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Hospitality Presents This is Drum + Bass Mixed by High Contrast + London Electricity [Stomp]

Column: CD Reviews | Date Published: Wednesday, 4 November 09 | Author: Allan Sko | | 2 years, 3 months ago

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Two CDs and 55 tracks of arse-tearin' balls-to-floor D&B mixed by a chimp with ADD. Yes, it's that good. Except, of course, it's not due to our simian friends, but two of the finest minds in the genre today. Messrs Colman and Barrett have placed themselves on the world map in recent years, backing up consistent production with a string of high profile remixes that exude the Hospital label's mantra of smooth, melodic tunes underpinned by multi-layered beats and warbling, stadium filling basslines. An exciting selection, expertly mixed with healthy blends, that tarries but a few minutes on each track before firing the next one into the mix. Heard about this D&B malarkey but don't know where to start? Right here, pal.

	Bridezilla - The First Dance [Inertia]: To say that The First Dance is eagerly awaited underplays Bridezilla's predicament somewhat. Having been handpicked by Nick Cave, ATP and the indie-rock-cred community en masse as the bright young thing of the scene they'd better not fuck it up. Largely, they don't. Their first major release is a case study in simultaneously playing down expectations (it doesn't over-egg the mix) and broadening potential (2007's Bridezilla EP sounds like a completely different band). First track Lunar Eclipse sets the tone perfectly; an elegiac slow build smoulder, revelling in a light syncopated clutter of drums, violin and reverb-rich guitar snarls. Final track The Last Dance is an intense, delicate hushed gothic ballad. As bookends they do a pretty good job marking out the bands territory. In between there's high country, mountain-green pop songs, Will Oldham-style (Tailback) and alt-country rave-ups (Western Front). That said - it doesn't all work. A few tracks plod along directionless but The First Dance is an invigorating and bold statement of intent from a band seemingly not that interested in the middle ground. All power to them.
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	Ace Frehley - Anomaly [Riot Entertainment]: ACE IS BACK! Oh yes, whilst his former compadres in Kiss stagger on their increasingly ludicrous platforms from 'farewell tour' to 'farewell tour', the Spaceman has set about writing a combative album choc full of muscular riffage and bludgeoning soloing that sounds quite frankly like the man doesn't realize it isn't 1985 any more but is none the worse for that. Indeed in the final wash up Anomaly may well be seen as the best thing Frehley has put his name to in 30 years, since he beat the other three Kissers and came up with a marvellous solo album in 1978. Nothing really stands out here, but there's something about the record as a whole that hits the target.
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	Marduk - Wormwood [Regain Records] : Marduk seem to remain faithful to character-istics of black metal while progressing their own style within the genre. Their last effort, Rom 5:12, showed signs of ever-growing maturity - such as the jazz beats of Imago Mortis - and it seems that this new direction hasn't slowed down one little bit. What strikes me as worthy of noting is Marduk's developed structure and production quality. With each new album, the drums get tighter, the guitars get cleaner and more defined and Mortuus' vocals get more and more filled with hate and torment. Some will say legendary, others will dismiss it as 'norsecore'... but whatever your opinion, Marduk will never falter in their quest for black metal supremacy.
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	Jaimi Faulkner - Kiss & Ride [Mumble Music]: Jaimi is an accomplished guitarist with a ripper voice. He's dying to share his experiences and this album is full of beautifully written songs inspired by his travels, particularly in the US. Frequently written on the road, themes vary from the thrill of Highway Life to the heartache of long distance relationships in My Dear Girl. Genres include folk in Rooftops, a bit of soul in Light a Candle (a highlight), blues in Down and a hint of country in Five Flights Up (an interesting choice of style since it was written in Paris). The emphasis is on cool tunes, played at a pace between slow and cruising speed, that are as smooth as new motor oil. I love the rich sound of the electric organ that underscores several songs.
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