Vertigo - Groove Armada

London-based electronica duo Tom Findlay and Andy Cato were renowned in the UK as artists and DJ’s long before this album, as residents of their eponymous club and general wheelers and dealers, but this release gave them the previously unrequited attention of the British music-buying public, and announced them as major players in their scene. For with this CD they skilfully fused druggy, hypnotic tones with more up-tempo, funk-esque tunes, and in doing so crafted a beast that changes almost unnoticeably, yet markedly, from track to track, encompassing along the way a myriad of styles, though all in close relation to their heartland of the dance floor.

So then, to the music. The first track, Chicago, starts off with some wheezy synth effects, building up steadily in quantity and musical range in a classical fashion; many pre-recorded loops and patterns are simply layered over one another, with various parts being dropped over one another at various times. Simple, yes, but done expertly, with all the constituent parts being brought in well-timedly (??) and combining to produce a dense, pleasant sound that is surprisingly light on the ear. A good start.

Whatever, Whenever, immediately starts off on a faster tempo, balancing horns with a still slow-ish beat, and throwing in some rather stylish emceeing for good measure. Very chilled.

Dusk You & Me starts off in a very mellow manner, bopping along to a smooth, fluid beat. Horns/trumpets/whatever they are, are used extensively throughout this album, and make their appearance on this track too. Some eerie vocals round off the first half of this track, before, around the three minute mark, everything changes and the song lapses into some piano playing, one bar of music repeated over and again, gradually fading out until a perfectly weighted pause (and I mean perfectly) provides a near absence of sound for two or so seconds. A moment that could easily have been messed up, but is instead carried off with flair and fits brilliantly, with the song then meandering sedately to a halt.

Pre 63, starts off very mournfully, with the sort of music one might expect to hear at a funeral opening it. A rather tuneful triangle then pokes in, however, brightening things up somewhat. From here on in it’s a case of more layering, again done with verve and panache. A very stylish saxophone part occupies a central portion, and the whole thing winds up in much the way it started. Solid stuff.

If Everybody Looked The Same, is a fabulous song, with an infectious groove and well thought out lyrics (though more than a mite repetitive). Again, a piano part is used to great effect, and the whole thing has a very high-and-plastered (maybe) air of happiness to it.

Serve Chilled is a rather oddball creation, sounding very strange at the beginning and continuing in that vein for its entirety. Quickly developing a beat, it doesn’t really do very much apart from mess your brain up. Odd, but certainly chilled.

I See You Baby is another more dance-oriented song, evidenced by its single status. Aimed at commercial success (obviously), it is nevertheless a fine song, with a medium-fast beat that is switched between drums and a bass, and a strong vocal part.

A Private Interlude is verrry laid back. What sounds like a didgeridoo hums along in the background for the first minute or so, and some catchy tunes deliver in that department. Then the weirdness is piled back on with some very strange, but interesting, synth effects. A slightly distorted (or is that my rather naff computer speakers?) guitar completes the assorted sounds, and they are arranged impeccably as ever.

Right. The next song,At The River, is the epitome of smooth, relaxed funk. As a writer I try, but invariably find near impossible, to describe in words the workings of this song. Try: tranquil, gently lolloping horn/sax grooves interspersed with looong, drawn out chord changes on the synth, and melodious tunes mated to wonderful, mellifluous singing (if you’re fond of sand dunes, and salty air quaint little villages, here and there,), and you’re about halfway there. Husky overtones add to the appeal, endearing to some part of your brain that will probably never be understood. Unequivocal, and approaching masterpiece status.

In My Bones, is basically “another song”. Don’t interpret that as meaning being filler, though. The lyrics (house music, in my bones) give a sense of the devotion Groove Armada feel to their artistry, and are perfectly fitting (well, why wouldn’t they be – lyrics and devotion I’m talking about, by the way). Solid beats and some cool samples (cupboard door slamming, anyone - actually I think it’s a drum, but never mind) are present and correct, and gel well together. Good stuff; well worth not skipping.

Your Song is interesting. It seems to me a self-portrait of life, thought-provoking lyrics invoking some (intelligent) thought while listening. A tuneful bassline and soothing, well chosen instrumentals lend a very calming air to this song. Most pleasant.

Inside My Mind (Blue Skies) is sensational. Inventive, very agreeable loops and peaceful sounds harmonise in a beautiful, unperturbed way, giving the song a serene ambience – like much of this album. What can I say? It is charming and sweet, and one of the best songs on this release. Demands listening to.

So, what else is left to say? I have, or at least I hope I have, given you a pretty thorough description of the ideas present on this album by going through the songs individually. This is a seminal piece of work that even my Dad (staunch oldie supporter) appreciates – well, some of it, at least. Wholeheartedly recommended.