Music

When Roni Size and his Bristol collective Reprazent unleashed 1997's “New Forms,” the undergound was officially introduced to the mainstream. As drum’n’bass’ biggest crossover album to date, it fused sharp stabs of polyrhythmic beats, crispy snares and hi-hats with smooth jazzy basslines. A formula, which added to the fact that it won the Mercury Music Prize that year, led to the genre’s status as “the new jazz.” The album inevitably became standard coffee-table fodder for cred-seeking, marketing executives and drum’n’bass was finished before it really took off. The fashionistas who heralded its rise from the early ’90s moved on to The Next Big Thing, while major labels threw money at artists in return for sub-standard productions. But the scene went underground, a creative hiatus ensued and d’n’b was no longer the commercial prospect it was.
Fast forward to 2000, forget about the TV advertising (they have Moby now) and think “universal.” For that is how Roni Size describes Reprazent’s new opus “In The Møde.” Not “undergound,” certainly not “the new jazz,” simply universal. Angrier and darker in parts than its predecessor, there is also a sweet and harmonic side thanks to female vocalist Onalee.
With recent albums from A Guy Called Gerald and Photek championing melodic suavity and heightened vocal display, a more listener-friendly strain of d’n’b is emerging — albeit a commercial one. But for the new wave of vocal-led records, this is no bad thing. Anakyne, DJ at Black Label Records agrees. “A vocal track is not necessarily a commercial track. If the production’s good, there’s no problem. It’s not selling out.”
But chart success is still more than likely for the next single “Lucky Pressure” while collaborations with Method Man, The Roots’ Rahzel and Rage Against The Machine’s Zack de la Rocha will guarantee recognition stateside.
Reprazent have gambled their credibility, laying down their musical hand and waiting for someone to match it or raise the stakes. This time they’re not bluffing — drum’n’bass is back. Roni Size Reprazent “In The Møde” (Talkin’ Loud/Mercury) out Oct 17. Specialist d’n’b shop Black Label Records is at 25 rue Keller, 11e. Their next club night is at OPA, 9 rue Biscornet, 11e, Oct 21

Helicopter Girl
“How To Steal The World”
(Columbia)
Helicopter Girl is Jackie Joyce from Dundee, Scotland. On her debut recording she has married her voice — somewhere between Eartha Kitt and Grace Jones — with stirring, dulcet pop tones, a wee bit of jazz and a smattering of trip-hop. The upshot is a sound not too dissimilar to the downbeat melancholy of Portishead or Morcheeba. Sub-titled “11 Tales of Love, Lust, Alienation and Revenge,” it’s easy to guess the content of the songs and write them off as despondent. But “How To Steal The World” isn’t all gloom and doom. The uplifting “345 Wonderful” cuts up ’80s synthesizers in a Gary Numan kinda way, while current single “Subliminal Punk’s” simple orchestration makes for a catchy three-minute pop-dance classic. A bewitching record after two or three listens. Out Oct 17

Bob Sinclair
“Champs Elysées”
(Yelow/Eastwest)
Given the number of pumpin’ French filtered disco-house records around at the moment, you’d think Bob Sinclair, co-founder of the prestigious Yellow label, would be the last man to go and make a pumpin’ French filtered disco-house record. Well, he’s done just that, but he’s calling it a “disco opera.” If Sinclair is Rossini, then the ridiculously overplayed “Feel For You” (the one you heard in Ibiza a squillion times) is his “Barber of Seville.” It’s actually quite a good track and like Martini, is great any time any place. But sadly it sounds like the other dozen tracks after ten Martinis down the pub at closing time. There are some lush, downtempo tracks to be heard though, making a stroll down the world’s most beautiful avenue worthwhile after all. Out Oct 10

Grand Tourism
“A l’Ecoute Des Tes Courbes”
(Atmosphèriques/Sony)
Following limited notoriety after last year’s “Sexy Funky” single and 1998’s “La Baie du Fakir,” you may be forgiven for not immediately recognizing Grand Tourism, the French trio who cite Pink Floyd, Roxy Music, the Beach Boys and Massive Attack among their influences. On this six-track mini-album, all of these guiding powers are evident — no more so than on “Les Courants d’Air,” featuring the legendary voice of Terry Callier. Lyrics such as “I’m so into the things we share, like floating in the air” encapsulate the soul and emotion both the musicians and singer put into their every recording. There is an overwhelming element of Air, circa “Moon Safari,” present in Grand Tourism’s repertoire, due partly to the organic sounding electronica, but to compare the two would be missing the point. A full length album is mooted for release next year — can’t wait. Out Oct 17

Plus . . .
Radiohead, “Kid A” (Parlophone) Oct 2. Thom Yorke and the Best Band In The World shy away from the classic guitar album (and publicity) with synthesizers, loops and an Ondes Martenot, as featured in the works of Messiaen and Star Trek!
Finley Quaye, “Vanguard” (Sony) Oct 3. Less tuneful, more mature than “Maverick A. Strike” the Mancunian delivers his second reggae-pop œuvre. Add N to (X), “Add Insult To Injury” (Mute/Labels) Oct 3. Experimental art-school retro-futurists play around with vocoders and theremins. Attica Blues, “Test Don’t Test” (Columbia) Oct 17. ’80s electro-soul meets hip hop on the London trio’s second LP. Sébastien Léger, “Atomic Pop” (Black Jack), out now. Funky Chicago house from the 21-year-old future of French dance music. The Pharcyde, “Plain Rap” (Columbia) Oct 31. Funky US hip hop outfit drop crazy rhymin’ over butt-naked beats.




