David Holmes
Let's Get Killed

David Holmes (born 1969) is rightly recognized as one of the most skilled and original DJs around, especially after the release of the compilation "Come Get it I Got it" and the fantastic "David Holmes presents the Free Association". Before "Let's get Killed", dated 1997, his resume included only a couple of techno singles and a little-known album characterized by ambient and dance sounds, where a marked propensity for the atmospheres typical of certain American films from the 70s was already evident.

Indeed, his passion for cinematic music led him to create "Let's Get Killed" - conceived as a soundtrack for an imaginary film - in which the Irish DJ offers 13 tracks characterized by an eclectic mix of styles, yet all united by a great evocative capacity.

After the brief spoken intro (various recordings made by David Holmes himself around New York appear between tracks) it starts with "My Mate Paul", which seems taken from a Propellerheads album: a splendid union between funky breaks and jazz, an engaging rhythm, difficult not to move. I also encounter difficulty when listening to the cadenced bass of "Rodney Yates", between lounge and ambient: a compelling and irresistible line. The title-track, a dark and tarry drum'n'bass, seems like the work of a Dj Shadow fixated on a sampler intent on remixing Aphex Twin: it's 7 and a half minutes that can end up being really heavy. Then there are the hilarious words of the Washington Square Park astrologer - cited in the credits - introducing the famous loop of "Gritty Shaker" (also included in Ocean's 11) which, if we want, is the most "electronic" track on the record. Among successful episodes, like the psychedelic dub of "Slashers Revenge", and others definitely discardable (see the 007 theme rearranged just as Mark Ronson the chic would do) we arrive at the real gem, "Don't Die Just Yet": a solemn progression, grating guitar phrases and strings with a final crescendo that cannot fail to remind of Morricone. And of the original piece by Serge Gainsbourg, which indeed this one is inspired by, very little remains.

The album certainly isn't at the level of the two subsequent ones (I haven't listened to the latest one yet) but it allowed Holmes to become known to industry insiders who, after listening to it, commissioned him to score "Out Of Sight", directed by Soderbergh. From there to "Ocean's 11" was a short step.

Rating: 3.5