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CD Reviews:
I've realized that my favorite kind of writing is CD reviews
because I have the freedom to be ultimately creative with
my words. Over the last eight years, I've written almost
one hundred CD reviews. Obviously, only a few will appear
on this page.
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BPM Magazine
City Breakers
Up, Bustle, and Out
Collision Records
If you love deep-soul funk, slinky hip-hop, and rumbling bass and dub, you will immediately fall in love with the superb production and sonic pizzazz of City Breakers. Employing a plethora of styles and influences, from sitar melodies to bongo beats, to a complete brass section that belts out proper jazz, City Breakers is as hard to define as it is to resist. One of the original “Ninja Tunes” acts, Up, Bustle and Out employs crisp lyrics and funky basslines over everything from deep house to hip hop. City Breakers was recorded with an arsenal of 1970's gear because the crew specifically desired to maintain the integrity of the original Jamiacan dub sound. Such devotion doesn't go unnoticed -- the beauty of this album travels beyond its eclectic soundscape-- every song is complete in and of itself; each musical foray vibrates with sonic potency, firmly magnetizing itself into your funk-groovin', jazz-swingin', hip-hop-dub-lovin' soul. Absolutely a must for anyone serious about da funk. Deana Mayland.-
http://www.djmixed.com/djmixed/reviews/review.cfm?Article_ID=3708
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BPM Magazine
Lostep
Because We Can
Global Underground Records
Because We Can is Lostep's first artist album—an impressive
fusion of electronica, breaks, prog-rock and electro. Out
on Global Underground, the label responsible for releasing
Lostep's very well-received, “ Burma ,” (Involver, 2004)
and “The Roots,” this hybrid album, much like your first
listen to FSOL or Aphex Twin, will blow your mind. Luke
Chable and Phil K (Lostep) aren't as experimental, and do
start off on the chill side; but, they have a knack for
gorgeously sculpting together tracks out of seemingly unrelated,
utterly bipolar sonic elements. And they do it in a not-so-subtle
intertwine that just makes perfect sense.
Because the album starts off slow, some folks will never
fast forward past track three, which is their complete and
total loss. Those that do are in for one of the best albums
of the year. Drums build on each other, amidst dubby
breaks, ethereal melodies, and fucked up bass. What begins
as an anamorphic, primordial soup of sounds is rebirthed
into a gorgeous, fully developed album. And by the time
the beauty reaches your ears, you will be fully immersed
in its sonic ecstasy. This transformation of chaos into
brilliance is why Because We Can will become a classic.
Pure, grinding, and dirty, this album ranges from experimental
through atmospheric, into twisted acid-house and desert
sunrise breaks. The first five tracks introduce the characters
at play: blaring bass, tweaked guitar-rock, psychedelic
beats, and fattened nu-skool breaks. The remainder of the
album employs rock-prog-breaks as its foundation, employing
wider and deeper sonnets of sound, spanning the still-dirty
breaks feel, but imbibing the atmospheric interplay of melody.
If nothing else, you must, at least, listen to “Little
Peaking,” and “Dr. King's Surgery,” two tracks that define
the essence of wicked acid-house beats—all the while trembling
with bass, sprinkled with hallucinogenic pixie dust, and
wrapped in guitar, drums, and crazy, fucked-up breaks. If
you're a fan of Sasha, Adam Freeland, Radiohead, FSOL, Aphex
Twin, or Hybrid, you will love this album. – Deana Mayland
http://www.djmixed.com/djmixed/reviews/review.cfm?Article_ID=3703
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BPM Magazine
Ezekiel Honig
People, Places & Things
Single Cell Music
People Places & Things is a hybrid fusion of synthetic-organic minimalism. By interpreting the sounds of everyday life and melding them into layers, Honig creates a familiar sounding arrangement that is unique and engaging. Not unlike Eno's ambient soundscapes or Aphex Twin's metallic arrangements, this album is beautiful and vibrantly organic, while maintaining no qualms about its electronic origins. Honig makes use of steady lilting tones sifted over light percussion. Sometimes, he employs a single-note piano melody, and other times, a powerfully distinct heartbeat. The effect is unobtrusive, a configuration of intricately detailed sounds that mixes into stupefying beauty. Most tracks are languid and mono-minimalist, but Honig does foray into dance with "Passing Through," and into dreams with the sweetly ethereal "Falling Down." Hovering between scantily clad ambient-experimental and percussion-tripped Plastikman is the blurred genre of Ezekiel Honig.
