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Vol. 1: Sound Magic
Afro Celt Sound System
World - Released December 31, 1995 | Real World Records
You may never have thought of Celtic and African rhythms as complementing one another, but this very interesting effort takes both idioms into new territory with some engaging results. The outcome is a sort of hip-hop jig and reel, like the Chieftains meet the Chemical Brothers. Masamba Diop's masterful talking drum creates an exotic pulse under Myrdhin's fine Celtic harp, and it sounds like a party at some global crossroads. Indeed, the most fascinating aspect of Afro Celt Sound System's Volume 1: Sound Magic is the very real sense that a common language can be found between any cultures, no matter how divergent they may seem. This effort is worth a listen just for its audacity alone.
© Tim Sheridan /TiVo
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Sound System (8 CD)
The Clash
Punk / New Wave - Released September 6, 2013 | Sony Music UK
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Volume 2: Release
Afro Celt Sound System
World - Released January 25, 1999 | Real World Records
Volume 2: Release, Afro Celt Sound System's eagerly anticipated second album, continues the group's dedication to hypnotic grooves and innovative arrangements. Ancient and electronic elements blend in a timeless, ethereal fashion, transcending world and dance genre labels. Sinead O'Connor provides vocals on the first track, and an interactive music game is included as a bonus track. Volume 2: Release is a complex, complete artistic statement from a unique, open-minded group.
© Heather Phares /TiVo
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Volume 3 : Further In Time
Afro Celt Sound System
World - Released June 18, 2001 | Real World Records
Taken on its own, Volume 3: Further in Time is a fun, multi-textured album that combines a club groove with traditional sounds from Celtic music, Africa, and beyond. However, it does little to distinguish itself from previous Afro-Celt Sound System releases, so for people familiar with the band's previous work, the formula seems to be wearing a little bit thin. One highlight is "When You're Falling," which features a guest vocal from Peter Gabriel, but even that pales next to Sinéad O'Connor's cameo on the previous Afro-Celt release.© Stacia Proefrock /TiVo
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Operation Ivy
Operation Ivy
Alternative & Indie - Released January 1, 1989 | Epitaph
After Operation Ivy called it quits at the end of the '80s, Lookout put together this compilation of all of the recorded studio material ever released by the group. Much like Minor Threat's Complete Discography, this follows the recorded history of a band that burnt out quickly and had a relentlessly creative view of punk music. The underground classics are all here: "Take Warning," "Unity," "Freeze Up," "Junkie's Runnin' Dry," and 23 other prime tracks. Being one of the first bands to pursue the ska punk sound in California, Operation Ivy was a trailblazer in a genre that quickly became generic due to a glut of like-minded artists. But this should not be held against the group because they made fantastic music for the short time they existed. The CD comes complete with the lyrics to all of the songs, and several good pictures of the band. Countless bands would ape this sound without any creative improvement throughout the '90s, and two of the members would go on to lead the more punk-influenced Rancid. This might be the best ska punk collection by a single band committed to disc, and anyone with even a passing interest in the genre should do themselves a favor and buy this album right away.© Bradley Torreano /TiVo
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On the Road to Babylon
Walk In Darkness
Metal - Released November 6, 2020 | Walk In Darkness
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Seed
Afro Celt Sound System
World - Released March 24, 2003 | Real World Records
Aided by nearly two dozen guest musicians, this effort from the Afrocelts (aka the Afro-Celt Sound System) veers off in a slightly different direction from previous releases. Still present are the multi-culti layers of sound, the club-friendly beats, and the ethereal vocalists. What's missing is some of the hyper-kinetic energy and heavy drum presence that helped the first few Afro-Celt releases grab their audiences; in their place is a gentler, more soothing feel. Fiddler Eileen Ivers and flamenco guitarist Jesse Cook both make major contributions to the colorations of this new sound, while never quite upstaging the core bandmembers.
