![]() ![]() ![]() And there’s a reason: everybody at DFA got their hands on the thing. That “downtown” texture comes from the label’s unique sound – disco with synths plus a little funk – that over the years has become the soundtrack of New York cool. The best way to describe the album sound is “chill” – as in, “this is the chillest album ever.” It sounds like something I’d jive to at the Hudson Hotel, cocktail in hand, where DFA DJs spin the decks every Wednesday night. These carefully curated collections of songs are not huge, soaring club-anthems: there’s a subtlety to the material – even in the more upbeat tracks – and fans of Electronica/DFA will rejoice. You’ll be disappointed if you’re expecting a dance record that’s going to make you sweat your weave out on the dancefloor. The album is Electronica that goes down smooth but not without a little groove. But now, let the club kids dance: Shit Robot’s debut From the Cradle to the Rave is easily the hottest Electronica album of the year – well worth the 20-year wait. Lambkin was a prominent fixture on the East Village DJ scene in the early ’90s, and has been a player at DFA (Death From Abroad) Records for a while. ![]() Part of the reason Lambkin waited as long as he did to release a full-length album is because he never really saw himself as an album artist, evidenced especially by the fact that he didn’t write any of the lyrics, only the music. So what did he do once he got to the States? He partied, of course (!), becoming a regular at NYC venues like Limelight, Sound Factory and Save the Robots. Green Card Lottery, easily making him one of the luckiest DJs in history. Born in Dublin, Lambkin immigrated to the United States after winning the U.S. But good things come to those who wait, and 20 years is none too long for this dance music veteran. Shit Robot née Marcus Lambkin waited 20 whole years to drop his first legit studio album. ![]()
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