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compilation, dj, eclectic, electronic, techno, various artists
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album, ambient, aphex twin, compilation, eclectic, electronic, record
When Let’s Get Killed came out in the late 90s, Irishman David Holmes never got the fanfare and radio play that his contemporaries, like Fatboy Slim, garnered. His quality and talent (especially evident in This Film’s Crap, Let’s Slash The Seats and his Essential Mix compilation) was/is far superior to some of the electronic music that was all the rage back in the day.
Every track on this album opens with sampled sounds and conversations from New York and segues into the music, much like a soundtrack for an imagined movie about the city. All in all, it is a very groovy, eclectic, if disjointed, mix of music. Radio 7 is a standout track and should have really been used in some way in some Bond movie (or parody).
A testament to Holmes’ enduring quality, my friends, must be the fact that he is still producing quality stuff while his contemporaries of the past decade have, to put it mildly, faded.
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90s, dance, david holmes, eclectic, electronic, funk, new york, theme music
With almost all of Beck’s albums, I have always needed many listens before coming to a decision on whether I like it or not. His 2008 album, Modern Guilt, however took me just one listen to immediately like it. It sounds darkly catchy and much more consistent than the 2006 LP The Information. The Modern Guilt has a ‘vintage’ sound throughout the album and Gamma Ray is a standout track for me, despite lyrics informing us of the state of our ecosystem (”If I could hold hold out for now/ With these icecaps melting down”).
It’s a little introspective, even sad, at times but the album holds together pretty well even on a gloomy, rainy day because thankfully, you cannot always make out what Beck is rambling on about half the time.
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beck, danger mouse, eclectic, vintage