© Stacia Proefrock /TiVo
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Here Come the Runts
AWOLNATION
Alternative & Indie - Released February 2, 2018 | Red Bull Records
Ever since Aaron Bruno broke through with Awolnation's debut single, "Sail," he hasn’t been afraid to serve up his vast array of influences with the full-length releases Megalithic Symphony (2011) and Run (2015). Here he delivers his third effort, Here Come the Runts, a further exercise in toying with arena-filling vocal melodies, razor-sharp synths, and invigorating electro-pop. The Bruno camp changes up the score again while managing to remain in the sonic vein of preceding releases. The opening title track clocks in at just over three minutes, and while playfully deceiving with tempo changes that knock out blasting drums and galloping, palm-muted riffs at every turn, it does feel a little like an overextended intro after a while. This is rectified almost instantly with second track and lead single "Passion." The track exemplifies Bruno's talents well -- his reverb-tinged, playful falsetto vocals soar throughout each verse before exploding into crunchy, distorted choruses that consist of more stacked melody. The album presents its strengths at sporadic moments, carefully placed to bring you down after a wall of hard percussion and distortion with softer, sweeter moments that just sail along. "Handyman" combines finger-picked acoustics with overdriven guitar and soaring, layered vocals, while "Jealous Buffoon" consists of honest and revealing vocals wrapped up in kinetic vocal melodies, resonant guitar, and sharp staccato strings. Elsewhere, highlights are "Seven Sticks of Dynamite" -- a slow, languid tempo that begins with pleasant acoustic chords before being ignited with pummeling percussion, sharply overdriven guitar, and gang vocal harmonies; album closer "Stop That Train" consists of hard-hitting bass and snare, arpeggiated synth, sludgy guitar, and delayed, multi-tracked vocals. Here Come the Runts doesn't shine or resonate like Awolnation's previous material, though it is quite clear that Aaron Bruno's songwriting abilities are understated. His penchant for effortlessly combining bright melody and harmony with gritty distortion and towering walls of sound never ceases to entertain.© Rob Wacey /TiVo
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Roseland
Acoustic Alchemy
Jazz - Released January 1, 2011 | Onside Records
2011 marked the 30th anniversary of Acoustic Alchemy; it was back in 1981 that Simon James and the late Nick Webb, Acoustic Alchemy's original co-leaders, started working together. These days, Acoustic Alchemy have two different co-leaders: Greg Carmichael and Miles Gilderdale. But even though James left in the mid-'80s and Webb died in 1998, the basic idea for the group has remained: two acoustic guitarists up front playing a light, unassuming mixture of jazz and pop. Of course, there is a difference between light and lightweight, and Acoustic Alchemy have recorded their share of lightweight background fluff over the years. But they have also had their more creative moments; thankfully, it turns out that Roseland is more than an exercise in fluff for the sake of fluff. In fact, much of this 2011 release is decent. "Right Place, Wrong Time" is easily the album's most edgy offering; the tune borders on straight-ahead post-bop and is even somewhat Chick Corea-ish. Most of Roseland, however, is in the smooth jazz vein, but on the more memorable smooth jazz tracks, the Carmichael/Gilderdale version of Acoustic Alchemy reminds us that not all pop-jazz is created equal. The album's more substantial smooth jazz offerings include "One for Shorty" (which is both bluesy and poppy at the same time), the Middle Eastern-flavored "State of the Arc," and the funky "Swamp Top." Meanwhile, "Sand on Her Toes" is a pleasant tune with a bossa nova-ish ambience, and the use of a reggae beat serves Acoustic Alchemy well on "The Ebor Sound System." Roseland also has its throwaway tracks, but it would be a mistake to think of Roseland as strictly a mindless fluff album that panders to smooth jazz radio 100-percent of the time. Although Roseland is slightly uneven, there are more substantial moments than throwaway moments on this 55-minute CD.© Alex Henderson /TiVo
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Dancing Shoes (Take Me Higher)
LF System
Dance - Released May 15, 2023 | Ministry of Sound Recordings
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Radio Bemba Sound System
Manu Chao
World - Released May 26, 2002 | Radio Bemba
Booklet
In July 2002, Manu Chao performed a live show in Japan, ending a worldwide tour carried out with his band, Radio Bemba New System, a multicultural group consisting of ten talented musicians from different countries. From Jamaican reggae to Latin alternative pop/rock, including rock en español, hip-hop, flamenco, and French rock, The Live Album delivers a collection of hits from 1998's Clandestino, 2001's Ultima Estacion Esperanza, and Mano Negra's legacy, the Parisian rock outfit named in honor of an Andalusian anarchist group that served as Manu Chao's breakthrough in the music industry. In addition, the 29-track record features the previously unreleased "Bienvenido a Tijuana," "Rumba de Barcelona," and a version of the classic Afro-Caribbean-inflected hit "Blood and Fire." Recorded at Paris' Grande Halle de La Villette in September 2001, The Live Album is a multilingual and experimental live experience featuring the best of Manu Chao.
