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AmmonContact, "Sounds Like Everything"
Plug Research
After a couple interesting mini-albums, including the excellent (thoughminimal) "Beat Tape Personalities" on Soul Jazz, AmmonContact had mepreparing for a full-length that would focus their efforts and showthem giving a bit more substance to a sound that, while far from stale,suffered instead from a kind of over-refinement. It seemed as though,in their efforts to cook each song down to its essential parts, the duoinstead guided their records straight to the 'DJ-fodder' bin,comfortable with the fact that they would never be more than a piece insomeone else's more elaborate puzzle. The ambitious title of Sounds Like Everything,though, threatened the masterwork of ostentatious stylistic shifts,overblown thematics, and guest-MC hoards that would prove me wrong. Nosuch luck. The disc's title most likely refers to the simpleeclecticism the group achieves through the scattered use of tribaldrums, woodwinds, and thumb piano, and while these sounds are welcomeadditions to the bare-bones, electo-funk of the duo's beats, they arenever enough to make things truly extraordinary. Many of the disc'stwenty tracks are under three minutes, sounding more like studioleftovers; the few moments of brilliance, like the syncopated,flute-blown jazz of "Zato Ichi," come and go with little or nodevelopment. I get the feeling that the inclusion of an MC wouldprovide the element of daring that is so lacking in these tracks andwould no doubt create a foil to make the beats sound more impressive.As it stands, one of the most enjoyable tracks probably required theleast amount of studio trickery. The cut-up "Top Tape 1," sounds likebits and pieces of a dozen trashed beats, spliced together almost atrandom to produce a few minutes of blissful unpredicatability.Conversly, the anthemic closer, "Our Cry For Peace," with its chorus oftribal drums, piano and flute is the busiest and longest track here,but the song comes off sounding like a weak variation on what wouldhardly be an eight-bar interlude on any jazz record worth its salt.That said, if AmmonContact set out to make an hour-long DJ tool, theyhave succeeded admirably, but anything else will require some morerisk-taking.
After a couple interesting mini-albums, including the excellent (thoughminimal) "Beat Tape Personalities" on Soul Jazz, AmmonContact had mepreparing for a full-length that would focus their efforts and showthem giving a bit more substance to a sound that, while far from stale,suffered instead from a kind of over-refinement. It seemed as though,in their efforts to cook each song down to its essential parts, the duoinstead guided their records straight to the 'DJ-fodder' bin,comfortable with the fact that they would never be more than a piece insomeone else's more elaborate puzzle. The ambitious title of Sounds Like Everything,though, threatened the masterwork of ostentatious stylistic shifts,overblown thematics, and guest-MC hoards that would prove me wrong. Nosuch luck. The disc's title most likely refers to the simpleeclecticism the group achieves through the scattered use of tribaldrums, woodwinds, and thumb piano, and while these sounds are welcomeadditions to the bare-bones, electo-funk of the duo's beats, they arenever enough to make things truly extraordinary. Many of the disc'stwenty tracks are under three minutes, sounding more like studioleftovers; the few moments of brilliance, like the syncopated,flute-blown jazz of "Zato Ichi," come and go with little or nodevelopment. I get the feeling that the inclusion of an MC wouldprovide the element of daring that is so lacking in these tracks andwould no doubt create a foil to make the beats sound more impressive.As it stands, one of the most enjoyable tracks probably required theleast amount of studio trickery. The cut-up "Top Tape 1," sounds likebits and pieces of a dozen trashed beats, spliced together almost atrandom to produce a few minutes of blissful unpredicatability.Conversly, the anthemic closer, "Our Cry For Peace," with its chorus oftribal drums, piano and flute is the busiest and longest track here,but the song comes off sounding like a weak variation on what wouldhardly be an eight-bar interlude on any jazz record worth its salt.That said, if AmmonContact set out to make an hour-long DJ tool, theyhave succeeded admirably, but anything else will require some morerisk-taking.samples:
