Working on an unlimited time frame, without the usual constraints as to what songs might go on the final album, they aimed and succeeded in a concept piece about London. It’s clear they hugely enjoyed making it, recording in a deserted office block, then Liam Watson’s famously old school and basic Toe Rag Studios. The inner sleeves of this double on photo gatefold are jammed with its back story, as told by the group. As far as the band are concerned, this is their magnum opus. The Madness reissues reach an apex with this one from 2009. Madness The Liberty of Norton Folgate (BMG) This isn’t to say it doesn’t have synth elements – it does, adding psychedelic wobble and woosh – but the rolling, ZE Records-ish style, replete with jagged, smeared, half-spoken vocals, is a 2023 update of what the discerning might have heard if they’d accompanied Tina Weymouth to the best underground New York clubs in 1980. It’s festival music, late night music, made for dancing but owing little debt to the decades of electronic dance. Mauskovic Dance Band Buckaroo Bank (Bongo Joe)Īmsterdam’s Mauskovic Dance Band release a second album that satisfyingly draw lines between post-punk funk, dub and a multiplicity of tropical music styles. Grounded in a booty bass low end, Edgar takes the listener on a thrilling journey into the extraordinary capabilities of his machines. On the other hand there are pieces such as “Slip’n’Slide” which revel in the sheer unnatural and disorientating deviance of electronics and what that does to the brain. Edgar's latest album is mostly a series of collaborations which adhere vaguely to a song structure on cuts such as “Euphoria”, featuring Lizy 2K, and the death metal vocal-chorused “Static”, featuring Banshee. Detroit technoid art maverick Jimmy Edgar’s latest indulges in pure, welcome electronic ear-fritzing, a place where R&B has it out with Aphex Twin or Sam Gellaitry’s most twisted constructions, and, most entertainingly, more than half an ear on pop.
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