Plus OneChampion SoundsDMCWhat's the current, reigning DMC/Technics World DJ Champion to do once he's taken home his trophy, polished it a few times, and called his mom to tell her he's won? Make a mix CD apparently. Plus One, the 2001 DMC champ and member of UK turntable crew Scratch Perverts, has done just that with Champion Sounds, a relentless mix of rough 'n' rugged drum and bass. You might expect some steel wheel wizardry here, but Plus One leaves the pyrotechnics for the competitions, instead concentrating on beating you down with track after track of seamlessly mixed jungle bizness. You want it hard? Try on Krust's cochlea-damaging "Kloakin' King." Too soft? You must be mad. OK, subject yourself then to the nuclear power plant meltdown that is Roni Size's reworking of Zero 7's "End Theme." Oh yeah. Drum and bass has seen a powerful influx of newcomers as of late, so it's nice to see that the old guard, well represented on this mix, can still wreck it. Check Dillinja's devastating "Thugged Out Bitch" and J Majik's nod to '92 hardcore, "The Lizard" (VIP Mix), for a real schooling in proper low end. Plus One keeps it tight throughout, proving that the mark of a good DJ is not only knowing when to lash out but when to rein it in as well. -Douglas Adams
Paul OakenfoldBunkkaMaverick RecordsSome fans talk about Paul Oakenfold like he's God or something but I am truly not that impressed. I've seen Paul live a few times and that did little to change my opinion. That being said, I'm not going to completely hate on this album. It's different. It's not your average everyday trance album, so I give him credit for that right off the bat. When I sat down to write this review I expected to waste a couple of hours, but I can't say that was entirely the case. I've been writing music reviews for CA&E for quite a while now and I'm hoping that some of you may have come to trust me. Hopefully you will all know now that every review I write comes from exactly what I hear and how I feel about it inside. I don't let hype or marketing or politics get in the way of my reviews. Moreover, I don't get any of these CDs for free so if it's bad, then that's how it gets written up. Now back to the subject: overall, Bunkka sounds as if Paul was trying to be more of a music producer in general, instead of just some trance DJ. I see where he's going with it and I will say he may be on the right track but he has just not gotten to that point yet. He's kind of like a singer with a really great voice that hasn't found his vocal style. In short, the styles on the CD do not flow as one. It almost sounds like a compilation CD -- as if I went out and bought a Moby CD and the guy behind the counter said, "Hey if you like Moby, try this sampler CD, it has a bunch of different new styles of electronica on it." Track one, "Ready Steady Go," is kind of his hit. It has a really cool, funky, groovy flow. It works. It is a pretty damn good song, but like I said it just doesn't fit at all with the rest of the work. Bunkka is not so bad that I just want to give it away, but it's not good enough to make it to the CD changer in my car. I'll just leave it on the shelf in my house. See www.pauloakenfold.com. -chux
Various ArtistsPlay It Rough 2Airdog RecordingsNuskool breaks, while not as familiar to U.S. audiences as drum and bass or UK garage, has what it takes to move the crowd. Characterized by hard beats and ultra-low bass, it's the sound of choice for forward-thinking urbanites and dance floor denizens looking for the next new thing. Airdog Recordings is one of the top dogs (excuse the pun) of the UK breaks scene and Play It Rough 2, while not as varied as the label's previous installment, does serve to highlight some of the scene's top talent, from label regulars Player One and DeeJay Punk-Roc to newcomers Spork and Kemek the Dope Computer. Player One hits the hardest, with both "R U Ready," the follow-up to last year's massive "Into The Darkness," and "Rupture," a blast furnace-hot dance track with enough energy packed between its beats to knock out the entire Eastern Seaboard with one spin. Spork's "Freek Like Me" is cut from a different cloth entirely, relying on a cheeky vocal sample to deliver the goods. The real standout, however, is the dubiously named LL Caghoul J and his "Hardcore B-Boy Sh*t." Deep, nasty, and catchier than malaria during monsoon season, it fuses chopped breaks, wicked effects, and a super-slow-mo bass line into one killer punch. The next time you're looking for something new to bump in your trunk, reach for the Rough. -Douglas Adams