Speaking of my past self, I am invoking him today to review my favourite record by the Brixton-based dance pioneers. This is my writing style of six years ago; a funny collection of tics, to be sure:
Kish Kash didn't take much deliberation to make my number one [best album from 2000 - 2004], for it is everything Basement Jaxx is; everything that makes them compelling, surprising, frenetic, starry-eyed, intuitive and above all, just themselves. This is particularly apparent when you've come to terms with the consistency in the album's running order and the way it bursts not only with sounds but with life.
Like Cornelius['s Point] and The Avalanches[' Since I Left You] (my no's 3 and 2, respectively), there's so much going on that if you don't take time to listen around, you might miss it (but thank God for the RWD button). Not only the sounds of the 3-parties-in-one that are 'Right Here's The Spot', 'Plug It In', 'Cish Cash' and 'Lucky Star' and the Jaxx's all-out Voltron-assembly of pop songs, Prince-outs and mismatched but purposeful sonic chaos, but the things they do to their special guests. In-between spitting catchphrases on every verse, Dizzee Rascal sounds like the electrodes attached to his secret places are working overtime, Me'shell flirts with a gender identity crisis that she can't conceal her enjoyment over, Totlyn deploys a winning bid for Queen (or King) Scatter of 2003, JC further hints at his growing case of Schizophrenia, his emergent tender sleaziness and his desire to be the most Purple teen idol ever, and erotic pleasure belies Siouxsie's dominatrix cries of "YOU'RE INSATIABLLLLLLLLLLLEEEEEEE!" And I'll be damned if I'm not. I don't want to miss a thing.
Recommended tracks: Good Luck, Plug It In, Lucky Star, Cish Cash
I also had the great pleasure of seeing them perform twice in support of this record in December 2003, where Felix Buxton, Simon Ratcliffe and their carnival-spirited live band dynamically impelled their music into more frenetic but ever compelling arrangements - a warehouse party for the world stage, to be sure. However, it cannot be denied that in spite of the spirited renditions by their fill-in live singers, each special guest on the album utterly made their songs their own. Not surprisingly, the Jaxx spent part of the time between this album and their fourth as jobbing music producers, creating or remixing some underrated, would-be chart burners for the likes of Chasez and Lady Sovereign
It remains highly recommended, by the way