LADY SOVEREIGN/ Little Bit of Shush (White Label)
The UK garage & grime scenes have blown up in a big way in the wake of
such spotlight-grabbers as Dizzee Rascal and Ms. Dynamite. Now, every A&R
geezer is hanging out on the corners of East London looking for the next
big thing and the popularity the new breed (Wiley, M.I.A.) indicate that
the sound isn't going anywhere too soon. At 18 years old, Lady Sovereign
has enough issues to contend with; white girls stalking her on her cel
phone calling her a wigger, music biz types telling her how she should
look cosmetically, making her presence felt at as many MC throwdowns as
possible to build up her cred. But out of the gate, she's pretty
ferocious, with a nonstop machine-gun delivery over equally claustrophobic
beats, street attitude rivaling any, and totally creative freestyle. With
the guy from the Streets already making beats for her, it's probably only
a month before the same people who are cursing Dizzee for working with
Basement Jaxx come down on Ms. S-Oh-Vee, so get the goods while they're
good n' raw.
SLEEPYTIME GORILLA MUSEUM / Sleepytime Gorilla Museum of Natural
History (Web Of Mimicry)
Few bands can tie so many currents of ideas into a vision like SGM, a Bay
Area ensemble made up of members of Tin Hat Trio, Idiot Flesh, Faun Fables
and Charming Hostess. This, their second disc, features music that moves
from whimisical and theatrical to utterly crushing: Spike Jones,
Meshuggah, Magma, Goblin are just a few of the musical monsters rearing
their heads at this carnival-like supper table. The record's first half is
totally brutal metallic-prog, chock full of relentlessly complex time
signatures, plenty of snorting and growling from frontman/guitarist Nils
Frykdahl about impending doom. But later, the cockroaches surface, things
delve into evil lounge, Wicker Man-evocative folk (members can be spotted
with the odd cow mask on stage) and admittedly weirder (I have no idea
what the "baby doctor" Frykdahl is crooning about IS). One can certainly
be further confused over the in-depth theme of the booklet, which
positions early 20th Century Futurist manifestos with those of the
Unabomber (who seems to be commended for some good ideas). A puzzling,
band for sure, but one that always turns out a vision you can't help but
marvel at.
GUILLERMO E. BROWN / Black Dreams 1.0
(Harvestworks)
Hearing this in a store recently really turned my head. Brown has been part of free jazz
giant David S. Ware's ensemble as his drummer, and more recently spread out into some even
more adventuous sounds via the Blue Series on Thirsty Ear, which includes many artists on
the roster exploring the grey zone between electronic music and jazz. But here on Black
Dreams 1.0, Brown really grabs on to something further out than that. Someone accurately
pointed out this could be the cyber-age version of De La Soul's 3 Feet High and Rising, and
it's true: over the course of the album you're thrown a barrage of short cuts all taking on
every genre, yet there's a vibe that coasts you along the sketches rather than smacks you in
the face in a kind of John Oswald/Plunderphonic way. Herein, Brown mixes highbrow music
concrete and elevated jazz ideas with soulful humanity (I think Arthur Russell more than
once), and only as the album progresses into a denser wall of cel-phone sounds, industrial
bleeps and bloops as if to point to where society is indeed headed.
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