Reviews (1)

"the story, characters and the score ~ CSI:Miami"
Every Monday week night the last regular show before the late news is "CSI:MIAMI", featuring the characters dreamed up by producer Jerry Bruckheimer ~ this review is about the music that brings everything together on the Emmy Award winning CBS Broadcasting Network new hot series "CSI:Miami", with an outstanding cast of actors and their characters ~ but the music is the topping we've come to hear.

To start this collections is the opening theme to the series "WON'T GET FOOLED AGAIN", performed by The Who, an extended version of eight minutes and thirty two seconds of pure energy that grabs you right from the start ~ "GABRIEL", performed by Lamb is a 2001 hit with all the ingredients for a drifting soul experience ~ "THE MASTERPLAN", with Oasis from 1995 gives the listener the same thrill it had in the late '90s ~ "HAYLING", performed by FC Kahuna in 2002 gives the pulse sating beat that gets completely in your head and stays there ~ "INVISIBLE PEDESTRIAN", performed by Bent from 1999 lays all the evidence before you ~ "SATELLITES", performed by Doves from 2002 is a haunting theme with arrangements of pure delight ~ "FOREVER AND A DAY", with Ian Brown from 2001 mixed with a group from the U.K. ~ "GONNA MAKE IT THERE", performed by Baxter from 2002 on a Warner Music Sweden label, flows very well with electronic mixes that give it more flavor to the listener.

So there you have it, the score that gives the fan just what they wanted and more ~ this is a must have for all "film-score-buffs" to sink their teeth into ~ good to see Pete Townsend had a hand in this project ~ sit back close your eyes and spin this CD, you're in for some special entertainment...gotta love it!

Total Time: 74:46 on 14 Tracks ~ Hip-O Records 14277 ~ (6/29/2004) ... Read more

Amazon.com

It's reported that Supreme Beings of Leisure emerged when a rap group called Oversoul 7 added a singer named Geri Soriano-Lightwood. Yet the band's laid-back dance grooves sound all of a piece, as if they'd played together for years. There's no messy merging of disparate styles, no rude sound shifts that occur when young bands search for their sound. Instead, this is a professionally buffed production. Though the three instrumental members all share programming duties and the music is certainly heightened by a liberal use of special space-age effects, the music is far more rooted in traditional soul-ballad and pop-rock writing than apparent on first listen. Tracks such as "Golddigger" and "Strangelove Addiction" borrow their hooks from the pop-rock dictionary, no matter how futuristic the desires. It might be another case of style over substance. Or maybe the band needs to transcend their professionalism and really get down to some scary stuff. --Rob O'Connor ... Read more

Reviews (96)

Addictive and classy...
This has instantly become one of my new favorites. The only reason I did not give it 5 stars is because I reserve that to the long-standing classics: the Beatles, etc.

The songs definitely get stuck in your head. I find myself running to my CD player to listen to such addictive songs as (ironically) "Strangelove Addiction," "Last Girl on Earth," and "Sublime."

I have seen SBL's sound compared to Portishead by some reviewers. In my opinion, this tops Portishead, and that's a hard thing to accomplish. While Portishead's "Dummy" is outstanding, the songs eventually get tiresome. The record-scratching sound was innovative at first (considering only rap artists used it previously), but it started to get old when they included it in nearly every song.

For this album, every song is fresh. Geri Soriano-Lightwood's voice is not just the kind of "generic perfect female voice" that is often handed to us on conveyer belts; it has an edge. It stands out. And the music complements it perfectly. There's even sounds of a saxophone (as well as a violin) on "What's the Deal."

Definitely classy, but with a refreshing beat. If you like techno-ish beats with stunning vocals, this is the way to go.

The Girl can Sing!
This is certainly a 5 star for the genre, but I tend to save that rating for a more universal spectrum of music. The girl, however, can sing. The hooks, particularly, in "Never the Same" and "Golddigger" are truly addictive, in that you can't wait to hear them again. To "hmmmm, heard it before..." I'd like to know where? Geri Soriani-Lightwood's got the most tantalizing style of any singer in this bag and I've heard them all! I'll take style over substance when, let's face it, in this genre style is substance. As for originality, I absolutely agree with "mind altering" that they "tear through the artists that originated this style" although I may have said that they "cruise past them". Musicians and people who enjoy a groove will love this and we'll leave the musicologists and purists to sort out its "originality". I can't wait to hear more from them.

L.A. Trip Hop
For those looking for very groovy, loungy hooks that get stuck in your head look no further. The SBL convey imagry of those "beautiful people," of the sixties, grooving in egg shaped chairs watching Barbarella. I have bought copies of this disk for my freinds. Their "spy," sensibility combined with sultry vocals, is incredibly fresh and easy to listen to. If just for the textures. Having lost two members, the second effort is a bit more disco, but still very satisfying.

Just a lazy cat in a dog-eat-dog world...
The opening line to "Golddigger," the second track on this groove-laden album from the LA-based quartet. The songs range from electronic-jazz-pop on such tracks as "Golddigger" and "Truth From Fiction" to danceable grooves with no overpowering bass thumps like "Strangelove Addiction" and "You're Always the Sun." They mix a space-age lounge feel with electronica, perfect for relaxing or dancing. With fantastic programming by Ramin Sakurai, Kiran Shahani, and Rick Torres and smooth vocals from Geri Soriano-Lightwood, this album is a must-have and has quickly become one of the albums I listen to over and over. Favorite tracks: "Golddigger," "Strangelove Addiction" and "Sublime."

Mellow and Pretty
There's so much to like on this album: "Strange Love Addiction," "Last Girl on Earth," the sitars on "Sublime," but far and away my favorite track is "Never the Same." At once mellow, sexy, and urbane "Never the Same" is an instant classic and it exemplifies the entire album: just swanky! ... Read more

Amazon.com

A 23-year-old singer of mixed heritage--he's part Scottish, part Ghanaian--Quaye can bust a smooth groove like Al Green or offer a straight reading of roots reggae (listen to his jaunty arrangement of "Your Love Gets Sweeter"). "It's Great When We're Together" skirts too close to Green in sentiment and sound, but the blues guitar and deep bass rumble of "Ultra Stimulation" goose an otherwise conventional reggae number. Still, Quaye isn't afraid to explode convention completely. Despite its hippy-dippy title, "Ride on and Turn the People On" is a thrilling duel between Quaye's elastic wordplay and a hyperactive bassist (who goes uncredited in the CD booklet but deserves star billing throughout). Quaye is best when he takes all the music he's heard and fashions a new pastiche that doesn't sound like one. His take on Marley's "Sunday Shining" is one such marvel, a glorious smear of slide guitar, Rastaman imagery, '60s soul horns, and a rhythm track that belongs squarely to the '90s. It may be the brightest light on Maverick a Strike, but this 13-track album never really dims much. --Keith Moerer ... Read more

Reviews (19)

If you're looking to Try Finley Quaye...this by far his best
Having liked this album the first time around, it was interesting to see if returning to it years later would prove a worthwhile listen. Surprisingly my appreciation has substantially grown for this album (admittedly due to my significantly wider range in music), but the fact remains that "Sunday Shining's" languish horns or keyboards is the musical equivalent of spending a memorable sunny afternoon outdoors. "Your Love gets Sweeter" is the acoustic strum exploring the romanticised side of Finley's music. Title Track "Maverick A Strike" leans strongest to his reggae roots taking a reggae ideal, and fusing it was popular music to make something, although not authentic reggae, is largely accessible to those normally intimidated regional reggae. But a track that largely goes unmentioned by deserves equal recognition is the instrumental "Red Rolled and Seen" which has a tribal moody rhythmic presence, not a million miles away from something that 'Tricky' would create. Finley successive albums may have been a case of playing to diminishing returns, but this debut confirmed his potential to make a largely coherent album by swiping sensibilities from other genres resulting in an immensely enjoyable album.

