Depeche Mode: Sounds Of The Universe

This album has been on my review pending list for over a month now, but every-time I make the effort to listen to it, I can’t really think of much to say about it. There’s not a lot to get excited about and conversely there’s nothing worth getting too upset over, or ranting about as I am occasionally prone to do. The one track that retained a few reminders of their heyday (Violator and Songs of Faith and Devotion), is “Wrong”, but now I’ve written this short review of it, I can’t really envisage myself revisiting it that often. If you’re a dyed-in-the-wool Depeche Mode fan than I’m sure you’ll like it, if not, this is probably not the album that will change your mind.

Yeah Yeah Yeahs: It’s Blitz!

There is one stand-out corking bouncy instant hit on this album in “Heads Will Roll”. It’s a likeable mixture of old school rock augmented with more clubbing beats than a beach full of seal pups. As Karen O sings out “Off, Off, with head, dance, dance till your dead” to a euphoric rhythm it’s hard not to get swept along with her. Sadly for me the rest of the album has looped around several times on my iPod and all the other tracks have failed to grab my attention.

With the exception “Heads Will Roll” I’m surprised that I’m not a little more enamoured by an album produced by Nick Launay whose previous clients include Talking Heads, PiL, Nick Cave and Arcade Fire. Maybe there’s just too much emphasis on courting the dance-floor instead of the mosh-pit for my tastes.

The Prodigy: Invaders Must Die

Since the heady days of punk, few bands have grasped the mantle set by the Sex Pistols and managed to make themselves vilified by the tabloid press and championed by originality seeking anarchic youth. 1997’s “The Fat of the Land” hardcore electro punk sound and provocative titles secured suitable notoriety and fame. Now 12 years on they have released their 5th studio album and continue to vibrate our intestines with extreme drum and bass, but it all now seems much more accessible and instantly likeable.

The album starts off with the title track’s deep pounding bass loop before it all kicks off big time. The throbbing vibes will rip the arsehole out of your standard issue apple earphones and I had to abandon this album on my normal sleepy morning listening session on the train, as it was just far too jarring. In fact I think you can probably only legitimately listen to this album at 6am when you haven’t actually been to bed yet.

I’m also not convinced that listening in the car was a particularly good idea either as my driving speed seemed to increase erratically with the beats per minute. Perhaps video game developers could take advantage of this trait and use some tracks on their next racing game.

However, once the wife buggered off to Guides for the evening, I was able to crank the amplifier up to 11, and start to appreciate what’s on offer.

“Thunder” adds some Bob Marley styled reggae vocal vignettes liberally distributed amongst a slower thumping sequence.

“Colours” builds on the standard heavy drum and bass rhythms by overlaying keyboards that are pure Dave Greenfield from the Stranglers.

“Run With The Wolves” features the absurdly talented Dave Grohl knocking four bells of shite out his drum kit.

Not bad for a gang of likely lads from Braintree with a wheelbarrow full of attitude and a Rolf Harris Stylaphone on Steroids.

Basement Jaxx: Rooty

This London two piece certainly seem to have a high profile in the dance music scene after the success of their first album, "Remedy". Felix Buxton and Simon Ratcliffe are eager to build on the success of their first record by making an album that appeals to both the mainstream dance clubs and the more diverse underground. The album is packed full with as many sound effects as they could cram in. It seems that because they have the technology available to produce whizzing, buzzing and beeping effects they had to stuff them all in somewhere. Although it is a very jolly album, the majority of the tracks are fairly uninspiring and don’t appear to have much depth. The opening track, "Romeo" featuring Kele Le Roc, is a good example of this lacklustre but happy format. However there are a couple of better tracks to be found. "Get Me Off" has a good solid dance beat and sexually provocative lyrics that are sure to go down well in the clubs. The highlight of the album for me was "Do Your Thing" which successfully mixes dance and jazz with its trumpets and synthesisers working in perfect harmony with each other. Unfortunately these good tracks are too few and far between and I’m unconvinced that this represents the best of what’s available in the dance genre.