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8 of 8 people found the following review helpful:
3.0 out of 5 stars
De Phazz turns Pop!!, April 16, 2003
This review is from: Daily Lama (Audio CD)
Reviewer: Esther Garcia from London I would hardly classify De Phazz latest CD as electric jazz. It is very far away from the innovative and sublime Godsdog. In Daily Lama De Phazz seems to be looking more at Pop music and Brazilian rythms than at those electronic rythms and mixes that made them famous. Songs look more conventional that anything else. As a De Phazz fan I have to say that I like the Album. It is good, but it is not what I expected (something like Godsdog). So just be aware of it: a good CD but nothing new.
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6 of 6 people found the following review helpful:
4.0 out of 5 stars
One of these things is JUST like the other!, March 4, 2004
This review is from: Daily Lama (Audio CD)
One of these things is JUST like the other! If you like the retro-vocal melancholy, jazzy, cafeteria-style, insular-yet-panoramic, lush, smoky-lounge, orchestral, strange, ecstatic, DJ-scratchy, sublime, sampled and genre-bending compostions of Art of Noise, The Matthew Herbert Big Band, Enzso, Funki Porcini, Yello, Caleb's Cosmosis, Hugh Marsh, Future Sound of London, United Future Organization or Bowery Electric, then you will love this. It gets 4/5 because their previous CD, "Death By Chocolate" is slightly better. Start there! 'NUFF SAID.
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1 of 1 people found the following review helpful:
5.0 out of 5 stars
Strange, German r'n'b electronica, well worth a listen, September 14, 2008
This review is from: Daily Lama (Audio CD)
De-Phazz is a revolving cast of singers and performers around German jazz/electronica producer Pit Baumgartner. For more than 10 years, De-Phazz has released an interesting and unique blend of jazz, German cabaret music, electronica, hip hop, reggae/dancehall and r'n'b. Baumgartner changes his lineup between albums, and there are very few singers who stay for more than a record or two. The music is sung mostly in English, but there are songs in German and French, too. Everything has a delightfully old-school, continental European touch: a 40s-style cabaret tune here, a 50s Brazilian-inflected German Schlager there. But there's also some seriously funky, and not-German-at-all soul here: a track like `True North' shows off Baumgartner's production chops - chops that could grace any contemporary `big' r'n'b artist's album. The path he chooses, though, is quirkier than that. And it's a very likable quirkiness, one I find myself returning to time and again. The sound is cultured and aware of the world's musics in a way that British or American electronica isn't. And that makes this first-grade pop music that doesn't become dated.
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