By
Ian Caruth
Grade: A-
One of the most persistent and stupid criticisms leveled at electronic music by rock fans is the music's alleged lack of any human element - for lack of a better word, "soul." The sample-based foundation for much electronic music allows its practitioners, if they choose, to assemble whole songs without any originality or personality whatsoever. The catch is, only the most unimaginative of musicians do that.
The vast majority of electronic artists imbue their records with an admittedly often subtle sense of personality, making their music easily as distinctive to attentive ears as any rock album. David Holmes' work is some of the easiest to spot in the electronic world - his deep, ass-shaking funk suggests classic '70s soundtrack music crossed with a smart post-punk dance club sensibility.
Holmes' soundtrack for Steven Soderbergh's film "Out of Sight" was one of the best, most cohesive scores for a film since Curtis Mayfield's work on "Superfly." A slinky, seductive blend of cool jazz, sophisticated urban soul and Isaac Hayes-style funk, the album was the perfect counterpart to the film's stylish mood. The new Bow Down to the Exit Sign matures and hones the cinematic flavor that has informed all of Holmes' work and is a much more focused effort than 1997's Let's Get Killed.
Every song is endlessly compelling, with unusual instrumental textures and complex effects continually morphing into new, inventive sounds. Holmes recruited a slew of talent for the album, including the whiskey-voiced poet Carl Hancock Rux and Primal Scream's Bobby Gillespie. Indie rock irritant John Spencer even makes a wholly tolerable cameo appearance on the dub-inflected "Bad Thing."
Holmes makes music that is perfectly urban and of the moment but that suggests the ghosts of funk and soul long departed - perfect for anyone missing the fun, energy and excitement of classic records.
