Album Review: Future Disco Vol. 5: Downtown Express - Various

Last year's Future Disco 4 turned out to be one of the better mix albums I heard last year. Despite coming fairly late in an ongoing series it had a really strong sense of identity and multiple classic tunes. Future Disco Vol. 5 follows the mantra of if it ain't broke, don't fix it... What you have is another collection of contemporary house tracks from the current batch of hot new things, this time packages up under the subtitle Downtown Express.

So we have another winner then, right? Sort of. The problem here is two-fold:

Firstly this doesn't have any disco. Where as volume 4 had Kaine's 'Love Saves The Day' and 'Zombie Tropicana' - classic soul vocals and experimental eclecticism that encapsulated some of the original spirit of disco this latest release really just feels like a collection of recent house releases. Because of that fact there just isn't any noticeable identity.

Secondly and more importantly the quality just ain't as high. There are a few good standout tracks but nowhere near the same caliber as on the previous release.

So if it isn't exactly a killer release or a highwater-mark for the series then what is it? Mostly just a collection of decent tunes - good but unlikely to blow you away. Miguel Campbell's 'Something Special' is a case in point - it's a nice minimal but bouncy house track but nowhere near as good as his MAM collaboration I recently reviewed, which would have been a much more 'disco' choice.

There are still a few good moments, they just aren't quite as consistently essential as volume 4's best tracks were. Tensnake once again deliver the business on Tiger & Woods filtered mix of 'Need Your Lovin' and the Pitto instrumental version of T J Kong & Nuno Dos Santos' 'Something Happened' is a great tense piece of tech-house funk. Benoit & Sergio's 'Principles' is still excellent, as Benoit & Sergio frankly always are and Maceo Plex's mix of DJ T.'s 'City Life' shows once again that no-one makes techno influenced sunshine house as well as Maceo Plex.

The album only really starts to deliver as it closes though. Joakim's 'Find A Way' is given a beautiful remix by Soul Clap - aptly entitled the Soul Clap Floating remix the result is a deliriously contemplative loved-up sensation that captures the introspective coming-of-age feeling the Joakim album from which it is lifted attempted to capture in the first place. It just might be Soul Clap's finest remix to date. Similarly the Prince Language mix of Penguin Prison's rather formulaic pop house track 'Multi Millionaire' transforms the original into a suitably climatic old Chicago house tribute.

It's a shame things don't start quite as well as they finish.

Future Disco Vol. 5 is out on February 27 on Need Want, available for pre-order from Amazon.co.uk on CD and MP3 [affiliate links].

Album Review: BBE 15 - Various artists mixed by Chris Reed

BBE, along with their series of successful Beat Generations albums, caught my attention back in my university days. Hip-hop felt more interesting then with a movement of artists who brought a more creative free-flowing aesthetic to the genre. Some dubbed this as 'indie' hip-hop but I always felt that kind of seemed a bit condescending.

My favourite artists at this time were The Roots, Common and most of all Jay Dee, or J Dilla as he later became known. I've covered and mentioned Dilla on the site a number of times before but a few of his albums never fail to blow me away. Best of all was Donuts, a set of instrumental jams recorded from his hospital bed shortly before Jay died of blood disease TTP in 2006. Pretty far up the list however was his Beat Generations album for BBE - perhaps the first demonstration that he had aims outside of the hip-hop and R&B genres, with its wonky electro moments and thick and heavy soul.

This genre-bending experimentalism is what has made BBE a great label over the years, and it's here in spades on BBE 15. Hip-hop has lost something for me over the years but to listen to this you wouldn't know it. There is plenty of the loose, soulful hip-hop that is good enough but it is when things stray from this that this album really shines. Then rapidly accelerating beats and rhymes of 'Black Star' by Richy Pitch featuring M.anifest feel like a frantically tweaking modern take on hip-hop, the tempo making rapid shifts like moving through musical traffic. The transition into Ty's 'Heart is Breaking' is equally wonderful - a percussive, soulful track that combines breakbeats and soulful disco.

Osunlade and Erro's cover of Radiohead's 'Everything In It's Right Place' is inspired and punctures the first disc like a brass pin through a butterfly's wing, a gravity that holds the whole thing in place. A cover of Radiohead can be a risky move but the sales rhythms here work perfectly. The final portion of disc one takes in drum 'n' bass, soul and soulful hip-hop, with the bombastic 'How 'Bout Us' by Katalyst really pulling no punches.

