Make no mistake the Drumattic Twins are old school, in their early incarnation as Shades of Rhythm they ruled the land, and now under their well established moniker as the Drumattic Twins they are very proud to present their sound in the form of ‘Hammer & Tongs’. A savvy melange of breakbeats, soaring strings, electro roots, sprinklings of soul and rude basslines.
Kicking off we get treated to their recent dancefloor success ‘Don’t Be So Drumattic’ which certainly hit the spot with an eclectic barrage of DJs and resulted in some impressive chart positions, (Beatport Number 1, Buzz and Cool Cuts). Urgent strings set the pace for the kick/snare, squelch-athon, whilst the old school D-Shake strings play tribute to the boys’ rave roots. ‘Hyperspeed’ originally released in 2007 has become some what of a classic, a signature tune for the DT’s decks N’ FX shows. Pumping bass and concrete beats are the order of the day, laying the classic funk foundation for a delicious slice of early electro. Originally taken from ‘The Return Of Captain Rock’, Hyperspeed’s vocal sample has been smashing up dance floors in one guise or another over the past 20 years. The Drumattic Twins have added their own inimitable flavours to the mix, punishing bass and fizzing acidic leads prove that the ‘old school’ can also be ‘new school’ for another generation.
Next up is ‘Broken Planet’, laced with eastern charms it soon signals the alarm before descending into a sub frequency workout, heavy, heavy breaks. Next into position comes ‘Sound of The Drum’ which grabs the reigns like a jockey riding a winning stallion to the finishing line; a relentless one note bassline, gated synth and tongue in cheek, chopped up hip house vocal drives this tune all the way. As the energy drops down a gear, we are treated to ‘HeartBreaker’ with its N-Joi inspired keys that drift alongside the percussive beats and synth breakdown, resulting in nostalgia that induces misty eyed memories of the good old days.
What better timing than to be slapped in the face with ‘Back to the Old School’, a piano driven, hands in the air, explosive tribute to where it all began. A modern day twist with Bamboata influenced strings, vocoder vocals that take us to outer space and of course that throbbing galactic b.line, all executed to perfection.
Rather amusingly named ‘Deep Throat’ is a disco-esque departure from the more typical DT sound, keeping the funk firmly on the peddle ‘Deep Throat’ tickles and teases with its 70’s strings, P Funk bassline and beat rhythms. ‘Twister’ is another of the boys earlier success stories, featured on Playstation’s Pure Wipeout it has been a firm favourite with DT fans worldwide. Classic in it’s recipe, electro, breakbeats, acid and rave connotations throughout - compelling underground dancefloor material.
‘Under The Lights’ oozing with funk, confident like a classic and peaking on the vibeometer at plus 10, the uplifting string breakdown sooths the soul and makes us yearn for just one more E! ‘Pick me up Baby’ has ‘balearic’ smacked all over it. The laidback soothing vocals are soon engulfed by a mother of all basses as the strings fly high and Lanx is let loose with his masterful jazz keys. Leading neatly into ‘Soul Flower’, a piano/beat ensemble that grooves with confidence sets another mood for the album.
Now on the final straight we get the menacing ‘Fly Young Canaboids’. Sirens, live drums and a weaving synth take the listener on a trip into the depths of the mind of a drug user, hard, compelling and addictive! ‘Drum Thunder’ has orchestral stabs, a signature bassline that dances with the lead vocal ‘another jam’ before the ‘drum thunder catcher’ bursts into the proceedings with irresistible charm. An almighty breakdown twists the glitch to the max before propelling us back to the lead ‘drum thunder’ vocal. A potent slab of dramatic magic is unleashed. Until finally we arrive at the slower tempo of ‘Antique Vinyl’. A conceptual track that morphs from vibe to vibe, embracing a spectrum of sounds and influences and enlisting the vocal charms of Claire Gillgrass. So here it is, the latest in Finger Lickin’s award winning success, we give you theDrumattic Twins — ‘Hammer & Tongs’.