Finlay Quaye +(mum?) MaxinQuaye = Tricky Maxinquaye??
Enough politics. This album extends the role of reggea and R'n'B in the pop area. Finlayes amazing grace in singing has broken though, calmed by mellow dub and sarcastic lyrics.

This album is, and may remain one of the best this decade. Irrespective of the relation between Tricky and Finlaye, you can not help but notice hot related their music is. Finlaye mixes the traditional reggae sounds filters them with r'n'b vibe and adds some interesting dub, that sounds very much like Jah Shaka or Mad Professor.

It's Great when we are Togethor track is amazing in it self demonstrating Quaye's lyric prowess. But there are some tracks which are purely experimental that have turned out brilliantly.

One of my favourite tracks is Maverick a Strike.. Another excellant sound is Falling. The single Sunday shining really doesn't describe the album. This album is a meting pot of numerous types of music fused togethor by Quaye's sarcastic thoughts and funky dub beats.

Quaye has done the same to reggae as Tricky did to "Trip hop".

In a word. Amazing.

yeah, that's all well and good, but...
they AREN'T RELATED!!! that's coming from tricky's mouth himself. mr. quaye CLAIMED he was tricky's uncle, but tricky quickly retorted in the form of song with "can't freestyle" in which he states that finley is trying to "take my mother's name in vain" and that "you're not my blood". not only do i not have any interest in hearing this man's music, but i absolutely will go out of my way not to, seeing as how he is trying to further his career by name-dropping. i find this sickening. make your own name, mr. quaye.

What Tunes
This Guy has talent, i have listened to many 'modern' reggae albums, but this man has taken the biscuit. I man think that this is the closest that any artist has gotten to the 'true reggae' with a modern twist. Worth your money, my Favourites are*** IN NO PATICULAR ORDER***** 1) Sunday Shining 2) Supreme I Preme (one for the perties) 3) Falling 4) Ultra Stimulation 5) Even After All 6) The Way of the Maverick

SUBLIME!
Let me just say this is the most sound musical investment I have ever made. An absolutely sublime debut, a completely solid album. I honestly don't think it does the album justice to pick out just a few tracks for special mention. Just listen, without shuffling or skipping, and enjoy the musical journey with your tour guide, Finley Quaye. ... Read more

Reviews (22)

Good intro to DJ Cam if you can't get "Substances".
This music is DJ Cams first complete body of original work, and to date one of his best. If intramental hip-hop needed a 101 course Mad Blunted Jazz is a great primer. Yes there's scrathing and sampling but it's put together with care and imagination, with little crassness simply for the sake of it.
The best part of this set is the second cd with the live set. Here DJ Cam shows that his talent and this genre are more than just a "bag of tricks". To pull off a live show in this genre is challenging to be certain but DJ Cam gives us a flawless show almost it seems without breaking a sweat. A solid introduction to one of Paris and the worlds talented DJ.

"trip hop" I'd say if kutmaster kurt allowed
dj Cam is an original Marseille-head, where Marseille is probably the realest Hip Hop ghetto in France. Cam's albums are pretty diverse, exploring a somewhat brooklin sound to trip hop as for "mad blunted jazz". If you listen close you might find some popular samples as taken from nightmares on wax for instance, allover the sound is however pretty minimalistic and lurks more to a certain dj krush than to Portishead or even massive attack. Blunted headz music music if you dare!

Watchout! This album exists in several (3 at least) coverarts. The one shown above looks just like the original cardboard wrapped release, wich is sold out in Europe - I doubt wether it's that one. UNDERGROUND VIBES is exactly the same thing, maybe a reissue of this one

When Jazz had an affair with Hip-Hop
I'm a fan of some of Cam's stuff and always loved the more jazzier element to his work, this album fuses those fat hip-hop beats with gracefull chilled out jazz. I would say that this album is the enbodyment of everything that is cool about Cam. It's like the sort of thing that you would hear in an uber-sheek celeb hang out. Buy this album and show off to your mates how you only listen to music that is quite simply splended.Nuff said.

Guess you need to be blunted
Not worth it even if it is two cds. Talk about boring. Every song has horrible keyboard drum beats and sounds very amateur.

Better to stick with the heavyweights of the genre... Shadow, Logic, Beatjunkies, etc.

honestly, one of the finest collections i've ever heard
I have been buying music for years now, everything from sublime to aphex twin, I can honestly say, this is probably one of the finest pieces of music I have ever had the pleasure of listening to. I own all of Dj Cam's albums, and this one is the best, IMO.
Phat Hip-Hop beats laced with jazzier-than-jazz horns and strings, and voice samples of sexy french girls. On track 10 you may recognize the sample, Lady Kier of Deee-light. The question isn't why should you buy it, the question is why shouldn't you buy it. It's that good. ... Read more

Amazon.com

As Caia, Japanese producer Maiku Takahashi comes up with a solid debut filled with ambient space and druggy downtempo. Produced by Groove Armada's Andy Cato, The Magic Dragon has some of that band’s soulful warmth, but Caia's sound is even smoother, layered with rich chill tunes and hypnotic effects. Wordless choruses float like little fluffy clouds into extended bridges, mixing up the structure of songs like "Summer Lighting" and "La Telecabine." The atmospherics gain momentum from traces of hip-hop and dub, like a Tangerine Dream movie soundtrack with a beat. Some songs end up in completely different places from where they started; "Heavy Weather" develops from a brooding acid-house bass line, but eventually dissolves into a wash of keyboards and chanted melodies. By keeping us off balance, Takahashi gets to surprise us and takes advantage of our disorientation to establish a dreamy and wonderful weightlessness. --Matthew Cooke ... Read more

Reviews (13)

Enter a magical world via the Magic Dragon
Maiku Takahashi aka Caia (pronounced ch EYE ah) has created a wonderful CD of smooth grooves, jazzy licks and a very nice relaxing flow while maintaing a mesmerizing bass groove.

I personally found the drum beats to be very cool. They're up front but don't detract at all from the rest of the piece. In addition, I like the different types of drums he uses. One song he seems to use industrial type drums and in the next he's using african bongos =).

What others have said about this is true: every track is top quality and forbids you to skip over them =).

I recommend this CD to anyone without reservation =).

Erotic music for the 21st Century
When listening to Caias' beautiful "Magic Dragon" album be prepared to be blown away. Each song on this record transports you to a different world on each different song. Its downtempo meets new age meets electronica meets acid jazz. But more than
anything its music that meets the soul and decides to become best friends. Let me tell you my 5 favorites off of "Magic Dragon": 1) "Remembrance" A song to help you with those reflective moods of lost loves, full moons, and snuggling with a current lover. 2) "La Telecabine" This has some nice surprises in the arrangements. Be prepared for the unexpected on this great dance and soulful feeling song. 3) "Summer Lightning" Just simply a breathtakingly beautiful song. Get your jogging shoes ready for this one, it will be a great pace setter. 4) "Subway Freedom" This is a great one for all those DJ's out there. Great Dubbing is already included. 5) "Afterwards @ the Bar" This one has a little smooth jazz feel with some nice break beats in it. Except for some wordless singing, this is an instrumental album for the ages. This is a great record for any kind of mood. I highly recommend this breakthough album.

