Sleep No More
label: lex
production: dj signify
guests: buck65, sage francis.
year of release: 2004
1. Fly Away
2. Kiddie Litter feat. Sage Francis
3. Migraine
4. Stranded feat. Buck65
5. The Nods
6. Haunted House Party feat. Sage Francis
7. Winter's Going feat. Buck65
8. Peek'a Boo Part 1
9. Peek'a Boo Part 2
10. Peek'a Boo Part 3
11. Cup Of Regret feat. Sage Francis
12. Shatter And Splatter
13. Red To Black feat. Buck65
14. Five Leaves Left (For Lauren)
15. Dirty
16. Where Did She Go? feat. Buck65
17. Breath
Listening to DJ Signify, you're unlikely to be over stimulated due to too much happening at the same time. He actually manages to do much, with superficially little. Superficially, because this is not to say that the beats and songs are simple. They appear less complicated and complex, but give a bigger result. What in so many words means that Signify finds as much sense in what he does and what he consciously doesn't do. Like do more than necessary, or less than what's appropriate. All of it with the dared word 'emotion', as there's much a sentiment carried in his music, even without words.
Although there are words on this record. Like "Fly Away" starts with a sampled quote of someone saying "Why if God is good, is there evil in the world? He replied: to thicken the plot." But for most of the song, the voices stay quiet. Before an eerie girl sings. Adding to the haunted feel that is as much communicating. It's almost hypnotizing the way it rolls forward, with a slight drag and similar to constant but infrequent drops of water. That is however only until the moment the ghosts get angry and the plot thickens.
But even if these bizarro instrumental songs have small droplets to say, there are seven songs with speakers appearing. Two speakers that is. Sage Francis and Buck65, who get three and four songs respectively. They don't used these for any braggadocio or other 'yo, that's real' type rapping. Purely functioning to the music, they speak more than anything else, and they tell strange tales of naked women ("Where Did She Go?") and women with shrines. So heard on "Winter's Going", a Buck65 track, which features a nice guitar, probably lifted off some classic folk rock song. The songs are really portraying characters, so does Sage on "Haunted House Party", which is almost uplifting and careless in vibe, but just as twisted and eloquent as the rest of the record.
An excellent example of where the music says as much as any person could, appears in the form of "Migraine". Now, a migraine's not a migraine. Meaning, the majority of people that claim to have a migraine, basically have a headache. A migraine is a 'wanna throw up' and 'an aspirin wont do the job' pain. Your head hurts? Well, you have a headache. Migraine is how you feel like "Migraine" sounds like. Therefore, and maybe unexpectedly, the instrumental songs are often even more interesting than the spoken ones. Despite Buck65 and Sage doing excellent jobs, and they really being the right two people to recite poetry over such songs. Heck, Sage, quite the 'hit or miss' artist he is, scores three out of three. And even despite some instrumental songs like "The Nods" doing little really, the "Peek'a Boo" trilogy makes up for all lost ground. Especially as part two really breaks out and leaves everything in the dust, magma and eruption.
Getting a lot of the warmth from probable SP1200 usage, the width further opens from an extremely minimal "Shatter And Splatter", to the remote turntablism on "Breath". But less is more. This record has a pureness about it, as if it had recorded the first few sounds appearing on this planet a million years ago. It's minus evolution, but plus time bridging ancientness.
review: tadah
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