DJ Vadim Albums (7)
What The Critics Say
Early in his career, DJ Vadim was a specialist. His specialty was shadowy ambient breakbeat, and it provided some of the highlights to appear on Ninja Tune, which was a very fine label indeed. Since then, he's branched out and matured, able to float all manner of beat-centric forms. That's exactly what happens on U Can't Learn Imaginashun, and virtually every track is the type of high-quality jam that could survive on its own. (It's easy to imagine the praise a DJ would get for his range if he aired the 18 tracks here in a DJ set.) Though he starts with dancehall, Vadim spends a lot of time in hip-hop, but with many variations on the form: classic hip-hop, digitalia, East Coast hardcore, and slow-grind R&B. Vadim also gets the most out of his obscure cast of featured guests, including a pair of serviceable East Coasters named Juice Lee and Rjay, the outre R&B vocalist Sabirajade (who appears on three great tracks, including the deep-grooving "Thrill Seeker"), and Chicago veteran Pugs Atomz (who appears on "Saturday" and "Always Lady," a pair of completely different settings). Oddly enough, the variety on tap can make for a scattered listen, but U Can't Learn Imaginashun is studded with great tracks. ~ John Bush, All Music Guide
'The Soundcatcher'
Release Date 4/3/2007
Tracks 17
Label BBE/Beat Generation
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What The Critics Say
Barely a single breakbeat producer of the mid-'90s has stuck to that formula, so it's hardly a surprise that DJ Vadim would branch out even farther than his hip-hop records of the late '90s and 2000s (and, after all, five years had elapsed since his last production album). Moved to BBE, which is a natural fit even compared to his old label Ninja Tune, Vadim keeps a few things the same -- he still shows himself as one of the brightest and best producers in electronica. The big change for The Soundcatcher is Vadim's embrace of Jamaican forms -- ragga and dub to go along with the downbeat and hip-hop. The other is his prominent use of session musicians, including excellent keys by Daniel Muschinsky. Vadim begins the record with dubwise soul on "Talk to Me" and "Them Say" (both with guest female vocalists) before moving smoothly to Abstract Rude's rap feature on "Soundcatchers." "Kill Kill Kill" has it all, beginning with Big Red's speedy but rhythmic French ragga-rap and mixing in Kathrin DeBoer's soulful vocal. Elsewhere, John Ellis' valuable sideman role pays off toward the end when Vadim taps him to deliver the spoken word "Milwaukee," a great feature. The thing that set Vadim apart on his early records was his ear for intriguing sounds. Now, even though he's moved on from ambient-breakbeat to dub and hip-hop, his music is still striking. By the time Vadim's ready to say goodbye, with the roots reggae homage "Watch That Sound" (which would have done Ken Boothe proud), The Soundcatcher is revealed as simply his latest collection of magnificent productions. ~ John Bush, All Music Guide
'Stereo Pictures, Vol. 3'
Release Date 10/28/2003
Tracks 23
Label Mk2
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'U.S.S.R.: The Art of Listening'
Release Date 9/23/2002
Tracks 15
Label Ninja Tune
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What The Critics Say
U.S.S.R.: The Art of Listening, even more than its predecessor, represents a large leap toward the rapping side of hip-hop, with guests on every track but one and virtually no space for the exquisite ambient breakbeat of previous DJ Vadim productions. It's difficult to mourn the loss of Vadim the solo artist, though, when the tracks and productions found here are so refreshing and totally distinct. All but one of the rappers are fresh faces (for a Vadim LP), which paves the way for talented newcomers (Yarah Bravo, Phi-Life Cypher, Vakill, TTC), some of whom have their own releases but all of whom will benefit from more attention. Vadim continues to strip his productions down, so far in fact that occasionally there's more space between the sounds than there are sounds themselves. One of the best tracks, "It's On" features the excellent Vakill freestyling over some standard jazz keys but also a few blink-and-miss-it samples: jew's harp, the distinctive sound of Japanese noh music, and a precious few grunts and moans from an earthy blues vocalist. Yarah Bravo is easily the most distinctive rapper here; she plays with her rhymes, drawling like a sloshed debutante and practically tripping over her own vocals like the hip-hop equivalent of Jackie Chan's drunken master. Gift of Gab from Blackalicious brings it back to the earthier side of alternative (read: American) rap with the deep groove "Combustible," but great features for Phi-Life Cypher and Demolition Man return to the up-and-coming British sound of ragga flow over heavily distorted analogue synth. While his sizable generosity -- inviting an assortment of voices to appear on his own album -- initially appears to be a fault, it quickly becomes clear this is a blessed virtue instead. ~ John Bush, All Music Guide
'U.S.S.R.: Life from the Other Side'
Release Date 9/1/1999
Tracks 25
Label Ninja Tune
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What The Critics Say
DJ Vadim's debut introduced one of the world's best producers in abstract underground rap, a minimalist hip-hopper able to weave a funky break around the slightest piece of noise detritus. After recording a solid remix album (U.S.S.R. Reconstruction), Vadim returned in late 1999 with the sophomore-slump-breaking U.S.S.R.: Life From the Other Side. Whereas with his first album Vadim worked on a miniature scale, constructing breaks and beats out of abstract noise, here the sound is more upfront and swaggering, much closer to the commercial rap world than before. (Of course, thanks to producers like Timbaland and Swizz Beatz, the commercial rap world had moved much closer to Vadim, as well.) Since he's working with rappers on more than half of the tracks here, Vadim transforms himself from a solo turntablist into a genuine rap trackmaster with catchier riffs and tighter beats than most in Britain's instrumental hip-hop underground. Two tracks, "Viagra" (with El-P from Company Flow) and "English Breakfast" (with Swollen Members), display this excellent fusion by blending the hard-hitting, stutter-stepped style of production perfected by DJ Premier with just a few of the paranoid breaks and hostile atmospheres of Vadim's debut. On a similarly high level as landmarks like Dr. Octagon and Company Flow's Funcrusher Plus, U.S.S.R.: Life From the Other Side proves Vadim is not only one of the most creative turntablist/producers, but he is also one of the most talented trackmasters in the healthy rap underground. ~ John Bush, All Music Guide
'U.S.S.R. Reconstruction'
Release Date 1/26/1998
Tracks 14
Label Ninja Tune
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What The Critics Say
DJ Vadim selected a baker's dozen of the best producers in the field for work on U.S.S.R. Reconstruction. From nu-school electro producers (Reflection, Clatterbox) to more like-minded beat-meisters (DJ Krush, Silent Poets, Kid Koala) and free-form experimenters (Oval, Techno Animal), the album flows without a hitch through the darkest hip-hop and beat exploration, though the material never becomes as abstract as on Vadim's debut. ~ John Bush, All Music Guide
'U.S.S.R. Repertoire (The Theory of Verticality)'
Release Date 9/1/1996
Tracks 26
Label Ninja Tune
See Album Tracklist and Review
What The Critics Say
Of the countless abstract hip-hop LPs released during 1996-1997 (with Ninja Tune bearing much of the load), U.S.S.R. Repertoire could be one of the best. DJ Vadim's attention to detail when structuring beats, samples and noise is impeccable over the course of the album's 26 tracks. With just the right blend of forbidding atmosphere and subtle funkiness, Vadim created an excellent album his first time out. ~ John Bush, All Music Guide
