DAVID LAST vs. MC ZULU “MUSICALLY MASSIVE” (Staubgold)
Well, well, well… this definitely takes the cake for being my favorite record of 2009, shattering boundaries of all styles of electronic and reggae music. Due out in April 2009, this is simply amazing pop music that has managed to reign in the best elements of minimal techno, pop, IDM, and dancehall into a massive leap forward in the future of music. David Last and MC Zulu have gone straight for the jugular by creating fourteen tracks of a new electro-dancehall style unheard of anywhere, and mastered it upon their first release together. What is most notable about the release is that it is so accessible – anybody can enjoy it without knowing the context. It is for this reason that the release has completely succeeded in all facets. It can satisfy the most knowledgeable underground folks and somebody’s girlfriend all at the same time without even trying, leaving a smile on everybody’s face.
NYC’s David Last is well known for his work on Agriculture and Unfoundsound, spanning the realms of IDM, crafty dancehall, and experimental sound design work that has a skip to it and sense of unbridled fun. MC Zulu, well known across the world of dread bass as an ambassador between the burgeoning electronic music movements and dancehall, has been working with artists like Ghislain Porier, SouthRakkasCrew, and Aceyalone, murdering tunes one by one in his distinct double time bashment singing.
The moment the record came on, I felt like I was hearing something new for the very first time in years, a soundset of lush minimal techno drums, bass, melodies, and MC Zulu with full-on tunes spanning a selection of minimal techno, IDM, dancehall, and technotic party grooves that simply kill. The combination is totally unique in its approach: very reserved and minimal, with lots of motion and a completely epic year’s leap forward in the scheme of reggae music. MC Zulu’s bold vocals stand out as the main instrument in this record, guiding the listener through tales of his life, societal tribulations, and all aspects of relationships. Meticulous songwriting and thoughtful topics slap you across the face; they are completely refreshing in the dancehall world and work the body and the mind.
Exhibition Virtue starts with a line I can never forget: “I know what your momma don’t tell ya… I know what your daddy don’t tell ya…” and goes full-swing in a 4/4 tech-house staggered dancefloor slayer, the best synergy for the dance. MC Zulu interacts with David by playing off the skip of the techno hats, inflecting harmonized choruses throughout the track and the entire release, which synch up with very minimal but highly impactful touches of David’s melody, piano, and sound design.
Put Me On Your Guestlist is an instant classic with an 808 bounce-house vibe, addressing club issues in comedic fashion and sampling girls interacting with bouncer cut up that will make anyone smile. MC Zulu’s singing highlights his verse ability to flex with tunes and let the music speak, then make a subtle appearance that is rare in the dancehall world.
On the flipside of the party vibes, License To Kill is a dramatic, cinematic tune with large, Arabic-sounding live percussion and slower techno dub. A lyrically well-woven tale about the military, which showcases the lush dub that David Last puts into his more compositional based efforts on this release. Gun shell sounds echo in the background while haunting pads harmonize with MC Zulu as this track goes on. It is the most emotional, expressive, and remarkable tune I’ve heard within this style period.
The record finishes up once again with an unmistakable party killer, Caress, which lays down 4/4 vibes and deep, sexual harmonizing from Zulu, sure to drive the girls wild. On first listen, it’s immediately pop dance music that’s so accessible you can’t believe it’s not on the radio. On second listen, you realize David Last has harnessed sounds from the last ten years of techno and meticulously blended them into something 14-year-old kids on the bus could be bouncing to.
Now that’s what I call real music.
