23 Skidoo Grooves Again, you shouldn't be without this album
C. J. Van Hall | Arnhem, The Netherlands | 04/23/2004
(4 out of 5 stars)
"One of the early well-known underground experimentals, who just in time skipped towards the hypnotizing rhythms of primitive music. Especially 'Kundalini' from the 'Seven Songs' record, already 20 and more years ago, is a tribute to primitivism in art and in real life.
Ofcourse 23 Skidoo started to make music which appealed to more listeners, even trying to seduce them with funkadelic hiphop in the mid 80's !! They just about succeeded before...they stopped alltogether !
I was SO happy to find out them making music in the new century, and even more happy to hear their funk based slap-beat as in the like of the best PIL years, accompanied by a more real rhythm-section. However, you have te get used to hear their big compromise towards the somewhat overdosed jazz-instruments. This album is overwhelmed by solistic trumpet/saxaphonic playing, putting down hard the no-more-centralistic-core of their hypnotizing rhytmic and atmospherical music. Jazzed away at times.
23 Skidoo is growing with their time. And I would wish for them to more and more (dis)appear in their own concept, which is SO great. It alltogether is NOT leaving my cd-player. And again they will be underestimated. Needed for them to do their thing. So many music-styles have enriched and left this planet, but the groove of 23 Skidoo should be able to keep on appearing as one of the great sins in life. Get this soundtrack into your system, and don't let yourself get overruled. Till the next best thing hip pops up.
PS. 24th of October, 2006 edit:
This IS a 5 stars album, which I can't repair... This album gets better and better, the longer you have and play it.
AN ALBUM YOU CAN NOT AFFORD TO MISS OUT ON."
I played this almost to Death...
Pilar Basso | New York, N.Y. United States | 02/09/2002
(5 out of 5 stars)
"?I was around ten when 23 Skidoo's previous album came out and not familiar with the older music, but I know the feeling of being disappointed by a cherished band's "new release", if that may be the case for some people. After having said that, those of you with a taste for an assortment of music like funk, hip-hop, jazz, acid jazz, ambient, electronica in general (we won't go into the numerous unnamed categories), and the like, might be interested in sampling material that melds all these genres and more into a exciting metamorphosis of "old familiar" taking a few detours. The first track, "Freeze Frame", starts the CD with a lone guitar setting the stage for what's to come: assault by funky bass riffs, various vocal loops, tripped-out guitar and afro-cuban style percussion together churn out a mesmerizing sound that stirs you to move something - anything - to the music. One of my favorites."Dirty Lo" is a rude-boy/dance-hall memento for those who spent nights grinding the floor in the small rooms of clubs like Tunnel and Webster Hall. It does, however stand out from the most of this album considerably, which can run along the lines of Groove Armada and K &D Sessions with the more hip-hop slant increasing the pulse. At various points in the album, tracks flow seamlessly into each other. "Interzonal" is a swirling patchwork of different samples, if you can imagine Far Eastern mysticism cavorting with spy-movie sophistication. "Kendang" features Pharoah Sanders blowing his thing to tribal drums and bass; a serious jazz element peeks its head out and the last few minutes throw you a rhythmic curve that works. "Catch 23" and "Crossfire" are another two favorites, although there are many on this album, if that is not a contradiction of sorts. "Catch 23" has heavy, yet nicely understated bass tones following an intense guitar - but wait - more tension builds up by an orgy of brass that all together take you on a pleasant ride, to be deposited softly at the end somewhere completely new. "Crossfire" isn't sure what role it wants to play, as from start to finish there exists an awesome co-mingling of vibes. Flute (?) dances playfully up and down the scales with different funky accompaniments and latin horns jumping in every so often; at times a very retro-70's soundtrack affair. "Where You At" is a soulful hip-hop number courtesy of Roots Manuva's deft lyrical flow, but again, like "Dirty Lo" it can get in the way of the album's instrumental focus. "Atmosfear" is standard cooked-up trip-hop that gives way to a more sentimental "Dawning". Saxable Sanders does it again, blowing out bars of jazz-infused nostalgia, the mellow mood enhanced by simple piano notes and unobtrusive percussion. Great piece, but it only gets better (and substantially different) when "Meltdown", "Dusk To Dawn", and "Ayu" follow. "Meltdown" carries you through trip-trance loops and samples; a heap of "world music" ambience (think along Delerium's "Karma" with Aphex Twin material) integrated with mature jungle drum and bass lines. Don't get too chilled out yet, because "Dusk To Dawn" rolls in on the scene with funky old-school sounds, some wah-wah, and sax and horns blowing up the spot on numerous occasions? you will be bopping your head or shaking that rump by now. A rather interesting way to end the party, "Ayu" is a fast, drastic departure from the previous track. Slowly combining sinister acid-beats of sorts to spiraling guitar solos with a classic rock feel (maybe Hendrix or Zeppelin comes close), the music gets more soulfully pensive and softer as the end draws near. There are times when experimentation pays off, and 23 Skidoo is a prime example. I hadn't heard such a cohesive mish-mash since Moby's "Play" (ok, so maybe not THAT long ago), and much of their interweaving of styles is truly original. Yes, another expensive import; but if any of the above was appealing, there's a pretty good chance you're going to love this album for a long time."
Track Listings (12) - Disc #1