iBeats Drumattic Twins - Hammer + Tongs LABEL: Finger Lickin' Records CATALOG#: FLRCD024
GENRE: Electronic
STYLE: Breakbeat / Breaks
LENGHT: 60:02 min:sek
BITRATE: FLAC (Free Lossless Audio Codec) RELEASE DATE: 20/05/2009
TRACKLIST: 01. Don't Be So Drumattic
02. Hyperspeed
03. Broken Planet
04. Sound Of The Drum
05. Heartbreaker
05. Back To The Old School
07. Deep Throat
08. Twister
09. Under The Lights
10. Pick Me Up Baby
11. Soul Flower
12. Fly Young Canaboids
13. Drum Thunder
14. Antique Vinyl
Drumattic Twins MySpace Drumattic Twins discogs.com Drumattic Twins official website Thanks to original releaser!
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Pendulum completed 2008 with a sold-out tour that saw them play to a combined audience of over 50,000 people. Now Pendulum can confirm the June 15th release of their ‘Live At Brixton Academy’ DVD that offers an irresistible monument for fans eager to relive the glorious chaos of the Pendulum live experience.
Recorded at Brixton Academy on December 4th and 5th 2008, the DVD highlights a full live set directed by Paul Caslin. Caslin was recently nominated for a Grammy in the Long Form Music Video category for his work on Rihanna’s ‘Good Girl Gone Bad’ DVD release. An added feature in the shape of an eighty minute audio CD of the Brixton gigs makes for an essential purchase for Pendulum’s devoted fan base.
‘Live At Brixton Academy’ features scintillating performances of Pendulum’s biggest hits and killer tracks to date including ‘Showdown’, ‘Propane Nightmares’, ‘Granite’, ‘Slam’ and ‘Another Planet’. The DVD also features Pendulum’s explosive interpretation of The Prodigy’s 1994 cult hit ‘Voodoo People’ and their incendiary take on the Metallica classic ‘Master of Puppets’.
Aside from the standard DVD / CD release, ‘Live At Brixton Academy’ will be also be available as a single DVD / deluxe double CD package that will be sold exclusively through
www.pendulum.com as well as an iTunes exclusive format. Further details of both the deluxe version and the iTunes format of ‘Live At Brixton’ will be announced imminently.
sonicdice Pendulum - Live At Brixton Academy LABEL: Warner GENRE: Electronic
STYLE: Drum & Bass
LENGHT: 79:21 min:sek
BITRATE: FLAC (Free Lossless Audio Codec) RELEASE DATE: 15/06/2009
TRACKLIST: 01. Pendulum - Intro
(01:57) 02. Pendulum - Showdown
(05:52) 03. Pendulum - Fasten Your Seatbelts
(05:50) 04. Pendulum - Another Planet
(04:26) 05. Pendulum - Voodoo People (Pendulum Remix)
(04:48) 06. Pendulum - Propane Nightmares
(06:04) 07. Pendulum - Blood Sugar
(05:16) 08. Pendulum - The Other Side
(05:27) 09. Pendulum - Different
(05:57) 10. Pendulum - Master Of Puppets
(01:34) 11. Pendulum - Slam
(04:19) 12. Pendulum - Hold Your Colour
(07:13) 13. Pendulum - Countdown
(02:19) 14. Pendulum - Tarantula
(04:58) 15. Pendulum - Granite
(04:56) 16. Pendulum - Tempest
(08:19) Pendulum MySpace Pendulum official website Pendulum Youtube Thanks to original releaser!
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"As the Rush Comes" is a 2003 dance/trance track produced by Motorcycle. Motorcycle released the rock-inspired trance track "As The Rush Comes", which was a number one single on Billboard's Hot Dance Airplay chart in 2004, where it would also become the first year-end number one Dance Airplay track that same year, and reached number eleven in the UK Singles Chart.
