Jamie Lidell - When I Come Back Around
Warp Records was once a highly specialized empire, a refuge for a humble-but-dedicated circle of leftfield electronic music consumers. It played a defining role in establishing the first wave of armchair techno in the early ’90s. However, in more recent years, Warp has begun to unwind its focus more and more. Evidence of this was brought forth when releases by Broadcast and Jimi Tenor began to surface later in the decade. By the time the new millennium hit, Warp had found a new assorted format and undoubtedly caused many former label devotees to turn away completely. As for myself, I never became impatient with the newfound eclectic slant. The heavy melodics of the Artificial Intelligence era ran a fairly sizeable course, but at some point, it was clearly time for a change of pace. Rather than seek an alternate point of focus, Warp opted for more of an “anything goes” mindset. Perhaps with Jamie Lidell’s latest full length, released last month, this mentality has reached a peak. Not only is Multiply quite different from any of Lidell’s previous outings, it’s more or less a bonafied soul record. With a few exceptions, the album’s track list is easily more comparable to Otis Redding than Red Snapper. However, the album’s single, “When I Come Back Around,” is something of a happy medium between the epileptic bump and twitch of “Windowlicker” and the vintage soul strut of Motown. For those unacquainted with classic soul, Multiply may take some time to grow on you, and this single may provide the training wheels necessary to spark your initial interest. Furthermore, if you’ve not yet gotten around to peeping the album, you are hereby recommended to do so. Why, it was only inked up as the Stylus “Album of the Week” for the week of June 13.
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Ohmega Watts - That Sound
Thanks to several you-know-who household names in the hip-hop mainstream, along with dozens of producers on the underground circuit, the notions of “soul” and “funk” have officially been reinstated into the hip-hop vocabulary. Upon scoping out commercial urban radio as of late, one might find that juxtaposed against the embarrassing second-grader drum machine workouts of “The Whisper Song” are the bright, authentic key progressions and smart breakbeats of Common’s “Go.” Portland-based Ohmega Watts (aka 25-year-old producer/MC Milton Campbell) is decidedly within the realms of the latter. And with the current overstock of generic, jaded “true school” inspired underground hip-hop, “That Sound,” the first single from Campbell’s forthcoming debut full length, comes off as a revitalizing diamond in the rough. With a delightfully Bohemian-style beat direction, the song has enough breakdowns, scratching spells and respectfully nostalgic vocal talent to wet the appetites of even the pickiest of the backpacker variety. “That Sound” embodies a less blunt-scorched and less comical Pharcyde in their prime. Also active as a graphic designer having Adidas commissions under his belt, Campbell churned out the cover art for the album. The 12-inch features a remix by Quantic Soul Orchestra, and the full length will include collaborations with DJ Bombay, Tiffany Simpson, Othello and Sugar Candy.
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Brian Wilson - Our Prayer (Freeform Reform)
There’s no telling exactly how or why this remix came into being. Having little to do stylistically with the grownup album rock majesty of Smile, it seems unlikely that the Freeform Five’s take on the album’s opening acapella track would have been commissioned by Nonesuch. Although, perhaps the label felt compelled to reach out to the younger, more modish facet of the artist’s audience. But even then, why settle for a little-known act like Freeform Five? I figure the most likely explanation would be that the remixers in question had their fun with “Our Prayer” before any contact with the label was even established. Upon the reprise’s completion, perhaps the foursome (yes, there’s puzzlingly four of them rather than five) touched base with the imprint, and for the sake of convenience, Nonesuch decided to peddle it rather than opting for a more obvious reinterpretation by Postal Service or The DFA. I can’t very well blame them for such thinking, as the mix works rather well. Fashioned as a tame electro/IDM hybrid, it wanders alongside the track’s original version with crafty beats and further harmonizing via buzzy synths. It’s quite far removed from the instrumental stylings and compositions of Brian “Sweet Hair” Wilson, but it’ll do the trick as long as you’re expecting it as such. However, if you’re hoping for a quirky electronic compliment to Smile, look elsewhere. If you must, just put on your favorite Lemon Jelly track and pretend it’s a remix of “Roll Plymouth Rock.” “Our Prayer (Freefrom Reform)” first surfaced on a clear, one-sided 10-inch single. It has recently been made available in CD form on Freeform Five’s two-disc installment in Four Music’s Misch Mash remix compilation and DJ set series.
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Stand-Alone Mash-Ups From Last Week’s Mix
Snoop Dogg (feat. Justin Timberlake and Charlie Wilson) - Signs (Metro Area Mash Edit By Luminfire)
There’s something so right about the way Justin nonchalantly drops the F-bomb like it’s no big deal, as if *NSYNC never released that Christmas album. It’s equally charming how Snoop suddenly took the hint from Pharrell and started singing his lyrics. This joint is full of firsts! And surprisingly, the Metro Area’s “Nerves,” featuring horns by James Duncan, doesn’t sound too far off from the original “Signs” backdrop. Both tracks hark back to the disco funk heyday of “Uncle” Charlie Wilson. The way Metro Area applies driving soul piano and a live string section is entirely uncommon in the electronic music community. Hats off to them.
Amerie (w/ T.I.) - Touch (Chicken Lips Mash by Luminfire)
As the world simmers down into a post “1 Thing” stupor, I’m sure Amerie’s wondering if she’ll be able to capitalize on another monster hit, as the rest of us probably are. Well, things are looking up in that respect. Although “Touch” is a dramatic departure from that first single, it’s certainly got the formula: a resolute club readiness curated by none other than Lil’ Jon. This mash-up strips the track of the super producer’s TRL-ready ornamentation, providing a clean slate of dubby disco frolicking. The instrumental source is the Chicken Lips remix of the Triangle Orchestra’s “@ 137.”
Gwen Stefani - Hollaback Girl (Reverso 68 Mash by Luminfire)
As far as I can gather, the general consensus of “Hollaback Girl” is not a positive one. It’s either Gwen’s giddy, amateurish raps or the Neptunes’ minimalist framework that initially turns people away. Personally, I don’t mind the song all that much. It’s certainly not as high on my guilty pleasures list as “What You Waiting For?” or “Rich Girl,” but for some reason, it does the trick for me. Hopefully, those displeased with the original version’s production will find bliss in the Reverso 68 remix of the new Juan MacLean single, “Tito’s Way,” as a substitution.
Outkast - B.O.B. (Christopher & Raphael Just Mash by Luminfire)
If you haven’t heard “B.O.B.” yet, you’re officially in what Stylus would regard as the “pupa stage” of pop music self enrichment. Why? Well, mainly because we cited the joint as the #2 best single of the new millennium. It’s all there: the rock-solid organ progression, the cleverly prophetic chorus line, the nod to techno and Miami bass, the energy. Oh, the ENERGY! My goal in this mash-up was to preserve that same raw and boundary-pushing vigor maintained in the original. I think I came close. The chip-encrusted “Popper” by Christopher and Raphael Just is by no means an unhurried track. The two songs aren’t exactly peas and carrots, but see what you think.