Bow Down to the Exit Sign [Import]

And if that doesn't make sense, then you probably won't understand this cd on the first listen. And it's not techno. It's too 'organic' for that, but still mixes in samples here in there really sly. It's not techno because it's not some euro dj spinning drum and bass heavy tracks and coming out some retard of an 80's hip hop dj. It goes beyond techno, by going back into alot of forms of dance and mood music, and mixing them together.

And it's cinematic. Really really cinematic. From the first track and it's mix of commercial jingle and movie dialogue really takes it off. But the following tracks are really what makes it interesting.

Starting with the second track, a remake of 'Compared to What' featuring Carl Hancock Rux, Holmes and Rux mix together soul, hip hop, 90's R&B, and rapped spoken word poetry. It's about three decades of black music warped into a 4 minute track. The follow-up 'Sick City' with Bobby Gillespie on vocals sounds like some sort of manic acid-rap/rock track re-treading thru sounds like Iggy Pop, The Stooges, and Sly Stone. Martina Toppley-Bird's tracks also blend together mixes of soul, gospel, punk, and drum n' bass highlighted on her track 'Zero Tolerance'. All of the previous 3 mentioned artists guests on other songs, with Rux turning in a track that sounds like a Red Hot Chili Peppers cover of 'I Am the Walrus' remixed by DJ Premier on 'The Living Room' and Bobby and Martina showing up on the mbient/trance/punk track 'Slip Your Skin'. The only real misstep on the album is 'Bad Thing' by Jon Spencer. Granted it's not a horrible song, or even a bad one. It is just so demented, hook-laiden, and dark, that an entire album composed of similar tracks would have been better. "Bow Down.." is seedy, but not dark and evil as that track.

The instrumentals that Holmes and his backing band (something that only the Lo-Fi All-Stars have mastered in electronica) compose are also worth the cd. Those highlights are easily '69 Police' (which could corssover to all types of fans of music with its strong melody and psychedlic mix of styles) and the obviously cinematic 'Hey Lisa' which closes the album and boasts a string section composed and conducted by David Arnold. Overall the album is highly recommended.

The styles of music that the cd mixes together, while focusing on black and cinematic sounds and grooves, should attract the interest of many people. If you like hip hop (#2), punk (#3), trip hop (#8), blues & psychedlica (#5), alternative-dance (#9) or film scores (#15) this cd is for you.

First off, I cannot believe the negative reviews this album is getting. It seems that people are expecting it to be something completely different, and when its not what they expected, they dismiss it. It's as if they gave it a spin in their car, didn't hear anything as catchy as "My Mate Paul" or "Gritty Shaker", and then tossed it. I'm not sure how that can be as this album is very hard to come by and I would think the people that are purchasing would invest a little more time into it.

In all fairness though, if you're only exposure to David Holmes is his work on soundtracks, and you were expecting something similar, then yes, I can see how this album would be a bit of a disappointment. I'll admit, I didn't think it was as good as some of Holmes' other albums(Lets Get killed, Come Get it I Got it) the first time I listened to it. It was much more cold, harsh, and uneasy. However, like with any great album, the more I listened to it, the more and more I started to like it, and understand that the album as a WHOLE is what makes it special.

From the opening jingle of "Live From The Peppermint Store", the album has a very strange alluring quality, and as soon as "Compared To What" (with one of the hardest hitting basslines I've encountered) kicks into high gear, I can't imagine how someone couldn't be mesmerized by the signature head-bopping strut of David Holmes' music. The rest of the album unfolds in almost theatrical fashion, with certain tracks providing neratives that give the album a very haunting feel ("Drexler's Apt - Aftermath, Afternoon) before giving way to the next oh-so-sweet Holmes drum fill, the tracks blending together seamlessly, each one providing further evidence that Holmes is a master at crafting cinematic tunes that freaking GROOVE.

The album showcases numerous musical styles, from old R&B & soul to punk, pop, rock, and blues with David Holmes blending them all together perfectly to make for a very unique and truly captivating musical experience. A few of my favorite tracks are "Compared to What", "Incite a Riot", "Living Room", and "Slip Your skin", but really, this album is absolutely stellar from start to finish, and should be experienced that way (be sure to read the liner notes as well).

This is definately David Holmes' most eclectic and ambitious release, and in my opinion his best and most rewarding. It's a shame that it is so hard to come by. If you're a fan of great music that goes beyond being pegged to a certain genre, then you will love "Bow Down to the Exit Sign".

Oh, good Lord, I love this album. I can see why some people might find it repetitive or directionless, but I'm convinced that these people aren't allowing themselves to be engulfed by this cd. It's an absolutely visceral experience when heard from beginning to end. Maybe I'm exaggerating by giving it 5 stars, but it's only because I rarely get drawn into albums this much, and I don't think there are many DJs out there who push themselves as much as Holmes. And though I still contend this album should be heard straight through from beginning to end, "Bad Thing", "69 Police" and "Living Room" have got to be the best tracks on here. It's really wonderful, and I think the fact that it can't be classified in a specific genre is a testament to Holmes' daring and appreciation of all kinds of music. He's the kind of person who SHOULD be making albums.