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Skalpel, "Skalpel"
Ninja Tune
Ninja Tune has strayed away from the things that worked for it ahandful of years ago and as such, it hasn't been a label I've followedmuch since the heyday of Dj Vadim and Amon Tobin. Their new signing isa Polish act called Skalpel whose name conjures much more dire imagesthan their music, but works as a reference to the idea of surgicallycutting records together. Taking samples and bits from Polish jazzrecords and recombining them into new tracks, Skalpel do what so manyhave done before them, but with an amazing amount of precision andcare. The songs on their self-titled debut are mostly laid-back, mutedarrangements of horns and upright bass flowing effortlessly over funkydrums and the occassional hint of exotica. Polish Jazz records from the60's and 70's make up the bulk if not all of the source material,giving the album a steady, cohesive sound that rarely changes timbresenough to alert the listener that the record is made up of samples.Upon first listen, it all sounded a little too familiar as others likeKruder & Dorfmeister have travelled similar roads before. However,Skalpel bring a level of refined sophistication to the game that makesthe album something worth putting on again and again. Loops don't justrepeat here, they are changed and arranged organically so thateverything has the feel of a live band playing over some vinyl surfacenoise. The cheeky samples about dancing all night to jazz and playingPolish records are to be expected, but those are the only signs thatthis music is a conscious decendant of the jazz-record pillaging scene.The rest of the record plays as an homage to martinis and the dapperyoung people who drink them, and to the wonderful history of Polishjazz of which most people who hear this record will have noforeknowledge. While it's not a groundbreaking technical achievement,the production is seamless and ultra-smooth making this a perfectchill-out record or post-modern bachelor pad soundtrack. The disc alsoincludes three short films arranged to tracks on the album that helpround out the presentation. Their stark black and white imageryflickers and reminds me of hep cats in tuxedos and of the fondfalse-nostalgia for a bygone time that afflicts those of us who werenever alive to experience the things we see only in pre-color images.
Ninja Tune has strayed away from the things that worked for it ahandful of years ago and as such, it hasn't been a label I've followedmuch since the heyday of Dj Vadim and Amon Tobin. Their new signing isa Polish act called Skalpel whose name conjures much more dire imagesthan their music, but works as a reference to the idea of surgicallycutting records together. Taking samples and bits from Polish jazzrecords and recombining them into new tracks, Skalpel do what so manyhave done before them, but with an amazing amount of precision andcare. The songs on their self-titled debut are mostly laid-back, mutedarrangements of horns and upright bass flowing effortlessly over funkydrums and the occassional hint of exotica. Polish Jazz records from the60's and 70's make up the bulk if not all of the source material,giving the album a steady, cohesive sound that rarely changes timbresenough to alert the listener that the record is made up of samples.Upon first listen, it all sounded a little too familiar as others likeKruder & Dorfmeister have travelled similar roads before. However,Skalpel bring a level of refined sophistication to the game that makesthe album something worth putting on again and again. Loops don't justrepeat here, they are changed and arranged organically so thateverything has the feel of a live band playing over some vinyl surfacenoise. The cheeky samples about dancing all night to jazz and playingPolish records are to be expected, but those are the only signs thatthis music is a conscious decendant of the jazz-record pillaging scene.The rest of the record plays as an homage to martinis and the dapperyoung people who drink them, and to the wonderful history of Polishjazz of which most people who hear this record will have noforeknowledge. While it's not a groundbreaking technical achievement,the production is seamless and ultra-smooth making this a perfectchill-out record or post-modern bachelor pad soundtrack. The disc alsoincludes three short films arranged to tracks on the album that helpround out the presentation. Their stark black and white imageryflickers and reminds me of hep cats in tuxedos and of the fondfalse-nostalgia for a bygone time that afflicts those of us who werenever alive to experience the things we see only in pre-color images.samples:
