Customer Reviews

Bow Down to the Exit Sign

5 star:		(12)
4 star:		(5)
3 star:		(1)
2 star:		(1)
1 star:		(2)

 

 

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.

David Holmes is now three discs into his discography, and I'm still not sure he's made a compelling argument why anyone should buy his music. Personally, I thought a lot of Holmes' earlier work seemed an awful lot like the stylings of an amateur ACID user, and while technically his work has improved, it's still a long way from actually being rewarding to listen to.

Much of my problem with David Holmes' latest offering, Bow Down To The Exit Sign, has to do with the album's utter lack of direction. At times it wants to be rock, and at others it's more straightforward electronic music, but it never marries the two genres successfully and doesn't succeed as either genre separately. Right from the beginning, the album starts with this cute little sound bite: "It's time to go to the peppermint store." And while I've listened to the album half a dozen times, I still have no idea why it's there; I doubt even David Holmes knows.

Bow Down's best tracks, the deliciously French "69 Police" and the charming "Hey Lisa," work because they actually have a sense of direction which is otherwise sorely missing from the rest of the album. After all, there's quite a few guest vocalists here, but with the exception of Tricky collaborator Martina Toppley-Bird's vocals on "Outrun," Holmes doesn't seem to have much for them to do. The remainder of the album is fairly interchangeable, with Phil Mossman's uninventive bass lines and Holmes' cookie cutter production values stamping out one forgettable track after another. And some of the tracks really stick out like a sore thumb, like the Bobby Gillespie-fronted "Sick City," which makes me wonder what audience Holmes wants to play to in the first place. Somehow I can't see the dubheads appreciating it, and as rock it's pretty pathetic.

Keep your eye on David Holmes, but keep your money as well.

One of the most energetic and streetwise albums of the year 2000. David Holmes continues to craft self-gratifying pop-music with an intrigueing cinematic edge, skilfully incorporating guest appearances by John Spencer, Bobby Gillespie and Martina Toppley-Bird. DJ-culture and it's less musically conventional trappings lie at the heart of this album, but there are enough solid tunes and phat, jazzy harmonies to add substance to the more whimsical elements. It's a blueprint for many of the chart-topping albums of the future, dropping a little ad-hoc sampled drama between episodic songs - as close as a CD can get to a multimedia experience without breaking through the sound barrier.

I have to be honest, I thought ;"Let's Get Killed" was a little weird, a little too all over the place for my tastes-- but there was still some kind of undeniable genius I sensed about Holmes and so I was intrigued to hear this new CD. Bow Down To The Exit Sign is awesome!Starting with Carl hancock Rux on "Compared To What" and "The Living Room". I have Rux's album, "Rux Revue" and even though it's on a major label, it sounds liek one of the best damned indie records you've ever heard. No formulaic stuff. You can tell from Rux's CD that he and Holmes are suited for eachother, they both push envelopes and still come up with great music. This guy's voice is so perfect for the music Holmes has created. It's dark, but not self concioulsy dark. It's melodic, and expressive. I think Rux and Holmes should do a whole album together! I also love Martina Topley Bird's tracks-- always thought she was an extrordinary singer, and I love these tracks but they still remind me of stuff she'd done before with Tricky and I wish Holmes could have pulled her out of her element a little more. "Bad Thing" is groovy and dark as hell. 'For Lisa' was Ok, and 69 Police didn't impress me much-- but I'm telling you, the Holmes/Rux collaboration makes up for whatever's missing on this CD.

After showing great promise on his previous release-'Let's Get Killed',David Holmes returns with a dark C.D.,which has more thrills than the scariest of roller-coaster rides. David Holmes is probably the most innovative of artists in Ireland right now.This c.d. has so many influences and uses so many different musical styles,that it is easy to see why so many prominent celebrities in the world of music right now want to collaberate with the Belfast man. First of all this c.d. is not for the feint hearted or for people who want catchy tunes and a nice easy listen.It's very dark,aggressive but always exhillerating.The more I listen to this c.d. the more I notice new sounds,influences and reworkings of some more famous tunes. The very brief opening track is a gentle fifties sounding commercial-and it does not give you any guide as to what's to come.Enter track 2 with guest vocals from Carl Hancock Rux-who to me sounds a bit like a very modern Bowie.It's a brilliant track driven by an amazing bassline.Then Primal Screams Bobby Gillespie (sounding better than I've heard him in a long time) on a ninety m.p.h. modern punk track.He appears on the c.d. twice,as does Martina Topley(who oft collaberated with Tricky)on 2 of the best tracks she's done in years. Musical styles are in abundance here-punk,hard rock,hip hop,rap,ambience and not forgetting Jon Spencer's song 'Bad Thing' for a stupendous touch of the blues.Easily as good as Death In Vegas'-'Contina Sessions'-I actually think this c.d. though very similar in style and mood ,actually surpasses that effort. Definitely recommended for all modern music lovers!

it's david holmes, what can ya say? each of his albums has a theme and this one is punk frickin' rock. alot of live instruments make up this disc, alot of nice guests (gillespie and jon spencer!), and lots of fast and frenzy beats that make you want to drive a thousand miles per hour.

a warning though: it's hard to say what other people will think of this disc. most people will probably love it, anyone who is a fan of stuff like death in vegas or jon spencer or primal scream will dig it, but people looking for a more "pure" drum n' bass disc like "lets get killed" may be disappointed. some songs have basically no electronic elements.

to sum it up: if you're open minded and you appreciate music with a groove, this is a must.

If Let's Get Killed was an ode to New York, then Bow Down to the Exit Sign is David Holmes' ode to 70s soul, rock and funk. His cover of "Compared to What" lays on the bass thick as molasses, while on "Sick City," he gets his rock on with Bobby Gillespie. Jon Spencer brings his blues to "Bad Thing," while chaos reigns on "Incite a Riot." "69 Police" pulls things back together, and Martina Topley-Bird lends her vocals to the densely dark "Outrun." She returns on "Zero Tolerance" which thrashes about a bit more. Holmes takes a breather with "Hey Lisa," a sweet, string-laced groover, and "Jackson Johnson" brings the album to a close along the same vibe. Quite a departure, but an interesting one.

well, i'm not much for analyzing music either, just for enjoying or being moved by it as much as you, and normally i couldn't care less about writing a review, but had to, just to rectify this horrendous misrepresentation: this album rocks! i admit it starts somehow mannered, matter of fact, omit the first three tracks, the Les McCann cover 'Compared to what', check the bone-chillin Roberta Flack version instead, Bobby Gillespie on 'Sick city', and the lamentable Jon Spencer affectation 'Bad thing'. doesn't sound this album deserves the four stars, does it? but then suddenly all changes.
once 'voices, siren, rain' kicks in, this album 'starts fighting back, striking back, kicking ass!' 'Incite a riot', '69 police' and 'Living room' (with Hancock-Rux) are one jammin' psychedalic funkfest. Primal Scream's Bobby Gillespie's second outing 'Slip your skin' also rocks, but despite the big names on the guest list, as far as the vocals go, Martina (Tricky's muse, or vice versa) really steals the show on the brooding 'Outrun' and the tight 'Zero tolerance'.
trax 6 to 15 are forty minutes of pure punk payback.