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		New Music BEAT by Neil Atherton Breakbeat bounces back When Roni Size and his Bristol collective Reprazent unleashed 1997's “New Forms,” the undergound was officially introduced to the mainstream. As drum’n’bass’ biggest crossover album to date, it fused sharp stabs of polyrhythmic beats, crispy snares and hi-hats with smooth jazzy basslines. A formula, which added to the fact that it won the Mercury Music Prize that year, led to the genre’s status as “the new jazz.” The album inevitably became standard coffee-table fodder for cred-seeking, marketing executives and drum’n’bass was finished before it really took off. The fashionistas who heralded its rise from the early ’90s moved on to The Next Big Thing, while major labels threw money at artists in return for sub-standard productions. But the scene went underground, a creative hiatus ensued and d’n’b was no longer the commercial prospect it was. Fast forward to 2000, forget about the TV advertising (they have Moby now) and think “universal.” For that is how Roni Size describes Reprazent’s new opus “In The Møde.” Not “undergound,” certainly not “the new jazz,” simply universal. Angrier and darker in parts than its predecessor, there is also a sweet and harmonic side thanks to female vocalist Onalee. With recent albums from A Guy Called Gerald and Photek championing melodic suavity and heightened vocal display, a more listener-friendly strain of d’n’b is emerging — albeit a commercial one. But for the new wave of vocal-led records, this is no bad thing. Anakyne, DJ at Black Label Records agrees. “A vocal track is not necessarily a commercial track. If the production’s good, there’s no problem. It’s not selling out.” But chart success is still more than likely for the next single “Lucky Pressure” while collaborations with Method Man, The Roots’ Rahzel and Rage Against The Machine’s Zack de la Rocha will guarantee recognition stateside. Reprazent have gambled their credibility, laying down their musical hand and waiting for someone to match it or raise the stakes. This time they’re not bluffing — drum’n’bass is back. Roni Size Reprazent “In The Møde” (Talkin’ Loud/Mercury) out Oct 17. Specialist d’n’b shop Black Label Records is at 25 rue Keller, 11e. Their next club night is at OPA, 9 rue Biscornet, 11e, Oct 21 Helicopter Girl “How To Steal The World” (Columbia) Helicopter Girl is Jackie Joyce from Dundee, Scotland. On her debut recording she has married her voice — somewhere between Eartha Kitt and Grace Jones — with stirring, dulcet pop tones, a wee bit of jazz and a smattering of trip-hop. The upshot is a sound not too dissimilar to the downbeat melancholy of Portishead or Morcheeba. Sub-titled “11 Tales of Love, Lust, Alienation and Revenge,” it’s easy to guess the content of the songs and write them off as despondent. But “How To Steal The World” isn’t all gloom and doom. The uplifting “345 Wonderful” cuts up ’80s synthesizers in a Gary Numan kinda way, while current single “Subliminal Punk’s” simple orchestration makes for a catchy three-minute pop-dance classic. A bewitching record after two or three listens. Out Oct 17 Bob Sinclair “Champs Elysées” (Yelow/Eastwest) Given the number of pumpin’ French filtered disco-house records around at the moment, you’d think Bob Sinclair, co-founder of the prestigious Yellow label, would be the last man to go and make a pumpin’ French filtered disco-house record. Well, he’s done just that, but he’s calling it a “disco opera.” If Sinclair is Rossini, then the ridiculously overplayed “Feel For You” (the one you heard in Ibiza a squillion times) is his “Barber of Seville.” It’s actually quite a good track and like Martini, is great any time any place. But sadly it sounds like the other dozen tracks after ten Martinis down the pub at closing time. There are some lush, downtempo tracks to be heard though, making a stroll down the world’s most beautiful avenue worthwhile after all. Out Oct 10 Grand Tourism “A l’Ecoute Des Tes Courbes” (Atmosphèriques/Sony) Following limited notoriety after last year’s “Sexy Funky” single and 1998’s “La Baie du Fakir,” you may be forgiven for not immediately recognizing Grand Tourism, the French trio who cite Pink Floyd, Roxy Music, the Beach Boys and Massive Attack among their influences. On this six-track mini-album, all of these guiding powers are evident — no more so than on “Les Courants d’Air,” featuring the legendary voice of Terry Callier. Lyrics such as “I’m so into the things we share, like floating in the air” encapsulate the soul and emotion both the musicians and singer put into their every recording. There is an overwhelming element of Air, circa “Moon Safari,” present in Grand Tourism’s repertoire, due partly to the organic sounding electronica, but to compare the two would be missing the point. A full length album is mooted for release next year — can’t wait. Out Oct 17 Plus . . . Radiohead, “Kid A” (Parlophone) Oct 2. Thom Yorke and the Best Band In The World shy away from the classic guitar album (and publicity) with synthesizers, loops and an Ondes Martenot, as featured in the works of Messiaen and Star Trek! Finley Quaye, “Vanguard” (Sony) Oct 3. Less tuneful, more mature than “Maverick A. Strike” the Mancunian delivers his second reggae-pop œuvre. Add N to (X), “Add Insult To Injury” (Mute/Labels) Oct 3. Experimental art-school retro-futurists play around with vocoders and theremins. Attica Blues, “Test Don’t Test” (Columbia) Oct 17. ’80s electro-soul meets hip hop on the London trio’s second LP. Sébastien Léger, “Atomic Pop” (Black Jack), out now. Funky Chicago house from the 21-year-old future of French dance music. The Pharcyde, “Plain Rap” (Columbia) Oct 31. Funky US hip hop outfit drop crazy rhymin’ over butt-naked beats.




Roni Size © Tim Bret-Day
Finley Quaye