Review: Since launching last year, Lil Static has offered up new, lightly altered editions of classic tracks from Jeru the Damaja, Kraftwerk, Run-DMC, Nas and the Notorious B.I.G. Here they continue to serve up vital beats for break-digging DJs via classic cuts from Eric B. & Rakim and Mountain. The A side sports an edited version of 1986 cut "Eric B. Is President", a synth-bass propelled NYC hip-hop gem rich in unmistakable rap vocals and tight scratching. Over on side B there's a chance to savour Mountain's late '60s rock cut that provided the Eric B. & Rakim track (and so many others since) with its distinctive drum break, "Long Red". This edited version gives more prominence to the breaks, making it an ideal mixing tool for hip-hop DJs.
Melody Nelson (unreleased instrumental edit) (3:50)
Cargo Culte (unreleased instrumental edit) (3:58)
Review: This rather tidy, limited-edition "45" offers up two previously unheard instrumental edits of stone cold classics from the bulging back catalogue of Chanson hero and sleazy but chic singer Serge Gainsbourg. Side A boasts a superb revision of "Melody Nelson", a sweeping, string-drenched affair underpinned by sweaty drumming that arguably benefits from the removal of Gainsbourg and Jane Birkin's vocals. Over on side B you'll find an equally evocative version of Beck favourite "Cargo Culte". Stripped of the original lead vocals, the track sounds like a lo-fi art-rock instrumental smothered in ghostly choral vocals and creepy, foreboding musical flourishes. Top stuff!
Review: Upbeat, upfront and wholeheartedly unapologetic, the return of Friendly Fires is about as proud as an album can be. After eight years off whatever soul searching took place has clearly paid off, even if only to give them the confidence to make these tracks. There's a pure 80s chart-disco vibe throughout the track list. From the breathiness of that "Baby I" line on "Can't Wait Forever" to the sexy and sleazy "Offline", which might as well be an homage to George Michael. It's no cheap parody, though, with enough accomplished musicality here to ensure that an instrumental pack would have club DJs with penchants for yacht pop chomping at the bit. Not least the frantic pace and punching kicks of "Almost Midnight", synth accents taking us closer to the outfit's debut than anything else here, perhaps with the exception of closer "Run The Wild Flowers".