Wikipedia Motorcycle - As The Rush Comes LABEL: Positiva CATALOG#: CDTIVDJ-203
GENRE: Electronic
STYLE: Trance / Progressive Trance
LENGHT: 39:15 min:sek
BITRATE: FLAC (Free Lossless Audio Codec) RELEASE DATE: 00/00/2003
TRACKLIST: 01 As The Rush Comes (Radio Edit) (3:30)
02 As The Rush Comes (Gabriel & Dresden Sweeping Strings Remix) (10:46)
03 As The Rush Comes (Armin Van Buuren's Universal Religion Remix) (9:54)
04 As The Rush Comes (Above & Beyond's Dynaglide Mix) (8:40)
05 As The Rush Comes (Gabriel & Dresden Chillout Remix) (6:24)
Motorcycle MySpace Motorcycle discogs.com Thanks to original releaser!
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It's probably safe to assert that the late 1980s weren't the best of times for talented young female singers. Those who followed the pop charts in those frightening times might remember that the "powers that be" in the music industry were hedging their financial bets on such terrifying marketplace phenomena as Debbie Gibson, Tiffany and Whitney Houston. The chances of an intelligent and talented young female musician breaking into the market, accordingly, were limited. Tracy Chapman made it, as did Sinead O'Connor (though she didn't score well on the singles charts until her second album). But many more promising careers were undoubtedly destroyed by the conditions of the marketplace at the time.
I would hazard the opinion that this situation has improved over the last ten years, in that "female singer-songwriter-musicians" are now a common feature within the industry. This suggests that Tanita Tikaram emerged at exactly the wrong time.
Tikaram's debut album, Ancient Heart was released in 1988, when she was still in her teens. It reveals high levels of intelligence, maturity, and musical sensibility, far removed from the frivolous efforts of her more famous partners-in-demography. And it languished commercially.
The album is almost forgotten in 1998, which is a shame. Tikaram reveals herself as a substantial songwriter and vocalist in AH, providing sultry vocal accompaniment to intelligent, jazz-infected pop numbers. The album isn't quite a masterpiece, but is an extremely impressive "first step" within the musical industry. This isn't for all progressive fans, but those with an open mind to this genre may find much to appreciate here.
Progressive fans might also note the appearance of Rod Argent (of Argent) and Peter Van Hooke (of Mike + The Mechanics) on the album. This is not necessarily a good thing. While contributing memorable performances on certain tracks, Argent and Van Hooke (who produced the album) also provide an annoying commercial ethos of the "textures" of some tracks. Although the presence to two relatively established individuals within the industry may have been necessary to get Tikaram's career off the ground, one might suspect that two other individuals could have done the job better. Still, their presence is far from terrible, and they generally pull off their parts without too many hitches.
The album begins with "Good Tradition", a jazz-folk-pop number featuring a violin lead. Tikaram's voice sounds extremely mature despite her limited years, adding a strong level of vocal authority to the track. This type of music (featuring a narrative of a dysfunctional family's history) would become much more common in subsequent years; Tikaram may accordingly be regarded as somewhat of a trailblazer in this field. Although there is some over-arranging on Argent's part, the track is nonetheless an excellent opener.
"Cathedral Song" is a keyboard-driven track featuring acoustic guitar flourishes by Dalton. This is a more sedate number than the first, featuring Tikaram's recitation of a doomed relationship; the cathedral is the only constant throughout the various aspects of the story. Not quite as good as the first track, this is still a worthwhile piece.
"Sighing Innocents" brings the jazz-pop influences to the foreground, featuring romantic lyrics that actually work rather well (as well as revealing further maturity -- as regards both subject matter and presentation). Van Hooke's drum line is actually fairly interesting, with some notable high-hat inflections. (On the down side, this track -- like many others on the album -- is cut off immediately after the final verse, without any further instrumental performances.)