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BPM Magazine
Sissy
All Under
Global Underground Records
Released on Global Underground, All Under is one of those surreal albums that spawn the fine line between daydreams and magic. At times, lyrics both lush and crisp infuse with passionate vocals over wailing, twitching guitars and twangy beats. Other times, sweetly distant sighs scramble over perfectly mixed dancefloor tracks. Comprised of Canadian outfit David Trusz and Johanne Williams, All Under is Sissy's artist debut—a distinctive, analog blend fused with a future-retro palate. Although this album might be labeled as electronica, All Under approximates the mellower edges of the dancefloor more than its high energy center. By inducing elements of angst-fueled girl bands with prog rock, afterhours dub, and trip-hop, Sissy blurs the lines of “what is.” All Under might be described as dubby trip-hop and blissful basslines, or as the Yeah Yeah Yeahs, heavily dosed on morphine. Either way, its Sissy's fierce, in-your-face passion that generates a highly versatile twist on the old, blended with the sounds of now. Tracks not to miss are the moody, funky and utterly superb “So Long,” the darker-edged “I See You” and the aptly named, “In the Dark,“ a song both emotionally distant and curiously comforting. Fans of Massive Attack, Portishead and Björk are sure to enjoy this album. -- Deana Aria Mayland
http://www.djmixed.com/djmixed/reviews/review.cfm?Article_ID=3749
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REMIX MAGAZINE:
EVERY MOVE A PICTURE
Heart = Weapon (V2)
Smarter than the average pop band
Every Move a Picture (EMAP) has made its debut with Heart = Weapon , an invigorating swell of angular guitars over post-punk, nu-wave and disco-rock music. Employing a broad range of influences, ranging from early U2 and The Cure to INXS, EMAP may sound like Franz Ferdinand or Arcade Fire, but the group's infectious energy and eclectic style completely trump the competition. Synth lovers will recognize the Korg MS2000 and MC-505 throughout; old-skool heads might even hear the Roland TR-808 kick in “On the Edge of Something Beautiful (at 12 a.m.).” — Deana Aria Mayland
http://remixmag.com/rotations/remix_cd_reviews_41/
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REMIX MAGAZINE:
THE FORTH
Electric Calm v.3 (Global Underground)
Lovely, lush and moody
Dreamy, elegant, rich and textured, Global Underground's Electric Calm v.3 is an amalgamation of moody drums, melodic tapestries and succulent vocal arrangements. Mixed by Andrew Archer and John Elliott, aka The Forth, using a combination of Ableton Live, Cubase and Pioneer CDJs, Electric Calm glows with subtlety and finesse, every track embedding itself into the next. Standouts like Trafik's “Shades” or the delicious midsection in K Roxx's “Live for Never” (mixed in Swain & Collingwood's “Never Be The Same”) may reel you in as a Forth fan for the long haul. — Deana Mayland
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Flaunt Magazine
Messer fur Frau Muller
Triangle, Dot, Devil
Aero CCCR Records
At first listen, Messer fur Frau Muller's Triangle, Dot, Devil appears to be an elaborately constructed sonic joke, superbly produced and utterly intriguing, but way out of left field.
Whereas most albums pay homage to one or more styles, Triangle, Dot, Devil is an entire smorgasbord of never-ending sound clips. Vocals swim amongst pop cultural references in a goofy, stew of swanky horns, 50's and 60's lounge, surf, twist, and mondo. These elements are dipped into a vortex of jazzy catcalls, punctuated with sly doses of bass, sprinkled with electronic rock-polka, and flavored with cool flamboyance. Created by two Russians, and featuring a world-renowned theramin player, Triangle, Dot, Devil grows more relentless with every listen. The funky riffs, wacky vocals, and sexy Mod beats seep into a fabric of delicious, witty, international pop cultural references. The initial effect is a bit weird; and yet, over time, blissful, reminiscent, and sweet. Remember that bar scene in Star Wars? This album is its sonic equivalent. In fact, Triangle, Dot, Devil would make a fantastic soundtrack to many a bizarre cult video mash-up: Imagine Ginger and Mary Ann, dancing the Twist with Austin Powers; Monty Python making out with Catwoman in Charlie's Chocolate Factory; or the Pink Panther, wandering around Burning Man, looking for his pipe. Triangle, Dot, Devil is all that and more. If you like funky party-lounge music, you will love this sublimely retro, uber-creative album. Deana Aria Mayland
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Flaunt Magazine
Morgan Geist
Unclassics
Environ Records
With a tone that hovers between Frankie Smith's “Double Dutch Bus,” Donna Summers, and the B-52's, Unclassics is superstitiously succulent, a tender compilation of disco-electro tracks that should have made it to pop status, but never did. The man behind the mix is Morgan Geist, a well-respected producer/remixer, one half of Metro Area, and owner of Environ Records - a label known for plucking nearly forgotten gems from complete obscurity and grooming them into spaced-out, disco house. Unclassics is the first compilation of this sort, sporting a seamless mix of porn bass lines, Soviet funk, Canadian new wave, Euro boogie, and Italo-disco from the late 70's and early 80's. Despite the 20 year lag, quirky tracks like “Special Agent Man” -- which feature a female voice commenting on her existence in the voyeuristic world of gaming and programming-- are remarkably current. And others like “Baja Imperial” surf trendy Latin vocals over early hip-hop lyrics. Regardless of your musical taste, you're bound to love Unclassics . It may be heavy on the analog basslines, but it's a 100% tested and approved, boogie-down, party pleaser.