A Little Strange
This is a good CD, however two of the songs on here are taken from the Weekend Players CD. (A much better CD.) I had to listen to both to confirm it, I almost thought someone had changed the CD on me.

While I liked this music, it seemed a bit hard to follow and didn't keep my interest the way Armada Groove, Zero 7, and other artists do.

"Magic" from the magic dragon
Having listened to album a few times now I am amazed at the different levels of music that flow from it. It is a wonderful collection of downbeat chords and strings.
Listen and you will certainly LIKE!

uh . . . no
There was something a bit corny and cheesy about caia that just didn't appeal to me. There's a warm, all engulfing fuzzy feel to this disc but it left a bad taste in my mouth. It seemed a bit too over produced and the music came across as murky and muddled. I tried selling my copy at three different used music stores and no one wanted to buy it. If you like your downtempo a bit cheesy and forgetable, the magic dragon is for you. Not a single track reached out and grabbed me and the disc kind flowed in such a manner that eventually every track started to sound a like. I was finally able to unload my copy. Not a bad disc but there is SO much better out there. ... Read more

Amazon.com

It wasn't so long ago that New York-based Japanese duo Cibo Matto (Miho Hatori and Yuka Honda) were simply a fun, gimmicky East Village outfit who performed on Casio keyboards and sang almost exclusively about their favorite foods. As such, the band's major-label debut album Viva! La Woman was sugary, but not really substantive--a clear-cut example of Eastern culture endearingly misinterpreting Western music. But Cibo Matto has come a long way since penning songs like "Know Your Chicken," "Beef Jerky," and "Birthday Cake." Stereotype A is a mature, instrumentally rich album that sees the group break the novelty mold and achieve recognition for compelling songwriting and interesting arrangements. On Stereotype Cibo Matto incorporates such styles as electropop, bossa nova, soul, hip-hop, and butt-waggling funk, expressing a dizzying range of influences that include TLC, Ice Cube, Luscious Jackson, Antonio Carlos Jobim, and Isaac Hayes. In the process of becoming musically legit, however, Cibo Matto has lost some of their former charm, which is probably fine with Hatori and Honda, who would no doubt rather be seen as credible than cute. --Jon Wiederhorn ... Read more

Reviews (87)

one of the best of 1999
It's a difficult country to gain respect in, America that is, for foreign musicians...Especially those who don't care to be recognized for their cute gimmicks or for novelty. Cibo Matto, though acclaimed for their debut Viva La Woman!, have masterfully and elegantly avoided being artistically restrained to one idea or concept with the eclectic release Stereotype A. This record is groundbreaking for the band and is, perhaps, an affirmation of the strength of good pop music everywhere. While Viva La Woman was symbiotic in themes and musical textures, Stereotype A is all over the map stylistically and in focus. 'Working for Vacation' is a crazy stomp through electronic breaks and middle eastern melodies, while 'Blue Train' is a heavy metal anthem making you check your decks to see if you're still listening to the same record. 'Sci-Fi Wasabi' will please Cibo fans who are fond of Viva's girlie shout-outs, and 'Spoon's get-down-on-the- get-down funkified bassline will have even the most boring of you bobbing your heads. A great element on this album that was a bit underdeveloped on Viva is the inclusion of several ballads. 'Moonchild' is an amazing tune showcasing Miho's pipes better than even 'Birthday Cake'. My favorite track is definitely the gorgeous 'Sunday part 2'. Lyrically and structurally, it is one of the most beautiful songs I have had the privelege to hear in a long time. Overall, Cibo Matto have established themselves as an important element in pop music and we can surely expect a great deal of amazing material in the future from them.

Overproduced and underwritten; Style and no substance
This is the most disappointed I've ever been with a new release from a promising band. The production is slick and meticulous, but the album is void of any musical energy or emotional depth.

Cibo Matto wears many hats this time around: R&B band, Hip-Hop band, Metal band, Lounge band, even the Philip Glass Ensemble. But they forgot to be one thing: Cibo Matto! 1996's Viva La Woman! was a breakthrough album poised to take popular music (finally) in a different direction. The performances were raw and energetic, the lyrics blunt, outrageous, and very personal (contrary to what the media may tell you, the album was not about food; its was about personal experiences presented through food METAPHORS).

This time around, the band sounds like a bunch of session musicians hired to cut a record that bores them to tears. The same was true of their live performance of Stereotype A material at the Great American Music Hall on June 10th. The only time that Miho or Yuka ever perked up was during songs from Viva La Woman!

One more thing: Yuka Honda and Sean Lennon may be a great romantic couple, but he's a debilitating addition to the band. His muddy footprints are all over Stereotype A and the band's live shows. So if you're new to Cibo Matto, I suggest buying Viva La Woman! If you're a loyal fan yearning for new material, keep waiting. I looked Stereotype A up and down like a restaurant menu, and then I left the restaurant to go get some decent food.

Oh...how I love this
This was my first Cibo Matto album, and what an album it is!
It's too bad the duo split after this, because their potential had always been utilized in über-spiffy ways, of which this is quite a shining example indeed.
In the fine tradition of "Viva La Woman", Cibo Matto mix hip-hop and funky sounds all around the mix with tales of relatably mundane experience and, again, sometimes food and related appliances.
Sean Lennon even appears as a guest on this album, as he was Yuka's boyfriend for a time, but there's no doubt that one with his talent could have done wonders for what was already amazing!
From the first, amusing and breezy song, to the last, and all the rocky, rappy, latin-ish and even ballads in between, this album is like an extremely gleeful cornucopia featuring the most unusual, yet succulent fruits.
Proof that the whimsical often wins out.

Boring.
With "Viva! L.A. Woman" they built an original (jazzy, cinematic, undefinable) sound. What do we have in this album? Some standard funky, some standard bossa, some standard hip-hop. Some standard. Overall opinion: definitely boring. What a shame to see so good premises and a so bad conclusion.

Groovy...
Sometimes simple is best, so I will keep this simple. This is the grooviest album I have heard in years. ... Read more

Reviews (40)

I normally don't like rap type stuff but this is good
Let me first say that I despise the rap-rock kind of "music". I think it is indescribably terrible and usually hate anything that has to do with it. This isn't exactly rap-rock in the conventional form but there is a rapper and a singer that alternate so I guess if I had to classify it that's what it would be. I first heard Rehab on the radio and got the cd the next day. I have listened to it for months now and still like it just as much. They mix the singing and the rapping really well. Both are very talented and also write deep lyrics about real issues like substance abuse, and are especially meaningful if you can relate to them. I don't know why people keep mentioning ICP and KMK. This group has ten times more talent than both of those combined. It's a great cd and I definately recommend it.

REHAB HAS RATTLED MY CAGE
I THINK ANYONE WHO HAS LISTENED TO THIS CD OR HAS SEEN REHAB PERFORM. WOULD AGREE THAT DANNY AND BROOKS ARE VERY TALENTED. I AM FROM THEIR HOMETOWN(WARNER ROBINS),SO I ALREADY KNEW HOW TALENTED THEY ARE. I'M JUST GLAD THAT EVERYONE ELSE IS FINALLY GETTING A CHANCE TO HEAR THEIR MUSIC. I THINK THAT THEIR DIFFERENT BLEND OF HIP HOP AND ROCK IS WHAT MAKES THEM SO TALENTED. THE DIVERSITY OF THE MUSIC AND THE REAL-LIFE LYRICS IS WHAT SETS THEM APART FROM EVERYONE ELSE. THEIR ORGINAL STYLE SOUTHERN UPBRINGING WILL CATCH ANYONE'S ATTENTION. AND THEIR NEW STYLE DIVERSITY SHOULD GET ANYONE HOOKED ON REHAB.

