BassDress Blog

Mummy Short Arms "Cigarette Smuggling"

Posted by Tony on 05/25/2011

Laying in bed watching an overweight, Scottish writer spout pretentious bullshit about video games I’ve never played, isn’t always a productive pass time. However, as I lay there vegetating my days pains away, I heard something quite unexpectedly beautiful. A haunting, muddled piece of craziness slowly pulling it’s self together in the background of  the outro, capturing the mood perfectly.  This was my first introduction to Mummy Short Arms.  That event took place more than four years ago, and the band is only now getting their collective asses in gear to release that very single. I like their style.

Now, I’m not very adept at describing traditional music styles – of which I guess Mummy Short Arms is indy / rock.  What sounds to be a traditional five piece rock band, making use of some synths and the sporadic use of an old drum machine, have turned out a very, very interesting piece of work.

The vocalist sounds like a bluesy mumbling cross between Cpt. Beefheart and the Cookie Monster.  That may not sounds like the most complimentary line, but let me assure you, it’s the voice.  And if that title, “Cigarette Smuggling” doesn’t piqué your interest, nothing will.  You see,  “Cigarette Smuggling” isn’t just a cleverly ironic title intended to excite pretentious idiots like myself – it’s entirely literal…

I think.

You see my friend with the long hair?
He play the bongo drum
He's in a Spanish Prison,
Just twiddle his thumbs

What Mummy Short Arms have given us is a lovely example of deconstructed rock, entwined with a ridiculous subject matter and played with an entirely straight face.  The track never breaks it’s cool façade, and even in full swing has a confident swagger and a ‘demo’ vibe which makes everything feel pure and raw.  Everything is done with an air of cool, the likes of which I’ve not heard in a very long time.  From the cluttered and casual intro that slowly fades into guitar licks that are more suited to a smoky 1910 Saloon bar, you know you’re in for something special.  In the preceding 3 minutes and 52 seconds, Mummy Short Arms don’t let you down once.  I’d love to call this track ‘fresh’ and ‘new’, but it’s bloody 4 years old now – and I still love it.  Just goes to show, cool doesn’t grow old.

Anyway, it’s finally available for sale on Flowers In The Dustbin, on 30th of May.  The single will be backed with “Searching For A Body”, which I’ve yet to hear, but I’m desperate to see what else they have up their sleeve!  I’ll be buying it immediately.



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Mochico "Mochico 3.5 (Remixes)"

Posted by Tony on 05/24/2011

Who is Mochico?  What is Mochico 3.5?  Don’t know?  Well neither did I, when buying his double-sided 12″ in Carbon Records, Glasgow in late 2001.  But ignorance has never stopped me making a purchase before or since.  So what made this fool part with his hard-earned scrilla on this particular occasion?  The A-Side.
This release has a mighty two tracks, they are;

  1. Mochico 3.5 (David Alvarado Remix)
  2. Mochico 3.5 (DJ Evil P Remix)

Bluntly speaking, the A-Side “Mochico 3.5 (David Alvarado Remix)” is one of the best examples of deep house I have ever heard in my life.  Slow and pumping, but never ‘in your face’.  Driven by some of the thickest and driest drums I have ever heard, and combined with a small edited vocal hook that provides the ebb and flow that keeps the entire eight minute production moving along.

Everything is placed on top of a heavily filtered loop of another track that I can’t quite identify, slowly evolving, fading in and out of view all the time.  I don’t know if  ‘subtle’ is the right word, but it’s close enough for me.  Every single rhythm is executed with the grooviest and snappiest flow I’ve ever heard on an electronic record – I defy anyone to not dance when that first shaker comes in.  The rubber sounding percussion elements forced to the back of the mix give everything such a lovely texture that it’s almost palatable, accenting that dry kick expertly… Everything is just about perfect.  This is what every deep house record should aim to be.

Mochico 3.5

Mochico 3.5

In the ten years I’ve had spare after purchasing this record, I’ve had to opportunity to listen to a few more Mochico and David Alvarado tracks.  They’re all shit, I wouldn’t recommend you do likewise.  Evidently, and sadly, this record seems to have been a one-off fluke.  A small piece of ultra cool perfection that slipped out of a marriage between two somewhat ordinary house producers.  What really saddens me is that no one else has recognised its perfection – in fact I’ve never even spoken to anyone else who’s heard the record.  But maybe that makes mine a little more special then.

Oh, and what about the B-Side?  I don’t know, some standard techno remix affair.  Technically not terrible, but the sheer misfortune of being placed on the opposite side from the David Alvarado Remix has rendered it utterly useless.

