Jamie Lidell Albums (4)
What The Critics Say
Some electronica producers spend their entire careers building up a roster of instruments, legions of samples, and more gear than any bedroom studio could possibly fit. Jamie Lidell has apparently been reducing not only his equipment list to its basics, but his production style, so it includes a minimum of things that you need to program (much less plug in). Of course, that jives with his gradual blossoming as an unhinged soul singer on 2005's Multiply, which has only blossomed further for 2008's Jim, a neo-soul record that sounds like it was recorded live, in the kind of studio that each of the album's seven to eight musicians actually could fit into. Part of this is the result of Lidell and co-producer Mocky's ability to record so well that the production doesn't stand out by itself, but simply works as a vehicle for the songs. On a performance level, Lidell mostly avoids the pitfalls of Multiply, where he sounded faithful but not always sincere. On Jim he's not only writing better songs, but performing them as though he's lived them (this is where a good hands-off production can improve the proceedings). It doesn't really matter whether Lidell's rebirth as a soul singer is an example of an artist following his muse or simply looking for a way out of electronica, when the results motivate your body as well as "Out of My System" or move your heart as well as "All I Wanna Do." Jim is most reminiscent of the Southern deep soul of the late '60s, although recorded so well (and so dry) that it betrays its lineage. That sound is a good complement to the other British soul stalwarts with retro-soul and -funk leanings, from Lewis Taylor to Jamiroquai to the Cinematic Orchestra (and, for that matter, including Joss Stone and Amy Winehouse as well). Add to that an assortment of unobtrusive guests (including Nikka Costa, Gonzales, Peaches, and Alex Acuña) doing great work, and the result is a record that reveals soul and sincerity. ~ John Bush, All Music Guide
What The Critics Say
Head On and Raw Digits, the two albums Jamie Lidell made with Cristian Vogel as Super_Collider, remain thrilling meeting points between the lacerating, discombobulated electronic disco of Liaisons Dangereuses and the freak-flag-flying funk of early-'80s Cameo. Lidell's Multiply is more a successor to those two albums than his first solo full-length, 2000's relatively rigid and academic Muddlin Gear. Only now, he's gone a rather straight-laced route, retreating to things like mid-'60s Stax and Motown, James Brown, pre-Revolution Prince, and oh, you get the idea. The focus here is on Lidell's affected (if occasionally affecting) voice, real instruments, and real songs. Lidell's voice is rarely treated, unlike the alien moments on the Super_Collider albums, and it will be compared to a few soul legends, though it's just as deserving of parallels to John Fogerty and semi-obscure journeyman singer Shawn Smith (who, as part of a duo called Pigeonhed, made an unrecognized precursor to Head On in 1993). With about as much effort, Lidell could do wicked impressions of any earnest post-grunge vocalist. Though he's not against using electronics to his advantage -- as on the zapping, slightly hallucinatory "When I Come Back Around," which lands somewhere around an imagined Basement Jaxx remix of "Controversy" -- plenty of songs are knocked out with Hammond organs, horn blurts, handclaps, and all the other elements to make it as authentic as any neo-soul release. Since this is out on Warp, many will question whether or not Lidell's being ironic, but it's plain that he's being sincere, despite the affectations. He really is pouring everything he has into the whole thing, but there's so much overly earnest, reverential, "let's get back to making real music" energy floating around that you can sense it nibbling away at the desire to make something that sounds like today. And if that doesn't bother you, a couple issues with this album remain -- one being that at least half of it could've been made by a moderately talented hobbyist. ~ Andy Kellman, All Music Guide
What The Critics Say
In the year 2000 the form of electronic music coined as "intelligent dance music" finally got dished up some well-deserved recognition. With record labels such as Warp leading the way for years, IDM's newfound respect also made way for questions as to what is the genre's definition and what its title really means. Jamie Lidell's release Muddlin Gear serves as a good answer and a prime example as to what electronic music standards fit the niche. Lidell's sound rests on the thicker side of IDM, with Muddlin Gear's heavy programming and clustered, scattered samples and sounds. The music is chunky, dense, and layered, reminiscent of a child with a severe attention disorder. On the other hand, it is also intelligent, as its style and quality fit no mold. The production is clean and the programming, though seeming rough, is actually detailed and polished. With track five, "In Inphidelik," there is some obvious Aphex Twin influence along with scattered Squarepusher flavor. With both artists being such heavy influences on the world of IDM and overall electronic music, it is hard to produce much of anything without both having some sort of haunting ubiquity. The track "Looming Presence" brings in vocals, and borders between being a poke at most R&B tracks and a very well-done blend of IDM and R&B sounds. Listeners are left to ponder if they should commend the single or have a good chuckle at it, as with the album's last track -- a straight-up doo wop song. ~ Diana Potts, All Music Guide
