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Richard D. James, with his caustic sense of humor and more intelligent than thou demeanor has often been a magnet around which the electronica community polarizes, usually falling into two categories- avid worship or scathing ridicule. Druqks will do nothing but fuel that polarity. 30 tracks across two discs of Jekyll and Hyde tempos and images will test your listening endurance to its limits. Drukqs juxtaposes maniacally precise, twisted breakbeats that are at times so fast and tightly packed they almost fade into white noise, with quieter more melodic pieces featuring classical style piano and minimalist constructions. Both types of track share an equally dark, demented atmosphere. As always, the question remains, is he taking the piss? The apparent sincerity and musicality of some of the downtempo pieces suggest not, as do other moments. For example, "54 cymrv beats" rewinds musical history and recalls the point in time where acid dripped hardcore fused itself into early drum & bass. However, the unintelligibly garbled song titles are a nod to the self- consciously indecipherable nature of the album. James comes off at times as being overtly obscure and faux avant-garde. Only the most avid fans should attempt to wade through in an attempt to salvage meaning. Nice programming skills, shame about the ego.
I was first exposed to jazz when I was studying at the University of Puerto Rico. Nearby, I found a little record shop where the music coming from the store (Taller de Jazz Don Pedro) made me stop. I walked down the short stairs and towards the music and learned that the music playing was Clifford Brown and Max Roach
I was first exposed to jazz when I was studying at the University of Puerto Rico. Nearby, I found a little record shop where the music coming from the store (Taller de Jazz Don Pedro) made me stop. I walked down the short stairs and towards the music and learned that the music playing was Clifford Brown and Max Roach. I fell in love with it. I wondered around until the owner (Pedro Soto) asked if I needed help. He then introduced me to John Coltrane, Miles Davis, Gerry Mulligan and the rest is history. I walked out of the store with my first jazz recording: Clifford Brown and Max Roach at Basin Street.