Mochico 3.5 (David Alvarado Remix)
http://www.bassdress.com/blog/wp-content/uploads/2011/05/01.-Mochico-3.5-David-Alvarado-Remix.mp3
Mochico 3.5 (DJ Evil P Remix)
http://www.bassdress.com/blog/wp-content/uploads/2011/05/02.-Mochico-3.5-DJ-Evil-P-Remix.mp3



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Pusha T "Fear Of God" Mixtape

Posted by Tony on 05/24/2011

Ah Clipse, two brothers from VA with a pin point focus on the white stuff.  I used to doubt Clipse’s powder pushing credentials but love their slick rap stylings (helped, in most part, by The Neptunes budget sounding backing tracks).  However, after their manager was arrested, and charged with running a $10 million dollar drug ring, a little more weight was added to their case.
So, this is the much-anticipated Pusha T solo mixtape, released for free on Pusha-T.com.  Thirteen tracks, and every one of them coke riddled and self-reflective.  Just what I expected, huh?

Well, no actually.  I seem to recall Pusha telling us that this was him trying to lose his ‘Coke Rap’ label – something that Clipse have told us for some time that they’re trying to rise above.  Opening you first mixtape with an out take from Scarface probably isn’t the best move then. Not to mention, horribly cliché for a mixtape released in 2011.  I mean, my god, Geto Boys were doing that almost twenty years ago!

These may sound like negative views, but you forget one thing;  I fucking love coke rap.  And I fucking love Pusha T.  This mixtape just happens to showcase some of the best written lines I’ve heard in a long time, even if some of the production is straight from the “G.O.O.D Music” pop trash bin.

I can’t be bothered with paying homage to forefathers
See the future like the car show floor models
Both feet in the snow so that my core follows
We don't mourn for the dead nigga, we pour bottles
Drown sorrows, ocean blue Murcielagos

See that? Every track oozes attitude.  And coke, don’t forget the coke… but mainly attitude.  Tight, modern beats, and that all important Clipse organ… Pusha sits up front in every mix, twisting and turning stories of coke and it’s exploits beautifully.  Passion in every line, and every verse fully analysed with attention to detail that only Pusha seems to supply today.

This is one of the few mixtapes I’ve heard where every track has brilliant lines.  Upon listening, you really et the impression that Pusha really exerted a great amount of effort writing some of these – every line being direct, simple and poignant.

Of the Thirteen tracks only really two of them fall flat – “Raid (Feat. 50 Cent and Pharrell Williams)” and “Blow/Funk Flex Freestyle”.  The latter of which is based on a surprisingly excellent freestyle session he did with Kanye West on some radio show I’d never heard of.  “Raid” however, has no such excuse… Even then, the biggest problem with “Raid” isn’t even Pusha, who delivers a cocky and fun verse of a lounge styled Pharrell beat.  No, the problem is it features 50 Cent.  50 mumbles over an uninspired verse, stealing a little piece of energy from the track with every word he utters.

Rarely have I heard such a poorly delivered verse, especially noticeable since it totally kills the flow of the entire track.  But modern rap seems to be all about getting big names to guest on your track, regardless of content quality.  Well Pusha can now claim to be on a record with 50, but it really should be appreciated the opposite way – 50 should be bragging about appearing on such a nice production for once.

I’d strongly recommend buying this Mixtape if it were for sale – but the fact that it’s free make it a gift.  Download it now, blast it in the car and wait with bated breath for Pusha’s album later this year.



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New Luomo Album Anounced – "Plus"

Posted by Tony on 05/24/2011

So, it’s been a couple of years since the flat “Convivial” was released, and now Mr Delay will soon be offering up a new Luomo disc.  I’m excited in a sense, but it’s not without a slight feeling of unease.

You see, like it or not, when I get a new Luomo album my ears expect three things.  Those are; Luomo, Raz Ohara, and Johanna Iivanainen.  Why?  I don’t know, it’s just to me these three people form what I think to be the Luomo project (not Sasu and a bunch of uninspired ‘famous’ vocalists).  It looks again like I may be disappointed, as the albums literature seems to boast “Vocals: Chicago Boys”.  Hmm… anonymous vocalists on a house record – how original!

Then again, after listening to some of the previews on LuomoMusic.org I find myself liking the groove, even if it’s not the subtly elegant groove that Luomo once spoiled us with.  It sounds to me a bit like Sistol gone house.  It’s very, very electro, whilst maintaining a 4/4 techno chassis, and even under its layers of percussion, still sounds utterly synthetic and most importantly, unique.

The other two tracks available for listening are “Good Stuff” and “Spy”.  To my ears, they both sound a little awkward.  They both sound like someone having self-indulgent fun with synthesizers, and not well written music (Yes, Sasu, I know you invested in a Cwejman S1, I can hear it on every bloody track now…).  This results in them feeling a little played and tired, even before their time.

I’m sure the album will have a lot more to offer, and I’m always anxious to hear new Luomo, but I just can’t help shake the feeling that there will never be another “VocalCity” (or even another “The Present Lover” for that matter).  Then again, I’d be first to complain if he was covering old ground.  Poor bugger can’t win…



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