Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

See-I’s New Album Puts a Trippy Spin on Roots Reggae

See-I is the roots reggae project of two musicians, Arthur and Archie Steele (who go by Rootz and Zeebo, respectively), masterminds of a Washington, DC reggae scene. On their debut album, they’re joined by a diverse cast of musicians from Chuck Brown’s band along with others who’ve toured with them backing Thievery Corporation. Their debut release is a clever, entertaining party mix, a smooth digital production that blends an early 90s Jamaican feel (boomy bass and synthesized brass) with neoretro psychedelic elements: wah-wah, vintage organ patches and every noodly keyboard texture available. Which comes as no surprise, considering that Rob Myers of hilariously entertaining psychedelic chillout instrumentalists Thunderball is involved with the production.

The slinky, midtempo opening cut Dangerous sets the stage for what’s to come, with plenty of dub tinges. They follow that with Haterz 24/7, vintage Buju Banton-style dancehall patois over a fluid roots groove. Dub Revolution is driven by a catchy minor-key bass hook as squiggly synth and creepy, upper register electric piano textures filter in and out of the mix. They segue out of it into Soul Hit Man, transforming the groove into a jaunty bounce with a retro 70s soul vibe. Talking About the Peace shifts back to an oldschool 90s dancehall flavor, while Homegrown 2011 is funk/reggae with some unexpected bluesmetal guitar. Blow Up is the most hypnotic, dubwise track here, with some creepily bizarre electric sitar.

The most upbeat cut here, How We Do, features a ton of wah textures beneath the deadpan dancehall chatter. It deserves its own dub version – and it segues into one, yeah mon! Soul Universe is a sleepy stoner soul vamp with a George Clinton-esque rap; they close the album with a couple of woozy trip-hop vamps and what seems like an obligatory nod to hip-hop. To fully appreciate this album, something better than an ipod is required, preferably a system that can handle all the bass here. Mi a seh it a good ting!

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July 17, 2011 Posted by | Music, music, concert, reggae music, review, Reviews | , , , , , , , , , , , , , , , , , , , , , | Leave a comment

La Femme Reaches the Beach, Sans Culottes

The more you find out about French rockers La Femme, the more you like them. Their bandcamp page – where their strangely stylish, noir surf/garage rock ep Podium #1 is selling for four bucks – is tagged “80 french lo-fi surf tropical wave Paris.” The cd cover – a nude woman on her back, flashing the camera – is blacked out “because it got censured.” And they sound like an updated teens edition of Plastic Bertrand through a pitchblende prism. In places, it’s hard to tell whether one particular twangy riff or reverberating chord is a guitar running through a reverb tank, or some impossibly weird patch on some long out-of-production analog synthesizer from the 70s. And everything here is ridiculously psychedelic: although the band has been described as lo-fi, the opposite is true: they make a good segue with similarly swirling, trippily cinematic projects like Thunderball or Comic Wow.

The first song motors along with an eerie minor key blues progression done garage rock style: a woman sings. The second cut is basically a hypnotic, ominous two-chord vamp titled Telegraphe, kicking off with just synth and drum machine and turning creepy real fast, all the way to a suspenseful snakecharmer flute interlude. La Femme Ressort plays minimal noir bass against a darkly repeating guitar figure and builds sarcastically to a tradeoff between swoopy upper-register synth and what sounds like an electric harpsichord. If this reminds you of Manfred Hubler’s immortal Vampyros Lesbos soundtrack, you’re on the right track. The ep winds up with Francoise, somewhat evocative of the more menacing, goth-tinged stuff that Blonde Redhead did back in the 90s: off-center, wobbly pitch-bending intro, muffled bass carrying the melody, a Lucy in the Sky with Diamonds-ish bridge that turns cruelly silly and sarcastic. Lyrics mostly in French: a deliciously ominous way to get the new year started.

January 15, 2011 Posted by | Music, music, concert, review, Reviews, rock music | , , , , , , , , , , , , , , , , , , , | Leave a comment