Let’s Get Killed
“Right now I’m loaded on two kinds, no actually, three different kinds of speed, heroin, LSD, suicidal weed and, oh yes, a few barbiturates. I couldn’t even tell you what day it is.” Though recorded on the Lower Eastside of New York City, this quote is perfect for the night before the failed bank robbery in Killing Zoe. All the main characters spend an evening on more drugs than can be counted while relaxing in a jazz club. “Caddell Returns” sounds like the music they heard in this state of mind. Over all Let’s Get Killed‘s use of samples, recorded conversations, and jazz influences dictates the relaxing nature of how nicely jazz can compliment modern dance. “My Mate Paul,” “Gritty Shaker,” and “Rodney Yates” illustrate this marriage of styles while relaxing the body into a semi-euphoric comatose state. It’s not often that a sense of humor enters into such highly intelligent music, but David Holmes releases a continuous stream of recorded commentaries about astrological signs (“Gritty Shaker”), slam dancing (“Freaknik”), and drugs (“Caddell Returns”). “Radio 7” begins with a short little ditty about James Bond, and then breaks into a modernized version of the 007 theme. I would be very surprised if it doesn’t end up on a soundtrack. “Slashers Revenge” and “Don’t Die Just Yet” remind me of Tones on Tail with their trance nature, authentic bass lines, and natural drum sounds. When I reach the last track, “For You,” I realize David might be educating the listener at how much is possible when blending styles together.