Catching The Waves

Because You're Worth It

It seems that Germany, despite losing last week's European Football Championship final to Spain, isn't quite ready to admit defeat. In response to the previous CTW recommendation, the German coach has thrown on an extraordinarily last-minute substitution straight from the heart of Berlin:

Dubplates From The Madhouse by Dub One! (The exclamation mark comes as part of the package. It helps if you say it as. If! YouwereCaptain...KIRK!)

The first sound on this five-track EP is a cool double bass, then a cooler dusty beat. Hmm, so Jack's Pot (Radio Edit) is trip-hop, surely? But no, here's a pulsing organ and swelling horns. Sit back and enjoy dub delirium. Rather appropriate for something from a madhouse.

A minute in to Odd Man's Planet Dub and what was an exemplary dub track gets a bespoke, crackly trip-hop drum beat that elicits a Neanderthal grunt of satisfaction from CTW. Play this (not the grunt) to your friends and watch their jaws drop when you tell them that you got it for free without resorting to a balaclava and sawn-off shotgun. Your friends may scoff at your claim, but you will remain calm and untroubled because your inner soundtrack is set to "trip-hop", permitting your yin and yang to enact a slow-motion duel between sitar and guitar. Satisfaction ensues. You've just been levitated by the Sitar Sensi (2007 Jah Crazy Edit).

Next is Wise Man's Dub, in which the narrator tries to find the path of enlightenment by bothering old age pensioners for the answer to life, the universe, etc. He gets nowhere until he talks to a nubile young lady. That's wisdom. And it's extremely wise of Dub One! to produce such a blend of trip-hop, light dub and rock guitar, not to mention a dusting of sitar.

We end the EP surrounded in a cloud of smoke with Dub One!'s whimsically titled "Sedative Gunjah Remix" of Knock Me Down by ETF. There's sax, flutes, organ, a soaring rock guitar solo, and a lithe young woman singing along - all it needs is a reverberating snare drum and you could file this remix in the dictionary under "Dub". And, would you credit it, the snare drum's there too. Somebody give the Oxford University Press a call.

I think this glimpse inside an asylum is the best thing that Dub One! has dub done. Each track is a head-nodding treat, and there's a professional sheen to the sound. If you want more of his stuff, you'll find it at ever-reliable Ideology, where he joins up to good effect on various releases with Authist, his usual partner in crime.

Dub One! - Dubplates From The Madhouse (EP) (link to zipped album and individual mp3s & oggs)

Dub One! on MySpace

Ideology netlabel

Death By Bureaucracy

Memo to world: please invent a cure for manflu and computer problems in one easily gulped pill. Thank you.

Until such ailments are cured (probably around the time we all get our free jet-packs), the only thing that will get me out of the sanitarium and back on the net is good free music. Yes, you've guessed it. By the power of Greyskull the internet, I give you the following, available in liquid, capsule and mp3: Folk Hero by No More Music Komite, available from all good chemists and Miga, the highly competent netlabel from Granada. One of CTW's unwritten rules is not to review albums from the same netlabel in successive posts, but I've got a cold ib by dose, so I don't care. Besides, Folk Hero is delightful. Unlike folk music. Heh. Joke. Joke.

The first of the four tracks, Big Bag, begins with a synth riff that has a nursery rhyme quality to it. It's soon joined by a double bass, guitar and some of the most delicate sampling you'll hear this side of an Olympics drug test. Brief snatches of female vocal and what sounds like a barber shop quartet or old-time spiritual flit in and out of a soufflé-light drum loop and make me grateful for the internet's curative qualities. Following this is Elles, which could be described as prime acoustic electronica due to its crunchy snare, its summery guitar accompaniment, and a lovely twisted, choppy synth phrase that drops in now and again, all encased in a gentle, glitchy hip-hop rhythm.

The palette of bells/xylophones, banjo, accordion(?) and dreamy vocals in Kinki & Bike might fool listeners into enjoying a brief fling with the sounds described and then move cheerfully on, pausing only to straighten their clothes. Those with decent speakers will know it's all about the humming deep bass that breathes slowly in and out, providing aural momentum and the hint of a shotgun-wielding, straw-chewing father.

