Prefuse 73 "Security Screenings" (Warp) Sounds like: A more disorganized take from the superior IDMgenius, Scott Herren. B
Scott Herren has been spreading the wealth of his talent and intellect for years now. Between Prefuse 73, Delarosa & Asora and Savath + Savalas, Herren and his multitude of aliases are the face of "intelligent dance music" (a ridiculous genre title, to be sure) and the man has perfected the art of infusing gritty, organic sensations into his array of beat sequences and samples. The dude is a genius.
As Prefuse 73, Herren has released several albums, including the phenomenal "Vocal Studies + Uprock Narratives" and "Surrounded by Silence." "Surrounded by Silence," which came out in early 2005, was composed almost entirely of Herren laying it all down with a sweet selection of guest artists, from The Books to Ghostface and El-P. It was a really solid collection that highlighted not only Herren's independent skills but also his ability to effectively collaborate with other giants of the fields, be it hip-hop or whatever it is that The Books do. "Security Screenings" is being touted by some as a follow-up to "Surrounded By Silence," but this is pretty much a total mistake. Not only does "Surrounded By Silence" demand no follow-up, but "Security Screenings," save for a few misplaced samples of people talking about "Silence," is a completely different record.
In his latest release, Herren seems to have a short attention span. The beats are disconnected and almost random in places. The trick to creating really great music like this is to maintain some semblance of logic and coherency as context for the otherwise chaotic assembly of sounds. Herren is a master at this for the most part, but this album in particular sounds the most discombobulated. "No Origin" is fantastic, especially in the last minute - one of Herren's best moments, period. "When the Grip Lets You Go" is also good. But in an unfortunate twist of events, all of the collaborations on "Security Screenings" fall way short. Most specifically is the album's closer, "We Leave You in a Cloud of Thick Smoke and Sleep," featuring Babatunde Adebimpe from TV on the Radio. Fans of Herren should without a doubt check out this album, but newcomers be warned.
-JEN TURNER
Dem Franchize Boyz "Top of Our Game" (Virgin) Sounds like: Boyz 'N Da Hood singing the Laffy Taffy song. C-
When looking at Dem Franchize Boyz, just from the name you aren't getting the most genius thing ever, although phonetic spelling is fun. The rap group hails from Atlanta, home of Lil' Jon and crunk, and they indeed do employ the simple chant-y nature of crunk. But we don't really see the same fun jump around energy we do with Lil' Jon, as the beats are a little more laid back and even more simple.
Like Lil' Jon, we have some arguably hilarious (or offensive, if you're a punk ass) profane lyrics such as, "I buy a bitch a shirt/Got to buy a bitch a hat/I don't work at the zoo/Get that monkey off my back/You say you pregnant with my baby/Shit I don't think so/Bitch that ain't my baby/Well I don't really know" on "Stop Callin' Me" (which uses the word "bitch" literally 38 times).
Also a big plus for the record is the bonus/hidden track - a remix of Dem Franchize Boyz' first hit, "White Tees," which brilliantly discusses the group's affinity for white T-shirts, a topic covered on several other tracks.
If you like cocky/funny/chant-y crunk/snap music (kind of like that Laffy Taffy song), you will probably be feeling "On Top of Our Game," but if this is Dem Franchize Boyz' top game, it's hard to see them going down in hip hop history.
-JORGE DEL PINAL
Mogwai "Mr. Beast" (Matador Records) Sounds like: Old school rockin' Mogwai (think "Young Team"). A-
For a decade now, Scottish rock band Mogwai has been tearing up the post-rock scene and putting many other bands to shame. With their previous effort, 2001's "Happy Songs for Happy People," Mogwai was able to prove they are not only great rock musicians but incredible musicians in general, as that album used everything from drum machines to pianos, a huge departure from previous Mogwai releases. With their latest release, "Mr. Beast," Mogwai continues the musical trend of "Happy Songs" but also returns back to the basics of Mogwai's sound.
First of all, the name of the album says it all. This album is a beast of a record. The opening (and best) track on the album, "Auto-Rock," starts off with a somewhat disturbing piano riff before building into a massive crescendo of sound complete with crazy electronics and loud, driving drum beats. From here, the album continues to amp up the intensity with the rocking track, "Glasgow Auto-Snake," a song rich with classic, heavy Mogwai sound not seen since their "Young Team" days.
This album is a great album from start to finish, but it really hits its peak with the track "Friend of the Night." This song, destined to become a Mogwai classic, is a primary example of how Mogwai can create vivid images in one's head without even saying a word. The song, primarily piano- and guitar-driven, takes the listener down a somewhat dark road before reaching an end that is surprisingly happy and comforting.
If there is anything wrong with this album at all, it is that Mogwai did too much. This album summarizes their careers as musicians as it has everything of the past Mogwai albums rolled into one. Technicalities aside, this album is a monster and one worthy of rocking out to.
-CHRIS MORENO
Various Artists "I am the Resurrection: A Tribute to JohnFahey" (Vanguard) Sounds like: New wave folkies impersonating the Devil playing ragtime. B+
John Fahey was unquestionably one of history's most influential and inventive music historians and musicologists. This collection is a testament to the stretch of his influence, giving artists from Devendra Banhart to M. Ward, who co-executive produced the album, to Lee Ronaldo (of Sonic Youth) the opportunity to reinvent the Fahey's inventions.
Some covers take more liberties than others, but to the uninitiated (or perhaps under-initiated), the songs only serve to embolden any passing interest or intrigue in Fahey. Not surprisingly, the most ambitious track is Sufjan Stevens' version of "Commemorative Transfiguration & Communion at Magruder Park" from "The Yellow Princess" album. Stevens almost goes overboard on this one, as he is wont to do, playing the recorder, flute, oboe, banjo and about a dozen more instruments.
The best tracks are those that stick more to Fahey's original, minimal yet stark and complex guitar work. Banhart's instrumental version of "Sligo River Blues" stays in line with Fahey's original intent, as does the opening track by Seattle's Fruit Bats.
Other tracks that work well are the ones in which the artist adds just the right amount of their own personality to the song, as is true with most covers. M. Ward, an outspoken Fahey fan, brings his distorted, bluesy, drawl-like guitar work to "Bean Vine Blues #2," one of the most fun-loving tracks on the record.
This album is important for the simple fact that it will introduce, hopefully, a new generation of music-lovers to the world of John Fahey, a man who directly influenced so many musicians around today.
-CHRIS DeWITT
