coldcut - sound mirrors
i love it when it's obvious a record label totally believes in a forthcoming release, when the people involved are committed to their own product to the point of obsession, and never has this been more evident than with this long awaited album from one of ninjatunes flagship 'bands'. first off, there were the singles with some big name remixes, the gorgeous packaging for the pre-release promo version (more on that later), the stickers, the relaunched hi-tech website, the front cover interviews, the badges and the invitation on the labels website for people to join the coldcut street team, the fallout from which, still rattles on the ninjatune forum. all this build up just raises everyone expectations to unhealthy levels.
and in the end, was it all worth it ?
well, if you'd have asked me on the evidence of the promo version i'd say no. there was something lacking in the flow meaning that i rarely got past track 5 of the original lineup, but by re-editing the track listing, tweaking a few of the songs and generally giving the album one last spring clean coldcut have actually delivered a great album. for a band who have been tagged with the whole world of cut-n-paste, it's great to hear them flex their melodic muscle to such high degrees across these twelve songs, and for the most part they are songs. not just a few beats with looped samples, the depth in the sonic production is fantastic, at times the cinematic becomes quite breathtaking. just hear the layers and layers of real life strings and horns on the albums title track - 'yazz and the plastic people' this is not. but, prior to that epic comedown, is a long journey scattered with all manner of guests and grooves.
the album starts off all mellow and easy with the sublime, 'man in a garage' that is just sooo smooth, even moby must be jealous, and then just as you get concerned that the cut-crew have gone all soft in their nu-age they strap label mate, roots manuva, onto the biggest dancehall monster this side of last years mia/diplo chart hitting action. 'true skool' is a massive beast that makes you long for a full length from this pairing. roots manuvas bold vocals bounce all over the place, easily holding their own amongst the bollywood strings and bubbling bass. now it feels like we're off and running and the album is going to work. this is followed by one of the original letdowns, hidden deep into the original version of the album, 'just for the kick', has been promoted to the front of the album, where the extra vocal samples, and spiky beefed up electro'd bass line make the track leap out and demand attention.
next we're into the central section of the album where the mood softens, the chill-up-the-spine inducing 'walk a mile in my shoes' featuring old school house hero robert owens is far far too good to be left as an album track, i suspect a single will be made out of this perfect slice of uplifting euphoria house, saul williams adds some cool spoken dialogue to the saxophone solo'd ambient calm of 'mr nichols', and 'a whistle and a prayer' with fogs andrew broder are all on the nice-n-easy groove. don't though begin to think that this is an album for your granny, cos just as you're settling into the laidback vibes, matt and jon drop their mark stewart and the mafia homage, 'everything is under control' to awaken the senses with hard hittin' wordplay interaction between rock-n-roller john spencer and mike ladd, the funk-rock noise is then expanded to extreme, as the guitar fades out 'boogieman' kicks the spine into touch, as big beat bass boom echoes around and widescreen stereo electro flex and bounces all over the headphones. wonderful stuff.
i have to admit that the looped 'aid dealer' sample is a little too annoying, and spoils the politically charged lyrics that soneto kinch lays into with such passion, shame especially as this lowpoint is followed by another old school house track (the piano !) with mpho skeef providing the human touch. for all its worthiness, it does sound somewhat dated (the piano!), well, that is until the big bass explosions come clattering in to kick any such reservations into touch.
so, now that the album has moved, soothed and grooved, the final 2 tracks, just provide the icing on the cake. strings, finger snapping clicks, delicately fuzzed guitars, dub styled production make you remember that way back coldcut were part of the ambient dub explosion of the early 90's, the easy sunrise vocals by dom spitzer perfectly compliment the rich, detailed music making this one for the grand finale at this years big chill. cant wait.
and so, after an hour, we reach the aforementioned climax, 'sound mirrors'. with its awkward eastern sounding loops, ryuichi sakamoto styled piano solo, stand up acoustic bass, and slow build up of orchestration - this is just so expansive in sound that i can see hollywood approaching the duo to use this in any heartstring emotional scene makes for a very special way to close the record.
so, is the album worthy of the labels over enthusiastic marketing ? oh yes, easily.
i very much doubt any of this years major name dance albums will have the sheer scope and vision as this, nor the quality control and sheer brilliance in production, all of which sits alongside some cracking tunes. let's just hope we dont have to wait another 10 years till their next album.