The second disc never quite reaches the same heights, feeling much more constrained by genre than the first half of this album. J Dilla's turns return their glory, particularly 'Pause', but there is just a bit too much straight up hip-hop. There are still some great moments - the vitriolic rhymes and rough riding bass lines and beats of Jazzy Jeff's 'Scram' and the gloriously classic disco of Don Cello's cover of 'Aint No Stoppin' Us Now' - things just aren't quite as adventurous.

On the whole it's impossible not to forgive the slight disappointment of the second half of BBE 15 when it packs so much into one album. Few labels could hope to have such a varied and exciting retrospective - BBE 15 should make us grateful such great labels exist.

BP x

BBE 15 is out now on BBE.

Album Review: Late Night Tales - MGMT

Having filled a gap between the Klaxons' first and (disappointing) second album MGMT's debut album became somewhat of a perfect pop filler. It may not have been nu rave, strictly speaking, but it came from the same jumping off point.

Unfortunately the follow-up left many cold and it now feels a little as though MGMT have come somewhat adrift. I can't help but feel it is unclear what they represent as a band any more.

This compilation in the Late Night Tales series probably won't help. What it will do is help reinforce that, if nothing else, here is a band with some taste. In fact this is a bit of a disconcerting release because it feels so very distant from the band's own material. This is particularly evident on the obligatory exclusive track, a cover of Bauhaus' 'All We Ever Wanted Was Everything', a dusty psychedelic cyclical track that sits midway through the album and is not like anything the band have produced before.

That one track is an appropriate representation of the mix as a whole - both ageing and psychedelic. The Late Night Tales albums usually consist of their fair share of older tracks but this is even more so the case here, with tracks from The Velvet Underground, Suicide, Julian Cope and the Durutti Column amongst others. The mixture of tracks is, however, pretty spectacular. The album opens on Disco Inferno's ghostly and lost sounding 'Can't See Through It' - a track by a band I had not heard before but that perfectly kicks off this floaty, folky mix.

Suicide's 'Cheree' blends in perfectly with the looping waves of melodic distortion, giving the mix a seafaring feel. The Durutti Column's 'For Belgium Friends' is full of tripped out dreamscapes that represent a heavy contrast to the dirty blues of Charlie Feathers' 'Mound of Clay'.

And the contrasts here are worth touching on - the Late Night Tales albums have always attempted to capture those times when it is so past home time that a collective denial is the only path and whilst this captures that feeling, it feels like it comes at the cost of a cohesiveness or any consideration to sequencing. There are beautiful instrumentals that grind harshly against folk music laced with punk and there is a definite lack of progression throughout the album.

But the songs themselves, and the conclusion at home time, are beautiful. And to these ears at least, unknown enough that this probably shouldn't matter. Indeed Dave Bixby's 'Drug Song' is staggering - listening to it you can't help but wonder if he has borrowed a few ideas from Richard Hawley (he hasn't, unless time travel is possible). It is a hard man that doesn't marvel at this kind of songwriting, it is glacially slow, powerless and shot through with pain.

Similarly Spaceman 3's 'Lord Can You Hear Me?' feels like an incredibly fitting close, with massive epic vocals that struggle to be heard over the much more pedestrian guitar work and distortion. It sounds like neurosis and melancholy brought on by a come down that is uncompromisingly brought into stark relief by the realities of morning daylight. And then the album squeezes in one last track, 'Morning Splendor' by Pauline Anna Strom, a touching instrumental of heavy eyelids and the final surrender to sleep.

Messy and ramshackle it is, but for nights lead astray you couldn't find a much more fitting or touching album.

BP x

Late Night Tales selected by MGMT is out now, available from Amazon.co.uk on CD and MP3 [affiliate links].

Album Review: Fabric 59 - Jamie Jones

Jamie Jones' album Don't You Remember The Future was reviewed on BlackPlastic.co.uk two years ago and it felt a bit like drinking Diet Coke when we'd rather go all out and fill our gut with The Real Thing. It's an accusation you could level at a fair number of contemporary artists but it's a fair one - who wants to settle for 'not quite as good as...'?

Jones' Fabric album is a bit of a surprise. Firstly because it isn't the fairly minimal tech I've come to expect from artists associated with Crosstown Rebels, the label Jamie calls home. But even more surprising is that fact that it is the most easy-going, celebratory Fabric albums in ages. But this isn't a thinking person's mix - the track listing is pretty obvious - but it's a great collection of disco and house cuts to soundtrack a party to.

