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If Team Shadetek's Burnerism EP had appeared on record store shelves in 1996, its blend of basement hip-hop beats and scratching with artfully processed noise arrhythmia would have been hailed as the next step on from releases like Skam's Mask series and Funkstörung's early singles. Unfortunately for the Shadetek duo, Burnerism carries a 2004 copyright and, despite its high pedigree as a release from the Warp label, it neither pushes a steadfast sound forward nor improves artistically on the blueprint. They prove themselves talented producers, though, frontloading the highlights "Menthol" and "The Fax" before fading halfway into the record. ~ John Bush
Live Recording
Team Shadetek: Soze.sht, Zats One.
Team Shadetek Burnerism Songs Burnerism Review
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It's hard to imagine a better old-school/new-school collaboration in electronic music than Jean-Jacques Perrey and Luke Vibert. Hardly needing an introduction, the first is a French musique concrète expert who began dabbling with tape and electronics back in the '50s, the second only one of the brightest electronica producers to emerge in the early '90s -- with a production style that marked him as one of the few who bridged the gap between techno and trip-hop without being overly academic or merely layering some old Roy Ayers samples over a stray breakbeat. (As if the accumulation of talent wasn't already concentrated, Jon Tye of Twisted Science helps out on most tracks.) And, as could be expected, the two prove to be a good match. Although it's easy to see who's handling the Moog and who's handling the acid, the two have ...
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Once the bad boys of folk and rock, Oysterband have grown over the past years into the role of musical custodians and godfathers of British folk and folk-rock music. The 'house band' role Oysterband played in the UK for part of these years drew on the group's formidable musical skills, rather as The Last Waltz did once upon a time for The Band. And it made them re-evaluate themselves. "We had to go back to the essential impulse that's kept the band kicking for almost 30 years - making new songs for ourselves," says Oysterbands Ian Telfer. "We put a PA system in a village hall on the Welsh border and got down to some serious playing. It's the doing it together that unlocks it for us," he insists. "It's the only way the songs can grow and breathe, of course. But also, we've always believed that creativity is a collective thing, and that's helped shape the band's politics. Not that we agree about everything, by a long chalk ... but hey, that's the spark."Once new song structures were licked into shape, Oysterband took the best ideas to The Premises in Hackney (Europe's first solar-powered studio) to work on the voices and acoustic instruments. Some late ideas were added in Brighton and at cellist Chopper's studio in Sweden."I think the long, sustained preparation has enhanced Meet You There enormously," says Telfer. "The singing - everybody's singing - is better than it's ever been. The raw rush that used to take us out on tour with The Pogues etc has evolved into something more measured, more powerful. We listened to it all back when we'd finished and we all thought: 'Yes! Strong. Rooted.' (And then: 'Cop that!') Literally, it's been refreshing - it's renewed our self-belief.""Meet You There" certainly delivers a fresh perspective on 'folk'. Check out the lovely mbira introduction by Chopper to the opening song "Over The Water", and the stinging rockabilly guitar beat of "Someone Somewhere" for contrast. For the singing, check out "Over The Water" again, "Where The World Divides", "The Boy's Still Running", the dreamy anthemic "Dancing As Fast As I Can". For the politics, the acid, knowing take on globalisation (over a cheery jugband backing) on "Here Comes The Flood"."Meet You There is the most consistent thing we've done as a grown-up band," says Telfer. "It ...
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