After an aggressive, slowed-down, backwards intro, At Your Convenience II morphs into something funkier, its laid-back trumpets encouraging the drums to get it on until the track eventually climaxes with muscular breakbeat. Quite a journey from the start of Big Bag.

No More Music Komite's release, despite being crammed with numerous samples, glitches and sundry noises, feels spacious and relaxed. The subtle panning and chorus(ing) allows the ear to take in a lot without suffering from sensory overload. Folk Hero wears a short-sleeved T-shirt and trendy sunglasses, and snacks on olives and chorizo. So it's definitely not folk music. Joke. Joke. Wooh. Tough crowd.

The group's name is officially "No More -music komite-" but I couldn't be bothered to type it properly. Sorry. Besides, they're only a talented collection of Spanish music and video artists, and it's not as if the Spanish ever get together as a team and do anything of merit...

No More Music Komite - Folk Hero (link to zipped album and individual mp3s)

Miga netlabel

Triple Word Score

*taps screen*

Still here? Life gets in the way, etc. Thank you for your patience.

I'm torn. I have in my hands an album and its remix. How to choose? What to do? There's only one way to settle it. In the immortal words of Harry Hill: FIGHT!

In the blue corner, weighing in at 11 tracks, 24 minutes and 16 seconds, is an instrumental hip-hop album, Scrabble by Cresh Frazy, released in 2005.

In the red corner, weighing in at 11 tracks and a much heavier 38 minutes and 41 seconds, is Scrabble: The Unauthorized Remix by Qu.one, released earlier this year. The remix packs a punch but the original has the reputation. Let's get rrrrrrrrready to reviewwwwww. Now, listen closely: no gouging, no low blows and break when I tell you to. Come out fighting. Scores at the end of each round.

Crayola - Listening to the original chime-laden slice of trip-hop is a cool way of spending three minutes; its remix maintains an hypnotic groove that makes my head go up and down. 0-1

Krillionix - There's an 80's fretless bass in here: feel the fear. Fortunately, there's some breakbeat, piano and flute to ease the pain. Qu.one gives Cresh Frazy's beat a steroid injection. It feels chunky. Your speakers will like it. 0-1

Piano Lessons - A piano riff reminiscent of John Carpenter's Halloween gets bashed about by an acid bass and hip-hop one-two. Qu.one's bass line benefits from a much punchier sound. Again, it's 0-1 and the crowd is baying for blood.

Pleasant (Interlude) - This is a snippet of dialogue from Pleasantville, a film about the contrast between today and the 1950s. The remix is bit-crushed and delayed to within an inch of its life. 0-0. The crowd boos, unappreciative of this lifeless round.

In Hindsight - The remix is twice as long as Cresh Frazy's chillout original. Despite lots of ambient crackles and a tempo that accelerates towards the end, Qu.one overextends himself and comes off worse. 1-0

The Nex - At just over a minute long, this is a relaxing piece of breakbeat-ish electronica. Again, Qu.one beefs up the sound and the bit-crushing, but then slips in a little drum and bass to invigorate the track. 0-1

War - Two minutes of lightweight breakbeat. The remix slaps on an additional five, yes, five minutes, and a heavier kick and snare, but not much innovation. The judges wimp out: 1-1

Live @ The Latin Quarter - Ooh, latin jazz and breakbeat. The remix has nothing to do with such trifles, preferring a housey dance feel. 1-0. The crowd roars. Cresh Frazy is coming off the ropes!

Art Test (Interlude) - Almost a knockout from Cresh Frazy. Bruce Dern extols the virtues of an art course while sounding so bored that it's a wonder he stays conscious to the end of the advert. Qu.one's version, though containing more overtly funny lines, can't compete with the almost comatose Dern. 1-0

Visualeyes - Cresh Frazy mooches around an ambient intro, then wallows in a gentle guitar and trip-hop track; it's soothing and groovy. The remix does away with the noises off, ups the tempo and drops the hammer; it's energising and groovy. 1-1

Outriz - Breakbeat, vinyl crackles and jazzy guitar. I'm happy. The remix samples Thank You For The Music, a fitting end to Qu.one's tribute to Cresh Frazy's opus. He's also, you've guessed it, beefed up the bass and beats a bit. 1-1

So Qu.one slugs it out and wins 7-6 on points. Congratulations to the new kid on the block. Don King is waiting for you. Run away!

