- Audio CD (April 3 2003)
- Number of Discs: 2
- Label: Universal
- ASIN: B0000930D2
- Other Editions: Audio CD | LP Record
- Average Customer Review: 4.1 out of 5 stars See all reviews (74 customer reviews)
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Product Details |
Product Description
From Amazon.com
Countless copycats have landed on the bandwagon since Josh Davis's debut, Endtroducing..., wreaked havoc in the dance and hip-hop world. But Davis, a.k.a. DJ Shadow, kept on top of his game with various collaborations--Blackalicious, U.N.K.L.E., Cut Chemist--and superlative 12-inches like "High Noon" and "Pre-Emptive Strike."
Now, a full six years later, he's back with a follow-up that is every bit as impressive as his debut, albeit in a different way. Once again, the producer has pushed his sampler to the limits, but this time he's brought with it a deeper, hungrier, more bad-ass spirit that's rarely found in modern dance music. There's a fabulous '80s vibe throughout (principally on tracks like "Monosylabik" and "You Can't Go Home Again"), along with the expected forays into b-boy culture (check the growling, massive "Treach Battle Break" and the funky-ass "Mashin' on the Motorway"). While it's identifiably Shadow, it ain't Endtroducing...Part 2. It is, however, a worthy and imaginative follow-up, with humor, wisdom, and musical understanding aplenty. --Paul Sullivan
Chronique amazon.fr
Six ans après la sortie du fracassant manifeste que représentait l'inégalé Endtroducing, Josh Davis, Californien plus connu sous le nom de DJ Shadow, et génie du collage musical, remet ça avec The Private Press. Entre-temps, l'homme a participé à quelques disques, l'un, décevant (Psyence Fiction) en compagnie de U.N.K.L.E., d'autres, cultes, comme Brainfreeze avec Cut Chemist ou l'album de Latyrx paru en 1997 (qui demeure un des sommets du hip-hop), ainsi qu'à de nombreux projets du duo Blackalicious dont sort, parallèlement au présent opus, Blazing Arrow. Là où beaucoup se seraient volontiers contentés de réutiliser les mêmes recettes, DJ Shadow a pensé une approche différente de fond en comble, tant émotionnellement que musicalement. Le résultat, moins porté sur le funk, s'avère paradoxalement plus influencé par la new wave ; toutefois, la technique mise en jeu, cette science sans faille de la mise en boucles, reste la même et fait que l'on reconnaît immédiatement sa "patte". Mine de rien, sans aucune esbrouffe, Shadow s'impose, à l'instar d'Afrika Bambaataa bien avant lui, comme un des maîtres du cut-up et de l'échantillonnage. Endtroducing avait marqué la dernière décennie de la fin du XXe siècle. Bien que très attendu, The Private Press ouvre discrètement, mais durablement car en profondeur, la première du XXIe : on n'en finira pas de (re)parler de ce disque, très probablement comme d'une influence récurrente. --Hervé Comte
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Most helpful customer reviews
5.0 out of 5 stars
excellent,
By
This review is from: Private Press (Audio CD)
dj shadow never seems to amaze me. he is just so talented, the master of drum beats and intense builds. one of my fav artists, without a doubt.
5.0 out of 5 stars
The Best Kept Secret in the Music Industry.,
By Erik Russell Olson (Dublin, CA, United States) - See all my reviews
This review is from: Private Press (Audio CD)
For his second real album (I think of Preemptive Strike as a compilation rather than a cohesive unit), DJ Shadow delves even deeper into his fascination with eerie samples and odd voices. The Private Press is not quite as brilliant as his debut, but DJ Shadow still knows how to put together a gorgeous, torpid patchwork of sound that is instantly identifiable as his own.The first song on the album, "Fixed Income," is classic DJ Shadow. He takes the march of a drum beat and marries it to some mysterious acoustic guitar samples (including something that may have come from a Spaghetti Western) and an ominous bass. Throw in a voice here and there and you've got the direct descendant of Endtroducing's "Midnight in a Perfect World." Wicked and addictive. Skipping ahead, "Giving Up the Ghost" is a tough name for a song to live up to, but Shadow delivers in spades. Disenchantment, disillusion, doubt, regret -- all conveyed by one sample in a loop that makes up the first sixty seconds. I find that this song gets stuck in my head when I get in that kind of a mood. Extremely evocative and more than a little sad. This is followed by the shimmering torpor of "Six Days," and the fast-paced but downright creepy "Mongrel...Meets His Maker." A single meandering guitar ties the song together, augmented by a flute, a piano, and a ringing telephone(!) Along the same lines, "Blood on the Motorway" brings to mind the morbid transcendentalism of "What Does Your Soul Look Like, part 2," but with some decidedly 80s-ish samples used to achieve the effect. That three-second silence speaks volumes, like the transition from life to death or ignorance to knowledge. Hypnotizing and profound without being maudlin or heavy-handed. Shadow provides some up-tempo sounds as well ("Walkie Talkie," "Mashin' on the Motorway") but let's face the obvious: he's at his best when gazing at his navel. I don't know if he is hip hop, trip hop, or just a renegade genius. But there is no one else like him making music today.
4.0 out of 5 stars
Very impressive.,
By John Candy (Silver Spring, MD) - See all my reviews
This review is from: Private Press (Audio CD)
I'm not a huge fan of this style of music, but I love this disc. So many different styles are explored by DJ Shadow on this disc and it all works very well to keep me entertained. I'm giving it four stars and, although I am certainly not an authority on electronica/techno/house, I do enjoy many of these modern sounds and DJ Shadow is among the best I've heard.
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