music reviews ‘SOundBOy ROCk’ ‘STEREO SuShi’ ‘TRaPPEd in ‘UNDER THE INFLUENCE’ GROOVE ARMADA VARIOUS ARTISTS ThE aSylum’ BK [Sony BMG] [Stereo Sushi] WITCHDOCTOR WISE [Riot] [Heroic Records] Returning to the fray, in some style it must be Hed Kandi’s sister label Stereo Sushi hits us with Ah, BK, aka Ben Keen. Now there’s a hard dance man said, Andy Cato and Tom Findlay announced their their latest double CD affair showcasing some Witchdoctor Wise from Brighton’s Lost Souls/Skillmega more prolifi c with his record producing than Alan Shearer comeback with a rollicking ragga-tinged roll ‘n’ of the best recent deep soulful house and US mob is one half Jack the lad, one quarter bored British was with his goals. With conservative estimates of how tumble through their trademark festival-friendly garage. Expect the standard 4x4 house beats, statistic and 25% loose cannon. Snubbing the rat-race many tunes he’s put out loitering around the 100+ mark, house. It was called ‘Get Down’, it was a former One a few hypnotic little melodies, usually played on for a prescription of “drugs, beats and great sex”, Wise BK appears to be the consummate pro, and the fact that Track, and it kicks off proceedings on ‘soundboy the keys and vocals built for dancefloor sing-a- easily fi ts the role of the present UK rap brat. However, people are still buying his tunes is a testament to the rock’. Setting off at such a rip-roaring pace might longs. it’s his vivid imagination and sharp eye, creating quality of his work. For this, his second artist album, he be construed as somewhat foolhardy, and indeed With both CDs being unmixed, ‘Stereo Sushi’ apocalyptic prophecies and developing a humane side, roped in the likes of Judge Jules, Nick Sentience, Lisa there isn’t really anything else on the album that also acts as a nice little package for a budding which dares listeners to keep up with him. Though Lashes, Black Russian and many more hard dance matches ‘Get Down’ for sheer energy and pogo- house DJ who’s got easy access to a set of CDJs. his punch lines, hooks and invective take a little time legends, which is also a measure of how Ben is viewed ability (if there is such a thing). Nevertheless, that No doubt, there are quite a few nice tunes on to fi nd their range, Wise’s clarity and command are by his peers. So what’s it like? Just as raucous as you’d shouldn’t detract from the other heavily hook-laden here, perfect for having a little boogie to. But immediate. Whether through waking up and smelling expect, actually. Opener ‘Infl uence’, with Black Russian, gems on offer. ‘the Things That We Could share’ is altogether, nothing about the album really stands the coffee, or temporarily going cold turkey, he becomes throws down a rowdy break, with rocket powered a reggaefi ed dance track that morphs effortlessly out or captures the listener. The first disc kicks an effective spokesman for seeing the world for what synths, a bass that zig zags around your feet and a into a house joint blessed with a bassline that ESG off with the Wigged Out Vocal mix of India Arie’s ‘I it really is. Although peace is found on ‘SITC’, fellow serious dose of distortion. Kick ass. Teaming up next with would be proud of. The four-on-the-fl oor business Am Not My Hair,’ a dancefloor-based tirade on the Brighton brethren Rup helps pour scorn on the world Fake Hero on ‘Politicians Filthy Hoes’, we are treated to continues with Candi Staton lacing the deep, soulful politics of hairstyles, set to some mildly irritating on ‘Everything Dies’. Alongside Iris, existence is similarly more breakbeat drums, with a rollicking percussion ‘Love Sweet sound’ – one for your hips for sure. strings and compulsory claps. Things do improve scrutinized on ‘Same Old’ and ‘Good Evening Friends’. over that and all maner of electronic scratching noises The only other contender in the club bangin’ stakes however with the disco grooved ‘Now What’ His more reckless behaviour is almost role-play, the and pummels from the bass. Ali Wilson steps up to the is the bruk hip house cut ‘Drop That thing’, which (Matty’s Soul Flower Mix) by Matty & Monique insight being that Wise gets off his face and looks for plate to help create a dirty, fi lthy synth attack on ‘London comes off as a kinda watered-down Spank Rock/ and the bouncy, jump-up-and-dance track ‘Give a fi ght because he can. From here, ‘Little Fellas’ starts Rock’ which indeed rocks like Motley Crue after a night Bugz In the Attic collabo. Yes, the beats have got