Campbell: Tuned In: Hurricane Chris, 'Kitsune Maison 8,' Variety Lab

Hurricane Chris spawns disaster

“UNLEASHED,” Hurricane Chris (J)

Hurricane Chris is initially contrite on his new “Unleashed,” his first release in two years, as he raps, “ ’preciate ya for bein’ patient” on opening track “I’m Back.” (Apparently he thinks the world was on pins and needles waiting for the follow-up to his hit “A Bay Bay.”)

He should have saved his apologies for the end, however, because listeners are likely to feel dirty and dumb after hearing “Unleashed.”

And not “dumb” as in clever-dumb, which could be prompted by anyone from Lady Gaga to Lil Jon, but rather “dumb” as in lobotomized.

The Shreveport, La., rapper, who is now 20, is much dirtier on “Unleashed” than he was on 2007’s “51/50,” yet he’ll put off even those who enjoy ribald lyrics because there’s no finesse or intelligence here. If his listeners don’t feel assaulted by “Coke Bottle,” they’ll likely feel bad over an enervating “Halle Berry (She’s Fine)” that demeans the actress without so much as a droll wink. Plus the degrading come on of “I Want It” could make you wonder how low a woman’s self-esteem would have to be for it to work. There’s also faulty delivery, as on a “Headboard” that awkwardly jams in lines like, “Let me stuff this pillow behind the headboard, ’cuz if I don’t do that, it’s gonna make too much noise.”

For his part, Hurricane Chris has annoying pitch and clumsy flow. Surely he could have done better with some additional takes.

At least “Unleashed” is built on sound, if cliched, instrumental foundations — such as the surreal structure of “I’m Back” that evokes a warped cartoon and a techno touch to “Beat It Out the Frame” that creates an inhuman air. Different vocals and lyrics might have salvaged some of these songs.

Ultimately, the cover of “Unleashed” should feature the famed “comedy and tragedy” drama masks. Because this is an artistic travesty, and the joke’s on you.

Rating (five possible): 2

Discovery awaits, thanks to Kitsune

“KITSUNE MAISON 8,” various acts (Kitsune)

“Kitsune Maison 8” succeeds where most professional compilations and amateur mixtapes fail.

The latest collection from the French dance label Kitsune, “Maison 8” is loaded with innovative music you might not hear anywhere else. And though it doesn’t have the tunnel-vision focus of the typical dance compilation or the personal touch of a friend’s mixtape, “Maison 8” is consistently fresh.

Previous Kitsune collections have included M.I.A., Fischerspooner, Gossip, Simian Disco Mobile, Yelle and La Roux, so chances are there may be a breakout or two in the wings on “Maison 8.” Standouts on the new release include Crystal Fighters, who bring to mind M.I.A. with a delirious “I Love London,” and Chew Lips, which punches, slaps and sweeps through an eccentric “Salt Air” remixed by Alex Kapranos.

These artists are particularly noteworthy for their drive. For example, Slagsmalsklubben’s robotic blips and high-octane flow create animated exuberance for “Brutal Weapons,” while bumping beat and breathy vocals stir it up for Heartsrevolution’s “Dance Till Dawn.”

There are a few conventional touches — Beni’s “Maximus (Harvard Bass Remix),” Logo’s “Junocide” and Jolie Cherie’s “Star” all employ the traditional electronica method of piling on the layers, and AMWE’s “Friction Between The Lovers” and My Tiger My Timing’s “I Am the Sound” are tethered to mundane pop vocals — yet “Kitsune Maison 8” is largely marked by imaginative quirks that stamp each cut with distinction. The Drums’ “Let’s Go Surfing” is nuanced with carefree whistling, dreamy vocals and, of course, surf guitar; Two Door Cinema Club’s “I Can Talk (Moulinex Remix)” meshes echoing vocals with jangling rhythm to re-spin disco; Memory Tapes’ “Bicycle” stacks a supernatural-feeling aura atop a New Age foundation; and Parallels’ “Find the Fire” could pass for a next-generation Missing Persons song.

Overall, “Kitsune Maison 8” creates its own rare world that many adventurists will want to visit.

Rating: 4

Frenchman adroitly picks his allies

“TEAM UP!” Variety Lab (Peermusic/Digital Pressure)

The aptly named Variety Lab concocts some unusual spice to warm up the winter with the likewise aptly titled “Team Up!”

Variety Lab — aka Frenchman Thierry Bellia — partners with a wide range of collaborators to serve as the voices of his eccentric arrangements that seem to come from an alternate universe where found sounds attach themselves to a combination of vaguely familiar music emanating from vinyl, cassette, 8-track, CD and other media players.

For example, on the track “This Parade,” Canadian chanteuse Lily Frost adds airy vocals to the crackle, creating a quirky kind of saloon-jazz ballad that appears to be playing through a Victrola and filtered through a music box. Also, singer Vincent Mougel adds soulful swagger to the sugary strains of “Soda Pop Confusion,” and Donovan — the “Sunshine Superman”/”Mellow Yellow” guy — swings by to narrate an infectious and oddly romantic “Is This the Last Time?” that squeaks and strolls down an assembly line of eclecticism.

David Bartholome, demonstrative singer of the Belgian band Sharko, makes three appearances on “Team Up!” — on the electronic rock shaker “We Should Be Dancing,” on the tropical breeze “Mireia” and on the hard-buzzing “Not Enough.” And “Team Up!” features an additional three women vocalists who could hardly be more different from each other. Yael “New Soul” Naim lopes through the woozy etherealism of “Love Is a Bird,” husky-voiced Lisa Kekaula issues a bossy call to dance on “Let’s Boogie,” and French singer Mona Soyoch helps Bellia create a raucous update of the Flying Lizards’ update of Barrett Strong’s “Money (That’s What I Want).”

Variety Lab’s grab-bag of generally danceable music works thanks to Thierry’s musical embellishments. But he also scores with his team-building skills, and ultimately his provocative picks of assisting players puts “Team Up!” in the W column.

Rating: 4

© 2009, Knoxville News Sentinel Co.
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