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(Scratch/Stomp)
Mix Master Mike is close to god. In fact I place more importance on Mix Master Mike than I do on eating, sleeping and cigarettes. So it was with poised and baited breath that the hip hop world awaited his 9th (don’t quote me on that, I may be wrong) instrumental album Bangzilla, and it’s with much pleasure I am able to say that his use of samples and phenomenal experience as a turntablist has produced an array of beats, cuts and scratches more pure than holy water.
Like most albums based around turntablism, at times it is difficult to concentrate and appreciate the sounds without the vision yet in Mix Master Mike’s case, his ability to not purely scratch, but to make audible, patterned noises and sounds, makes the cut all the more listenable. The initial tracks, Trigger Man, Magnet, Bangzilla & Tranzmission have a warlike, battle oriented sound, utilising samples of crackling VHF radios anticipating attacks from military ships. There is also a solid use of horns which helps create a dramatic, highly strung effect when combined with the older style samples. He utilises a lot of vocal samples from what I would assume are from anywhere between the 20’s to the 50’s yet update and layer it over simple but modern basslines, and manage to tastefully juggle and scratch them to get them to sound more 2004.
Tranzmission takes the LP from the more WW1 sound right into the modern turntablist sound with use of straight up hip hop samples and beat making with scratching. Whilst also skilfully utilising the world famous track ‘Whole World in His Hands’ as a sample. Shamen’s Lamp is one of the more beat orientated, and party type tracks on the cut which is far more listenable than that of straight up technicality and scratching, at the same time it lacks the substance attached to the technical arrangements and tends to become a little shallow. Very reminiscent of DJ Rectangle in terms of more simple scratching for the sake of scratching, not something overly new or impressive. The opening and closing samples are first class hippy shit nonetheless.
Blow Dart is again a refreshing array of samples yet when the beat kicks it’s lacking something that the general noisemaking and turntablism can’t seem to make up for. It’s quite clinical and obscure and not in a flattering way, towards the end it becomes quite electronic and use of cymbals create a quite a looming effect. The initial minute or so of Full Range Ear Muff is possibly my favourite interlude on the Lp, probably because it is the first track to really build up to anything and utilises a solid hip hop based beat. It takes a turn towards what I consider characteristic of Cut Chemist or even GMF when he busts out the Mexican in the middle and showcases some excellent juggling and scratching. Definitely my favourite track on the album, the closest thing to traditional hip hop also, the soul sample at the end is killer.
Marvel takes us to some solid strings and horns, that last little more than 5 seconds and we are back into a mixmash of funk, drums, alien noises and assorted samples. The strings and horns make a few impromptu appearances here and there which gives the track some interest and substance that some of the earlier tracks lacked, as do the vocal samples in the crossover to Extra Beast. From there we go back to the more alien and clinical side of turntables where the sound changes from funk/soul/hip hop to more of a synth/alien/futuristic style. This continues through Skanner 13 and Burn Centre until we reach Mj-12 Strike, the second last track on the record. Mj-12 sees the tempo almost double to that of a typical drumnbass cut with blunted drums and heavy use of samples. The Joust keeps banging it out, a little too much at times. It once again uses those hard blunted drums almost reminiscent of a headache and is fairly repetitive leaving you a little bemused.
8.5 minutes into the Joust there lies a hidden track, which is much more relaxed, still a little futuristic yet at the same time classic it is a little stress relief after the intensity of the last few tracks. On the same tip nothing to particularly write home about. The length and intensity of this album left me feeling a little overwhelmed, it is very demanding on the listener and makes you want to turn on commercial radio to let your brain stop for a little while. There are too many samples to differentiate
Overall an interesting album – in an experimental, conceptual way – not one for the straight hip hop heads, nothing like his dj sets and far from anything done with the Beasties – except maybe some stuff from Hello Nasty. My only criticism, which is relative to most turntablist based albums, is that I find it difficult to thoroughly appreciate or understand what was going on most of the time as you cannot see exactly what is happening with his hands and the decks. But the guessing game between was that him? or the record? keeps you concentrating and enthralled throughout the cut. Abstractly interesting and a demonstration of experience and skill but far from easy listening or party music.
