Mini Mal My Ass: Dance is Back!

Photographer: Ryota Mori

It took a while, but it's good to have them back! No less than 12 years after their last aggregate release, my all-time dance favorite The Prodigy produced an album full of new songs, which was released 3 days ago.

As promised by the three West-Londoners, Invaders Must Die stays faithful to their original sound and fans, but adds some extra noise features to please contemporary expectations. As for the titeltrack, it's obviously a product of the old masters, but in a positive, psychedelic way. While emphasizing their former qualities, The Prodigy introduces some gained introspective views in the song. With genres mingling like f.i. the Ed Bangers have shown us, some tracks wouldn't suit ill between a large amount of techno-ish productions. The up tempo Run with Wolves, a collaboration with FF's Dave Grohl, could have easily been the product of a younger rave generation. A live version of Warriors Dance brought back some memories of old skool drum 'n bass/jungle parties, due to the beats and the high pitched female voice samples. Video's until now have been a bit disappointing, but the Omen girl has opened the gate to some appropriate freakishness.

After having set my eyes on the energy on stage as well as the crowds enthusiasm, I can only conclude that they did a swell job. Listing to the record made me feel like being temporary back in High School again, but the changes in style gratify my needs to keep the tracks fresh, sharp and interesting. We wouldn't want the band to change too much, would we? They're the Prodigy and they're back!

A Twisted Sound.

I never discuss albums without having a matching concert. This time, however, a show led to a bunch of (weirdly) related reviews.

After having experienced a powerful performance by Danko Jones in the newly opened LIVE AT DOT- club, I realized that I often hold on to a bands' earlier work. In the majority of the cases, the firsts are simply their best albums (the same thing often goes for books & films). Dan Cornelius and JC gave a great show, because they're good at it. And Danko himself is a Crème de la Crème performer within the rock scene. This is not about gigs though. It's about a shift in sound. As I focused on the songs, my mind kept longing for the old tunes.

In the hallway, afterwards, I heard someone talk about The (International) Noise Conspiracy. Their new album, The Cross of my Calling, came out last month and after being left impressed by A New Morning, Changing Weather (I'm lazy, I got distracted after 2001 and never listened to their other stuff), I was eager to be pleased with some new songs.
So next day, I sat down with a cup of tea (you might say that this is not the right attitude) and turned the volume up. I am a sentimentalist and can listen to (favorite) albums for ever, but that normally encourages me to discriminate new tracks positively. But this was just Boredom of Safety. The atmosphere was way too happy. Trust me, I like sun, romance and icecream, I even like to whistle Young Folks, but here I missed the raw garage sound, and when did they ever stop making rock 'n roll? Of course, TINS has a completely different sound than Refused, the former band of lead singer Dennis Lyxzen, did. On the first albums (two albums were released before my favorite) their roots and political involvement could literally be heard. Now, even his voice seems to have lost its original roughness. Just change Noise into Love and you'll have your average emo-band.

I am aware that I seem one of those people nagging about their better musical past. "Everything used to be better!". But that's not what I'm saying. It just seems that there's a turning point for many good bands where many become Judah. And if they decide to long for a broader recognition, they often let go of their original, unique sound. That's a shame, because it makes them loose their true fans.
Not all bands choose this path. A good example of a group that gained popularity through their continuity is The Mars Volta. They don't try to exceed the underground scene, but just win every single soul that is within their reach and move the ceiling up, little by little. Although even they gave it a shot with Francis The Mute (my inner Mari is doesn't like me saying this), even this album stayed far away from mainstream. It was a different, more accessible genre that opened the doors to a new audience. But with releasing The Bedlam in Goliath they returned new and improved.
Ok, ok. I know what you're thinking. Fine, I'll give TINS the benefit of the doubt. De gustibus non est disputandum. But I'm a skeptic and this is my subjective weblog. So bla bla, it's just another hidden tribute to guitarist Omar Rodríguez-López and vocalist Cedric Bixler-Zavala.

Speaking about Joneses,
could someone besides TMV please keep up with the Graces?
This 60-year old diva has recently released her tenth album, Hurricane, after almost 20 years. Throughout time she adapted to modern technology, trends and , but Grace Jones has never lost her own sound and identity. She's a genuine star remaining true to herself. No Madonna. Nobody remains young forever. We wouldn't want that. Getting older has so many advantages, of which Jones is not afraid to show us. A perfect combination of up-tempo beats combined with dramatic and intimate sound, without loosing sight of her reggae background due to some Sly and Robbie-dub. With only nine tracks concluded with a dark suspension, I have been left ... craving for more...



www.thebedlam.net
www.dankojones.com
www.internationalnoise.com
www.theworldofgracejones.com