Kicka@#
This is one of the best underground bands I have ever heard in my life. The music is so upbeat and it always puts me in a better mood. No underground band could get better!

This is an awsome CD!!
Rehab has become one of my favorite bands. although they recently broke up there cd still plays in my cd player. The cd is very volger but if you like music that can vary from rock to rap then you will love this cd

Love it!!!
I lived in Atlanta for 5 years.My buddy Al "Big Daddy" Mullis introduced me to this CD. He grew up with Danny and all them in Warner Robbins, Ga. "It don't matter" is by far my favorite song. I never thought when I left Atl that I would ever find anyone that had even heard of Rehab. Al always told me to turn people on to them. I don't have to do that. I have lived all over the place, and always seem to find someone that just absolutly loves Rehab! Good job guys! I love this CD!!! Thanks Big Daddy. Much love baby!! ... Read more

Reviews (33)

Simply stunning
Like a lot of people, I was first introduced to Craig Armstrong with his collaboration with Massive Attack on "Weather Storm". I was absolutely taken by that particular song and his ability to seduce the listener with the use of stringed instruments. The first time I heard "This Love" was the Sarah Brightman version on her album "Eden". I didn't realize that Craig Armstrong was responsible for that song when I heard his version with Elizabeth Fraser on "The Classic Chillout Album" compilation released last year. Another breathtaking song. I love both Sarah and Craig's versions of the song. Craig Armstrong is an amazing composer and has recently became one of my favorite modern composers, alongside Ennio Morricone and Michael Nyman. "Sly II" is another great song. The momentum in the song really builds up. I could almost hear that particular song used in a film with the intense build up in the music. "After the Storm" is almost something that Philip Glass would have composed with its minimalist beats and almost lack of melodies and chaotic rhythm. I swear I have heard "Laura's Theme" somewhere but I just don't know where. It is a gorgeous song. The dark haunting melodies would definitely be a perfect song to add to any soundtrack. I get the chills just listening to this song. What I really like about Craig Armstrong so much is that none of his music comes off loud and bombastic like John Williams and Hans Zimmer's music does (as much as I enjoy Hans Zimmer's music). The emotions in the songs easily translates on to the big screen. I am eager to hear Craig's new music for the "Quiet American" film. He definitely has made me a big fan of his music.

Beautiful.
This man is brilliant, just like the work he delivers. This album is magnificent. First there is the new version of "Weather Storm". I can't say wether it's better or not than the original version with Massive Attack. It's just still a beautiful track. "Sly II" is really interesting. In the middle of the song, the strings suddenly errupt with beautiful and fierce energy. It would be interesting to hook this song to the original version of "Sly" with Massive Attack and Nicolette, and make them into one track. "This Love" is another beautiful track, featuring Elizabeth Fraser from the Cocteau Twins - she has also sung on Massive Attack their latest album. Her voice is beautiful as asual, and the song can compete with any trip hop classic, like "Unfinished Sympathy" or "Life In Mono". Other nice trip hop-tracks R "After The Storm" and "Rise". On the ballad "Let's Go Out Tonight" he takes a male singer with a beautiful voice to help him out. On some other tracks, "Laura's Theme", "Balcony Scene", "Glasgow", it's him and some beautiful strings. "My Father" and "Hymn" R short nice tracks, with only a piano. And on "Childhood", he reminds me a little bit about Brian Eno. This is just a beautiful cd. Buy it.

Moving music...
Its great mood music... its not music I'd listen to whenever I'm driving, for example, but this is really dreamy, cinematic music with a contemporary sound. A great addition to my CD collection, I've never bought anything that sounded like this.

Play on a rainy night and just stare out the window...
I almost hate myself for giving this review such a cliched title, but the truth is that Armstrong's first solo album is one of those "night" albums, to be played with dim lights, perhaps, watching the rainfall out the window.

There are certain artists whose work touch you in ways that are difficult to relate, and Craig Armstrong falls in that category, alongside artists such as David Sylvian (check out his 'Secrets of the Beehive') and the extinct band The Blue Nile (don't miss their 'Hats for anything in the world), whose lead vocalist Paul Buchanan sings the most beautiful rendition of their classic "Let's Go Out Tonight" in this album.

Other sublime tracks to be found in the album, are the exquisite "Glasgow", the opening and closing tracks, "My Father" and Romeo and Juliet's "Balcony Scene", a song that will go down in history as a classic. The truth is, you will rejoice in this musical experience if you have a soul. Along with his follow-up 2002 album 'As If Nothing', 'Space Between Us' not only showcases the work of Craig Armstrong: it introduces us to one of this century's greatest scoring talents.

Simply Stunning - dreams are like water
When I listen to this record, it is a journey through a world of strings and emotion and heart ache. The open crashing strings of "weather storm" (much better than the Massive Attack version) are alone worth the price for this album. Then it moves along to the Elizabeth Fraser sung "This Love" which is a gorgeous track, that Elizabeth . . .

"rise" and "glasgow" are other highlights for me, I love how "glasgow" gives me this impression of what the place must be like (i've never been there). With the near twilight/noirish night, after a rainstorm, a slight and attractive lonely feel, rich in spirit. "Let's go out tonight" gives me an indescribable feeling, it's like knowing that something is over, or will be over very soon, whether it be your death, the loss of a loved one, something really important to the stability of your life that will cease, whatever it is, knowing that this thing in your life is going to stop, but regardless of it, relishing in that one particular, late night moment before the sorrow comes.

Only two tracks are non-instrumental on this record, Armstrong's other (and very good) album, "as if to nothing" has a lot more vocals. This music creates a mood, give it a listen, alone, in the dark. Or in a room full of people with headphones, or on a train/subway. Anywhere. ... Read more

Album Description

1997 debut album for London based trip-hop act with a distinctively South American flavor inspired in part by vocalist Nina Miranda's childhood. Best known for the track 'Underwater Love' that was featured in a successful Levis' ad campaign, the album's other highlights include, 'Numbers' and 'Dark Walk' and Miranda's sultry vocals in English, French and Portuguese. Standard jewel case. ... Read more

Reviews (10)

In a devil of a mood
British band Smoke City debuted with "Flying Away," a lush trip-hop album with some hints of sultry South American music woven in there. Imagine Portishead doing bossa nova and samba, and you'll have some idea of what "Flying Away" is made up of.

Starting off with the fluidly sensuous "Underwater Love," the album jolts into the smoky, thumping "Devil Mood," sexy ballads (the slow "With You," the gentle "Giulietta), shimmery Latin music ("Numbers," the pleasant "Aguas De Marco"), and opulent trip-hop ("Dark Walk") before wrapping up with the sweet title track.

"Flying Away" is one of those albums that you just can't pin a label on. To call it one thing -- Latin music, trip-hop, jazz -- would be to leave out everything else this album is. Instead it's a seamless blend of all three, mixed in with some odd sound effects and beautiful vocals.

Smoke City's instrumentation is a weird combination of the electronica and organic: we've got beeps, blips and bloops mixed in with an acoustic guitar. And thrown in are heartbeats, crickets, muffled muttering, maracas and some heavy ringing percussion. The lyrics seem simple, but come across as far more than they are ("With you I felt love/With you I felt pain/With you I was me/And a bit of you too").

