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John Tejada is one of a growing number of DJs and producers who got their start in Detroit-style techno but have moved well beyond its stylistic borders, incorporating elements of hip-hop, downtempo, classic funk, and found sound to create a style that manages to balance nicely between avant-garde experimentation and booty-shaking dance funk. At his best, Tejada draws hugely disparate elements together into a surprisingly unified whole: "Create Fixate" takes what sounds like music box samples and marries them to glitchy breakbeats and cheesy synthesizer, to very fine effect, while his sly and subtle use of Cuban rhythms adds a welcome hint of warmth to "Shifted." "In Coach" sounds a bit like a tribute to Brian Eno's early ambient phase, only with beats. There are disappointments here and there -- "Stop the Mechanism" doesn't really go anywhere or do much, and guest rapper Divine Styler is not at his best on the so-so "The Silence of Us" -- but this is a highly rewarding album overall. ~ Rick Anderson
Personnel includes: John Tejada, Carmen Tejada, Divine Styler.
Personnel: Divine Styler, Carmen Tejada (vocals).
Alternative Press (8/02, p.84) - 7 out of 10 - "...Techno with complex rhythms, soothingly beautiful melodies and interesting dynamics...An eclectic delight..."
The Wire (7/02, p.69) - "...DAYDREAMS IN COLD WEATHER maintains a uniformly sprightly tone throughout..." Daydreams In Cold Weather Music John Tejada Daydreams In Cold Weather Songs Daydreams In Cold Weather Review
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Architecture in Helsinki's debut, Fingers Crossed, introduces their very appealing collage of electronic and indie pop. While there are a lot of groups out there mixing these styles, this Australian octet's music stands out, and not just because they use tap dancing as an instrument. Even though the band uses a wide array of sounds, ranging from bass recorder to a host of analog synths and samplers, Architecture in Helsinki have an admirably restrained hand with their sonic arsenal. Most of the album trades in charming pop miniatures like "Souvenirs," "Imaginary Ordinary," and "To and Fro," all of which are so quietly breezy that it would be easy to tune them out on the first few listens. That would be a mistake, however, as there is a lot to explore within the group's songs: "Scissor Paper Rock" sounds ...
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In the mid-1950s, as rock & roll was getting launched, it was a common practice for white artists to cover R&B and rock records (usually by black musicians) in tamer versions that were targeted for the pop market. For a couple of years this succeeded in tallying wider sales than the gutsier originals. Dot Records was one of the most active practitioners of this sly art, although this methodology died out around 1957, when the real rock & roll article had conquered the pop market. This has 30 singles of Dot "covers" issued from 1954-57, including seven alone by Pat Boone, and others by artists like Gale Storm, the Fontane Sisters, Jim Lowe, the Hilltoppers, and even the Mills Brothers and Pat Boone's brother, Nick Todd. "Far from locking out the original R&B versions," claims Rob Finnis in the liner notes, "which weren't likely to garner much airplay on pop stations anyway, Dot's clearly enunciated and immaculately balanced interpretations helped to prepare the way for the eventual acceptance of black rock & roll by the white media in those fast-changing musical times." Well, that's a highly debatable contention that could be argued well into the 21st century. What is clear from this compilation is that these cover versions, now forgotten but usually more popular than the originals at the time of their release, are audibly inferior to the real deal. They are not as ghastly as some historians have made them out to be, although tracks like Boone's whitewashed "Long Tall Sally," Gale Storm's stiff reading of "Why Do Fools Fall in Love," and Tab Hunter's "Young Love" are ...
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