Qu.one's album doesn't remix Cresh Frazy's original so much as give it a wax and polish. There are no great compositional flourishes but it definitely sounds better - it's heavier, crisper and hence more immediate, though he's overfond of bit-crushing, IMHO. But the bulk of the credit must go to Cresh Frazy - they're his tunes. Let's say that the boxing board of control is referring the decision to arbitration.

Like a lot of people, I don't have the wherewithal to buy an album and its remix just for the fun of comparing them. Thanks to the netlabel scene, I've been able to contrast and compare these musicians' works and keep an eye out for them in the future. Why not visit their sites (and the good people at Sixteensteps netlabel) to boost the traffic of all concerned? I must stop ending these reviews with cheesy brochure-speak. There, did it.

By the way, Cresh Frazy owes me treatment for carpal tunnel syndrome. Try typing his moniker and see how many mistakes you make. And a special thank you to Typepad for its crappy picture editing.

Cresh Frazy - Scrabble (link to individual mp3s)

Cresh Frazy's MySpace

Qu.one - Scrabble: The Unauthorized Remix (link to individual mp3s and zipped album)

Qu.one's MySpace

Sixteensteps netlabel

 

Let's Do The Time Warp Again

Netmusic enthusiasts are rushing to hear French musician Degiheugi's latest release, Only After The Show, because they've already heard the subject of today's egregiously late recommendation of an album that was released a whole three years ago. (Yep, Catching The Waves might as well be called Behind The Times.) Anyway, though Degiheugi's current work is fine and upstanding, it's his 2005 opus, Aquilon, that gets CTW shaking its finely toned and not-at-all-sagging booty.

Aquilon is a pretty seamless whole; tracks bleed into each other in a manner reminiscent of a concept album. No, don't run away. You'd be missing out. It's chock-full of samples, though I've no idea what is entirely original, what's been chopped up or what's been lifted wholesale. The album is ostensibly an instrumental hiphop workout but it's actually a finely detailed piece of experimental electronica. It's like buying a second-hand car from a back-street garage, only to find that you've acquired Herbie.

First off is Comme un enfant sans mère, which starts off with a crushing drum beat, calls in some dubby elements and then quotes from Sometimes I Feel Like A Motherless Child, a well-known Negro spiritual. (Please note that I use the word "Negro" in its historical context only. Don't hit me.) It's a head-nodder.

The second track, Intro: Aquilon, (yes, intros should come at the start - don't blame me) makes good use of doom-laden strings, ambient drones and record scratches to place the listener in a comfortable armchair and a glass of something special, warm with the knowledge that a good album is underway.

There's some witty sampling in Un jour de printemps, featuring a sample from Greenfields by The Brothers Four. Degiheugi raises the pitch of "Once there were green fields..." so that it sounds like the Munchkin Massed Choir, slots it into a trip-hop rhythm, and then cuts it to just the first syllable, punning on the basic funk rule of emphasising the "one", the first beat of four. He also throws in some Spanish guitar, some gently mewling trumpets, and all of a sudden a track that could have been irritating becomes delightful, getting deeper and more reflective as it progresses, notwithstanding, and here my cup doth overflow, a breakbeat workout near the end.

My Rickety Piano is like something Michael Nyman or John Adams might have pounded out on their Steinways late one night in a who-can-use-fewer-notes contest. (A Steinway is not a euphemism. Get your minds out of the gutter.) A two-note piano riff gets chopped up and sampled until it sounds, well, rickety. It's a confident piece of music.

Mild-mannered hiphop is a feature of Ami, tu veux devenir poete until it rips its suit off to reveal a Superman drum 'n' bass costume, turning an atmospheric piece of maudlin Franco-jazz into something more invigorating.

My baby don't cares the shows [sic] introduces Nina Simone to glitchy beats and a thudding distorted bass. I'm not sure if this track is entirely successful. It's followed by Soldier In The Sky, an unusual mix of dub and electro with contributions from Virus and DJ Oscan.

Hot Girl (trip hop with naughty female noises), Entr'track 1 (lo-fi pop) and Plus de Souvenir are each just over a minute long, cleansing the listener's aural palate before serving meatier fare. Plus de souvenir is a dusty jazz loop with a trip-hop beat. CTW is defenceless against that sort of thing.