Vocalist Nina Miranda's sweet vocals are what makes this album so memorable. She croons in Portuguese, French and English, managing a sultry croon one moment and wistful ethereality the next. Not to mention some ad libs of her own, like the high-pitched yelps of "Devil Mood," her mumbled mutterings, or the quizzical "The body? Yes, the body!" comment.

The sensual sounds of Smoke City are at their best in "Flying Away," full of fire and water and wind. This textured collection of brilliant trip-hop is a must-have for music fans.

"Underwater Love" Plus More!
I first encountered Smoke City when I heard their "Underwater Love" track on a chill compilation. (This excellent song has been included on more than one collection.) I don't like to think that I'm easily impressed, but I was really blown away by this number with its sulty Latin-tinged female vocals, odd blips and bleeps and dolphin calls, and superior production values. So I finally ponied up to buy their whole album.

I don't know what I expected, but this wasn't it. At first, I hated it and thought I'd made a colossal mistake. But it's really grown on me after repeated playings. I was expecting more songs along the lines of "Underwater Love", but Smoke City likes to play around with different tempos and sounds and beats, so I ended up getting a bit of variety.

The members of Smoke City, who collaborate in writing the music and lyrics, are Marc Brown, Chris Franck, and Nina Miranda, the vocalist. (Ms. Miranda also provided the illustrations for the liner notes.) Evidently they're influenced by the Brazilian music traditions. For instance, they cover the classic bossa nova tune "Aguas de Marco" ("The Waters of March") and give it a nimble and quirky update. And their own tunes borrow a little bit from samba and other genres as well, but filtered for today's tastes--no space age bachelor pad stuff here.

Ms. Miranda makes a huge impact, plunging in without fear and becoming a one-woman sound effects company. She's sexy and funny. Her vocal talents are best displayed in the slower number "Giulietta", a song anchored by a simple Spanish guitar line and ornamented with heartbeats and the sounds of crickets. Here she sings "And the place to confront with passion is the body", and then interrupts herself to ask perplexedly, "The body?", and proceeds to reassure herself, "Yes, the body." Later she notes "There are different kinds of fights/Dog fights--woof!/Playful fights...mrrow". Obviously, it's better heard then read, because only her sensual voice can do it justice.

So if you've run across "Underwater Love" on one anthology or another and you've been wondering if these guys are any good, take this album out for a spin. It may take some getting used to, but it's definitely an interesting and rewarding work by a talented group.

[WOW], baby!
A friend sent me this album recently, and I just listened to it today, and I am absolutely floored. This is one of the [most sensual] albums I've ever heard. I've had it on repeat since I woke up five hours ago. It's rhythmic, melodic, textured, [...], sensual, HOT, jazzy, fiery, and completely irresistible. 5 stars ALL the way.

TOUGH to find at first
I love this group - they're one of my all time favorites. This particular album was released in 97' but has since then been re-released in 2001 in the US as well as Europe again. Smoke City had ben gaining a strong cult following since "Underwater Love" and the musicians in this group are exceptional - from Nina Miranda to Christian Franck to Marc Brown. Nina Miranda has done work with many other artists on their albums - from Bebel Gilberto to Compost's artists. Christian Franck is also featured with the group "Da Lata" adn Marc Brown, well, is all over the music scene.

I highly recommend this cd. It's very original, Nina Miranda has a very charming voice, the instrumentation is great and they really are a talented group. I liked every track. PICK IT UP. And if you really like this album, check out Da Lata's album and of cours, Smoke City's newest album, "Heroes of Nature". I don't think it's as strong as this one, but it's still very good. My favorite tracks on this one are "Joga Bossa, With You, Jamie Pan, Numbers and Underwater Love". But all tracks are fantastic, again.

FYI: They've appeared in TONS of compilations... especially chillout ones (Ministry, Chillout Room, etc.). Some that may have slipped through the cracks though: Brasil 2Mil (great comp), Ondha Sonora - Red Hot + Lisbon, Red Hot + Gershwin.

a spill into paradise
Smoke City's music is a blend of ethereal and sensual, playful and joy. Nina Miranda's voice carries one through a watery dream that you never want to wake from. ... Read more

Album Description

Four Tet is Kieran Hebden, and he has released eight albums between his solo Four Tet work and band efforts as Fridge.Rounds is a beautiful montage of shuffling percussion,piano, guitar and folktronic excursions. 10 tracks. Domino. 2003. ... Read more

Reviews (28)

makes Wesley Willis look like Dom Deluise
An innovative and diverse electronica album. Incase all these other reviews haven't informed you yet, Four Tet makes their music from obscure samples of everything from jazz to gamelan to folk to ethnic to glitch hop to ambience and everything in between, often fused together to form some cross-cultrual form of electronic world jazz or something. THe result is a rich, beautiful, intoxicating, evocative collection of ineffable music that stands in a league of its own making. It definately stands up as just as good as the post-rock instrumental scene, right up there with Do Make Say Think and Godspeed You Black Emperor!, but in the same sounds nothing like them. If you're a fan of THe Books, check them out, or if you've heard of Four Tet first, check out Books later. This is the future of electronic music. Also check out Manitoba, Third Eye Foundation, Prefuse 73, and her's some random artist who is nothing like any of them---Wesley Willis.

Not as good as rave reviews: Not enough 'there' there!
I bought this CD because I enjoyed the two cuts included on two different CD comps as published by the British music mag 'Uncut.' For some reason its editors chose this album as one of the tops for the year 2003. I humbly disagree with the choice. The reason is that I'm sorry to say that the two best tracks on the album are the ones I already own. If you listen to the sound samples you will find instrumental music that is spare, eery, and well, chilly. I know that there is a whole subculture of music fans that are enamoured by this form of musical expression. I find that I like it but in small doses. Thus I recommend this album only to people who can sit through an entire CD of this trance-inducing music and warn away people such as myself who, either from a lack of concentration skill, impatience or a fondness for red meat need something more than 50 minutes or so of gauzy if pleasant ambient music.

BEAUTY, BUT PURPOSE?
This piece of music flows through speakers like perfectly crafted clouds of dark candy coating. Its delectable, intoxicating, and haunting, but you feel as if this aural feast is lacking in the building blocks. The simple joy of something beautiful is infused within these tracks. It is a cold, frosty, somber joy that is not unlike Nick Drakes folk recordings. The old, "life is dark, and I'm sad but isnt that tree wonderful" kind of feeling. His sounds shimmer, and overlay like a child's view Steve Reich. The abstractions in sound are wonderful, the dissonance is eloquently stated, but the anchoring of these abstractions within a simply gorgeous progression is a bit of an easy sell. Brian Wilson did it with the Beach Boys, as did Dave Axelrod. But to use beauty as a listening marker in a piece of music that relies so heavy on pulses and glitches is an easy way out. The atmospheres created by Four Tet are undeniable, and the level of taste in tone and sound is way above par. Suffice it to say the guy knows his way around a record collection. As a stately bit of 21st century electronic pop it funtions a high art. But the importance of this recording is not immediately recognizable when projected against the new century's diverse musical landscape.

Cheap Tortoise rip off
Wow! Four Tet sounds much like Tortoise, except not nearly as good. If anyone thinks Four Tet has some shred of decency, go pick up any Tortoise album and be amazed by the difference.

