Get Your Fix: Album Reviews by the CoolJunkie Staff

July 24, 2008 4:18 PM
by Marcos Colón [email]

Black Kids - Partie Traumatic
by: Marcos Colón

In 2007 a quintet hailing from Jacksonville, Florida released a four song EP that created more buzz than a 40 pound hive. As lead singer Reggie Youngblood put it best, “Our goal is to create music that would incite one to dance and to cry.” On Wizard of Ahhhs, Black Kids teased audiences with their addictive choruses, 80s infused pop melodies and also by the fact that they hadn’t been signed at all. A year later and the wait is finally over. With their major label debut, Partie Traumatic, Black Kids have been picked up by a familiar name in the recording business, Columbia Records, and have created a true party gem.

Partie Traumatic is a collection of 10 of the most energetic indie rock tracks out to date. Things start off on the right track with Hit the Heartbrakes opening up with an epic riff by Youngblood that carries into the whirlwind of lyrics backed up by Ali Youngblood and Dawn Watley. It’s difficult to pick a highlight on the album since each track offers up something special that should be tuned into. Definite tracks to take a listen to include Partie Traumatic, a track ignited by a sharp riff but carried by the haunting synth, and Hurricane Jane a mellow ride of a song that explodes into Youngblood belting out an emo chorus, [It’s Friday and I ain’t got nobody/Oh, what’s the use of making a bed?].

Much like the success of many other successful American indie rock acts, the UK meant instant success for the group, debuting at #5. The US may not greet them with the same success since the indie rock scene here isn’t as commercial as it is across the pond. However, let it be known here that Partie Traumatic will be one of the top ten albums of 2008.

Mixed by Richard Murray - Housexy Ibiza
by: Michael Maryanoff

Simply put, Housexy Ibiza are 28 tracks of high energy, vocally driven house music. Instead of pulling rarities and oddities out of his crate, Richard Murray sticks to recognizable classics and current hits. Most songs are geared towards a mainstream audience, with tracks from the likes of Robin S., Laidback Luke, Deadmau5 and Roger Sanchez. The entire album has a warm and soulful feel, but is not for the faint of heart. It starts off subdued, but Richard Murray wastes no time rocketing you into the stratosphere with fast tempos, dramatic breakdowns, and booming basslines. While a lot of the tracks are very current, it doesn’t meander too far into electro house territory and sticks to its vocal and piano-laden house core.

The first disc begins with a more classic feel and is propelled into some more current big-room house tracks such as Housemeisters’ mix of Luke Francis’ The Bomb and Laidback Luke’s take on Paul Johnson’s Get Get Down. It goes on a steady upward curve and winds down with Deadmau5’s Alone with You. The second disc is very high energy, with such big-room monsters as No Promises and Sick of Hearing Love.

While the album is reminiscent of late 90s house, Murray avoids cultivating an outdated sound. Most of the tracks on the album are hits, but Murray doesn’t compromise quality for popularity in his track selection. If you are a fan of high-energy vocally driven house, you’ll love this album, but those who prefer a more subdued sound might find it a bit cheesy.

Nas - Untitled
by: chipi

Ever since Nas proclaimed himself "half man, half amazing" the Hip-Hop world has leaned on him heavily to back it up. Aside from a few set backs and musical mishaps, Nasir Jones has maintained his musical integrity while under fire from politicians, peers and social commentators.

His most recent CD, released as Untitled brought him the latest heat in a long line of fire. The disc was originally slated to be released as N****r - a decision that Nas continues to stand behind, despite the fact that it nearly cost him his record deal, endorsements and public perception. Pressure from Universal ultimately caused him to change the name, but the content and theme it suggested remains heavily in play, track for track on the untitled release.

While Nas is no stranger to socio-political commentary, prior releases like Hip Hop is Dead found the lyricists main point as a loosely explored theme rather than a track for track dissection of his point. With Untitled, Nas goes through the history of the word and its uses, as well as what he believes to be it's necessity. Rather than come off as a sermon, Nas conducts the symphony of Untitled with a varied lyrical palate, keeping things thought-provoking, witty and challenging without entering the realm of condescension.

Even as he and compatriots the Last Poets rebuke the implications of the NAACP's funeral for the word "n****r" on "Project Roach", the attack is layered over a light backdrop of what feels like smooth jazz provided by producer Eric Hudson.
Often aligning himself with hip-hop heavyweights, "Black President" samples the late great Tupac Shakur's song "Changes" as Nas gets direct in his albums final hour - urging listeners to vote for Barack Obama in the coming election.

As a whole, the disc is successful and marks the arrival of Nas into a mature position in the Hip-Hop world, pushing an agenda he believes in - in a way that keeps your head bobbing as he gets your thoughts racing.

CSS - Donkey
by: Marcos Colón

With a dancy hit like “Lets Make Love and Listen To Death From Above,” off of their Cansei de Ser Sexy debut, the bar was set high for Brazilian dance rock quintet CSS. After their addictive tracks became highlights at indie dance parties around the nation, the group is back again with their sophomore effort, Donkey.

Packed with synth leading melodies and lead singer Ladyfoxxx’s sweet moany voice, Donkey will yet again get the crowd moving, but not in any new direction. Instead of opting to raise the bar for themselves, it seems as though CSS played it safe on this one. Tracks like Let’s Raggae All Night, Rat is Dead [Rage] carry riffs and clap-along choruses reminiscent of The Sounds when accompanied by Ladyfoxxx’s wail. The album kicks off with Jager Yoga, a foot-stomping tune equipped with a funky bassline that matches up perfectly with the theme of the track, don’t fuck with CSS, [We didn’t walk into the world to walk around/We came here to take you out]. After this track, the album seems to coast along until it reaches Beautiful Song, a laid back dancy track that conjures riffs from The Cure. Soon after the album continues to coast, never reaching that expected high that comes with some of their live shows.

Not to say that this album is a disappointment. Old fans will definitely be pleased, but there’s no clear indicator that the sound the gang produced this time around will catch the ear of those who weren’t too fond of Cansei de Ser Sexy.