Baby Boom is helpfully self-descriptive, as you'll discover on hearing a baby gurgle delightedly through a breakbeat romp. For Organe au Gramme, Degiheugi produces a laid-back electronica piece reminiscent of Moby's Play. A thumbs up, in case you're wondering.

The album ends with Le Pince Oreilles, which is over ten minutes long. Hey, it's a netlabel release; no kow-towing to corporate record companies here. If Degiheugi wants to slap a Pink Floyd-ish cinematic/prog rock/trance/trip-hop epic on the end of the album, good for him. If you've bought into Degiheugi's ethos by now, you'll be a little annoyed that it's so short; it might even be the best thing on the album.

Aquilon is available from the mellifluously named Electrobel label and Degiheugi's own site, where you can also pick up the previously mentioned Only After The Show. If you're hungry for music, visit both sites, have a rummage, download Degiheugi's stuff and then leave a donation at your preferred site. Or both of them. Or neither, if you must.

I'm so reasonable. Sickening, isn't it?

Aquilon on Electrobel netlabel (Zipped album only. Sorry.)

Degiheugi's home page

Degiheugi's MySpace

Electrobel netlabel

 

Hit It Again, Sam

You know how sometimes you're walking along the street and you suddenly become Humphrey Bogart in Casablanca, pondering how to merge jazz, hiphop, the Middle East and 20th century music into a pleasing, full-bodied cup of coffee? You get that too? See, I knew it wasn't just me. Tell me if this sounds familiar:

You're strolling down the shadowy alleys of a souk when a gold-toothed chap stands in your way and tries to interest you in a double bass, some reverberating middle-easterny woodwind, a cheeky saxophone and his shop's finest hand-made dusty beat. You agree to his offer, providing he throws in a completely new riff right at the end of the track. You shake hands and walk off with La Mousse des Femmes.

Life is good. Looking up at the roofline, you Applaudir Les Oiseaux and the backing they give to the chime-laden drum beat that serenades you along the streets. However, one whiff of the uncompromising, rather monotonous next rhythm and you hurry past the hunched figure who offers to show you Sous Les Cotes. Brrr. Salvation awaits as you pop into a cool, calm bar, and listen to Eol et Leo tinkle the ivories, crush some drums and waft soothing strings over the clientele.

How much more of this do you need?

All too soon, the song is over and you must face the sultry streets once more. Ah, Etre Un Papillon, you think, and float away on a jazz piano and drum loop...

There, see, I knew you'd understand. Either we're crazed or we've been listening to Impressions, a five-track sampler EP by ThoTho, available from...

*busts a move*

...Dusted Wax Kingdom netlabel, Bulgarian purveyor of lo-fi, crackly, dusty hiphop to the gentry, and the rest of the world if it asks nicely. ThoTho, a lover of Stravinsky and DJ Krush (that's the kind of talk that CTW likes to hear) comes from Dijon (goodness, the French are so funky nowadays) and has released Impressions in the hope that it will encourage you out there to buy the full album. If you do, you'll find an iTunes link at ThoTho's MySpace. Failing that, send a donation to the very huggable and kissable Dusted Wax Kingdom, where you'll find a few pearls of lo-fi hiphop and triphop.

If you download ThoTho's EP, not only will you have a few head-nodders on your hard drive, you'll also be able to peruse the Lovecraftian album cover in all its sepulchral glory. Why not make a poster out of it and scare yourself silly?

ThoTho - Impressions EP (link to individual mp3s and zipped album)

ThoTho's MySpace

Dusted Wax Kingdom

P.S. Marvin of the marvellous Free Albums Galore took my little jest about his site's acronym in good heart. Phew.

By the way, the French weren't always quite so funky...

Eyedrops and cigarettes and absinthe are all a Tribble needs

It's the internet - you have to expect Star Trek jokes.

I dread to think how many man-hours BitBasic put into making the eighteen minutes of music that constitutes Grating Rainbows, but I'm glad they did: it shows.

The first track, Soap, is schizophrenic. Its first minute is soothing trip-hop; the second is jumpy, glitchy funk. It's followed by Left Here, a 60-second jazz-funk workout with lots of stretched vocal glitches and a chiptune-ish quality to the hip-hop beat, if that makes sense.