THIS IS MY FOUR TET!!!
After getting "Rounds" from Four Tet I must say that I'm still trying to process it. "Rounds" tends to meander a bit from song to song, but the entire set is interesing enough to have me grooving with "Hands" and "Spirit Fingers" to chilling me out with the beautiful cuts, "Unspoken" and "Slow Jam". The feel of "Rounds" is somewhat esoteric, and the production sounds almost amateurish and incomplete, but all in all, this one will satisfy the IDM crowd and chillout fans alike. ... Read more

Amazon.com

Nobody could have predicted the impact these scrawny young upstarts fromsleepy Davis, California, would have on the hip-hop world. Their debut 12-inch in 1993 seemed novel, a track apiece by Blackalicious and Lyrics Born and an instrumental cut-and-paste symphony by DJ Shadow. It took the hip-hop community by storm, though, and the fledgling label was elevated to elite status when Latyrx (Lyrics Born and Lateef) and Shadow dropped their monumental mid-90s debuts. With their rare funk samples and heady, tongue-tying lyricism, Solesides helped jump-start the vaunted independent hip-hop revolution of the past decade. This release presents Solesides' growth and maturation and offers some of their rarest out-of-print and vinyl-only gems, a blistering new posse cut ("Blue Flames"), and a host of freestyles and demos. Other highlights include Blackalicious' "Count and Estimate" and selections from their Melodica EP. Though the core of Solesides record today under the Quannum moniker, Greatest Bumps chronicles a spirit, innocence, and freshness that resuscitated hip-hop. --Hua Hsu ... Read more

Reviews (16)

hip hop fans, don't sleep on this one
Wow. I cannot stop listening to this album (or at least the first disc). I'll take it through step by step here :) It starts on a bit of a misstep with "Rhyme Like A Nut!" and "Entropy Part 1" but these deserve to be on there as they are formal introductions to Gab and Shadow. Not on par with their songs to come, but still good. After that, it's classic track after classic track. "The Wreckoning" is simply amazing and one of my favorite hip hop tracks EVER. It's arguably even better than the "Live 45 Mix" version as Lateef rhymes for longer, and the minimalist Shadow beat means you don't miss a word. Gab kicks off "Deep In The Jungle" with what is definitely one of his greatest verses. "Send Them" has one of the funkiest dance hall beats I've ever heard, and the song is from '93! And as for anyone who hasn't heard the classic "Lady Don't Tek No", just find a way of listening to it. Beyond words.
As for the second disc the quality drops just a tad. It is mainly freestyle raps (still tight, especially Lateef's) and cuts from Latyrx's "The Album". Of course, if you don't have the album you won't notice and you'll probably love it. Unfortunately "Fully Charged on Planet X" is pretty mediocre, and "Hot Breath" is just plain bad. Even at under 2:00 it should have been left off the album. If I was compiling the album I would have taken out some of these weaker offerings and just put the remaining tracks from the Melodica EP on here ("Attica Black" and "40 Oz For Breakfast" are noticeably missing)
The only reason not to own this would be if you already have the Melodica EP and The Album. Even then, you're missing out on some classic tracks you can't get anywhere else. The liner notes are even great, as they list all of SoleSides' releases, and a look into the history of the SoleSides crew. Definitely get this one.

This'll keep you groovin'. . . .
Without a doubt two funktastic CD's of rarer tracks by all the right players, from Shadow on the beats to the rhymin' styles of Gift Of Gab, Lateef The Ill Truth Speaker, Lyrics Born, and others just as crazy. Each track continues to pound you with intensity and amaze you with simplistic complexity. It will take you on the perfect melodic journey that only the best hip hop can achieve. This stuff is REAL, and damn is it GOOD.

If you want DJ Shadow beats, they're here, but don't expect Endtroducing. . .style songs - these are all from the early-mid 90's, when he was rolling with the Soleside Crew, including Blackalicous and Lateef. It's rapping so fast and on you won't believe your ears. Smooth and polished lyrics with that underground, indy-sounding production - unbeatable combo.

For the price, you're getting ten times your money's worth. Buy it, check it, LOVE IT.

OLD-SKOOL QUANNUM
this is the legendary Solesides Quannum Collective at you for the first time..... every track has been purified in a gold chalice and is ready for your soul....... check out Quannum Spectrum, Later that Day produced by L.B., the new remix album of Later that Day commin at you in the near future, Gift of Gab 4th Dimensional Rocketships Going Up, Lifesavas Spirit In Stone, Latryx The Album, new Joyo Velarde and new Lateef also coming in the nearest future.... keep your ears, heart, mind and soul OPEN, Peace

I've had this album for one day...
(follow from title) and already i reckon ti's classic... i've only had time to listen ot the first disc... beautiful stuff... if the second disc holds up, i'll be most grateful... i must give it 5 stars to prevent it being dragged down to the DREADED "3 and a HALF" STAR level... MWU-HAHAHAHAAAAAAAAAAAAA...

True Hip Hop
DJ Shadow's beats, along with the vocal talent of Blackalicious, Lateef, Lyrics Born and others in the Solesides crew, give this two disc set a must have label for all true hip hop lovers. Blackalicious and DJ Shadow both put out new cd's this year, and the Solesides discs give a sample of what the public had been missing out on for years. My advice is to get anything that DJ Shadow and the Solesides Crew have a hand in, they have been doin this for years, and doin it well. This cd is a must have and a great value. ... Read more

Amazon.com

In the never-ending move to cross novel musical idioms, The Myth of Red has an air of inevitability about it. An ambitious fusion of opera arias, Russian folk tunes, and art songs with beat-driven electronic soundscapes, the album largely succeeds in bridging incongruous musical worlds. A gifted classically trained vocalist, fetching soprano Sasha Lazard lends her talents to 13 tracks inspired by or based on Rachmaninoff, Verdi, Saint-Saëns, "Ave Maria," and "The Incubus" by the notorious poet Charles Baudelaire. Nimbly aided by the production, programming, and keyboards of Frank Fitzpatrick and David Tobocman, the lovely violin of Lili Hayden, and production ringers DJ Spooky and Delerium, Lazard delivers a smooth, classy, and fairly sedate collection that will appeal more to adventurous classical and world-music fans than hard-core electronic aficionados. The Myth of Red succeeds most when it picks up the pace on tracks like "Forbidden Dance," "Awakening," and the slyly funky "Temptation." Not surprisingly, two of the best tracks are DJ Spooky's galloping "Battle of Erishkigal" and a remix of "Awakening" by the incomparable Delerium, an act whose depth of feeling and mystery Lazard and her crew seem to strive for but don't quite achieve. Fusing several centuries of music is no small task, but Sasha Lazard actually makes it seem natural, which is a testament to her talent, training, and choice of company. --Carl Hanni ... Read more

Reviews (19)

An exquisite and hypnotic debut
Most people, myself included, know Sasha Lazard as the voice behind the English version of the love theme for the film "Princess Mononoke." I'd been trying to find more of her music ever since then, and I was quite excited when I came across her CD "The Myth of Red" at a local record store.

Loosely based on the Sumerian myth of Inanna/Ishtar descending to the underworld, "Red" is a collection of tracks fusing opera vocal with electronic beats and arrangements. Lazard employs a number of collaborators, including violinist Lily Hayden, singer E-Day, and techno maestro DJ Spooky to deliver a hypnotic debut full of potential. The songs are all gorgeously arranged and delivered with standouts including the seductive "Awakening", the crystalline "Angeli", and the kinetic and rousing "Battle Of Erishkigal".

