4 is The Bamboos' sixth studio album and on it they largely keep to their existing template of making funk and soul.
And they do it well. Really well.
4 quickly flits between cinematic funk and glorious soul as the mood takes it but the songwriting, playing and production are consistently inspiring.
Sassy opener 'On The Sly' and, later on, 'Kings Cross', both sound like they should be on a Steven Soderbergh soundtrack from David Holmes whilst 'Turn It Up' (featuring vocals from Lyrics Born) would be right at home in a Guy Richie flick. Elsewhere 'Up On The Hill' adds an Oriental vibe yet retains enough snap in the rhythm that it adds a crucial diversity to proceedings rather than breaking the flow of the album.
One listen to 4 and it is clear The Bamboos are not only the real deal but they are onto something. This is an album that manages to do new things yet sounds timeless. Once the rousing soul of 'Keep Me In Mind' kicks in it is obvious that this record really deserves to do great things this year.
BP x
4 is released on Tru Thoughts on 29 March 2010, available for pre-order from Amazon.co.uk on CD [affiliate link].
Perhaps ironic given his pseudonym but out of the heavy hitters within the Get Physical stable DJ T seems to have been the least prolific within the medium of the mix CD. Both Booka Shade and M.A.N.D.Y. have released mixes in the past (in the latter's case seemingly at the expense of ever getting an album out) but this is, to BlackPlastic's knowledge, DJ T's first.
Even more surprising, given DJ T's tendancy for producing club tracks rather than the introspective albums of some of his label mates (Bronnt Industries Kapital or Booka Shade and particularly their The Sun and The Neon Light album) Fabric 51 is surprisingly deep. Refreshingly so.
It is an album that is much slower and thoughtful than BlackPlastic would have anticipated. Michael J Collins eases the listener in with the minimal and atmospheric 'I Just Wanna Be Your Disco Bitch' and with that the pacing is set - nice and slow - for what follows. And what follows is pretty fabulous. The Salax Peep Show Remix of 'A Million Secrets' by Stuffa sounds like some whining indie boys taken straight from the cover of NME yet rapidly thrust into a dubby, emotive minimal workout - and shockingly it works.
This slow, twisted vibe runs throughout the rest of Fabric 51 to create something that really feels different. Danton Eeprom's 'Give Me Pain' sounds like Metronomy meets Hot Chip in a race to the cool indie kid dance floor and the kick, when it hits, is pure joy. And the level of experimental liberalism never fails to land well - even the bohemian 'Jesus Was A B-Boy' from Ben Mono featuring Jemeni hits with well aimed humour. Hell - BlackPlastic recently said that we never wanted to hear DJ Mujava's 'Township Funk' again and yet DJ T even makes us take that back for the Crazy P mix, applied here, is a thing of melancholic joy.
DJ T has undeniably managed to exceed expectations here. Whilst he may be not have the catalogue of mix albums of M.A.N.D.Y. he has just delivered a mix level with some of their best and the finest Fabric album in a good few months.
BP x
Fabric 51 is released on Monday - order now from Amazon.co.uk on CD or MP3 [affiliate links].
Following our recent competition BlackPlastic figured we better taste the pudding with Red Bull's 12x12 event at the Scala.
Be under no illusion - this was a made for TV production with a line up designed to present the maximum number of photo opportunities. Not that the line up wasn’t worthy or even good, but the whole concept, designed to celebrate London’s dance culture, in many ways missed the point. 12 DJs and producers each playing their biggest hit for 12 minutes with more photographers in attendance than punters makes for a strange vibe and ironically, something unlike any London club night over the last 20 years of nights that we were there to celebrate.
Forgive us for being churlish, we’re sure it looked great in the trade press and the event’s corporate veneer did mean we had unprecedented access to the stars. It also made for some compulsively bizarre viewing, MJ Cole gurning his way through an MP3 of 'Sincere' stands out - twelve minutes just about saved by the bizarreness and Cole having Nero's rather more contemporary dubstep remix of the track to fall back on.
Arthur Baker was a ubiquitous presence throughout the Scala for personal photo-ops but when he played Planet Rock you remembered why this clash of German electro and funk was so epoch-making. Martyn Ware predictably played 'Temptation', unpredictably, he played a version with a 90s Euro-dance beat and sang over the top. Just as the embarrassment got too much, like your dad doing karaoke, he saved it by playing his stylish, 80s ballad 'Let Me Go', and that shows what a good song 'Let Me Go' is.
Despite all the pretence, it was the drum and bass DJs who stole the show for the crowd by playing jump-up greatest hits sets with the night’s genuine highlight coming when Ms Dynamite joined Zinc on stage for a rip-snorting p.a. of 'Wile Out'.
We suppose 12x12 proved that the most important element of any night is something that all the DJs and crates of Red Bull in the world can’t make up for, something that Russ Abbott presciently referred to as ‘atmosphere.’
Tunng's new album greets listeners like a long lost friend coming in and giving you a big romantic passionate kiss. ...And Then We Saw Land's opening track 'Hustle' is so infectious that offering it upfront without the listener having put in any effort whatsoever feels like a treat akin to early payday in December.
The problem with early pay is that it leaves you feeling short-changed in January as the weeks drag on. BlackPlastic wouldn't go so far as to acuse Tunng of giving us the same feeling but the tone and pace of the album innevitably dips from this heady start.
Yet ...And Then We Saw Land is a lovely piece of melodic folk music that manages to contain electronic flourishes and reflects elements of anti-folk in it's lo-fi feel and the likes of múm in its playfulness. And when it works it really bloody works: 'The Roadside', for example, features a fantastic wandering, almost meandering introduction and builds in a lovely cinematic fashion.
So Tunng's album is by no means a mixed bag - it just has some good bits and some utterly sublime bits, like on that album opener or the stop-start rhymic vocals of 'Sashimi'. ...And Then We Saw Land is a grand day out of a record. A joyful, joyful experience - it feels like a car journey at the beginning of a holiday.
The press release postulates that Burn And Rise, Panic Girl's debut EP, offers a distinctive hybrid of trip-hop meets electronica.
On the whole it is right. BlackPlastic is not entirely sure how distinctive such a combination is but we would be lying if we didn't agree that the result is catchy. The attention given to detail and something of the overall melancholic vibe to the record actually remind BlackPlastic of some of the more memorable offerings that came out of the progressive house rebirth back in the early noughties - the vocal tracks here being specifically reminiscent of Satoshi Tomiie's collaborations with Kelli Ali on 2000's Full Lick.
The difference is that Panic Girl's EP is much slower and sounds much more organic than any tech house and, to be honest, the variety and production flourishes stand Burn And Rise far apart from any of the staid, dull efforts that often get categorised as a mixture of trip-hop and electronica. At its best, as on the peaceful, zen-like 'Hide And Seek' Panic Girl is clearly excellent - the track boasts a wonderfully global feeling sound, and despite Panic Girl hailing from Germany the track feels equal parts east and west.
Check out the video to 'Burn And Rise', directed by award winning director Reza Dolatabadi, above. Burn And Rise the EP is out next Thursday 25 February on shadybrain.