Emaze is more "traditional" breakbeat and drum 'n' bass with skittering beats, a hoovering bass, a seductive female vocal (no lyrics, just "aaahs") and mellow synths jazzing away quite happily.

Next up is Shroom. Yes, you're right: it's fungus-inspired hallucinogenic drum and bass that starts off tunefully and then descends into frenzied smash-cuts and edits.

Amen Break Steals The Show begins with a slow rock beat and a jittery sampled guitar but the pressure tells; eventually it has to give the world's most famous drum break a good seeing-to, but does so between juicy organ chords, which leavens the mangling and gives the drums something to bounce off.

Any track that can use creaking doors as an instrument gets my vote. Grating Rainbows, the funky and melodic title track, does all this and more before unearthing a wonderful organ riff that struts all over the accompanying glitches then departs the scene to allow breakbeat mayhem to commence.

Watch Less TV is good advice and is also the seventh track here. It's stuffed with countless cheesy audio snippets from British television that may or may not tell the story of a torrid affair. (These things lend themselves to adding your own narrative.) Is there anything more bathetic than snooker commentary? "Enter the king of the nineties" is my phrase of the week.

The album ends with Rest, which I am forced to call experimental electronica because it jumps from one style to another - breakbeat, nu-jazz, hip-hop, glitch, etc. - before settling for chill-out. A slowed-down and stretched vocal bids us goodbye and says "take care". Health and Safety would approve.

Perhaps the mix is slightly muddy here and there, but that may just be my cheap headphones and personal preferences. The sheer weight of effects, synths, samples, and the plethora of editing and arranging on Grating Rainbows is certainly impressive, but better still is the fact that the album is an enjoyable listen. Once the ear gets used to the melee of jump cuts and glitches, Grating Rainbows becomes a lot of fun.

BitBasic - Grating Rainbows (link to zipped album and individual mp3s)

BitBasic's website

BitBasic on MySpace

Monotonik netlabel

International Velvet

After a hard day fighting crime and introducing green-skinned women to the Earth custom known as "kissing", I needed to hear something soothing wafting across the foyer of CTW Towers. Fortunately, my secretary was playing Songbox by Velure, and its appropriate opening track, Walk Home, did the trick. On hearing Dale Arden batting her eyelids at Flash Gordon over a bass line with white-noise overtones, CTW's ears immediately tucked themselves in for the night with a nice cup of cocoa. All was well.

Velure are Australian purveyors of dubbish trip-hop electronica. (The internet: ears love it.) The quintet crafted Songbox, a five-track EP, in 2003 and recently decided to let we're-not-worthy uber-netlabel Ideology have the album in a splurge of Ocker-Teutonic McLovin. This is what's known as a Very Good Thing.

Throughout the second track, What To Do, as in the rest of album, Lynelle (Nelly) Moran's voice is set to "tickle". It brushes up close to the listener's ear and flirts with the dubby, bouncy bass and lonely-sounding harmonica.

*loosens collar*

Dub permeates Do You Feel Right? thanks to its soporific vocals, skanking guitar and a refusal to explain why such a lethargic track feels up-tempo. It's catchy. You'll be singing the chorus in the bath. Actually, there's not much echoing and endless reverb going on here. Perhaps it's better to call it "G'day Reggae".

Sorry.

There's something wrong with Birdy, the fourth track. The symptoms: slooow, meaty drum beat, vinyl crackles, simple accompaniment, slurred strings, noises off, and breathy are-we-there-yet vocals from a young lady. My diagnosis: Birdy has a nasty dose of trip-hop and the only cure is to listen until dawn. The track finishes with birdsong and should be sponsored by hypnotists worldwide. Three thumbs up.

The drum 'n' bass of Resonate does what it says on the tin (or the songbox), and feels as though Velure are all sitting on the lid to stop it getting out, only for the beats to pop out and have their say. It's singalong, dinner party drum 'n' bass. And that's Another Very Good Thing.

In-depth review: sounds great; catchy; suitable for all Homo Sapiens; eminently satisfying to fondle; free.

Velure have another album, Care For Fading Embers, available from iTunes and other music corporations via Velure's website. Let's hope the generous gesture of releasing Songbox for free is rewarded by sales. Go on, feed and clothe some talented musicians and further the cause of free internet music.