There is a mixture of newer and older records on Fabric 59 but Jamie clearly isn't afraid to be obvious. There was a time when finding a new mix album without Felix Da Housecat on it would be more difficult than with. Despite that Jones drops 'Madame Hollywood', from Felix's defining Kittens and Thee Glitz LP, immediately before plunging into the reverb heavy 'Body Shiver' by Waifs & Strays. Thankfully it has been long enough since Felix mania that it just feels great to hear it again. Similarly Metronomy's mix Sebastien Tellier's 'La Ritournelle, shows up in the mix early on.

Fabric 59 is at its best in the closing third. Crazy P's 'Open For Service' is bonkers disco that feels every bit as classic as it aims to, with the most glamorously over the top chorus I've heard in ages. Holy Ghost's mix of 'Goblin City' by Panthers is the show stealer though. It's another track that has been around for an age but it never seems to have quite as much recognition as it deserves. If you haven't heard it you need to and it is here, at eight-minutes long, in pretty much full form. It melds house and disco like champagne and liquid gold, the inevitable guitar solo peak and subsequent break being one of the best things to feature on any Fabric album.

The pace is kept up through to the end. On Oppenheimer Analysis' 'The Devil's Dancers' Jones drops a track that harks back to times when the future sounded like the future rather than the past (just don't tell anyone it's only six years old). Soho808's 'Get Up Disco' is exactly as it says - a gorgeous loose rhythm and sparkling melody - and the stark 'Fear of Numbers' by Footprintz rounds things out.

Fabric 59 is almost in danger of being undermined - Jamie Jones has played it so obviously that it almost veers into parody, yet the final third of the album is so gorgeous I can't help but celebrate it.

BP x

Fabric 59 mixed by Jamie Jones is out now, available from Amazon.co.uk on CD and MP3 [affiliate links].

Album Review: DJ Kicks - Motor City Drum Ensemble

Motor City Drum Ensemble was unknown to me and this DJ Kicks album had totally passed me by until I happened to read about it whilst cavorting (for which read: sitting in the sun) a few weeks back in hot sunny France. It turns out the MCDE is actually Danilo Plessow, who had originally risen to modest fame as Inverse Cinematics. Plessow started working under the guise of Motor City Drum Ensemble when he moved away from the minimal techno sound he favoured as Inverse Cinematics towards a more soulful, disco influenced chicago house sound. 

I've already previously noted that the DJ Kicks albums are on something of a run of late with both the Juan Maclean and Apparat turning in particularly good efforts recently. Generally I only bother picking up on something this late after release if I think it is worth it and this is no different - Motor City Drum Ensemble has made the best mix album I've heard all year.

It is pretty straight forward - Motor City Drum Ensemble doesn't do anything much more complex here than drop together a great selection of tracks, placed them in a brilliant order and then mixed well. It's not rocket science, but it's just exceedingly well done.

Things start laid back, soulful and a little jazzy with numbers from Sun Ra and a lovely remix of Electric Wire Hustle's 'Again' by Scratch 22. It's a doped up, gently perspiring intro that gradually and almost imperceptibly ratchets up to a deeper minimal house climax. Along the way it takes in the echoed disco house of Peven Everett's 'Stuck" and Rick Poppa Howard's glorious simple classical house on 'Can Your Love Find It's Way'. As the latter melds into the squelchy melodies and delicate keys of Stone's 'Girl I Like The Way You Move' you pretty much have the perfect soundtrack for summer - chilling by the pool, warming up for nights out - and it only gets better when Plessow drops Fred P's 'On This Vibe", a beautiful spiralling piano house masterpiece.

Things are considerably harder on the album's second half, with Robert Hood and Philippe Sarde contributing a darker trip into techno, but there are still moments of contrast and sunshine such as the loose and funky Walter Gibbons mix of 'I've Been Searching' by Arts & Crafts. Motor City Drum Ensemble's own 'L.O.V.E' perfectly encapsulates the druggy, loved up feeling of this record - sitting midway between daytime chilled listening and something much more 'peak time' friendly, it's both intimate and sophisticated.

Towards the end things loop back around to a more soulful sound before settling on Timo Lassy's hip swaying hands-in-the-air jazz-soul epic 'African Rumble' on the penultimate track. It draws things in to a beautiful close and I cannot remember a single mix album that ends things so well - Lassy's track is that good.

And that is ultimately all there is to say - Motor City Drum Ensemble's DJ Kicks album is one of the finest mixes I've heard in ages. It has more balls and more ideas than I've heard in every other mix album I've listened to this year and you would struggle to find a more perfect soundtrack to lazy summer days and hot summer evenings. Classy, bold and passionate.

BP x

DJ Kicks - Motor City Drum Ensemble is out now !K7, available from Amazon.co.uk on CD, LP and MP3 [affiliate links].