-Deana Morgan
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Flaunt Magazine
I Like It, Vol. 2
Various Artists – A Compilation
Compost Recordings
I Like It, Volume 2 is an auditory stroll through the music vaults of iconic artists and record collectors. Far from a standard, themed compilation, I Like It asks each artist-host to sift through his favorite tunes and compile three all-time, favorites, granting complete and total freedom with every submission. The result is akin to a private party, hosted by musical giants Trevor Jackson, Richard Dorfmeister, Pole, and Trickski. The tracks range from rare B-sides, to fusions of groovy lounge, dub-reggae, soul, funk, acid-jazz, bass-heavy hip-hop, and funky, chill down tempo. Even the packaging is unusual, with collectible cards and photos of each artist-host, alongside tongue-in-cheek inquiries like, “What do you read on the toilet?” Musically, the tone is irreverent and funky. It begins with Trevor Jackson's offering of “Baby I Love You So,” a cover of the famous classic, but, now pickled in reggae, and dripping in dub . Pole maintains the energy with “Do The Digs Dug,” a bass-heavy riff on life that fuses samples of the Mission Impossible theme over theatrical hip hop. Richard Dorfmeister's submissions are all eclectic; the most notable is a rare 1969 piano jazz tune called “The Air From Other Planets.” Trickski completes the vibe with “Just Don't Stop the Dance,” an electro-hip-hop track originally intended for the Paradise Garage, but released two months after it closed, and subsequently forgotten as a B-side that never made it. Overall, I Like It is a beautiful reflection into the infinitesimal moments of stillness that accompany the whimsical moments of life. The compilation is perfectly quirky and sweetly in tune with all types of personalities, guaranteed to spice up a lazy-hazy late summer afternoon, an early-morning surf jaunt, or a swanky, after-hours loft.
Deana Morgan
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Flaunt Magazine
NextAid Compilation
reBOOT ( Om Records)
Peel back the day's tension, and reBOOT into a luxurious soundscape with this benefit CD by NextAid and Om Records. reBOOT is composed of mostly unreleased, original works that encompass a spectrum of styles-- from spoken word, to soulful house, to subdued reggae. The masterful lineup includes artists like Thievery Corporation, J. Boogie, aFRO-mYSTIK, Louie Vega, Mark Farina, and Garth Trinidad-- all fused into a distinct compilation that rides the cusp of soulful, deep house. The mood is flirty-funky, a sexy romp through Motown blues, tribal beats, subdued breaks, and dreamy-sweet, reggae-dub. Standouts include: Adam Freeland's, “Nowism,” an intelligent breaks and rock track subdued with philosophical musings; Garth and Markie Mark's, “7 Days with Kayan,” a slithery journey, dripped in funk, mysteriously contorted vocals, bluesy rhythms, and psychedelic, 70's guitar. There's also Miguel Migs' “Messages,” a powerful dose of creamy rhythms spattered over African-tribal beats; and DJ Tonk's, “Forgive Me,” a dubbed homage to swanky soul and proper funk, awash in a glaze of deep house. OM Records President Chris Smith describes reBOOT as a CD that “pays homage to the roots of our music, while raising consciousness about the urgency of [the situation in Africa .]” Thanks to donations from all the artists, sale proceeds will provide food, education, healthcare, and the materials to build sustainable, earth-friendly housing for African children orphaned by AIDS. This amazing project is a masterfully presented compilation whose conscious seduction is an absolute must-have for any music lover.
Deana Morgan
