Word: basses
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Aphrodite's latest album is a more ambient treatment of his previous meld of ragga and jump-up drum 'n bass. Don't understand the genre-codes of electronic music? Here's a quick translation: this is good dance music. Aphrodite, the nom de turntable of Gavin King, is well known in the British underground for his past work alongside Mickey Finn and his remix of Nine Inch Nails' "Perfect Drug." Though his recent releases have been criticized as too mainstream, this album proves that dance music can be accessible without losing touch with its roots. The beats...
...Entry Records release, is plagued by songs which are too slow and too soft. Instead of featuring pounding beats and passionate, driving guitar chords, the tracks on this album are dominated by vocals that are uninteresting and with lyrics which are average at best. The guitar, drums and bass are mixed low in favor of these vocals, which are often made worse by harmonizing more vocals over the original ones. Some tracks from Black on Black, like "Dangerous" and "Sweat," begin promisingly with good guitar intros, but ultimately deteriorate into the predictability and mediocrity of the rest of the album...
...that Weiland and the rest of the band, after discovering they can still play, do not know what to do with this discovery. "Heaven and Hot Rod" sounds like a weaker track off of thrash-heavy Core, while "Pruno," with its misplaced melancholy overlaying an excessively melodic and syncopated bass line, is reminiscent of a bad Sting song...
...Weiland's somber vocals around Dean Deleo's masterful lead guitar. The album, after "Church on Tuesday," becomes the record that a well-versed STP was waiting for. "Sour Girl" is another almost-ballad, revealing the band's ability to mix pop melodies with a dark and gloomy bass line. The band is still capable of experimentation, especially on the track "No Way Out," but one wishes that STP had been riskier with distortion and electrical manipulation on No. 4. Weiland clearly has the ability, as his solo project 12 Bar Blues revealed, yet he fails to share what...
...Tricky ended his set with "Pumpkin," in which he achieves the seemingly impossible task of making a Smashing Pumpkins sample into dubby groove. Halfway through the song, it suddenly morphed into a cover of Eric B and Rakim's "Lyrics of Fury," sped up to feverish drum 'n' bass intensity...