David Holmes – Lets Get Killed

My copy of this has the runoff matrix variant of 539-100-2-01 (the 1996 release) but just has the white case on the CD image, which is like the 1999 release.

4 Stars only? Really? Come one, people. This Album should have 6 Stars, at least.

No reviews or comments..... played this to death when this first came out.

Towards the end 1990's, the approach of new millennium gave music lovers into ambient house, techno, trip-hop & drum'n'bass a feeling to explore a deeper past, increasingly giving an ear to 1950's exotica, space age pop, easy listening, 1950's jazz and early electronic experiments. Many independent electronic labels surfed on that retro wave, even giving it a contemporary touch, releasing bands like The Gentle People or Fantastic Plastic Machine. Why do I mention that? Because pieces such as "Radio 7" or "Rodney Yates" were funnily categorised as "Spy Jazz" by the afficionados. "Rodney Yates" even filled the dance-floor for weeks at the hip Antwerp's Kaaiman Club. This startling album superbly express that period of cross-over between the trip-hop, drum'n'bass and cinematic "lounge" music but isn't the only one.

Amazing 😉 production, art 🖼 and Sounds in movies 🎥 Sci Fi retro Past Futuristic way .....

Ain't there no Japanese Import of this? If someone knows, please get me a message. Thank you.

David Holmes opens up his funk side with _Lets Get Killed_, his second album, a sort of love letter to New York City. And from the jazz-funk-breaks of “My Mate Paul,” you know you’re in for a ride. “Lets Get Killed” is more rough, punctuated, as it is, with an expletive-laced conversation, but “Gritty Shaker” gets back to the grooviness that stretches far into the smooth bass and guitar work of “Rodney Yates.” Agent 007 gets revisited on “Radio 7” (including a hilarious debate of James Bond vs. Shaft), and “Slashers Revenge” delves into deep dub. Meanwhile “Caddell Returns” swoons and meanders until “Don’t Die Just Yet” slinks in with its seductive bass and bluesy guitar work. Righteous.

I bought this album the other day by mistake because I thought it was a trance album by another artist called "Dave Holmes" not "David". After realising this when I got into my car I thought to myself, Oh no I bet this is going to be shite. Was just about to bring it back but said id give it a quick listen.And the result was truly amazing! From start to finish this album is a masterpiece that I would never have picked up only for it had been placed in the wrong section in the store I bought it in. I'm not even to sure how describe how great the tracks are but I just get so relaxed for some reason when I listen to it. I could lie down and listen to it all day! I love it!

Take care,

Sean.

When Danny DeVito commissioned Irish producer David Holmes to provide the score for the film Out of Sight, he chose wisely. Holmes's gritty, urban dance music, first exposed on the sadly underrated The Film's Crap Let's Slash the Seats, is perfect for evoking scenes and atmospheres, yet it's interesting enough to stand on its own. For this album, Holmes and a friend wandered the streets of New York, collecting voices and noises; Holmes then assembled them into an imaginary soundtrack with the structures of modern dance music and the sonic qualities of rock and dub reggae. Let's Get Killed is a disjointed cut-up session that brings the grit and excitement of city life into your living room without leaving a drop of blood.

Rodney Yates is the crowning jewel of this fantastic, ground-breaking album and definitely ranks very high among my all-time faves. A small trivial thing: in the Aphex Twin remix of "Journey" from 26 Mixes for Cash, good old AFX uses the melody from Rodney Yates in great effect and really elevates an already splendid track. It`s not a reworking (something that I suspect many of us would die for) but you can listen to a great piece of music in another context.