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Webernian sense, and are set in motion by entirely personal means not analysable in terms of other music. Though very tightly organised, these compositions are completely free, almost arbitrary, the highly involved rhythms and textures arising from this being a multi-layered mode of musical thought. But Wolpe turns this character on its head, structural landmarks evidently being avoided, links between events suppressed. One feels as if on the verge of discover~nga whole new terrain. W HARRISON

in brief dubKodwoEshundoes a uitical beatdownon the new dance releases Dave Angel Origins (AURA PRono 12")A fascinating celestial Techno take on the Black origins of mankind, a subject whose implications are usually explored by HipHop in terms of nostalgia, despair, inchoate fury and, occasionally, wildly imaginative fantasy scenarios. Without any of the techniques of rap, Angel opts for a frankly sacramental atmosphere, counterpointing whispered voices against a surging three figure refrain with astral vamping in the beyond. Fine, fine, fine.

BoogieTimes Tribe Real Hardcore Pts 1 & 2 (SUBURBAN BASE PRMO 129 SOmuch going on in the polyrhythmicabandon of this record: accelerated trills up and down the piano, abrupt switches in tempo, moments of dread slowness punctuated by the highest squeals, moments aficionados call "breakdowns" which act as preparationfor the garbled chorus line. We know that 13-1 7 year olds are nothing more than demon seed, the damned children of England (an estate block in a drawn out and terminal decline). What's incredible is how many dance gatekeepers share this prognosis. Unacceptable behaviour, unfathomablemusic: it's all here.

Goodmen Give It Up (~rtmmrr RECORDSTABXDJl18 12")Last year's 'tribal' boom was overshadowed by trance, acid and the new electronic stuff which were easier to find and easier to grasp. This is what people mean by tribal: a brazen horde of massed drums, something indefinably shameless and busy in its abrupt invitations and solicitations to "give it up".The Bside "Land Of Haze" is much favoured by Carl Craig and Derrick May, but all I can think is how much it reminds me of Inner City circa "Big Fun" and "Good Life". Can there be higher praise?

Jomanda I Like It (BIG BEAT010124 12")This bites more than a bit off SWV's nasal pinched tone which is cool with me since SWV, pace Esther Armah's piece in The Wire 114, RULE at the moment. This is way different to the sparse rigour of Jomanda's sound a couple of years back. It's right in line with the post-Mary J. Blige atmosphere of 9 3 soul -a little less stately and regal perhaps, but more relaxed than, say, Chante Moore. Listen up for the Beatnuts remix which is dry and parched like a desert and all the better for it.

Northwick Circle The Love High EP (CENTRESTAGE RECORDSPROHO 12")A superbly snake-hipped insistence on submission, a disquisition on being locked within, as opposed to beingfreed from, the limits of the mind. The chorus is scatted and dislocated down to its simplest elements. Take Nathaniel Mackey's argument that scat, as an apparent mangling of articulate speech, testifies to an unspeakable HISTORY the singer is both vanquisher and victim of -and apply it to this record. What if machines are doing the scatting? Does itjust offer new ways of expressingthe inexpressible?Are these two things the same or not?

Original Rockers Round And Round (DIFFERENT DRUMHERG0018 12")Responsible for last year's best dub trance collusion "Push Push", Original Rockers this time lash their synthesised bass undertow to a street soul female vocal. But the gritty empiricism that implies is evacuated, emptied by the vast


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force of dub's echoing repetition. Soul is made to give up its ghost of toughness in order to yield a more sombre and poignant wistfulness.

Various Artists In Full Swing (RUMOUR RECORDSWMULP)An excellent compilation showcasing the sumptuous luxury of swingbeat from the UK. Swingbeat's insouciance, its elegant indifference toward the social in any form except the most shamelessly material is always going to annoy people. More interestingto note that this tunnel vision, this exclusive preoccupationwith the most conventional terms of the good life, yields precise pleasures: the swooning keyboard wiggle of In2U; the smooth polish of Lace; the intricate play of echo and feedback of Silanc. All the groups have names like romance novels, and all the song titles read like practised chat up lines. This release is a gorgeous hallucination of the future state of England.

outline bluer Mike Atherton sees blues reissuesfalling down like hail

Blues artists didn't come much bigger, in physical or musical stature, than the late Albert King. His dry, weighty voice and taut, string-squeezing solos (on his trademark Flying Vee guitar) were particularly effective on the renowned 1966 session which producedthe classic "Born Under A Bad Sign", but much of his later work sounded soggy by comparison.

Fortunately this wasn't always the case, and Crosscut Saw: Albert Mng InSan Francisco (Stax SXE 076) from 1983, comes as a pleasant surprise. Backed simply by guitars, drums and Michael Llorens's real steam piano, he exerts relaxed authority over nine songs ranging from the sombre "Flooding In

Sequel: through Castle

California" to the light-hearted "They Made The Queen Welcome".

Club trax 12"s and albums It is not to the credit of the original through Greyhound, Record compiler of the album that the best Corner, Revohrer, Pinnacleor two tracks on this CD reissue, a specialistdanceoutlets pounding "Crosscut Saw" and a

The Wire 69

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