Apollo Four Forty worth import price
By Jason Kosareff
Daily Forty-Niner
The recipe is simple: lay down a fat groove,
throw some in live punk guitar , high-hat and snare action, a little DJ
mixing Ö and voila! Apollo Four Forty's new album "Getting High On
Your Own Supply" is worth the arm and the leg price.
Imagine a souped-up version of Fat Boy
Slim, or Moby cranking the volume while playing on amphetamines, it's still
nowhere near what Apollo Four Forty deliver.
The zany boys in Apollo produce the same
digital mastery as the Chemical Brothers, or Pressure Funk, but they do
not over work the use of loops and they sure are much more chipper than
Pressure Funk.
Where drummers Cliff Hewitt and Kodish
downplay the use of complex high-hat rhythm construction, DJ Harry K steps
in with masterfully mixed sampling.
Apollo bassist Kenny Cougar uses bass guitar
stylings similar to those of the Low Fidelity Allstars. Vocalist Mary Mary
also delivers a bit liked The Wrecked Train from the Allstars.
The band's sound clearly has punk roots.
Gary Hunter rocks out in the old school tradition of punk guitar with a
liberal borrowing straight three-cord rock and roll circa 1950. The over
all effect of mixing break-beat and guitar is sound that resembles KMFDM,
only mellower and more danceable.
The first track, "Are We a Rock Band or
WhatÖ?" never gets answered. "Stop the Rock" takes a leap off any sensible
musical platform in an attempt to make these traditionally non-friendly
strains of music get along with each other.
And, it worked. "Stop the Rock" is the
best track on the album.
The album meanders a little further down
the line when Apollo goes for a more ambient sound, even though it is just
plain boring.
"For Forty Days" heads in that direction
before "Heart Go Boom" twists things up even further with a mix of break-beat
with dub rhythms. |