Music

2Mex: Sweat Lodge Infinite

David Morris

2mex

Sweat Lodge Infinite

Label: Temporary Whatever
US Release Date: 2003-10-14
UK Release Date: 2003-10-20
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2Mex has quite a few shortcomings as an MC. His flow revolves largely around making sure that every one of his couplets rhymes (more or less) for at least the last three syllables -- or better yet, that they have multiple inside rhymes. He's got a tendency to use 25-cent words for the sake of it, out of context. A good example of this are lines like "The challenge is insurmountable / But God is water-soluble", or, say, "Pharmacy, the new farm harms me / New alarms charm me to avant-garde me". You might gather that hewing closely to this could make it pretty difficult to develop long narrative or thematic rhymes, but luckily, 2Mex doesn't bother. As shown above, his rhymes rarely have much cohesion over the course of even two bars, and they frequently devolve into near-meaningless babble (No, man, it's wordplay!). But the things 2Mex has going for him, he has going really strong -- like his stern, angry delivery. Or his ability, despite his lyrics' near-meaninglessness, to maintain a mood flawlessly and tap into a vein of urban crypto-gnosticism right next door to Killah Priest's. Or, most prominent on Sweat Lodge Infinite, his strong ear for beats.

2Mex's defining and enduring moment for me remains the song "Audible Angels", from the Visionaries album Galleries. Over a classic sample-based beat, he works his way through the alphabet, giving each letter half a bar and starting each word with the same letter for that span. "Attention all audible angels / Before buildings burn, before brains blow!" It doesn't quite match Gift of Gab's similar performance on "Alphabet Aerobics", but it's still really killer. There aren't any similarly ambitious vocal tricks here, with Mex on a much less experimental tip. Instead, he's in full floor-stomping mode, tempering his abstraction with a little bit of Chuck D -- and he's got the tracks to back him up.

Sweat Lodge Infinite falls into a category that is almost unpopulated these days -- it is produced entirely by one man, and it reaps the benefit of its uniqueness in a degree of coherency that's similarly rare. Longevity, of the group Darkleaf (whose album of last year was exceedingly slept on) is into hard, dark beats, though here he tones down the abstraction of the Darkleaf project slightly into something more straightforward. Maybe the essential track on this album is "Before the Format", on which Longevity mixes a short, insistent drum track with a squealing, repetitive synth line (one that I'm pretty sure showed up in much different form on an intro from El-P's Fantastic Damage) and comes up with something that would get you headbanging in the car as easily as jamming in the club. There is a certain underdone feeling to the beats -- most of them are little more than loops, but that works for the record as much as against it, lending to the raw, basement-session vibe.

The album's most serious flaw is the excessive presence of the more lackluster members of Mex's extended Project Blowed crew. Aceyalone and Busdriver are more than welcome, with Acey in particular seemingly gifting 2Mex with some rhythmic complexity by pure osmosis on the tracks "3 or 13" and "No Category". But the crew cuts "Copy That", "M.A.S.H.", and "Lightpost 2 Lightpost" are frankly sapped of energy by listless, imprecise flows that contrast poorly with Mex's fisticuffs. Perhaps most annoying of all, though, are the cuts by Mixmaster Wolf -- while he at least comes across as competent when just kicking in a few accents, as soon as he tries his hand at a solo he manages to make you wonder a) how many weeks ago he bought his Technics, and b) what everyone else was smoking when they decided to put him on. The worst sample of this comes at the tail end of "No Category", where his meandering, rhythm-fucking, uncreative, spastic scratching is the aural equivalent of a first-grader's crayon scribbles, without the charm. For all I know, he's the world's greatest party DJ, but having this particular session immortalized will do nothing for Wolf's career.

Despite the flaws, this remains a solid release for fans of 2Mex's other groups, and of Project Blowed in general. There's an undeniable, infectious energy that grows between the stern 2Mex and Longevity's grinding power beats. Also, the team spirit of these guys is something that is in and of itself fun to get a peek at, even if nothing here reaches the insane heights of the "Heavyweights" series of deep-crew singles. Like many of the Blowdians, 2Mex falls short of bringing truly next level shit, but he's really doing his damnedest, and there's definite pleasure to be had in hearing him reach.

From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.


60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

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Music

The Best Dance Tracks of 2017

Photo: Murielle Victorine Scherre (Courtesy of Big Beat Press)

From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

In June of 2016, prolific producer Diplo lambasted the world of DJ's in an interview with Billboard, stating that EDM was dying. Coincidentally enough, the article's contents went viral and made their way into Vice Media's electronic music and culture channel Thump, which closed its doors after four years this summer amid company-wide layoffs. Months earlier, electronic music giant SFX Entertainment filed bankruptcy and reemerged as Lifestyle, Inc., shunning the term "EDM".

So here we are at the end of 2017, and the internet is still a flurry with articles declaring that Electronic Dance Music is rotting from the inside out and DJ culture is dying on the vine, devoured by corporate greed. That might all well be the case, but electronic music isn't disappearing into the night without a fight as witnessed by the endless parade of emerging artists on the scene, the rise of North America's first Electro Parade in Montréal, and the inaugural Electronic Music Awards in Los Angeles this past September.

For every insipid, automaton disc jockey-producer, there are innovative minds like Anna Lunoe, Four Tet, and the Black Madonna, whose eclectic, infectious sets display impeccable taste, a wealth of knowledge, and boundless creativity. Over the past few years, many underground artists have been thrust into the mainstream spotlight and lost the je ne sais quoi that made them unique. Regardless, there will always be new musicians, producers, singers, and visionaries to replace them, those who bring something novel to the table or tip a hat to their predecessors in a way that steps beyond homage and exhilarates as it did decades before.