"Red" is a phenomenal debut album and speaks highly of Lazard's promise as a singer and arranger. Fans of Emma Shapplin and Sarah Brightman's more pop-leaning CDs will find much to enjoy here, while fans of Trance Opera and similar groups may find the tracks -- while beautiful -- lacking in kinetic potential. The CD also includes the aforementioned theme to "Princess Mononoke" and a remix of "Awakening" by Delerium which, while interesting, fails to improve on the original but could give Lazard access to a club audience.

All in all, a great album with much to like. Highly recommended for opera fans and electronica fans alike.

Quasi-classical music mixed with triphop and light techno
In the realm of today's classical/pop fusion, where does Russian soprano Sasha Lazard fit in? Her voice is splendid enough, similar to one of the Opera Babes, but the majority of songs contain a beat more at home on a Massive Attack album, i.e. industrial trip-hop, or on lighter moments, on Dido's No Angel. To prove it, there's also a techno DJ and a Delerium remix to enhance a techno side, but not as excessive as Bond, so classical purists will want to eschew this. The Myth Of Red is a concept album inspired by the story of Ishtar (q.v. Gilgamesh) about a woman's journey to the underworld and the process of finding and recognizing beauty on her way out.

The medieval sounding Latin-sung "Stabat Mater" is derived from 18th century composer Giovanni Pergolesi's religious composition of the same name. This track like others features keyboards and programmed drums familiar on Dido's No Angel. It is briefly reprised later.

Taken from the "Georgian Song" by Sergei Rachmaninoff, and featuring a melodic and melancholy violin solo by Lili Hayden, the trip-hoppy "Awakening" details the woman's flight to the underworld and the song sung by her earthly lover to bring her back. The Delerium remix for this stretches it an extra two and a half minutes, including thumping oontsa oontsa beats and bass which depending on one's mood, makes it cool or intrusive.

A medieval-like chorus permeates the religiously atmospheric "Ode To Innocence", taken in part from Giulio Caccini's "Ave Maria." The pulsing Massive Attack-like bass synth and a reggaeish rap by E-Day are prominent here. Definitely not as pure as Charlotte Church's rendition on Voice Of An Angel, but different.

Lili Hayden joins Sasha for "Tell Me Why" inspired by a section of La Traviata. Then, a French spoken word intro taken from Baudelaire's "Le Revenant" by Charles Fathy leads into the techno beat of "Forbidden Dance" also sung in French.

No backbeat is present in the quiet and haunting piano number "Romance," which highlights Sasha's lovely soaring voice, and a melancholy violin. My second favourite song.

The Massive Attack-like backbeat returns in "Temptation", adapted from Nikolai Rimski-Korsakov's "Charmed By A Rose", and sings of her seduction by the underworld's Incubus. The light techno and rap scratching by DJ Spooky characterizes the exotic Middle-Eastern/Russian sounding "Battle of Erishkigal." Sasha just vocalizes here, adding to the siren-like atmosphere.

My favourite song here is the lovely and haunting theme song to Princess Mononoke, alas all too brief. The description of the person matches that of the movie's title character: "when the sun has gone I see you/beautiful and haunting but cold/like the blade of a knief so sharp so sweet. nobody knows your heart."

If you can appreciate Sasha's voice enough without being too distracted by the constant drum and synth programming, this album is quite the ticket. The songs sung in Latin or French may lose the storyline of the concept, but Sasha includes a nice written bit detailing the conflict felt by the heroine:

"I live in shades of black and white. I am drawn to the dark... I rise to the lure of the lights. I am seduced by the pulsating, pounding sounds that spell danger. I am in constant conflict. I am touched by the sweet, the good, the kind. I am passionate about the dark, the tumultuous. I am ripped apart... torn in two by the battles I fight within my heart."

As for the album title, it's based on what red symbolizes according to text from Stephanie Busuttil's Red, be it seduction, life, death, euphoria, but most important of all, "red is the key and when applied to lips, will open all doors."

The Myth Of Red
Sasha Lazard's debut album was inspired by the story of Ishtar - the Sumerian Goddess who descended from heaven to the underworld. The Myth of Red tells a story of a woman who has grown restless with her pedestrian life. She was lured down to the underworld by the dark charms of the Incubus, the infernal lord. She succumbs to the seduction and is lost in his terrifying embrace. Annihilated and left for dead, she is awakened by the plaintive cry of her earthly love. Only after struggling to find her way out of the dark does she emerge and recognize for the first time the true beauty of light [taken from inside the booklet].

I, for one, have always been drawn to concept albums that come to reveal a story because, if done right, they contain such mystery and intrigue and with classical-crossover spreading as fast as it is, Sasha Lazard seems to standout among the other acts surfacing and I am very pleased with what I've heard so far and can only hope that she continues to follow the path she's currently taking and grow as an artist for she shows a lot of promise here.

Sasha was first heard with the haunting theme song to the popular anime "Princess Mononoke". She then put the wheels in motion for this captivating synthesis of styles. Her operatic voice is set to fresh, hip music with special guests DJ Spooky on "Battle of Erishkigal" and violinist Lili Hayden on "Tell Me Why" and "Awakening", which Delerium (Bill Leeb) remixes on the second take/closing track. The songs are mostly upbeat for she draws her influences from today's more modern sounds, including Reggae and dance, fusing contemporary electronic rhythms with Russian folk tunes and classical arias.

This isn't exactly new or groundbreaking and I wouldn't dare compare her to the amazing talents of Emma Shapplin and Sarah Brightman but she's got a gorgeous voice and the albums appealing nonetheless so I definitely recommend it to fans of this genre.

Absolutely incredible.
I am jealous of the reviewers who saw the live performance. I bought this CD by accident (like all other reviewers) and was shocked and stunned after listening. If you enjoy what Sarah Brightman, Emma Shapplin and Filippa Giordano do..you MUST have this CD. Simply outstanding.

I just love this album
I had the plasure of watching Sasha prepare her voice and practice before a show.It was only me and onther girl in the room.At the time I had no idea who she was but after hearing her strong vocals and the wonderfull music behind it I was hooked.I only wish I got up the nerve to introduce myself. She real is very statuesque and intimidating in person...and yes it is her voice only throughout the entire album. No tricks. ... Read more

Amazon.com's Best of 1998

Amon Tobin's mixing of jazz noir with breakbeats on Permutation resulted in one of the most infectious electronica discs of 1998. Using hard-bop drum samples, extended horn passages, and a constant groove, Tobin succeeded where others have fallen short: he captured the essence of jazz and made it ready for the dance floor. Thoroughly enjoyable and swinging. --Jason Verlinde ... Read more

Reviews (48)

absolutely positively undoubtedly excellent
i had first heard Amon's music in the éS skating movie Menikmati. at first, i thought the music was too good to be true, and it almost is. i rushed out, bought Permutation, and listened to it. WOW!!!!!! this stuff is amazing! since then i've bought every Amon Tobin/Cujo album, and absolutely loved every minute of every one! his skill of, not making music with instruments, but making music with ...music... is absoutely amazing, and his work must be extremely difficult... well, my personal faves on Permutation are Bridge, Sordid, Nightlife, Sultan Drops, and Toys. If you buy this or any other Tobin CD, be prepared to be blown away... he's amazing!

This is it.
Yes, this is it. Possibly my favorite album of all time. Amon Tobin is without question my favorite music artist and this is his best work, in my opinion. Supermodified is soooo close to capturing that title, but for some reason I like this album a little more. All of his work is incredible though, and all should be listened to.