Velure - Songbox (link to individual mp3s)

Velure's website

Ideology netlabel

Lingers On The Palate

DJ Side is a Czech DJ who makes dubstep, grime and hip-hop. "All well and good, and we're very happy for him," I hear you say, "but what about those of CTW's enormous readership who don't want to nod their heads and consort with people of the opposite sex?" Fear not, O basement dwellers. With a surreptitious wink, DJ Side has sneaked an ambient hip-hop EP into CTW's coat pocket. You heard me: ambient hip-hop. Bittersweet Love is a five-track slice of hypnotic audio bliss, released on parole by those unstable people at Surreal Madrid netlabel.

Wikipedia defines dubstep as "distinguished by its dark mood, sparse rhythms, and emphasis on bass," which goes a long way to explain the soundscape you'll hear in Bittersweet Love. What's especially intriguing is the use of ambient sounds in hip-hop rhythms, though the glitches are set at such slow tempi that it's more trip-hop than hip-hop. Standing on the Olympic podium: 1. Lo-fi beats over lengthy delays and reverberations. 2. Deep bass drones. 3. Glitches.

The EP kicks off with Amb Part 2, wherein we discover an electric piano, a snare drum made of stretched white noise (sort of), and a distressed seagull strapped to a dub delay. Hey, it's how I roll. [/Americanese slang]

Clicks is just that, the sound of a dusty record with lots of panned clicks 'n' cuts. It sounds like a fireplace getting its groove on while an ominous, pulsing bass runs around the house and tries to find a way in. It's difficult to make such sparse elements engrossing, but don't worry - a Czech DJ is, er, in the house. Heh.

If the Cold War ever returns to Europe, D33P should be the soundtrack for its newly employed spies as they don mackintoshes, smoke far too many high-tar cigarettes and rendezvous in bombed-out buildings. Bell-like tones haunt the crackly, delayed clicks that run in and out of a lo-fi drum break. The bass sounds as though DJ Side parked a diesel engine in the corner of his studio, threw a thick tarpaulin over it and left it to run while he got on with making music. The track takes its time and thus gets under your skin. It broods. It's deep ind33d.

In Klear you'll hear giant filter sweeps, background thumps and a low, pulsing bass. It's rather like listening to distant warfare while the United Nations deploy a blue-helmeted click 'n' cut groove to keep things almost civilised. Like the rest of Bittersweet Love, it won't grab you on the first listen, but it's detail and rhythmical qualities might eventually win you over; it did me.

Metatron provides an optimistic-ish ending to our aural journey. A plain clap-and-kick beat overlays background noises and snatches of conversation before a muted guitar and lo-fi strings leaven the mix.

I'm not sure if there's much point listening to this fascinating EP on your/my standard crappy PC speakers because much of the intricate detail will be lost. It's definitely headphones territory; either that or play it late at night on a decent sound system. Your neighbours will love you. Trust me.

Perhaps someone will tell me where the album cover image comes from. Donning my deerstalker hat, I've deduced that it's from an Asian gangster film, and furthermore, my magnifying glass tells me that it might include the odd bout of fisticuffs or at least a sharply worded letter deploring misbehaviour in general.

DJ Side - Bittersweet Love EP (link to individual MP3s)

Surreal Madrid netlabel

DJ Side's website

DJ Side's MySpace

Two Wheels Good

The free toy in today's CTW box of cereal is an EP by a ramshackle rock band who love to let rip on the road and in the studio. All the songs here have a loose and improvisational feel about them, as though the band members grabbed whatever happened to be lying around in the studio and barged into a song whenever the feeling took them. They feel a bit like the '60s Rolling Stones but with free added electronica. AdcBicycle - I'll repeat that again for the hard of reading - adcBicycle are a wild-eyed bunch of rebels who by rights should be tearing up the dusty backroads of America or dashing through rain-drenched Budapest squares in search of the next after-gig party.

Except they're not. AdcBicycle is actually one person from Canada who is unfeasibly talented and has released a free eponymous five-track EP on Kikapu netlabel in the hope it will encourage you lot out there to pay to hear the other songs from his album. If life was fair, he'd be pushing a wheelbarrow of gold nuggets to the nearest bank. The five tracks are all of a piece and lead directly into one another, so they are meant to be heard in order. Somehow the electronica elements are made to sound organic; they blend in seamlessly with the acoustic instruments.

