
No, not your perverted Uncle Rico, but Mo' Wax founder James LaVelle's U.N.K.L.E. They're about to drop a new release called War Stories (pft., ummm, what?), and I feel obligated to tell my millions of readers just how much it sucks ass.
I can't overstate how seminal Mo' Wax was in the early/mid nineties. This label released my first exposures to (good) acid jazz like Dee C. Lee, Palm Skin Productions, The Federation, and Major Force West. Mo' Wax releases also caught my attention because of their excellent design and art direction by Swifty and Futura. As the 90's rolled on, Mo' Wax exposed me to DJ Shadow, DJ Krush, RPM, La Funk Mob, Attica Blues, Luke Vibert, Andrea Parker, Urban Tribe, Air, and of course U.N.K.L.E. These are the artists that defined trip hop. Bizzarre side note, mowax.com now redirects to some sort of community board...
LaVelle was also a legendary DJ that could move effortlessly between genres — a reflection of his brilliant label. But then, of course, something happened in the late 90's (well after LaVelle sold partial ownership to A&M, soon to be swallowed by Universal) that caused LaVelle to become a boring 4/4 DJ. Perhaps audience tastes "change" or perhaps it was his affiliation with the prog house label Global Underground, but LaVelle's sets featured almost none of the style and depth that he and Mo' Wax were known for. I even spun with him once at Smart Bar in Chicago, and all I heard out of his crate was a bunch of queer, vocally house and stock techno.
I guess the writing was on the wall with the release of laughable Psyence Fiction, what with "collaborators" like Badly Drawn Boy, Richard Ashcroft, Thom Yorke, and even Metallica's red-haired stepchild, Jason Newsted (!). PF featured weak beats and sissy vocals galore. If you dig that, then you'll be served up an extra large, steamy helping of the same by War Stories.
Appearantly, LaVelle has taken some cues from fucking Moby and later era Air. Suddenly he has a straight up live, "rock" band. There's wanking guitars (which I bet he "plays" live) and lackluster vocals — his vocals, no less.
Maybe he's jealous of default success of TIm Goldworthy's (yaaaay!) DFA (ala the track, Restless, featuring Queens of The Stone Age douche Josh Homme), or maybe all these dudes are no different than everyone else in wanting to be rock stars, but the result is something that sounds like U2 (ala the track, Keys to the Kingdom) vs. She Wants Revenge (ala the track, Hold My Hand). Come on dude, you wrote a track called "Hold My Hand"? (Lyrics: Hold my hand, I need you now, throw me down, I don't know how...) Even the help of Autolux on the track, Persons & Machinery, can't create something that doesn't blow.
Anyway, it's too bad. I know things change. If you'll excuse me, I have a small puppy to kick.