Regardless of Weller's rather odd comments regarding Noonday Underground's significance, the duo's second album, Surface Noise -- released locally late last year -- is pretty unique and an enjoyable listen.
The album is filled with trappings of chill electronica as well as John Barry-styled film scores and helpings of suave electro-disco packaged neatly with a lets-get-back-to-the-1960s psychedelic chic.
Martey's soulful voice resonates, oozes sensuality and never misses a beat on the stripped-bare retro 1960s sound of tunes such as Go It Alone, Boy Like a Timebomb and Nobody But You, while Dine's electronic wizardry conjures up a heap of addictive 21st-century loops and samples.
It's Weller, however, who brings out the best in Dine's compositions. Adding an all--to-brief slice of originality to an album with a predominately retro feel on corking tunes such as I'll Walk Right On and Thunder Park.
78bpm
Red Moon (紅月亮)
Silent Agreement
While sickly-sweet and predictable electronica continues to dominate the local club scene, one group has thankfully set out to create something
different.
Instead of filling its debut with all-too-common DJ Shadow-wannabe loops and samples, 78bpm has looked to an interesting mix of lounge, jazz and world music for inspiration on its recently released Red Moon (紅月亮).
Although dubbed "downbeat" by local critics, the album's highs actually outweigh its lows. So diverse is the sound, in fact, that the best way to describe it is simply to imagine putting Miles Davis, Saint Etienne, big band and dub into a lo-fi blender, adding a sprinkling of local flavor for good measure.
Kicking in with Into the Valley -- which is not a cover version of the Skids number -- 78bpm creates a sound that, while touching on the jazzy feel of many a Fun Lovin' Criminals tune, still manages to poses an originality rarely found on the local scene.
While much of Red Moon will have lounge lizards and acid jazz freaks alike tranquilized with pleasure, it is not without its faults. The band's foray into the world of rap on the annoying number, What the F#$% was That, is a tune that should possibly have been left on the recording studio floor if not thrown out with the garbage!
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