The first track, intro, begins with electronic warbling before treating the listener to a blend of brass, over-driven organ, acoustic guitar and finishing with, erm, what sounds like the manic humming of a deformed manservant on his way to help in his master's laboratory.

About a minute into poor economic policies you'll find yourself listening to demented pseudo-Native American chanting backing a Nintendo-ish chiptune, and thinking, "Well, this is new. And tuneful. And rather superb. And free." The cackling laughter that follows (this is not your ordinary EP) precedes a transformation into an epic rock sound that implodes into a kazoo-like ending.

It's not easy to describe music, you know.

The third track is called Facing the wall, staring beyond, a line from Samuel Beckett's A Piece of Monologue, an extract of which features in this gloomy piece. Melancholy guitars and organs get deeper and darker as the lyric gets glummer and gloomier. It's a meditative piece that is strangely uplifting. In the name of god ponders religious violence and violence in general accompanied by burbling electronica and slide guitar. It's an easier listen than you might think.

There's a story behind We're taking over the world Richard [sic]. AdcBicycle is an Ottawa resident, and so is Richard Warman, a human-rights lawyer. Someone naughty dialled the wrong number and left this unforgettable message on the wrong answer-phone. I give you one of the best audio extracts ever:

"This is a message, um, to Richard Warman from one of David Icke's nutty followers. We're taking over the world, Richard, we're taking over. And there's fuck all you can do about it. We are right."

A brief chronology of David Icke: professional goalkeeper, TV sports presenter, Green Party politician, ...scourge of reptilian humanoids. Look him up and weep.

AdcBicycle's EP is full of extracts from interviews, speeches and films, all artfully mixed with a beguiling blend of electronica and rock/art music, creating a unique and pleasurable listening experience. I hope he sells some albums off the back of it. And I still don't know how one man manages to sound like a shaggy rock band with a hip electronica producer. The netlabel scene is great, isn't it?

adcBicycle - adcBicycle EP (link to zipped album and separate mp3s)

Complete album available from Noisefactory Records.

Go to the adcBicycle Home Page to find out more, and to read the good news that there's a remix of the album due soon.

What's this called again?

If you're a long-term free music enthusiast then you may yawn and move on; you'll already have this latest Catching the Waves recommendation. Otherwise...*dons top hat, grabs cane*...have I got something for you.

Comfort Fit is, I think, German so I'm going to call him a beatmeister. Boris Mezga = Beatmeister. His album, Forget and Remember, released by Tokyo Dawn in 2005, is so cool it's frigid. Track after track of superb instrumental hip hop (or I-hop if you prefer) just funks its way out of your speakers. This stuff is so good that big, nasty, planet-guzzling motor companies are already using his music to flog their wares. At least the road to Armageddon will be funky.

The album's mostly I-hop but there are some vocal tracks. Something to Do and Freeze the Cut both feature Blaktroniks on vocal duties, the first plunging you straight into a beautifully deep groove, the latter stapling you to an irresistible kick-snare rhythm. Planetary Picknick and The Hunt are like John Barry out-takes before he decided to take out the head-nodding beat. Planetary Picknick is also a good example of what makes Forget and Remember so much fun to listen to: the grooves are loose. Dance/electronica/hip-hop often sticks rigidly to a 4/4 beat so as to keep things solid; Comfort Fit skilfully drops beats that are slightly early or late and it makes all the difference. There are lots of little background noises and drifting pads filling out and drawing attention to different parts of the music. It feels jazzy.

There's humour too. Kurz Vor Danach 'Ganz 05 retells one of those horrible end-of-relationship arguments and manages to make me wince, smile and groove at the same time.

You're losing patience, aren't you? Ok, in summary, there are 20(!) tracks. You need to hear them. Thank me later. But thank Comfort Fit first.

The whole album is available from Comfort Fit's own website but only in one big zip file:

Comfort Fit - Forget and Remember (whole album) mp3 format 110MB

Comfort Fit - Forget and Remember (whole album) OGG format 100MB

...which is not so good for the great unwashed = non-broadband people. Fear not...

Comfort Fit - Forget and Remember (link to individual mp3s and artwork)

Enjoy. God, I'm good. But Comfort Fit is better. ;)