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Musicbox
Groove armada
The Skye has fallen. As in Skye Edwards, the melted-toffee voiced former lead singer of Morcheeba. Indeed the talented chanteuse has bid the brothers Godfrey – Paul and Ross – goodbye (or was she booted?) to pursue a solo career. Enter a lady by the name of Daisy Martey who has now taken up vocal duties, which are delivered pitch perfect on the band’s fifth studio record, The Antidote. But wait, there’s another twist to the story: perhaps in response to fan backlash, Martey has also been shown the door and the band is now thinking of touring live with a rotating collective of singers. Hey, I’ve read this story before, back when it was called Massive Attack.
As for the record, The Antidote has a rampantly retro vibe that rides roughshod throughout. The new singer holds her own and passes with flying colours in the talent department, but again comparisons with Edwards will refuse to die down as at times she conspicuously echoes Morcheeba’s ex. Otherwise, it is a happy go-lucky album with a chilled out vibe that goes down easy but has just enough surprises deep within the grooves to keep things interesting.
Wonders Never Cease starts things off with a very sixties feel, instantly giving off a strong flavour of the Mamas and the Papas’ California Dreaming. It is clear from the first track that this album is less electronic and more organic (it was recorded completely live), but then again Morcheeba’s always walked a fine line between the two disciplines. The shakers and Latin vibe make Everybody Loves a Loser a keeper. They almost fool you into believing its muzak, but it’s got soul a-plenty. Is the male lead vocal on Like a Military Coup Chris Martin’s, of Coldplay infamy? Nah, can’t be. Beautiful, subtle little Hammond organ breaks make Living Hell sound anything but hellish. Quirky, placid and groovy are more like it.
Sure it’s not the stoned out, depressed Morcheeba of old, but sometimes you need a break even from depression. Great production and superb arrangements make the 10 tracks on The Antidote a pleasurable experience. Who says pop music has to suck? The cats at Morcheeba obviously don’t. With emphasis on groove, tight songwriting and smooth vocals, this band — incidentally named after a Spanish genus of weed – combine all the elements of progressive dance music with a pop sensibility in a neat little package. It don’t get better than that, do it?—QAM
Planet of the apesCasting their trademark, the Black Eyed Peas have given their fans another reason to celebrate: another solid record with oodles of aplomb and tons of spunk packed into it. With their new disc Monkey Business, the Black Eyed Peas continue to navigate across an unpredictable sea. Everything about the album — from the fancy and wacky cover art to the funky tunes — instantly screams for the audience’s attention. Blasting onto the music scene with a strong debut (Behind the Front) and an equally addictive follow up (Bridging the Gap), the Peas’ killer sound has broken the mach barrier ever since.
Continuing with the verve and in the vein of their last venture Elephunk, Monkey Business is all about the comfortable ease with which the Peas are able to shift genres. The female vocalist Fergie, who joined the band on their previous venture, may not hold a candle to Gwen Stefani but makes a strong impact on the new disc as she takes centre stage on hit numbers like Don’t Phunk With My Heart and My Humps.
While most artistes are themselves eclipsed by more prominent guest collaborations, this quartet refuses to be intimidated or retreat backstage on Monkey Business in the presence of big names of the industry (Justin Timberlake, Jack Johnson and Sting, among others). The strongest number on the disc is undeniably the imaginatively titled Don’t Phunk With My Heart (not to be confused with the four letter cuss word). It starts off like a groovy country number and quickly gears into boogie mode. Making innovative use of horse neighs, trots and pistol shots, the song evokes the rugged topography of the Wild, Wild West in the mind’s eye.
Don’t Lie has a melody to kill for and lyrics to boot. Other numbers that are destined to become club-centric hits include Dum Diddly, Pump It and Audio Delite at Low Fidelity. Mediocre tracks on the record include the soul-ish They Don’t Want Music and dance-esque Disco Club.
It’s wonderful to see how fresh the Grammy winning band has managed to sound even after adding a couple of albums to its log. Their journey on the musical trajectory is a riot: fun and funky all the way. The Black Eyes Peas’ hip-hop monkey business is sure to have you hooked!—Taimur Saleem
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