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Suv - Desert Rose (2001) Retail CD
Attempting to fuse a Full Cycle chopped-beats background with varied Latino influences, Suv has clearly been impressed by the likes of DJs Patife and Marky from Brazil. No doubt his Spanish girlfriend, Marta, has been the greatest influence though, and appears vocally on Alfombra Magica. The album starts with Nina ('small girl'). Named after the fertile wind of Peru, the upbeat but simple Spanish guitar riff grows with more bass into an evolving tune.The twists and changing drum patterns of the intro then break into a harder, dancier b-line with deep welling sounds and the noise of a dinosaurmore… blowing its nose. This gives the impression of turbulently riding very fast over sand dunes, until it settles down for outro. Then we have Yo Soy ('I am...') that starts with a curious/ mysterious ambience and stretched vocals. The influence of Krust, with whom Suv started in Fresh Four before they became integral parts of Reprazent, is in evidence; cavernous echoes and trumpet snippets, and a slowly changing b-line. This is a methodical approach before the jump-up bouncy breakbeat of Alhambra. Named after a Moorish fortress built in Spain during the 14th century, the start skulks about on a dark windy hill, assisted by shell noises and wind chimes. Then the "Hey!" sample heraldslight percussion followed by a drop into rising bass, replacing delicate rising chords. Increasingly massive pumping breaks and overhead whizzing noises sound like a hide'n'seek chase with an army of scimitar-waving warriors across a Turkish building site. Asian Cast is an appeal to the Indian accent of what was the Ottoman Empire, with tabla drums, pipe music and menacing vocal snippets. Couple this with muted trumpet and improvisational breakbeats, this is what Nitin Sawney sounds like after one cappuccino too many. The funk switches in and out of 2-step accompanied by magical vibrating industrial wobbly echoes. Food of life flickers like an uplifting mirage over funked-up Spanish style bass guitar and is a shimmering, liquid piece of pacey brilliance before the 2-step chopped beats of Guitar Band. As you'd expect from a Reprazent member, increasing layers of sampled guitars appear and vanish, hints of different moods hide in the samples overlaid by heavy cascading bass. Flamenco Cybernetico is possibly the most original and accomplished track. It does exactly what it says on the tin; hand clapping, foot-stomping flamenco rhythms are accompanied by trance-like xylophone bars and magnified raindrop sounds, imitating the floury of red dress and black shoes. The "Ha! Ha!" spurs it on, a real head-nodder and toe-tapper, DJ meeting dancer meeting spectator.Minaret whaling, fast tom-toming and prancing hi-hats make up the intro to the flute-spiked Snake charm. Venomous percussion, and that noise you get from blowing across the top of your empty beer bottle, chase after you into clouds of pipe smoke. This is more like trying to get rid of a pesky trader in a bizarre than a charmed scene and drags on a bit with a familiar formula. Alfombra Magica ('magic carpet'), however, conveys a heated, dusty and dry atmosphere with flight-like whooshing and rising pipes while brushed drums and a smooth dropping bass ride a bouncy rhythm. It's not as compelling as the first few tracks, but luckily its followed by Black Sombrero. A return to the Americas with carnival whistles and drops from the stratosphere, jump-up bass, beat and sample madness, Speedy Gonzales guitars and a rapid evolution. This is a marvellous example of programming and sounds like the Alamo refought with laser-weapons. The final track, Flying to nowhere, drags haunting vocal cuts into a sandstorm of jungle beats and nomadic sound effects. The only problem here is with the oxymoron: desert-jungle. Still, a brilliant tune to round off a Middle East / Latin-American feast, loosing itself somewhere in the middle. Overall, this is an excellent and inventive album, with only a couple of tedious moments. While any of the tunes would tear-up a dancefloor, they nevertheless remain interesting for casual listening and the album flows well, working as a whole around the desert concept. The varied cultural flavours, while an acoustic melting pot, hold together and keep the ear hooked. Soundwise, those who enjoyed Reprazent's first album, Newforms (on which Suv had most input with the tracks Beatbox and Newforms) should appreciate this, but In The Mode is also in evidence here. Definitely a one-off gem.
|5||Food Of Life|
|11||Flying To Nowhere|
- Suv - Desert Rose (2001) Retail CD
- 806 x 800 px
- 65 KB
- 30 (0 today)
- 30/04/07 by allcdcovers
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