In an attempt to define a new style of music that was emerging out of the post-acid house underground, the British music press (specifically music journalist Andy Pemberton in his description of DJ Shadow’s 1993 single “In/Flux”) coined the term trip hop. Originating in Bristol, England, the signature sound of trip hop is a combination of downtempo and mellow hip hop beats with elements of jazz, soul, funk and sometimes dub to create an experimental breakbeat that was more for the head than the feet. Its name is meant to imply the spacey, dreamy downtempo feeling often associated with the slow, heavy drum beats. Trip hop is similar in construct to many styles of American hip hop and can very easily be seen as a blend of hip hop and electronica, allowing for an experimental approach without the alienation and fallout often associated with the term “experimental”. As with all good things, there must be an end. By the end of the decade the term had become an umbrella covering various artists like Massive Attack, Portishead, Luke Vibert/Wagon Christ, Coldcut and DJ Shadow. Many artists rejected the term and more often than not considered themselves and their music more an extension of hip hop proper. The irony of course being the trip hop name itself was a large part of how these artists became introduced to an American audience.
One such artist to reject the potential crossover success into the mainstream was DJ George Evelyn a.k.a. Nightmares on Wax (NoW). One of the earliest artists to cultivate what would become trip hop, his rejection of the style via his 2002 release Mind Elevation was an abandonment of his lush production style in trade for what in hindsight is a soul-less overly pop “homage” to soul. The release was ill received by fans and prompted Pop Matters music critic Tim O’Neil to call it both “a well intentioned failure” and “an overreaction [to the endless number of trip hop bands] in the wrong direction.”
It was with obvious hesitation then that the 2006 arrival of In a Space Outta Sound was received. Would it be a continuation of the missteps taken on Mind Elevation or would it be a step back to regroup and thereby allow for a new step forward? Thankfully it was the latter. Not a true return to the likes of his earliest releases Smokers’ Delight and Carboot Soul, it was welcomed as a mixture of the familiar with just enough different to give it a spark.
In a Space Outta Sound is layered in soul. So much so that it practically is swimming in it. The organic laid back beats that Evelyn is known for tribute an era without mimicking or deconstructing it to the point of soullessness. His dub heavy grooves are deceptively simple but constructed in such a way that provides endless depth to his creation; rivaled only by Massive Attack. It is through this minimalist approach that vintage NoW can be heard.
NoW is known for creating albums that start off slow, luring the listener in. As the album progresses the levels rise to the point that by the end you are wanting, needing more. In a Space Outta Sound is no different. Starting off with “Passion”, the beats climb up slowly as other layers come in to play. The repetitive beats help to create a sense of familiarity to his older sounds found on works like Carboot Soul. Such a familiarity is also heard on “The Sweetest”, a track featuring Evelyn’s minimalist approach to using vocals. Gently weaving Sara Garvey’s voice into the haze of his construction, Evelyn manages to mix the vocals in without overpowering the song while at the same time balancing it all out so the beats don’t drown out the vox.
“Flip Ya Lid” continues with the mellow groove, this time updating a dancehall style with a vintage guitar tones that sound too good to be real (and probably are a product of computer processing rather than actual instrumentation). Regardless, it has one of the most infectious grooves on the album; as does “Pudpots” the song that follows – with its heavy use of horn blasts and jazz breakbeats. Not quite as chill as “Flip Ya Lid”, when looked at in tandem both songs are demonstrative of Evelyn’s use of repetitiveness to create depth and intensity and fill dance floors.
“Damn” is often considered the centerpiece of the album. Perhaps because of its placement near the middle of the track list or because it tends to envelope much of what Evelyn is about – gentle beats, mellow grooves and a slightly buried vocal. However for a centerpiece it is also a prime example of running in circles. It’s a tight groove and easily one of the smoothest tracks but for clocking in over seven minutes, I would expect just a little more.
“You Wish” is one of those tracks that could almost be a theme song for some literary or film character. A surrounding swagger provides a groove allowing for it to breathe and grow (though it never really does), acting as a perfect opener for “Deepdown”. An Afro-percussion laden track that is downright funky, “Deepdown” may feel almost a bit out of place on this album. However, upon repeated listens the track is just as at home on the album as any other and in hindsight fits snuggly in the confines of Evelyn’s matrix. With the placement of a short track a la the skit on contemporary hip hop albums, Evelyn uses the one minute “Chime Out” to reassess his groove and begin the final assault.
“Me!’ is a glorious soul song (and his most DJ Shadow-like song) that once again features the vocals of Sara Garvey. In most cases if the lyrics were as simple and repetitive as they are on In a Space Outta Sound many listeners would feel cheated and almost insulted. However, here the vocals’ simplicity is an accepted part of the overall architecture. Since Evelyn is known for the use of simple, repetitive phrases (albeit very creatively and successfully), the repetitiveness of the vocals are treated as just another part of the overall tapestry.
Constructed as a soul ballad and built on a funky rhythm section “I Am You” is one of the better “soul” tracks on the album, continuing where “Damn” left off and featuring the vocal talents of Zero 7 collaborator Mozez. The gentle soulful groove continues with the track ”Soul Purpose” where we are advised through Sara Garvey’s lyrics to “elevate [our] soul.” These two tracks back to back near the end of the album provide a great comedown to an already chilled experience and prepare us for the percussion laden closer, “African Pirates”. Perhaps one of the more upbeat songs on the album, the blend of hip hop beats with Latin dance elements is a perfect way for Evelyn to not only close out the album but to also come full circle taking us back to his earliest output .
A return to form? Perhaps. There could be arguments made to defend the 2002 departure from the familiar, however in hindsight it certainly did not do any permanent damage as is evident from this release and its follow up 2008’s Thought So. Regardless, In a Space Outta Sound is a perfect album for chilling out, taking a long drive or just contemplating the events of the day.