scratching) add to the thief/burglar-injected freestyling and jazz loop. Brains’ mix of huimor and no-nonsense rhyme is refreshing and great on the ears as well as the mind.
It’s with “oath” that the artist emerges and the street-poet takes a walk into the shadows. Using a variety of characters and vocal deliveries, “oath” is a hot freestyle track that is more story-driven than invective-laced. The tune’s refrain is unconventional but hooky, sort of an in-the-street iambic pentameter riff that sticks in your head. Classic skratching add much to the proceedings and while the end sequencing is a little long in the tooth, it has a cool minimalist (read: Philip Glass) vibe. Stay tuned for future tunes by this creative mind.

Jonny Details
Depths of Perception   5.05
ANTI GRAViTY ANTHEM  4.55
Submerged Third-Person   4.85
Shit’s Got Purpose   5.55
what makes us 5.45
Jazzmatazz [Biotic headbanger mix] 4.95

Enter the perfect resume for a NYC s-o-c (stream of consciousness) urban freestyler:
1) streetwise and cocky for days. For proof, check out the promo pic for his forthcoming album, “Natural Habitat”, where these tracks originate.
2) Jazz-influenced with an almost unreal grasp for rhythm and nuance: the Big Apple has both Broadway (some of the most difficult popular music of all time) and the Village, where jazz legends were as common as conmen on Coney Island.
3) Intensely literate rhymes that never deep-six into pomposity: NYC was as much a Beat writers’ dream as San Francisco’s City Lights Bookstore was, and some of the most intense literary icons hail from the seven boroughs.
and 4) former member of the Dirty Junglist Squad, one of EDM’s true visionary assemblages: for proof, Zootkitt*Mysterieuse, 4 eva blesst and Geevious were also members. ’nuff said.
“Depths” is solid hip-hop beats, classic 60’s jazz sample (sounds like Monk circa 1964), and some of the fiercest and fastest freestyle you will ever hear. Ace production by 4 eva blesst, including an awesome dub section, make the acid freestyle that much more disjointed. God..this issue has become a full frontal 4 eva blesst assault. Sorry..got distracted.
“Anti” and “Third” aren’t as successful, primarily due to departures in form and feel, but they are still worth earplay. “Anti” uses a wonderfully cheesy B-movie sample over dark trip-hop. Details has an obvious but paid-in-full debt to the Beastie Boys here, with the exception that his rhymes are ridiculously complex. It’s like “Sabotage” channeled through Yellowman and mixed by Goldie circa “Saturnz Return.” “Third” takes acoustic guitar textures with vocal as base for some of the most amazing hypersyllabic patter-seuqences I have ever heard. (how does he do that without triggering asphyxiation?) In this case, though, the skills of the vocal track almost detract from the intelligent wordplay, and when words are the point, that’s not necessarily a good thing. “Jazz” is less meth-rappy: using a great post-bop jazz quote, Details shows off nearly flawless jazz rhythm, and in at one point, funny as hell. “BLAAH”, indeed. Jesus..
“What” and ”Purpose” are  true classics that defy genre classification. “Purpose” uses prime jazz loops (Miles Davis/Jazz Messengers-style) over mellow hip-hop and a smooth-as-silk vocal delivery that is both streetsmart and classy. Extra props for being one of the most literate and free-associative tracks in years. “What” is also great but may also indicate where Details might be takihng his sound. Colombian producer Keko’s use of Argentine guitar loops, jazz-like bassline, and hip-hop beats is stunning, and transforms the tune into something more than the sum of its parts. Also, Details is one of those rare mouthpieces that isn’t too crunk to get into what the DJ is unleashing. Stay tuned for a feature on this outstanding album coming soon! Details, you da man!

