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Destroy Rock & Roll

Mylo

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Album Review

Destroy Rock & Roll presents another success story in the genre of bedroom electronica. Isle of Skye's Myles MacInnes recorded this debut album entirely at home with relatively basic computer software, and the resulting 14 tracks are every bit as compelling as contemporaneous efforts from like-minded electronic artists Daft Punk, Lemon Jelly, and the Orb. Though Mylo is a bit of a musical chameleon in that he raids influences from acid house to ambient techno to downtempo trip-hop, the album is held quite cohesively together by a smart sense of humor and what might be called a case of the warm fuzzies. These warm fuzzies are most apparent in the smooth beats, funky grooves, funny voice samples, and cute sound effects that tone down even the album's most aggressive moments. The most obvious comedy is found in the potty-mouthed cut-and-paste affair "Drop the Pressure" and in an evangelist ridiculously calling out "sinners" like Duran Duran and REO Speedwagon over goofy lo-fi grooves on "Destroy Rock & Roll." While album highlight "In My Arms" isn't blatantly funny, it's sure to bring a smile to any fan of 1980s Top 40. The track is an addictive, somehow soulful mashup of Kim Carnes' "Bette Davis Eyes" and Reel Life's "Waiting for a Star to Fall." It's quite a treat hearing the repeated fragment "in my arms baby yeah" cut and flanged to the point of euphoria with the somewhat ominous, emotional synth notes of the Kim Carnes track icing the cake. But Mylo doesn't cop out to comedy. Indeed, he straddles the techno film score realm of Moby with aplomb on "Emotion 98.6" and gives IDM hero Mike Paradinas a run for his money with the high-pitched, childlike melodies of "Guilty of Love." There is a sense that some filler could have been excised, but the album is so much fun while it lasts that it's difficult to nitpick. Mylo's singles attracted quite a following and led to remix assignments for the Killers, the Scissor Sisters, Annie, and Moby, among others, and Destroy Rock & Roll only seems to cement his status among the elite of electronic cut-and-pasters of his time.

Customer Reviews

A Truly Great Album....

What can I say? Any album that gets away with sampling Boy meets Girl and Kim Carnes in the same song, got to be worth a listen, hasn't it? "Valley of the Dolls" sounds like the music you'd find at the end of a Commodore Amiga game, slightly dated, but still carrying some sort of emotional punch. "Destroy Rock & Roll", with it's preacher sample, sounds like the worlds coolest sermon. But the album's centrepiece is surely "In My Arms", the home of the above mentioned samples, a fantastic tune, one of the best samples ever.

i could essay write a 6000 word essay on this piece of art

everyone should owe at least one copy, every song is truly amazing, most moving is need you tonite. enchanting mix of instrumental and vocal . a must have.

I know, I am too fussy.

I have one big problem with ‘Destroy Rock & Roll’ Initially, that problem was almost insignificant, but over time and with repeated listening, it has become such an issue that I can honestly say I struggle to listen to it. The album suffers from that peculiarity inherent in the vast majority of anything that can be categorized as ‘Dance’ music. ‘Destroy…’ is by no means as bad as some and on first listen with fresh ears the album is genuinely interesting. The problem hits you with all its might after five or so listens. Purely in terms of ‘sound’ it is so unvaried. Per song, the same, repetitive, unchanging sound of the drum. The same sampled keyboard hook repeated throughout the track. The same voice loop. The hooks, breaks, the instruments, in tone, shade and inflection, all exactly the same. I find it so clinical, digital and synthetic. It is ‘perfect’ but in a bad way. I suppose I am looking at this from the wrong angle. It is after-all unashamedly ‘Dance’ music, and it is there to make you do just that… dance. However, if you listen to this album with people like The Prodigy, Leftfield, Apex Twin or, though perhaps to a lesser extent, Underworld in mind, to whom loops, samples and drum machines are stock in trade, and yet sound anything but monotonous, I think it can be said that ‘Destroy Rock & Roll’ is a wasted opportunity. So why did I bother to write a review about an album that obviously annoys me? It is because, the endless, synthetic monotony aside, I think this could have been one of the best albums of 2004. Shame!

Biography

Born: 1978 in Isle of Skye, Scotland

Genre: Dance

Years Active: '00s

Heralded as the saviour of dance music by everyone from the NME to Elton John, Scottish electronic producer Mylo first achieved success in the mid-noughties with his inventive fusion of West Coast electronica, high-octane house, and '80s MOR pop samples. Born Myles MacInnes in Broadford on the remote Isle of Skye in 1978 to hippie Cambridge academic parents, Mylo taught himself to play the keyboards, drums, and guitar from a young age. While attending the prestigious Edinburgh private school George...
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Destroy Rock & Roll, Mylo
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