You’ (Jamie Lewis House Cut) by Djaimin Ft. tripping hard, featuring an awesome Peter Griffi n on the bone. ‘Sickness’ featuring everyone’s favourite that broken swing that we love, but the pedestrian Crystal Re-Clear. The second disc features more sample within a dark electronic chase, and ‘It’s Gone lawman, Judge Jules, possesses a hard house beat, bassline just doesn’t cut the mustard. Mutya, fresh of the same. Highlights including Jada’s ‘Love Dark’ is an uneasy comedown. The beats of Rob Crespo, and some proper sick old school synth progressions is from pillaging from Lenny Kravitz, laces the other Is’ (Love is In The Air 12” Vox) which combines Tom Caruana, SoClear, Biji Talls and more, provide a nice slice of funky hard as nails house. Sweet. As the club cut and it’s a mean slice of electro pop for sure, a nice vocal with key melodies reminiscent a fair share of jabs and uppercuts from Brighton and album progresses, more infl uences are heard, from old if that fl oats your boat. At the other end of the scale, of those used in UKG. VMC’s ‘To The Rock’ is beyond. The seaside pier organs of ‘Birdseye Anthem’ school rave on ‘Mine’s A Double’, classic hard house on in the ‘at The river’ chillout department, Andy and worth checking out as well and features some headline with the shadowy bumper ‘Primate Change’, ‘Microwave’ and Wipeout 2097 on the Nick Sentience Tom seem to be on equally good form, especially for deep organ sounds. Also present are Recloose’s the chilly ‘Good Evening Friends’ and the top posse cut collaboration ‘We Come Alive’. And ‘It’s Such A Feeling’ the melancholy ‘From The rooftops’ featuring Jack mighty ‘Dust’ featuring the soothing tones of Fat ‘Mission Kings’ (WW’s restlessness daring to question is taken straight out of an aircraft hanger in the home McManus. Title-track ‘soundboy rock’ featuring Freddy’s Drop vocalist Joe Dukie; Dennis Ferrer’s his Brighton allegiance). Staying in touch with the Wise counties in ‘91. Ace. For those who hanker after a bit of Mad wallows in Jamaican sound system culture, ‘Church Lady’; and Kenny Dope’s remix of The man’s bluffs are the sunnier, poppier ‘Neighbourhood a live set, you’re in luck, for BK has included a second all skanking guitar and organ interplay, but for us, Brand New Heavies’ ‘I Don’t Know Why (I Love Star’, and the bank statement ‘Dough’. From madman disc of his set from Global Gathering last summer, all it’s the entirely instrumental and straight boomin’ You)’. The good outweighs the bad here for sure, to mouthpiece, Wise’s point-plank rhymes redefi ne the mashed up and re-rubbed courtesy of Ableton. Both electro joint ‘save My soul’ which takes top honours but it won’t blow you away. 4/7 position of spin doctor. 4.5/7 CDs are wicked, and if you like you stuff hard, this is here. Worthy of your attention. 4.5/7 harder than Grant Mitchell with an RPG. 5.5/7 CLASSIC ALBUM experimental electronic dance outfi t that owed Rushent, a veteran UK producer who had we all know and love slide in and out of the mix as much to electro-funk and disco as ‘Top Of worked with artists as diverse as T Rex and The to create genuine moments of brilliance. It’s safe The Pops’. Created from the ashes of punk, The Buzzcocks, fed the group’s elements of pop hooks to say that this is not only the best dancefl oor Human League rejected the standard three-chord and synthesiser experimentation into his desk, album by a white British band in the 1980s but chaos of punk’s year zero and instead utilised and came out with the classic Human League perhaps the best dancefl oor album created in the emerging synthesiser technology, funded by sound of ‘Dare’. Featuring the hit singles ‘Don’t 80s full stop. mundane day jobs as computer programmers. You Want Me’ and ‘Love Action’. The rest is, of Tolbold Hemming These electronic experiments were a world away course, history. However, Rushent was more from the new wave of punk bands then sweeping than a journeyman producer, his innovative and LIKE THIS? LIKE THESE... Britain, making The League not only unpopular, but futuristic production style led him to take the also hugely controversial in their native Sheffi eld. bare bones of ‘Dare’ and remodel it in his studio 1. SOFT CELL: ‘Non-Stop Ecstatic Flying in the face of their detractors, the group to create something quite different, and in many began fl ogging their experimental demos around ways much more signifi cant. Released under Dancing’ [Polygram] record companies to near total indifference.