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CRAIG ARMSTRONG: "As if to nothing"
Craig Armstrong used a piano to subtly conjure up the rain on “Weather Stamp”, a track on fellow Englishmen Massive Attack’s second record. After collaborating with his mates from Bristol, he released “The Space Between Us” in 1997. The songs showed just what kind elegance and sensitivity this guy is capable of. Armstrong has recently been more involved in film soundtracks such as “Moulin Rouge”. “As if to nothing “is his second solo release. Maybe we should add that it would probably be more accurate if we included the long list of guests who appear on this record rather than just simply call it a solo piece of work. Evan Dando buries the ghost of the memorable Lemonheads on “Wake up in New York”. He really knows just how expressive his voice is and this fills the song with transcendence. Once again we see that the mention of the city that never sleeps in a song stirs something in us after what happened on September the 11th, and even more so when sung in undertones. Bono from Ireland puts in an appearance in a new version of “Stay, faraway, so close)”, a song he had already released with U2. Bono’s voice is certainly not what it used to be and no amount of elegant re-mixing can cover that up. The great atmosphere that springs up between Mogwai and the Indian singer Swati Netekar on “Miracle” is another of the highpoints on the record. Even though there are so many distinguished guests on “As if to nothing” (Wendy Stubbs and Steven Lindsay are there too), they are more an excuse for Craig Armstrong to let fly with his skillfully created electronic sounds and concoctions than anything else.
DJ SHADOW: “The private press”
Josh Davis’s “Entroducing DJ Shadow” (1996) has become an irrefutable reference for anybody looking for something a little different in electronic music. It’s also a real head-wrecker for those who insist on labeling every record they hear (Abstract Hip-Hop?). The record created a huge abyss between those who use the letters DJ, your typical nickname and just play records in a disco or whatever, and what Josh Davis is doing. The well-known music mag Muzzic called it “the best dance record of all time”. DJ Shadow himself reckons that honour should go to Public Enemy’s second album. Shadow has said that “The Public Press” doesn’t really have a lot in common with any of his previous work, but there’s no denying that wherever he sticks his nose in, he sure to cause some effect. Look no further than the work he did with James Lavelle in the project called UNKLE. His mark can be found on those breathtakingly dark rhythms and it’s there on his new record too. Davis’s skill in picking and using samplers is the foundation on which DJ Shadow’s success is built. Why use instruments when you can find all the bits and pieces you need recorded on a record somewhere? He’s also thrown in a bit of Rapping (e.g. “Walkie Talkie”), maybe because he was afraid that the record would be sluggish without them. The real magic of the record, however, shines through on some of the instrumental pieces. At moments like this there is no doubt that DJ Shadow is up there with the likes of Godspell You Black Emperor or Radiohead as one of the most listen-able musicians around.
Craig Armstrong used a piano to subtly conjure up the rain on “Weather Stamp”, a track on fellow Englishmen Massive Attack’s second record. After collaborating with his mates from Bristol, he released “The Space Between Us” in 1997. The songs showed just what kind elegance and sensitivity this guy is capable of. Armstrong has recently been more involved in film soundtracks such as “Moulin Rouge”. “As if to nothing “is his second solo release. Maybe we should add that it would probably be more accurate if we included the long list of guests who appear on this record rather than just simply call it a solo piece of work. Evan Dando buries the ghost of the memorable Lemonheads on “Wake up in New York”. He really knows just how expressive his voice is and this fills the song with transcendence. Once again we see that the mention of the city that never sleeps in a song stirs something in us after what happened on September the 11th, and even more so when sung in undertones. Bono from Ireland puts in an appearance in a new version of “Stay, faraway, so close)”, a song he had already released with U2. Bono’s voice is certainly not what it used to be and no amount of elegant re-mixing can cover that up. The great atmosphere that springs up between Mogwai and the Indian singer Swati Netekar on “Miracle” is another of the highpoints on the record. Even though there are so many distinguished guests on “As if to nothing” (Wendy Stubbs and Steven Lindsay are there too), they are more an excuse for Craig Armstrong to let fly with his skillfully created electronic sounds and concoctions than anything else.
DJ SHADOW: “The private press”
Josh Davis’s “Entroducing DJ Shadow” (1996) has become an irrefutable reference for anybody looking for something a little different in electronic music. It’s also a real head-wrecker for those who insist on labeling every record they hear (Abstract Hip-Hop?). The record created a huge abyss between those who use the letters DJ, your typical nickname and just play records in a disco or whatever, and what Josh Davis is doing. The well-known music mag Muzzic called it “the best dance record of all time”. DJ Shadow himself reckons that honour should go to Public Enemy’s second album. Shadow has said that “The Public Press” doesn’t really have a lot in common with any of his previous work, but there’s no denying that wherever he sticks his nose in, he sure to cause some effect. Look no further than the work he did with James Lavelle in the project called UNKLE. His mark can be found on those breathtakingly dark rhythms and it’s there on his new record too. Davis’s skill in picking and using samplers is the foundation on which DJ Shadow’s success is built. Why use instruments when you can find all the bits and pieces you need recorded on a record somewhere? He’s also thrown in a bit of Rapping (e.g. “Walkie Talkie”), maybe because he was afraid that the record would be sluggish without them. The real magic of the record, however, shines through on some of the instrumental pieces. At moments like this there is no doubt that DJ Shadow is up there with the likes of Godspell You Black Emperor or Radiohead as one of the most listen-able musicians around.