[Edited 5.13.08 SM]

SELF
Devil May Cry    4.8
Forsaken   4,8
Soul Manipulation Remix [Hazardis Soundz remix] 5.0

[Editors note: Apologies to SELF are in order as the fourth track, "Triple Cross Revisited", will be included in Issue 6 due to maximum song limits in the current issue. Also, the rating of "Soul Manipulation Remix" has been altered from the prior 4.9 to a full 5.0 rating as of 5/7/2008 after final reconsideration of the track.  SM]
Coming from the wilds of the true Vice City (no…San Andreas was a great game, but south Florida has Los Angeles beat when it comes to that claim), SELF’s stream-of-consciousness freestyle is more free-associative and inspired by a true understanding of Allah and related topics. I bring that to the forefront for one reason and one reason only: In this age of warfare, political chaos and racial unrest due to clashes in religion and ideology, it is not only refreshing, but fucking invigorating to listen to a hip-hop artist that is not only versed in the gospel of the street but also in the intellectual realms of religion and philosophy.
I hope artists like SELF will bring an end or at least a lyrical redefinition to a genre that is more vital and cerebral than just “thuggin, ho slappin an gangsta4lyfe no muthafuckin compromise, yo.” Okay, soap box is put away.
Each of these tunes is part of a unified release due out in the summer of 2009. “Devil” is helmed by an organ-driven (read: Jimmy Smith) groove that compliments SELF’s progressive and politically-charged rhymes. The political themes are well-presented and the chorus is very good. “Forsaken”, using a slightly annoying and scary sample, is even more sociopolitcally motivated and crosses college learning with street experience.
“Soul” is a credit to both SELF and Hazardis Soundz. While more gangsta in feel and presentation, the delivery is a lot more complicated and eclectic. Utilising a multitracked call & response sequence, complex-meter rhymes packed to the brim with obscure and cerebral references and a clear topical slant, this is one track that does what George Clinton did with “Mothership Connection”: educate the mind while satisying the body.

HOUSE/DISCO

Hot 2 Go
2L8                       5.4
Australian Kiss   5.45

Hot 2 Go is one of the hottest current Australian tickets out there, and for good reason. Their thorough understanding of dance rhythms, polished arrangements, and entendre-laced lyrics makes them instantly more visible in the mass of faceless club and inspirational trance anthems that crowd the floor. They also have a knack for releasing unashamedly gay-oriented music with class and verve. Here’s to hoping America gets over its closet problems soon and just enjoys the music!
“2L8″ is a brilliant summaton of past and present influences, channeled through their own sound. Elements of Orchestral Maneuvers in the Dark, Scritti Politti, even REM’s pop-style, are present in the mix. W..hile not as dancey as their previous tracks, “Backseat” and “Flog the Dog”, the track is a slow-burner that almost feels like a song from “Rent” if that seminal musical had been scored for electronica.
“Kiss” gets the higher nod for its prime bump’n'grind mix, great slide blues loop, and terminally oversexed lyrics. With its breathy falsetto/orgasmic tenor vocals and brilliant “because you kiss down under” double-entendre, file this song under next generation Prince in the folder marked “Great Songs About/For Fucking.” Because America is really just a bunch of prudes who are only pervy when they think no one is looking, this song won’t get much airplay here, but where people are a little more comfortable with themselves, this song is a potential 1!

NU-STYLE R&B

20Mile
Sexy Never Left   5.0

Originally slated for their earlier review, this track somehow slipped through the cracks, which is unfortunate, because this song even blows the walls off of Jae Wiz’ inspired remix of “Where She At.” Using a rhythmic pulse not unlike Eddie Grant’s “Electric Avenue” and Basement Jaxx-inspired synth, “Sexy” is almost new wave R&B, sort of what Soft Cell would have been like if they had been members of Cameo.
The vocal styling is equal parts good boy-band (as opposed to All4One BAD boy-band), the arrangement is good synthpop ( as opposed to Giorgio Moroder BAD synthpop) and the rap is inspired (well…as opposed to “Where she at.”) The vocals go a little off-key at the end, but it’s not nearly enough to damage this awesome piece of soul. R&B Outkast? Why go for extensions of previous artists when you can codify your own style, guys? I’d listen to this over Speakerboxxx anyday!

There it is: Issue 5’s reviews are done! Up next: Fake Lazy Supernovas and their awesome upcoming release, the down-and-out near-masterpiece by Nine Inch Nails, and a sneak preview of “FTS Vs. Hardcore”, an EDM compilation that needs to be heard to be believed. Oh..and the first Mayfield editorial rant.

end CG 5.1.3