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The disc begins with "Take California," which features a heavy drum loop, some unique percussion effects and an ominous bass line. Then a keyboard is dripped in, revealing the dense dance vibe that permeates the track and much of the album. Now and then a vocal sample enters the mix, most notably a man commanding "take California." The basic approach to this track resurfaces in other songs throughout the album, such as "Velvet Pants" and "Bang On." The effect is similar to that of Fatboy Slim's "Better Living Through Chemistry." While Slim's music could easily be featured on a beer commercial, the grittier jazz feel at work in the Prop's music makes it more fitting for a smoky club. Before starting the Propellerheads, Gifford worked as a studio musician for Van Morrison and others, and this traditional influence reflects on Gifford's work. In short, for a mostly electronic album, it seems quite acoustic at times: The drums sound rawer, the bass sounds fuzzier, and the keyboards sound less processed.
"Decksanddrumsandrockandroll" features two classic rap groups, De La Soul and the Jungle Brothers, doing their thing over Gifford and White's grooves. De La collaborates on "360 (Oh Yeah?)," a track whose lazy drums and lethargic bass make it the perfect soundtrack for a summer afternoon. The lyrical mastery and tight production serve to remind the listener that creative hip-hop still lives, and is in fact flourishing. On '"You Want it Back," the Jungle Brothers do their best impression of rap, circa 1990. While cheesy at points, this cut has what so much of the current R&B inspired rap lacks: speed. The result is a very catchy track, which will be swirling through the listener's head for days after the first listening.
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Propellerheads
Decksanddrumsandrockandroll
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At times, both of these tracks devolve into a breakbeat over some loop from a '70s spy flick. One saw the same mistake in David Holme's take on the Bond theme song, "Radio 7." The horns and strings of the original sources often seem disparate from the drums being layered over them. Although this can produce a cool effect at times, in the end the tracks suffer. Let the listener remember, though, that this is a debut album. In order to hone such techniques, the Props should follow the example of the DJ collective United Future Organization, a group that has had greater success integrating spy soundtracks into its music.
A tragic quality of almost all club-based music is that once removed from the club atmosphere, the tunes lose a lot of their magic. This is true with many instrumental tracks on "Decksanddrumsandrockandroll." Let it be known, the Props are no DJ Shadow and have a long way to go before their instrumental hip-hop can truly draw the listener in. If one is looking for an engaging listen, he or she should probably go elsewhere. But throw this album in on a long car ride or at a party, and it begins to score some serious points. If one wishes to experience this album in its natural habitat, there is going to be a record release party for it at the Blind Pig tomorrow night. This event should find the Propellerheads' music in a more suitable environment.
For "Decksanddrumsandrockandroll" being a debut CD, it shows amazing potential and includes a good number of singles that have been proven hits in the English club scene. But there is a huge difference between putting out a great single and putting out a great album. Before the Propellerheads can make some real headway in the album realm, they are going to have to focus on making their music less appropriate for a sound system and more appropriate for a set of headphones.
03-24-98
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