As electronic music continues to evolve and its endless sub-genres continue to expand, so do fickle tastes, and preferences become more and more subjective with a seemingly endless list of artists to sift through. With so much music to digest, its no wonder that many artists remain under the radar. This list hopes to remedy that injustice and celebrate tracks both indie and mainstream. From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

10. Moullinex - “Work It Out (feat. Fritz Helder)”

Taken from Portuguese producer, DJ, and multi-instrumentalist Luis Clara Gomes' third album Hypersex, "Work It Out" like all of its surrounding companions is a self-proclaimed, "collective love letter to club culture, and a celebration of love, inclusion and difference." Dance music has always seemingly been a safe haven for "misfits" standing on the edge of the mainstream, and while EDM manufactured sheen might have taken the piss out of the scene, Hypersex still revels in that defiant, yet warm and inviting attitude.

Like a cheeky homage to Rick James and the late, great High Priest of Pop, Prince, this delectably filthy, sexually charged track with its nasty, funk-drenched bass line, couldn't have found a more flawless messenger than former Azari & III member Fritz Helder. As the radiant, gender-fluid artist sings, "you better work your shit out", this album highlight becomes an anthem for all those who refuse to bow down to BS. Without any accompanying visuals, the track is electro-funk perfection, but the video, with its ruby-red, penile glitter canon, kicks the whole thing up a notch.

9. Touch Sensitive - “Veronica”

The neon-streaked days of roller rinks and turtlenecks, leg warmers and popped polo collars have come and gone, but you wouldn't think so listening to Michael "Touch Sensitive" Di Francesco's dazzling debut Visions. The Sydney-based DJ/producer's long-awaited LP and its lead single "Lay Down", which shot to the top of the Hype Machine charts, are as retro-gazing as they are distinctly modern, with nods to everything from nu disco to slo-mo house.

Featuring a sample lifted from 90s DJ and producer Paul Johnson's "So Much (So Much Mix)," the New Jack-kissed "Veronica" owns the dance floor. While the conversational interplay between the sexed-up couple is anything but profound, there is no denying its charms, however laughably awkward. While not everything on Visions is as instantly arresting, it is a testament to Di Francesco's talents that everything old sounds so damn fresh again.

8. Gourmet - “Delicious”

Neither Gourmet's defiantly eccentric, nine-track debut Cashmere, nor its subsequent singles, "There You Go" or "Yellow" gave any indication that the South African purveyor of "spaghetti pop" would drop one of the year's sassiest club tracks, but there you have it. The Cape Town-based artist, part of oil-slick, independent label 1991's diminutive roster, flagrantly disregards expectation on his latest outing, channeling the Scissor Sisters at their most gloriously bitchy best, Ratchet-era Shamir, and the shimmering dance-pop of UK singer-producer Joe Flory, aka Amateur Best.

With an amusingly detached delivery that rivals Ben Stein's droning roll call in Ferris Bueller's Day Off , he sings "I just want to dance, and fuck, and fly, and try, and fail, and try again…hold up," against a squelchy bass line and stabbing synths. When the percussive noise of what sounds like a triangle dinner bell appears within the mix, one can't help but think that Gourmet is simply winking at his audience, as if to say, "dinner is served."

7. Pouvoir Magique - “Chalawan”

Like a psychoactive ayahuasca brew, the intoxicating "shamanic techno" of Parisian duo Pouvoir Magique's LP Disparition, is an exhilarating trip into unfamiliar territory. Formed in November of 2011, "Magic Power" is the musical project of Clément Vincent and Bertrand Cerruti, who over the years, have cleverly merged several millennia of songs from around the world with 21st-century beats and widescreen electro textures. Lest ye be worried, this is anything but Deep Forest.

In the spring of 2013, Pouvoir Magique co-founded the "Mawimbi" collective, a project designed to unite African musical heritage with contemporary soundscapes, and released two EPs. Within days of launching their label Musiques de Sphères, the duo's studio was burglarized and a hard drive with six years of painstakingly curated material had vanished. After tracking down demos they shared with friends before their final stages of completion, Clément and Bertrand reconstructed an album of 12 tracks.

Unfinished though they might be, each song is a marvelous thing to behold. Their stunning 2016 single "Eclipse," with its cinematic video, might have been one of the most immediate songs on the record, but it's the pulsing "Chalawan," with its guttural howls, fluttering flute-like passages, and driving, hypnotic beats that truly mesmerizes.

6. Purple Disco Machine - “Body Funk” & “Devil In Me” (TIE)

Whenever a bevy of guest artists appears on a debut record, it's often best to approach the project with caution. 85% of the time, the collaborative partners either overshadow the proceedings or detract from the vision of the musician whose name is emblazoned across the top of the LP. There are, however, pleasant exceptions to the rule and Tino Piontek's Soulmatic is one of the year's most delightfully cohesive offerings. The Dresden-born Deep Funk innovator, aka Purple Disco Machine, has risen to international status since 2009, releasing one spectacular track and remix after another. It should go without saying that this long-awaited collection, featuring everyone from Kool Keith to Faithless and Boris D'lugosch, is ripe with memorable highlights.

The saucy, soaring "Mistress" shines a spotlight on the stellar pipes of "UK soul hurricane" Hannah Williams. While it might be a crowning moment within the set, its the strutting discofied "Body Funk", and the album's first single, "Devil In Me", that linger long after the record has stopped spinning. The former track with its camptastic fusion of '80s Sylvester gone 1940s military march, and the latter anthem, a soulful stunner that samples the 1968 Stax hit "Private Number", and features the vocal talents of Duane Harden and Joe Killington, feels like an unearthed classic. Without a doubt, the German DJ's debut is one of the best dance records of the year.

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