I like the album because it takes me to another world. I like how 'Like Regular Chickens' sends a shiver down my spine once the first chords echo at the one minute mark. I like how the bass on "Bridge" picks up and makes me feel like I'm in a car chase in the 1940's. When "Sultan Drops" starts playing, I can imagine myself in the desert. "Nightlife" is all over the place, starting off in a Wild West Saloon, then taking you through some insane carnival at night. I've not been able to find a more addictive beat than the one in "Sordid". I'm not insane, the music is.

Amazon.com called this one of the best albums of 1998. I call it one of the best albums of the 90's period, and easily one of the finest 'electronic' albums ever. I say electronic because the music is made with samples, but it is so much more than that.

If there's one negative thing I can say about this album:
After you listen to it other music will seem, how do I say this... less satisfying.

Woah... Slick stuff
Amon Tobim - what can you say about him? Whether it's his stuff on Ninja Tune that you're diggin' or his stuff under Cujo, one thing's obvious from the get-go - the guy can make one heck of a beat. This one, Permutation, has stood the test of time for me because I picked this one up around when it came out and after about 5 or 6 years, I can still pop it in and it sounds pretty fresh.

But those beats... they kick! From the begging track which displays some heavy beats and jazzed sax's mixed in you get a pretty good idea of what the vibe of this is going to be. Its definitely dark, sometimes eerie but the most eerie parts are the "lighter" sounding cuts like "Night Life" - which has an interesting crash to it - dig the flute in there! The way it speeds up is vintage Tobim. The pure Tobim fans might not have been so thrilled to hear "Sordid" on TV; it was on the BMW X3 commercial circa Jan 04. But there are so many good tunes here, that's only one of a few gems.

HIGHLY recommended. Can't believe it took this long to review it... good cd but it is sooooo heavy. And hey - the last track on this CD can be found with lyrics on Bebel Gilberto's album called Tanto Tempo as they redo a bossa nova classic: "Samba De Bencao". No doubt Tobim laid the groundwork and it was a perfect marriage of the new and old school sounds of Brasil. But be warned if you're more into Oakenfeld, Sasha sort of DJ's this is not in the same mold... not by a long shot. But if you dig this, you might (I emphasis might) also dig Buscemi's "Camino Real".

Classic evolution of Jazz
Call it drum n' bass, trip hop, whatever...but in essense Amon Tobin is without question a jazz musician. Sure, he uses electronic equipment, like Miles Davis and Herbie Hancock encouraged in the 70s, but who can deny that Amon Tobin's music is not innovative, creative, and original.

He first came to my attention under his moniker Cujo in 1996, releasing "Adventures in Foam" on Ninebar Records. Rereleased in 1997 by Shadow Records it introduced the world to it's new ruler. 1997 also saw the release of his Ninja Tune debut, "Bricolage". "Permutation" is his 1998 offering, and possibly the album that forced the underground music industry to see that he was indeed here to stay. Incompassing jazz, hip hop breakbeats, drum n'bass loops, samba rhythms, and a load of otherworldly sounds, this brazillionaire created what is arguably his best work to date.

To go thru a list of tracks on the album would destroy the point. "Permutation" is not purposed to be listened to in tracks, but as a complete body of work. From the beginning we are pulled into his world and not released until the end, and some of us, yes some of us, have yet to be released. Myself included. "Permutation" is a masterpiece. 'Nuff Respect.

Breathtaking
One of the few idm/drillnbass artists i can stand. To be honest I wouldn't even throw him in with that crowd, Tobin is something completely different. His arrangement are more densely layered than his contemporaries. He also relies more heavily on jazz and hip hop to build the platform for his unique drillnbass style. This isn't one of your typical bedroom DJ's who throw albums together in 15 minutes (cough squarepusher cough). Tobin has crafted every track here with painstaking detail. I can hear something new every time i listen to this album. While every song on Permutation is amazing, "Sordid", "People like Frank" and "Toys" really standout for me. ... Read more

Amazon.com's Best of 2001

Kieran Hebden is, it has to be said, something of a genius. The groundwork for Pause was laid when Dialogue--his debut solo album under the guise of Four Tet--landed in 1999, an album that redrew the parameters of inventive dance music. A peculiar mix of live-sounding instrumental jazz and technologically super-precise laptop dance trickery, it sounded nothing like Hebden's actual group--the post-rockers Fridge--and, as it happened, very little like anything else in existence. Where Dialogue employed jazz sax and flute in its evocation of a 21st-century jazz meltdown, Pause goes even further, coiling whispers of harp and zither over layer-on-layers of fidgeting, rattling percussion. His inspirations? Well, like his friend and protég&eacute:, Canadian tech-wizard Manitoba (whose Start Breaking My Heart is easily the equal of Pause), Hebden collects sounds and melodies from a dizzying array of places--ancient British folk music, the rattle of typewriter keys, the gurgle of running water, even a field recording of a children's playground. Genius? There really is no other word for it.--Louis Pattison ... Read more

Reviews (19)

already one of my top 3 cds of all time
not since the release of dj shadow's 'endtroducing' have i been so excited about an artist/album. this is some beautiful music. four tet(guitarist for fridge) uses sounds/samples/beats in the same fashion as dj shadow. this album is loaded with incredible sounds. don't get me wrong, it's not overly done, but the feel of the album is super solid. certain stand out tracks are, well, all of them. i don't really need to analyze any certain song for you because they are all equally great. four tet has another album prior to this release called 'dialogue'. if you like this album, have at the other. i listen to a lot of music. very rarely do i get an album that really re-instills my faith in music expression. four tet has done that with his two releases. i strongly suggest that you get his two albums. if you are into dj shadow, newer radiohead, boards of canada, fridge, or any other beat oriented instrumental music, you can and will not go wrong with these choices.

Only 5? You ask...
Pause is a majestic accomplishment combining the organic electronic sounds which remind me of Boards of Canada and NOBODY has ever reminded me of BoC before, with acoustic guitars making this CD possibly the most organic sounding electronic album that I've ever heard...
The beats are hypnotic and ydroponic and the use of voices of children, like in the beg. of track 4, and guitar sounds, make for a serene atmosphere in which one can easily loose one's self (which tends to be the point, right?) The song 23 is instantly likeable in that BoC kind of way and contains trippy samples and arresting beats and even has bells and horns!
This album has an upbeat, cheery feeling which is somewhat rare in IDM and Ambient music of recent years. The use of acoustic guitar separate Four Tet from the majority of his contempories and creates an added dimension and more sound possibilities to a genre that seems to be filled with as much sound as anyone could possibly desire in terms of layering and textures. Track 7 is a masterpiece of musical mayhem, the equal of any of the great one's works and exhibits Kiernan's creative mind as well as his insane skills.
The only negative aspect of the CD I believe is track 8 which I think was the single and contains an annoying repetitive vocal sample which begs for the skip button to be pressed.
Pause is one of the few albums worthy to be described as 'Brilliant' and Kiernan is one of the up and coming superstars (although he's been around - check out Fridge) who should be getting serious recognition...

Nice- but doesn't have that umph!
Four Tet is great. Great to just sit back and chill, great to excercise to, great cook to, clean to, drink to... etc. Unfortunately, sometimes that's just not enough! I'm left with a yearning for Four Tet to take it somewhere else... somewhere higher. But he never does.

For those hard-core electronic/ambient/whateveruguyscallyourselves heads, I'd say skip this album. It's not challenging enough for your finely tuned ears. But for your everyday ambient listener, it might be worth your while to take a gander.

Ind