Ben Stiller reprises his role as a former model in a throwaway but amusing sequel
X-PRESS 2 : Muzikizum
Sensible dad house masterclass...
And the lead single from nine-year-old house trio, [/a]'s
first album 'Muzikizum' is dad house from its balding,
shaven pate to its posh-but-understated trainers. 'Lazy' pinches
the chord change from Alison Limerick's 'Where Love Lives' but imports David Byrne from [a]Talking Heads to add the required old man gravitas. It's this year's equivalent of 'Finally' by
[/a] – a record as mystifyingly bland to those under
30 as it is thrilling to those of a more advanced age.
Fortunately, [a] –- DJs Ashley Beedle, Rocky and Diesel –
are on more inclusive ground when they bin the guest stars and bring the noise. Their talent is to take house music cliches – four-on-the-floor drums, testifying vocals, build-ups, breakdowns, yada yada – and hone them into murderously efficient dancefloor destroyers.
Last year's single 'Muzikizum' (note clever-clogs palindromic title) could have bought down any house club from New York to Norwich at any point
over the last 20 years. Previous 12-inches 'Smoke Machine'
and 'AC/DC' perform the same trick, only with cheering crowds and
honking noises respectively.
In this sense, [/a] are like a
dancefloor [a]; great at pleasing
the crowds, less good at innovation, and fatally weakened by their reverence for washed-up old rockers. They're better when hooked up with
washed-up old electronica stars – Dieter Meier, of Eighties Swiss eccentrics
Yello, 'sings' on 'I Want You Back', the whole thing coming on like an
inspired throwback to Kraftwerk's 'Music Non Stop'. But the other vocal track, 'Call That Love', really is lazy, a clapped out diva vehicle about peace, unity etc, while the closer, 'The Ending' is too
'Strings Of Life'-inspired for comfort.
'Muzikizum' seems to confirm that house music is now about
nostalgia rather than futurism, a 'these you have loved'-style collection of tropes to remind the old folks about when they really used
to 'ave it. [a][/a] know what they're doing, but for a once black, homosexual,
pilled-up music subculture, it's all gone rather… straight.
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Zachary Cole Smith has overcome a multitude of problems to make this intensely powerful album
Just as ridiculous as the 1991 original, but in all the wrong ways
The 'Oscar-bait' drama fails to fully translate the emotional weight from page to screen