Music Journal #005

When I first heard Down With The Trumpets, I really appreciated the fresh pop-ska-urban sound of Rizzle Kicks. Now, I wish I didn't listen to Stereo Typical. The problem lies in the fact that their pleasant, seemingly-refreshing sound is the only sound they have. I found the album to be completely one-dimensional despite carrying a few fun tunes in there. I don't know whether it's intentional or not but the record seems to carry some sort of pseudo-subliminal intention to subvert society by claiming it is a break from the norm while clinging to traditional song structures and gimmicks making it an attractive listen for 'the many'. I guess that adds a little bit of irony to the name, eh.


The artwork for Traxman's Da Mind of Traxman causes a near-unbearable level of uneasiness to strike me. The album itself, thankfully, is ridiculously good. Traxman hops between kinetic footwork to very jazzy productions all utilising all kinds of samples - the versatility here is staggering and the album is stacked to the brim with ideas. It's one thing flipping obscure samples well, but it takes a serious level of creative vision to use well known samples (famous from the likes of The Crystal Method, Eric B & Rakim and Jay-Z) and reinvent the way the listener hears them. Traxman lets them breathe a bit, but never lets them completely takeover and become the track; It's always new and always gripping, even if the sound is familiar. Not all tracks need to be dancefloor smashes either - the percussion-heavy synth-looping and distorting Sound Filed makes for a great interlude-like listen as does the steady jazz of Chilllll. Fantastic overall and a must-listen from 2012.



Boards of Canada's Hi Scores has a 'big' sound. Everything seems on a grand, adventurous scale, the kind that'd make their music great as soundtracks. There's a real element of discovery and nature in the music they make. It fits into a nice niche between downtempo and minimal techno, always atmospheric, intriguing and wondrously enjoyable.

The Other People Place's Lifestyles of the Laptop Café is highly acclaimed for a reason it seems. The record is like a marriage between the simple grooves of Detroit house and synth-heavy European downtempo and techno. The ambient samples add to the lovely texture of every song, along with sparse but catchy vocal loops. I love how it never outstays its welcome - it's a very, very impressive LP.

Ahead of the 20th Anniversary Tour of Bizarre Ride II: The Pharcyde, I had to give the classic LP from The Pharcyde another proper listen. One thing that sticks out throughout the record is the playful chemistry between members of the group as they bounce verses off of each other. There is a lot of fun to be had in tracks like Ya Mama, Pack The Pipe and the numerous skits littered through the album, while at times things really can get bizarre and downright strange such as on the uncomfortable 4 Better Or 4 Worse. Little needs to be said about how effective the group are on more serious notes such as on Passing Me By - the song is simply unforgettable and easy to empathise with.

I was introduced to Kim Brown's People's Republic, a track likened to the sound of Four Tet from a few years back. The comparison makes sense, with steady, pulsating beats to bounce to while harmonious melodies are layered above stretching synth chords. The other track on Kim Brown's Evermind EP, Based On A True Story, plays with more exotic drum samples and deepens the bass. The positive vibe is maintained with the synths but the track seems much more rigid - not in a bad way, more in a dancefloor-friendly way as it kicks much harder while percussion shakes adding more texture to the rhythms. A really nice EP - I look forward to hearing more of the artist.

I'm not really sure how Jacob Banks' The Monologue EP turned up on my computer, why I had it or who Jacob Banks even is. So I stuck it on and was given a decent EP full of modern soul tinged with pop and ska. It carried a modern, distinctly UK sound though was quite forgettable despite it being an enjoyable experience. I don't think the artist has enough character to pull off the ballad-type tracks well but the pop-structured contemporary R'n'B and motown style soul worked well.


I don't really know anything about Jean Jacques Perrey, other than his album The Amazing New Electronic Pop Sound Of Jean Jacques Perrey, from 1968, is marvelous fun. It's all quite soundtrack-y, all the songs carrying their themes on their sleeves, highlights for me being the bouncy and frolicsome The Little Ships as well as Frere Jean Jacques among many others. It's all so wacky and eclectic but refreshingly charismatic. Each track sounds like a theme tune and the artist never lingers too long with ideas, always exploring new directions to take the sound in. I can't imagine many people who could listen to this and not smile delightfully, enjoying the music as it accompanies them revisiting their childhood.


Blue Hawaii push a luscious electronic-pop sound fitting well on Arbutus Records - the same label as Grimes and Doldrums. On Untogether, the bubbly beats and stretching vocal notes come together to bring music that is really easy to listen to yet is also rewarding to hear too. While it is a great album, I think the start is definitely stronger than the rest of it - the opener, Follow, is my favourite pick of the bunch. Try To Be is a gentle, pleasureful listen while the transition from In Two into In Two II is lovely - things seem to calm down for me a bit after that. Slightly imbalanced, but a fantastic record nonetheless.