"I Love You" is much better than the title might imply. Featuring only Tikaram, McFarlane and Dalton, the track features an interesting mix of vocal jazz and acoustic folk stylings, entirely removed from the overproduction which hinders other aspects of the album. Attention should also be give to the extremely musical acoustic guitar passage in mid-song.
"World Outside Your Window" is another narrative number, with Tikaram's vocals guiding the song fairly well throughout its course. The keyboards and drums are rather prominent in the mix and, accordingly, the track is made somewhat more "poppish" than the artist may have originally intended. Still, the pop sensibilities are incorporated into the song fairly well, and do not merit too much blame.
"For All These Years" features an introductory solo from Mark Isham, which not surprisingly acts as the introduction to the most jazz-inspired song on the album. The track has a dark, sultry mood about it (much moreso than the rest of the album), once again featuring lyrics of a most intelligent variety. The jazz performances may seem a bit too "safe" on occasion, but the structure and performance of the work leave little else to be desired.
The best track on the album is "Twist In My Sobriety", which was also its first single. After a hauntingly repetitive acoustic part (in which Van Hooke provides an impressive accompanying section), Tikaram reveals a narrative which combines personal and general references in equal degrees (featuring also a perspective which combines resignation and strength in a seemless whole). This is a very mysterious work -- the title has never been explained to my satisfaction -- and a very effective one. The addition of an oboe during the chorus only adds to the high quality of this track.
"Poor Cow" (the second single) is a more sparse and rhythmic work, with fairly sophisticated pop stylings. The lyrics have a obvious vegetarian connotation, but a more careful reading of the track will indicate that other meanings exist as well. Not a highlight, this is still a fairly good track.
"He Likes The Sun" is another narrative number, featuring a return to folk influences and a vocal inflection oddly similar to that of John Cale. The track itself seems a bit staid until about halfway through, wherein Tikaram suddenly switches to a keyboard-heavy jazz-rock performance for slightly under a minute (before returning to the original motif). A partial success, but certainly worthwhile.
"Valentine Heart" is the second best track on the album, with a piano lead-in and an absolutely beautiful vocal performance (melodic and cutting at the same time). The appearance of a string quartet confirms that this is not a "pop" number so much as a "song" in the proper sense of the term. The arrangement doesn't really change after this, but the track is capable of sustaining audience interest with what it does have.
Finally, the album ends with "Preyed Upon", a mature number which nevertheless is "pop" despite the string quartet's return. Mo Foster's fretless bass is primarily notable for its textural role, rather than for Foster's performance per se. The track focuses on isolation, and seems an appropriate end to this underrated gem.
Ancient Heart isn't for everyone, but is recommended to those who are interested in intelligent jazz-pop. Those curious in finding quality music from the late 1980s may wish to search here as well.
The Christopher Currie
tranglos Tanita Tikaram - Ancient Heart LABEL: WEA Musik GmbH CATALOG#: 2292-43877-2
GENRE: Pop / Rock
STYLE: Pop Rock / Southern Rock
LENGHT: 43:43 min:sek
BITRATE: FLAC (Free Lossless Audio Codec) RELEASE DATE: 00/00/1988
TRACKLIST: 01. Tanita Tikaram - Good Tradition (02:51)
02. Tanita Tikaram - Cathedral Song (02:53)
03. Tanita Tikaram - Sighing Innocents (03:33)
04. Tanita Tikaram - I Love You (02:45)
05. Tanita Tikaram - World Outside Your Window (04:54)
06. Tanita Tikaram - For All These Years (05:16)
07. Tanita Tikaram - Twist In My Sobriety (04:52)
08. Tanita Tikaram - Poor Cow (01:57)
09. Tanita Tikaram - He Likes The Sun (05:28)
10. Tanita Tikaram - Valentine Heart (04:06)
11. Tanita Tikaram - Preyed Upon (05:03)
Tanita Tikaram discogs.com Tanita Tikaram wikipedia.org Tanita Tikaram official website Tanita Tikaram Internet Movie Database (IMDb) Thanks to original releaser!
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