This is a neat time in the career of Depeche Mode. 101 was a very important live performance release because it showed the real chops that the band had for a live set and sound. This little “maxi” single has a few live tracks on Side B, and while Everything Counts is a neat track to remix, the live version of Sacred really showcases their honed skill very, very well. It’s been over three decades since, but I bet they could still pull it off.
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This was a staple in early Nerd Show, as it came out right before the show started. This album, Bloc Party’s Silent Alarm, some Paul Oakenfold, DJ Shadow, and a few others were staples for the first year or so while we tried to figure out what the show was.
I really enjoyed listening to Side A and found it a true throwback many, many years, as I haven’t listened to it in a decade or more. Lots of memories seeing them at House of Blues in Las Vegas and at In the Venue in SLC with friends. Lights, synths, silly dancing. Violent, however, was the standout on this listen because of the story it tells and how it really takes on a life after the vocals end, with a neat, expressive breakdown that puts a nail in the side.
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This one just showed up today, used from a very eclectic seller on Discogs. I’d gone searching for, and finding, El-P’s I’ll Sleep When You’re Dead and ended up with this and more. I really loved the EP when it came out in 2013 and it got a LOT of spins on Nerd Show and some tracks are on DEF CON Radio. Side A is only two tracks, but of those He Said No really shows this duo’s combined powers. Machinedrum’s muted drum flurry and dubby baseline and Braile’s melodic sensibilities combine for a lush, thick, dense, and filling track that’s a treat.
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There was a period of a few years in the 2000s that d&K could do no wrong. Then it did. They were well known for being the less known Viennese duo for downtempo, deep house, and that vibe. Remixes were also a big part of their work, and this culminated in Fakes, a full LP with some of their best works in one place. I’m really glad I found this one many, many years ago, and tonight I listened to Side D. It includes their remix of Nitin Sawhney’s Homelands, a seminal track in their work. It’s got everything that d&K represent in one track. House kicks, dub bass, lush vocal samples, and percussion for days. It’s a delight every time I hear it.
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This release from the late artist Alias came along at an interesting time in the story of Nerd Show. It needed to find it’s feet a little bit, but the music I was getting from KWCR was unsteady and only a year or so earlier had the stream of music started to work, with our Music Directors doing the hard work to get us some good stuff. Not only that, they needed to know where these kinds of albums would be played. I really enjoy this one, even and especially with it’s more experimental tracks.
I chose Side A tonight, and I was sure that I Heart Drum Machines would be my pick until Prelude to Death Watch played, and I knew that Death Watch would be my pick. It ties up the instrumental and the experimental aspects of the first side, with sweeping guitars, melody, drums, and a somewhat grand feel.
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This artist name always cracks me up, but as Ernest Gonzales’ alter ego, it works really well. It’s a shame that he didn’t expand on the project more than this full album, but boy is it a treat throughout. Side B talked to me, and while I really love Deities, Highway To Hell features Freddie Gibbs, and that’s quite another thing. Not only would the drums and organ and texture of this track work solo, but Freddie’s midwest punch and storytelling take it to another level, making it the track it needed to be.
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It’s been a while since I’d listened to this album, and Side B did not disappoint. It’s super strong while being pretty diverse in sounds. It brought back a lot of memories from hearing this one for the first time, seeing the documentary about how The Range found the vocal samples on YouTube, and then seeing him perform live at Urban Lounge in SLC.
Retune was my favorite this listen, with it’s pitch shifting of the vocals and the general vibe and flow of the track. It’s pleasant and progressive. A wonderful track.
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We’ve already looked into the UK Bass scene with Joker’s The Vision, and this album is from a similar era and spans many different UK genres, probably more so than that one. Lots of straight up bass music, some house, grime vibes, hip=hop elements, and just a very diverse and interesting sound. I picked Side D, and in that listen I liked the dance vibe on the final track, Distant Star, and especially loved the wobble bass breakdown at the end to put a bow on the album.
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I remember quite vividly when this album came out. I was a really big fan of Labor Days, more than Bazooka Tooth, and all signs pointed to an incredible release. We weren’t left disappointed, and the album as aged well in the last 15 years or so. It’s title track, on Side A, was my favorite this listen around and I’d almost forgotten that Aes had partnered with old friend and collaborator Blockhead for the jaunty, bouncy, catchy beat. It’s a partnership that worked so well on Labor Days that it feels really good here, and on a few other Blockhead tracks including Bring Back Pluto.
And then there’s the super neat video…and the Polyphonic piece on it…
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As a Jazz record goes, this one is unusual for a few reasons. First, it’s a piano and bass. Second, it’s a woman on the keys. Third, this woman was white and British. Fourth, my copy has misprinted labels. Didn’t know that until I looked closer. Fifth, she was one of the most respected Jazz musicians ever and hosted the radio show Piano Jazz from 1979 for 25 years which played a very important role in my weekly listening for many years. She could invite any musician, who could play any instrument or sing any style, and vibe with them. It was simply amazing to listen to her show and hear the stories of her life.
That misprinted label didn’t foil my desire to listen to Side A, as it has four tracks versus Side B’s five, and on this listen I really and thoroughly enjoyed Twilight World, a track of Marian’s own. I’ve embedded the full album, as it’s the only way to share this track played solely with Linc Milliman.
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