© Drago Bonacich /TiVo
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Substances
Dj Cam
Trip Hop - Released January 1, 1996 | DJ CAM
Distinctions
The Qobuz Ideal Discography
A far more diverse set of relaxed (and occasionally not so) deviations from clubland, with bits of jungle, electro, and even house creeping into the mix. Cam has broadened the scope of his sound, here; where previous releases tended to focus on sonic depth rather than breadth, atmosphere occupying first chair, Substances' sample arrangements are in places almost epic, and the beatwork is far more complex and inventive.© Sean Cooper /TiVo
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Capture
Afro Celt Sound System
World - Released September 6, 2010 | Real World Records
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New Soul Breaks
Wicked Beat Sound System
Dance - Released April 13, 1999 | Wicked Beat Records
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Anatomic
Afro Celt Sound System
World - Released October 3, 2005 | Real World Records
On Anatomic, the Afro Celt Sound System return as a streamlined quartet and to their original name. Following the CD/DVD remix project Pod, this is welcome return to the sound the band initiated on Seed. This is a group whose members no longer care about programming as their primary function, but instead work together -- writing, performing, and jamming -- as a band. The 14 guests here range from Celtic fiddle wizard Eileen Ivers to griot and kora master N'Faly Kouyate. The sheer heaviness and thudding beats are evident from the album's first cut, "When I Still Needed You," with the mighty Dorothee Munyaneza on vocals. Sevara Nazarkhan duets with the Afro Celts' tenor Iarla O'Lionaird on "My Secret Bliss," a seductive, deliriously romantic track created for nocturnal listening. Texture is everything on this recording. "Mojave" is a slow, gently swirling and droning piece with O'Lionaird working at the upper end of his register to reveal some of the mystery in the desert, and it works wonderfully as the cut shifts tempo and Emer Mayock's Uilleann pipes enter the fray in tandem with sequencers and James McNally's Edge-style pulsing guitars. The sheer loping beauty of "Mother," with its programmed sequencers elegantly making room for the pipes, acoustic guitars, and hand drums, is alone worth the price of the set, but when Munyaneza's vocal slips in through the back door and is joined by O'Lionaird's, it becomes transcendent. Ultimately, Anatomic is fresh sounding while retaining all the elements that made the Afro Celt Sound System so unique. It is a pleasure from start to finish, and may be their strongest album overall.© Thom Jurek /TiVo
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Sound System
Herbie Hancock
Jazz - Released August 20, 1984 | Columbia - Legacy
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In the grand tradition of sequels, Sound-System picks up from where Future Shock left off -- if anything, even louder and more bleakly industrial than before (indeed, "Hardrock" is "Rockit" with a heavier rock edge). Yet Hancock's experiments with techno-pop were leading him in the general direction of Africa, explicitly so with the addition of the Gambian multi-instrumentalist Foday Musa Suso on half of the tracks. "Junku," written for the 1984 Olympic Games with Suso's electrified kora in the lead, is the transition track that stands halfway between "Rockit" and Hancock's mid-'80s Afro-jazz fusions. Also, "Karabali" features an old cohort, the squealing Wayne Shorter on soprano sax. Despite succumbing a bit to the overwhelming demand for more "Rockits," Hancock's electric music still retained its adventurous edge.© Richard S. Ginell /TiVo
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